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The discussion in Australia as to how such atrocities are to be approached is telling. The call for responsibility has varied by degrees. Most tend to some variant of the rotten apple theory: a few particularly fruits that may be isolated and extruded from the barrel. Culpability can thereby be confined, preserving the integrity of other military personnel and, importantly, political decision makers.
Since the pandemic started to show its teeth on our shores in March, there’s been a trend to wave away any other matter other than COVID-19 with an examination of, ‘Just one crisis at a time — we’ll get to climate change after we’ve got the economy back on its feet.’ The only problem is we don’t have the luxury as a nation to solely focus on one crisis at a time.
This year has been a ‘unique’ year to study, to say the least. The impacts of COVID-19 on the sector have been not just trying, but simply devastating. I have not set foot in a classroom all year which, I have to admit, is one of the things I have always loved most about studying — the immersion within a learning environment.
Tall Fences, Taller Trees, directed by Dutch-based Iranian filmmaker, Arash Kamali Sarvestani, is a companion to Chauka, Please Tell Us the Time, which Sarvestani co-directed with Kurdish-Iranian writer and Manus Island detainee, Behrouz Boochani. On its most basic level Tall Fences, Taller Trees documents the making of the first film, but it is far more than that.
When watching a news clip recently I was taken by a young woman’s attitude to the coronavirus restrictions. When asked how they had affected her, she said simply, ‘It is what it is’. The answer suggested an impressive acceptance far from the outrage, frustration and resentment that in the circumstances would not have been surprising.
When I read Jess Hill’s piece in The Monthly which calls the coronavirus lockdown a ‘gendered pandemic’, I felt heard. I wanted everyone to read this article, to understand that feminist wins were being erased in the name of a national emergency, and that women were stepping up to the now larger domestic workload with a career cost further down the line.
Throughout the summer I risked smoke, storms and sickness to escape into the embrace of the sea, until, one day after that final swim, places of worship were effectively closed, along with beaches, pools, and national parks across NSW.
The Stage Four lockdown announced by Daniel Andrews on Sunday shows how precarious it is for working mothers. When the going gets tough; our jobs outside the home are expendable.
Craftsmanship is a way of seeing and understanding mediated through touch and feel and the body. While the finished product or the stated goal are important, the process — as an act of learning, making mistakes, experiencing both frustration and satisfaction — is equally (if not more) important.
It turns out that the COVID-19 economic crisis is disproportionately affecting women — so much so that some have dubbed it a ‘pink-collar recession’. Unemployment figures show that since February, 457,517 women have lost their jobs compared to 380,737 men.
People ask why it took the death of George Floyd to make so many Australians stand up. His experience mirrored that of so many Aboriginal people who have died while in custody. His dying words ‘I can’t breathe’ echo through our hearts, because this isn’t the first time a Bla(c)k man has uttered those words while being brutally arrested for a crime most white people would get a slap on the wrist for.
This Refugee Week, many asylum seekers and refugees are struggling to survive the COVID-19 pandemic. Some are trapped in immigration detention centres across the country in cramped and overcrowded conditions that make physical distancing impossible. Others are living in our community on temporary visas or no visas at all, struggling to make ends meet.
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