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Growing up I cringed at Asian representation in film and television. More often than not we were cast as nerds, martial artists or second to the plot. We had little depth to our characters, which continuously perpetuated racial stereotypes — stereotypes that still exist today.
Politicians love to remind minorities to integrate. Minority kids by and large resent these calls, because they are desperate to integrate. South Asian kids like me and journalist Sarfraz Manzoor were among those wishing to be Australian or British. Our idols were Bruce Springsteen and Jim Kerr, not Abu Bakr Baghdadi or Osama bin Ladin.
While there is value in pointing out incorrect or inappropriate behaviour, we are also at a point where we are perhaps a little too quick to declare someone or something 'cancelled'. Many problematic depictions have occurred over the years, and we do ourselves no favours by ignoring them or pretending they did not exist.
I have the luxury of laughing off jokes that make light of the power dynamic between mainland China and Taiwan and Hong Kong, but for many of my friends, it's not such a light matter. I struggle to put myself in their shoes, and I feel a sense of hopelessness that I'm not able to do more.
With Widowo's decision to reconsider the proposed updates, policymakers should seek to initiate balanced and nuanced reforms that help liberal lifestyles and conservative values coexist. While appeasing the conservative portion of the electorate is a good tactic, ignoring a diverse electorate is a recipe for disaster in the long term.
A recent report on the lack of culturally and linguistically diverse (CALD) representation in arts leadership recognises the limitations of the label. In an era marked by media bubbles, it is more vital than ever that we use categories such as CALD to build bridges, while not losing sight of our differences and varying levels of disadvantage.
I wasn't born here. My family migrated to Australia when I was young and so I enjoyed the privilege of growing up without the war and discrimination that has marred my birth land, although there is a different type of discrimination that I have had to face being an Asian in Australia. In being here though I know I am living on stolen land.
When Jacinda Ardern uttered the words 'They are Us' in the aftermath of the terrorist attacks in Christchurch, a powerful vision hovered over the impending debates on the meaning of what had happened. Something hitherto invisible came into view and was repudiated: a conceptual structure underlying the operations of social power.
The events of 4 June 1989 in Beijing were horrific, but then prime minister Hawke's leadership and the skills, passion and sacrifice of the generation of Chinese that stayed in Australia in Tiananmen Square's aftermath have consequently made Australia a more vibrant society.
US congresswoman Alexandria Ocasio-Cortez was accused by some of 'verbal blackface' due to her manner in a speech last week. But she wasn't being racist — she was code switching, defined by linguists as the act of moving back and forth between two or more languages or dialects. It's something I know a lot about from experience.
Former NSW opposition leader Michael Daley was much maligned for his remarks that 'Sydney's young children [are] being replaced by young people from typically Asia with PhDs'. The statement is symptomatic of a larger issue, reflecting the extent to which the community is misinformed and misled about these issues.
The exhibition stands as a celebration of the work of Xiao Lu and her contemporaries, who continue to clothe their lived experiences in images, acts and utterances, and in so doing communicate with others about the state of their lives as women and artists, their society and their nation.
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