Momentum Woroni Issue 3, Vol. 67
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Page 21
More than Meets the Eye in Video Scandal Rashna Farrukh
Classic Album ReviewRadio Head: Kid A Isabel Keller-Tuberg
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What Sort of Humour is Off-Limits? Atrophy: From Play to Film Codie Bell Bronte McHenry Page 15
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This Article Has No Label Ellen Makaryan & Harriet Kesby
Science: The Gendered Profession Kate O’Sullivan
Woroni Week 4, Semester 1, 2016
Issue 3, Vol. 67
News 3
More Than Meets the Eye in Video Scandal Rashna Farrukh 4
Discussing Domestic Violence Sarah Edwards Albo at Politics in the Pub Isadora Bogle 5
ANU Women’s Department The Hunting Ground Screening Pamela Hutchinson (Trigger Warning - Sexual Assault) ANUSA Student Library Fines Forum Mark Han 6
ANU Union- What’s It All About Pamela Hutchinson Labor Fights it out for Union Board Karan Dhamijia, Andrew Cavanagh 8
There’s a New Education Officer at ANUSA Ana Stuart ANU/ The Canberra Times Meets the Author - Stan Grant Pamela Hutchinson ***
Comment 10
Reflections on the Proposed Cuts to CHL: A Perspective From Inside the School Dario Di Rosa 11
What Sort of Humour is Off-Limits? Codie Bell 12
In Defence of the Public Service (ft. a quick bitch about my colleagues) Anonymous 2016 on the Markets Rhys Dobson 13
You Don’t Need Direction Yet Alex Patterson with Artwork by Marion Ribuot 14
One Answer to Loneliness on Campus Geoffrey Ballard
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Studen Theatre Drowning Kat Carrington Cutting our Chance at a Sustainable Future MaryClare Woodforde
Feature 15
This Article Has No Label Ellen Makaryan and Harriet Kesby
Life & Style 30
A Letter from Abroad: Versailles Rachel Kirk
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Fresh off the Boat Jonathon Peter
Fast Fashion Alexandra Green
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Stop the Cuts, Start Some Action Liam Fitzpatrick 19
Join Us in Saying #LetThemStay Harry Needham
Sport 31
ANU vs. Sydney Uni Intervarsity Cricket Wrap-Up Jack Birtwhistle 32
Woroni Radio Playlist: Momentum Mark Wilson and Brendan Keller-Tuberg
Recap: ISO Volleyball Carnival Henry Delves
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Five Reasons Things Aren’t All That Bad for Essedon in 2016 Ashwin Chandekar
Arts & Reviews
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Fresh off the Boat Jonathon Peter
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Interview with Toyo Phyllida Behm 21
Classic Album Review Radiohead: Kid A Isabel Keller-Tuberg 22
Schengen Diamonds Callum Florance with Artwork by Abbey Lockwood
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Science 34
Scientist- The Gendered Profession Kate O’Sullivan 35
Papua New Guinea’s Fight Against Drug-Resistant Turbuculosis Georgia Eccles
23
Zoolander 2: Don’t Believe the Hype Vahini Naidoo 24
What is that song you sing about the dead? Kidding, they’re all about the dead. Gabi Meek on Sufjan Stevens Hugo Lee’s Confluence: A Review Jayne Hoschke 25
Atrophy: from Play to Film Bronte McHenry interviews Gowrie Varma 26
Only The Present Hurts: A Review of Michel Houellebecq’s Submission Alexander Joske 27
Campus Style ***
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Art in Woroni 29
Rihanna- Anti: A Review Matt Bowes In Defence of Getting Along with Girls Matilda Millar-Carton
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Satire 36
You Girls Just Don’t Get What Mansplaining is Joey Julian Wolly Matt Daly 37
37 Australian Born Refugee Babies “Serious Threat To Our Border Security” Xinju Shi Riots Erupt In Canberra Locals Thirsty For More Super-Likes Cat Karrington and Pettie Bage
Acknowledgement of Country Woroni is published on the land of the Ngunnawal people.
‘Woroni’ translates to ‘mouthpiece’ in the Ngunnawal language.
Contact
Advertising inquiries and submissions can made at: advertising@woroni.com.au Phone: (02) 6125 9574 Shop 15, Lena Karmel Building 26 Barry Drive, Acton 2601 Woroni is printed by Capital Fine Print.
Board of Editors
Editor In Chief - Waheed Jayhoon Deputy EIC - Mitchell Scott Managing Editor - Liam Osawa News and Events - Andrew Cavanagh Content - Ria Pflaum Radio - Caitlin Magee Creative - Joanne Leong
Staff
Admin Assistant - Gowrie Varma Proofreader - Siobhonn Shannon Financial Controller - Brendan Greenwood
Sub-Editors
Managing Assistant - Rhys Dobson Marketing - Derek Wu News - Ana Stuart News - Mark Han News - Pamela Hutchinson News - Miguel Galsim Design - Eva Krepsova Art - Shan Crosbie Comment - Nishanth Pathy Features - Bronte McHenry Arts & Reviews - Gabriele Naktinyte International - Paroksh Prasad Life & Style - Phyllida Behm Science - Allissa Li Sport - Madhuri Kibria Satire - Zoe Saunders Professional Development - Charlie Austin Photography - Olympia Maselos Radio Technical Officer - Jamie Palamountain Presenter Liaison - Finn Pëdersén Music/DJ - Brendan Keller-Tuberg Events and Sports - Brittany Wallis Social - Hannah Wright
News
Week 4, Semester 1, 2016
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More Than Meets the Eye in Video Scandal Rashna Farrukh
On February 28th 2016, footage emerged of Ben Kremer, current ANU Labor Students’ Club president, removing Donald Trump campaign material off private property in New Hampshire. Woroni has investigated into the group that provided the footage and the program that Mr Kremer was on. In the undercover video footage, Kremer is heard acknowledging that it was “illegal to move or tamper with, or do anything to campaign signs”.
phone system. Three accomplices were charged with lesser sentences. In a 2009 campaign, O’Keefe and his associate, Hannah Giles, posed as a pimp and prostitute respectively, in an attempt to obtain damaging footage from employees of the Association for Community Organisation for Reform Now. The footage showed ACORN employees across 6 states giving advice to the pair on how to avoid detection by authorities and run an illegal business.
Kremer was also recorded stating that he had swapped Hillary Clinton literature with that of Bernie Sanders’, an act that he again acknowledges as illegal. Another volunteer, Michael Quincy, was also recorded admitting that he stole a Hillary sign. Both Kremer and Quincy were volunteers assisting with Bernie Sanders’ campaign on behalf of the Australian Labor Party. The 13-minute-long video was originally posted on the Facebook page of the right wing “investigative film journalist” group Project Veritas Action. This organisation aims to “investigate and expose corruption, dishonesty, self-dealing, waste, fraud, and other misconduct in both public and private institutions in order to achieve a more ethical and transparent society.” The founder of Project Veritas, James O’Keefe’s methods are highly unorthodox and have been criticised by journalists and academics as “unethical”, “politi-punking” and “gonzo journalism”. In 2010, O’Keefe was charged with malicious intent and committing a misdemeanour - initially being charged with a felony - when he dressed up as a phone technician to gain entry into a Federal Building. He then proceeded to tamper with Democrats Senator Mary Landrieu’s
ing evidence whilst the person being questioned is under the influence of alcohol. Often, confessing under the influence, can result in evidence being rendered inadmissible in court. Despite the illegality of Project Veritas’ actions, the question still stands as to why these taxpayer funded ALP “operatives” were in the US, and whether they breached US Electoral Law as the video suggests. Project Veritas alleges that these taxpayer funded ALP “operatives” were
However, in an Attorney General’s report, the video was found to have been heavily edited, with sequence of conversation changed and redeeming footage retracted. It was found that there had been no criminal wrongdoing by ACORN staff.
breaching US Electoral Law. Here, according to 52 U.S.C. 30121, “It shall be unlawful for a foreign national, directly or indirectly, make a contribution or donation of money or other things of value...in connection with a Federal, State or local election”.
The legality of the Kremer video is also problematic. According to the Reporters Committee for Freedom of the Press, twelve states forbid the recording of a conversation without the consent of all parties involved. New Hampshire, where the footage was recorded, is one of those twelve states.
George Wright, the ALP’s national secretary, has launched an investigation to confirm that the program complies with US Electoral Law.
In another recent video, O’Keefe and associates filmed Bernie Sanders’ Regional Field Director, Hugo Palma, as he disclosed that he had committed voter fraud, whilst consuming alcohol at a bar with the “journalist”. This raises ethical problems, not only with luring people into admitting their wrongdoings by posing as a friendly figure, but also with gather-
This has sparked debate about the program Kremer used to fund his trip - the Australian Political Parties for Democracy Program (APPDP). Opposition leader, Bill Shorten publically stated Labor may pull out of this program after the footage was published, as he wasn’t “convinced of the value of this program of sending people overseas”. In 2014, Abbott tried to remove the APPDP, however, was unsuccessful. The APPDP was established under
the Howard government in 2005, to fund projects to develop democratic political processes in developing countries. Now however, all three of the major Australian political parties send young political “operatives” to developed countries such as the USA and the UK to assist in campaigning during their elections. Although the program aims to spend 50 per cent of funds in developing democracies, in 2009, it was found that only 44 per cent of funds had been used for this purpose. In 2009, an audit concluded found that the under the administration of the Department of Finance, the program was under no obligation to spend money on the purposes outlined in funding applications. The program thus shifted from the Department of Finance to AusAID. However, money continues to be used to pay for party officials travelling business class to North America and Europe to attend meeting of fraternal political parties, or their international bodies. Funds have also been used to pay for subscription to these bodies. In 2013, controversy struck when it was also found that these funds were used to pay part of the salary of ALP’s assistant national secretary, Nick Martin. The details regarding expenditure under the 2015-16 APPDP are not available publicly. Woroni has attempted to make contact with Project Veritas to ask how they got in touch with Mr Kremer, and how they connected with members of Bernie Sanders’ campaign. Mr Kremer could not be reached for comment. Rashna Farrukh is a member of the ANU Labor Left club and a member of the Australian Labor Party.
Issue 3, Vol. 67
News
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Discussing Domestic Violence Sarah Edwards
“It is usually not done in a very academic, truthful […] angle. We hear a very one-sided view of it... It’s something that affects each and every one of us,”
At a panel discussion held by the ANU Circle for Gender Equity on the 1st of March it was revealed that the ACT has the highest rate of unreported sexual violence in Australia. The event speakers were Professor Patricia Easteal PhD AM, the ACT Victims of Crime Commissioner John Hinchey, and CEO of the Canberra Rape Crisis Centre Chrystina Stanford. Topics discussed including intimate partner sexual violence, legal responses to domestic violence-related offences, and the ongoing trauma faced by victims of sexual violence. There was a particular focus throughout on what Professor Easteal called the “shroud of denial that envelops violence against women.” A major concern of all speakers was the extremely high rate of unreported sexual and domestic violence in our community. 56% of women who experience domestic violence never contact the police about it. Even those that are reported do not result in convictions for the offender in the majority of cases. John Hinchey emphasised that a change in men’s behaviours and in public attitudes was key to solving the problem of domestic violence.
“We’re not going to arrest our way out of addressing domestic and family violence,” he said. He then spoke about the effect that violence in entertainment and in the public discourse have on our perceptions of domestic violence. Related to those attitudes, according to Chrystina Stanford, is the fact that “victims of these types of crimes are treated unlike victims of other types of crime.”
This was done to ensure not only a joint focus on their respective fields of expertise but also to bring accuracy to the discourse surrounding sexual violence and intimate partner violence in the media. “We wanted a domestic violence event because of how topical it has been in the media,” Heselev said. “It is usually not done in a very academic, truthful […] angle. We hear a very one-sided view of it,” she added.
She called for a change to how victims of sexual violence are questioned.
“It’s something that affects each and every one of us,” Heselev said.
This related to the findings of the Canberra Rape Crisis Centre about the ongoing trauma of a claim of assault not being believed or responded to. They found that the trauma was often much longer lasting and more corrosive over time than the trauma of the initial assault.
“It’s about creating more accurate depictions,” said Dalton, as well as noting that the topic is “very relevant” to a university demographic.
Monica Dalton and Rosie Heselev, President and Vice President of the Circle for Gender Equity, said that an emphasis was placed on ensuring a range of areas of expertise when selecting the panel. Heselev said that the aim was to invite “an academic, someone in the police force, and also someone in an institutional service”.
She cited Stanford’s earlier statement that one in every three women in the room would have been sexually assaulted before the age of 15. Specifically, that women aged 18-24 year old are the ones that are most affected. “Which also means that 18-24 year old boys and men, who are more exposed to girls, are also the ones perpetuating that violence.”
Albo at Politics in the Pub Isadora Bogle
On the 29th of February, ANU Labor Left hosted a ‘Politics in the Pub’ public discussion with Anthony Albanese MP at the Wig and Pen Tavern and Brewery. The Shadow Minister for Infrastructure and Transport set a relaxed tone for the event by removing his tie and inviting questions from the large audience after a short speech. Albanese began his speech by encouraging audience members to “actively participate in the Labor party”, or “at least in civil society”, given that we are “stronger as a society when we engage in politics”. He argued that political apathy can
be challenged by the recognition that “politics has an impact on your life, and your community, and your family; whether people like it or not”. The idea that “the Labor party doesn’t know what it stands for” was rejected by Albanese in his speech. Whilst acknowledging that sometimes the Labor Party could disappoint its members, “every time there is a conservative government then it’s a huge reminder” of what motivates the party. In particular, he highlighted the current “demise, the shrivelling of Malcolm Turnbull” who he believes “does understand some issues relating to modern Australia”, but “who is totally constrained by the political
environment, and by his inability and non-preparedness to advance those issues”. Albanese described a current global phenomenon where, across the political spectrum, “people want their politicians to actually have convictions… to have ideas and be prepared to follow them through”, and he argues that this is a great opportunity “for progressives in the Labor party who are interested in not just managing things, but changing things”, After an initial question from a Greens voter asking why they should vote Labor at the next election, a number of audience members cited the asylum seeker issue as one that prevented peo-
ple voting for Labor. Drawing on his argument from earlier in the evening that “being involved in the Labor party is the way that you actually cause progressive change here in Australia”, Albanese said that the Labor party is a “party that makes decisions”, in contrast to the Greens who “protest against them”. Eric Mandl, the ANU Labor Left Treasurer said that the club was pleased with the event’s popularity, selling out well in advance after a record number of 4,000 individuals engaged with the event page online. Albanese also stated that he had no plans to DJ any events this year.
Week 4, Semester 1, 2016
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News
ANU Women’s Department The Hunting Ground Screening Pamela Hutchinson – News Correspondent
Trigger Warning - Sexual Assault On Wednesday 24th February 2016 the ANU Women’s Department screened the 2015 US documentary, The Hunting Ground. Preceding the screening, Vice-Chancellor Brian Schmidt gave an address about his own thoughts of sexual assault on university campuses and how the ANU will grapple with the issue.
tics such as 16 per cent of all women at university are raped were displayed. Also revealed was that 88 per cent of raped college women do not report the incident. The screening gave real names and faces to incident of sexual assault, relaying many stories of survivors in university campuses across the US. One survivor stated, “sexual assault is always part of the college experience”.
Schmidt remarked that The Hunting Ground had “a powerful message of coping and taking back control”.
Members of the audience were seen to be clearly distressed while watching the film. Canberra Rape Crisis Centre and ANU Counselling having set up on-site services for anyone who needed support.
In 2015, there were twenty reported sexual incidents at the ANU. Statis-
Despite the audience reaction, as the PARSA Women’s Officer, Alyssa
Shaw, stated that it was an “important conversation that we need to have.” Her statement was then echoed by Schmidt who said that “the conversation does not end tonight… we can and we need to do more.” “The key to solving this problem is a university-wide approach.” Schmidt continued. University-wide approaches such as the ANU OK App are personally advocated by Schmidt. Whilst speaking he who his iPhone up to the crowd and showed that he had already installed the app on his iPhone.
Of the app, Schmidt commented, “we will continue to improve our policies and responses.” “If you see something, say something.” The final line of the movie put forward the current reality of university culture. If nothing changes, more than 100,000 women will be sexually assaulted at university in the upcoming year. Canberra Rape Crisis Centre: 6247 2525 Lifeline: 13 11 14 ANU counselling: 6125 2442
Developed by the ANUSA, ANU OK is the “official safety and well-being app of the ANU”.
ANUSA Student Library Fines Forum Mark Han – News Correspondent ANU Library and ANUSA have both agreed to cooperate and significantly lower the proposed $30 per day overdue library book fine. These discussions occurred at the ANUSA Student Library Fines Forum held at the ANUSA Boardroom on Thursday 25th February. The ANU Library Services revealed a much higher rate of lost books in 2015 as one of the key motivators of the increased fines. The poorly attended forum on a warm Thursday afternoon nevertheless attracted concerned undergraduate students who have questioned the viability and suitability of the proposed $30 fine. The proposed change would have become one of the harshest penalties for overdue books at universities throughout the globe. Due to the severity of the fines, they drew fierce criticism and allegations of revenue raising at the expense of students. ANU Library has been subject to funding cuts from the ANU administration and increased financial pressure due to the falling Australian dollar. This double whammy has severely affected the University’s ability to acquire more books. However, the Library is adamant that the increased
penalties were unrelated to the Library’s fiscal bottom line. Library Services experienced an unprecedented 400% increase in lost books last year. They argue that a higher penalty not only deters book thieves but also would ensure books are returned on time. This allows for library resources to more be accessible to all students in an equitable manner.
stated that due to inflation, the $4 per day fine is relatively affordable today compared to $4 in the year 2000. Despite the reasoning behind the fine increase from ANU Library, students were still frustrated by the perceived overreaction by ANU Library Services for what could be a statistical aberration, rather than a dramatic permanent increase in lost books.
Lost books have been slowly rising by approximately 10% each year between 2010 and 2014, but the 2015 number of lost books were outside of the ordinary. Due to privacy concerns and technological limitations, the four-fold increase could not be analysed in detail to examine trends or other factors which may have explain the increase. The lack of analysis has also meant that the library’s options are severely limited to mitigate the 2015 numbers other than increased financial penalties to deter potential thieves.
The University has also investigated two other non-financial penalties which have been trialled in public and university libraries. Examples of these initiatives, such as “Food For Fines”, where outstanding fines can be annulled through food donations for charities and “Zombie Day”, when overdue or lost books can be returned without penalties were raised by Roxanne Missingham, the University Librarian. However, both of these options did not make a significant difference to the rates of overdue and late books in the trials.
The proposed fine changes were also argued as necessary reforms to the library services, as the current fines system has not been updated since the turn of the millennium. Heather Jenks, the Associate Director of Information Services at the ANU Library
The ANU Library Services were also conscious of the lack of communication between them and the student body. This disconnect was well illustrated as one outspoken student, who was worried about students genuinely unable to return books on time, did
not know the online renewal process offered by the Library. ANU Library also stressed that many students have their fines forgiven if they return the book within the grace period of five days after their due date. Students at the forum also suggested that the increase could be an unintended consequence of exorbitant prices for set textbooks; whereby paying the overdue fees and fine for a lost book would be more economical than buying the book outright. Another student also raised the prospect of progressive rates of fines, with a steadily increasing fine per day to punish overdue lenders. However, this suggestion is incompatible with the current library management software. The Library will still proceed in raising fines however, with a consensus reached at the forum for slightly higher library fines while also considering changes to connect better with the student body. ANUSA President Ben Gill also stated that ANUSA would advocate for an increased library budget to ensure more resources were available for students and for lost resources to be replaced.
News
Issue 3, Vol. 67
ANU Union – What’s It All About? Ana Stuart – News Correspondent The ANU Union election takes place between Monday 7th and Thursday 10th of March, with three tickets registered. The election will result in three new directors being appointed to the board, for a two year term. The Union is responsible for operating several businesses within the ANU Union building, including the ANU Bar and the Union Shop. They also provide free food for the ANUSA Student Meals program. Josh Bolitho currently chairs the Union following the resignation of Megan Lane. The ANU Union elections appoint board directors, who are then tasked with overseeing the activities of the General Manager, Allan Harkins. Board members receive training from the Australian Institute of Company Directors. Financial training for members “comes from personal backgrounds” according to Bolitho. The Union’s objectives, as defined by their constitution, are to provide a recognised meeting place and social centre for its members; to promote the intellectual, social and general welfare of the University community; and actively to encourage and support all ANU clubs and societies which include members of the Union.
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Labor Fights it out for Union Board Karan Dhamija, Andrew Cavenagh – News Editor
In the week commencing Monday 7th March, ANU students will have the opportunity to vote for candidates at the ANU Union election. There are three tickets contesting the election. Save the Bar is affiliated with ANU Labor Left. It is comprised of Liam Fitzpatrick, Alexander Chatterton and Benjamin Magrath. There are two tickets affiliated with Labor Right. For the last two years, every seat on the union has been won by a Labor Right affiliated ticket. Revitalise Your Union is the first of the Labor right tickets. It is being organised by current Union board member Tom Lindenmayer ,elected in a casual vacancy , and are also running Monique Blasiak and James Damjanovic. Stimulate Your Union, the second Labor Right ticket, uses the name of an unsuccessful 2011 for 2012 ANUSA ticket. This name was common up until the 2012 union election for Labor Right affiliated candidates. Organised by Nathan Kerwood, they are also running Jemma Cavanagh and Nick Douros.
Stimulate Your Union
The Union currently faces three major issues: falling revenue as a result of the improvements to the New Acton precinct; building improvements becoming increasingly more necessary; and facing the loss of the union building completely due to the “Reimagine Union Court” development.
Stimulate is the second Labor Right affiliated ticket and is being run by Nathan Kerwood.
The introduction of popular bars, cafes and shops in the streets surrounding the ANU has led to a downturn in profit for the union. As of 2014, the Union was over $437,000 in deficit. 2015 financials were not available.
When asked how they differed from the other Labor right ticket, Stimulate did not provide substantive detail, only that “I’ve worked with those on the Revitalise ticket and if one of us are elected alongside another we look forward to working positively with them on the board”.
The University is planning a full redevelopment of the Union Court precinct. Current plans involve replacing the Union building with a library, and no clear replacement location for the Union-owned shops.
Policies include “keeping social spaces like ANU bar on campus”.
The building is owned by the ANU, and the Union operates out of it rent-free. The Union pays for capital maintenance that are conducted within the building, that have cost upwards of $500,000 each year. This agreement is unlikely to be repeated following the redevelopment of Union Court. The current Union board are not currently developing a plan of action if they lose the building. Currently, the Union does not receive SSAF funding, however Bolitho hopes to apply for it in the future. Past bids have been unsuccessful, and the Union does not have a good working relationship with the University board.
Despite Woroni’s lack of objection to them sending us detailed policies, Stimulate provided Woroni with only a summary of their policies.
Similar to Save the Bar, they have endorsed the idea of increased productivity and efficiency. However, they have not suggested in policy documents given to Woroni any sort of details on how they would go about achieving this. They have also promised increased funding for the food aid program. Currently, this program uses free leftover food provided by Union businesses. This food is then distributed by ANUSA. The Union has applied for SSAF funding to repatriate the cost of this food, but has so far being unsuccessful in these applications. A key policy point of Stimulate is to increase the hours of Union Court businesses. Currently, all but a couple of the Union outlets are leased out and the Union has no say over the operation of the businesses. For this policy to be implemented, changes to the Union building lease agreements may need to occur. Stimulate also wants to increase the amount of “awesome nights out with bigger and better acts at ANU bar”. When asked by Woroni how they would do that, Kerwood replied “Stimulate will ensure that an act is advertised beyond the bar or on what is currently a very limited social media presence including in [sic] supporting the work of the newly hired social media manager.” “By being able to draw larger crowds with increased advertising of the
News
Week 4, Semester 1, 2016
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event, we hope to attract both local artists as well as ensure ANU bar is on every artist’s tour line up.”
Woroni would like note that Revitalise has suggested that policies may change before the election.
Similar to Revitalise, they also want to encourage hiring ANU students, posing similar problems in terms of discrimination laws.
This article was written two working days before the election.
Stimulate did not provide a financial policy in the document sent to Woroni. When asked by Woroni about the state of Union finances, Kerwood replied that “currently the union has had a 10% increase in profitability in the past year. This performance is a positive sign, and Stimulate your Union wish to continue the board’s efforts in furthering this increase”. “We understand though that the Union is still running at a loss and that there are still a lot more that can be done through responsible fiscal management to stimulate a bright long-term future for the union.”
Revitalise Your Union A Labor Right affiliated ticket, it is being organised by current union member (through a casual vacancy) Tom Lindenmayer and is also running Monique Blasiak and James Damjanovic. When first contacted by Woroni on the Tuesday before the election we were informed that policy had not been “finalised”. However, Lindenmayer assured Woroni that they planned on releasing all their policies “well before the election.” When asked about the lack of policies just before the election, Lindenmayer assured us that “It’s standard practice for every student campaign to release policy just before election week. Look at Let’s, Fling, Refresh and all the past student campaigns. We’re releasing our policy with more than enough time for students to consider their merits, just like every other campaign.” Let’s released their policy a week and a half before the election and Fling launched their detailed policy website two and a half weeks before the election. The sole Union ticket named amongst the examples, Refresh, released their policies a week before the election. Woroni asked Lindenmayer how his ticket differed from the other ticket affiliated with Labor Right. Lindenmayer replied: “Nathan Kerwood is a close friend of mine, and I have a lot of respect for him and his ticket. I think they have good ideas and if Nathan gets elected I would definitely look forward to working with him.” He did not provide substantive detail about this difference. However, as part of his answer to this question he did suggest that Save the Bar “are using fudged numbers” in their campaign. In terms of substantive policies, a key policy put forward by Revitalise is to run student surveys. When asked what they were going to be used for Lindenmayer informed us they would “complement policy announcements we’ve already made”. Woroni put to Lindenmayer that student surveys should have been done before releasing policy documents. Lindenmayer replied that he would reach out to clubs and societies to increase engagement after being elected. Revitalise also promises to improve employment opportunities for students within the Union. However, this policy has been a priority for previous Labor right affiliated tickets, without notable success. There are also potential legal issues as to whether or not they are able to discriminate against non-ANU students in terms of employment opportunities. Revitalise also wants to put union funds into high dividend union bonds. Other policies of Revitalise include exploring food vans and increasing grants for student societies. Revitalise has promised to sausage sizzles in happy hour and more microwaves as one of their priorities to students if elected.
Save the Bar The Labor Left affiliated ticket is aiming to break the stranglehold that Labor Right affiliated tickets have had on the union in the past few years. Despite their name, they are not running a single issue ticket. One of the tickets major policies is to protect the current bar under the premise that it will replaced by a wine bar in the union court redevelopment. This policy is based on fact that the union has a say in the development of union court. Currently plans available online do not specifically mention a wine bar, however do include multiple shops, bars and cafés under the redevelopment. In regard to Union finances, Save the Bar’s policy states that they aim to save cost by streamlining revenue and sharing resources with ANUSA. They have not indicated to Woroni in policy documents as to which services and resources will be shared. Save the Bar want to apply an affirmative action policy, aiming to get people identifying as women onto the union board, however they are running three white male candidates. When questioned about this, they stated “[it is] important to ensure that the culture of the Union takes a shift to becoming more inclusive so this doesn’t occur in the future”. “That’s why we’re committed to introducing an AA policy for the board to make it a representative body which union representatives have failed to do for years”. Save the Bar also promises an expansion of services. However, they have not told Woroni what these services might be other than reaching out to other unions to help students understand “their rights at work”. Furthermore, they promise to run further big events, and to publish union minutes in Woroni and on ANU Stalkerspace. Other policies being put forward include linking bonuses to performance indexes, expanding bar opening hours and hosting events such as Chinese New Year. As of the Thursday before the election they were the only ticket to have launched their Facebook page and provided policies to the wider ANU student population.
Maclaren Wall, former Burgmann Residents’ Association (BRA) president and ANUSA Probity Officer, has been following the Union for a substantial period. Having attended the past two Union AGM’s, where he has inquired about the state of the Union, he remarked that. “None of the tickets address the two largest issues facing the union at the moment, those being: the rapid decline in revenue and the consequences of the Union Court redevelopment proposed by the ANU.” “Looking at these candidates I’m both scared, outraged and flabbergasted at the same time. When will we learn?” The union elections take place between Monday 7th March and Thursday 11th March. Three vacancies will be elected by 3 candidates. The postgraduate vacancy that went uncontested was awarded to Kanish Oberoi, who is also affiliated with Labor Right on campus. Karan Dhamija is a former member of the ANU Labor Students Club Andrew Cavenagh is a former member of the ANU Liberal Club.
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Issue 3, Vol. 67
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There’s a New Education Officer at ANUSA Ana Stuart – News Correspondent
James Connolly is filling the casual vacancy created by Education officer-elect Laura Campbell’s resignation. Campbell resigned before starting her term due to unforeseen medical circumstances.
the interim position. His campaign, as part of the Ready ticket, in the ANUSA election called for significant changes to the Education Officer role. The rest of Connolly’s Ready ticket was not elected.
The 2016 ANUSA Student Representative Council (SRC) elected Connolly at their first meeting of the year.
The ANUSA election was won by the ticket Let’s ANUSA led by returning president Ben Gill. Connolly will now sit beside Gill and other executive members who, in statements during last year’s election campaign, opposed his campaign ideas.
Connolly beat two other candidates, current ANUSA General Representative and Labor Students’ Club Secretary Emma Henke and Science Representative Daniel Wang. Interim Education Officer Peta Leigh did not contest the position. The vote was taken by secret ballot of the SRC. Connolly unsuccessfully ran for this same role in the ANUSA election a few months ago, as well as contesting
At the February meeting, Connolly suggested that he is willing to compromise. When asked about his policies at the SRC meeting, he said “My view is that it’s important to remember that [I’m] joining a new team dynamic. I
am someone who is always ready to make compromises where I can. I’m prepared to take 30% of something over nothing.” In his speech, Connolly highlighted the policies he had previously developed, saying they would “improve educational accessibility, equity and quality”. He told the meeting he wants to conduct an Education Review funded by ANUSA, which last happened in 2008. When asked for comment, Connolly said “I’m humbled by, and grateful for the trust that the SRC has placed in me to take on the role of Education Officer”. The Education Officer’s role is to coordinate the Education Collective and advocate on behalf of students. In pre-
vious years, this role has been visible on campus when coordinating protests and National Days of Action. “As a member of the Executive I join a team of talented, passionate students from whom I draw inspiration,” he said. “I look forward to the challenges and opportunities that this role affords me to improve education accessibility, quality and equity. Through my work I hope to demonstrate the efficacy of student representation and advocacy,” he told Woroni in a comment after the vote. ANUSA has not retained an elected executive since 2013, with multiple casual vacancies becoming the norm each year. This trend continues, with Connolly joining a team that has been together since August last year.
ANU/The Canberra Times Meet the Author – Stan Grant Pamela Hutchinson – News Correspondent When dusk fell on Tuesday 23rd February, a full Llewellyn Hall had come together to hear Stan Grant speak about his latest book, Talking To My Country. Stan Grant is an Australian journalist and Wiradjuri man, currently working as an NITV host and Guardian Australia’s Indigenous affairs editor. Grant’s book is a personal meditation about the dark history of Indigenous Australians and how they were subject to racism. It also explores the mark that racism leaves on Australia’s national identity. Grant said of his book, “This is the story of my country; this is the story I am now drawn to tell.” A refined speaker, Grant’s speech addressed a number of key issues that have affected and continue to affect Australia’s Indigenous population. Grant used Indigenous footballer, Adam Goodes as the “genesis of this
book”. Goodes was subject to racism in 2013, when during a match he heard a 13-year-old girl call him an “ape”. Grant asserted that these attitudes stem back to the first European settlement and how the settlers saw Australia as vacant land, essentially “a land opening up before the explorers”. What would follow would be an “exterminating war” that “raged for years”. Grant declared that the first European settlers showed no respect for the 60,000 years of tradition and culture and how “none of that mattered”. Speaking on behalf of his elders, Grant contended that “we did not exist as human beings.” He continued, stating that these ideas are “planted in the Australian psyche” and still exist today. Grant used statistics to make it clear that racism is still a prevalent issue.
For example, whilst the Indigenous population only accounts for 3 per cent of Australia’s population, it accounts for 25 per cent of all inmates in Australian prisons. Grant asserted that “racism is linked to the Australian dream”, thus lying at the heart of the foundations that the European settlers built on when colonising Australia. At the conclusion of the event, a journalist and former colleague of Grant’s commented how Grant’s book “is a beautiful aching meditation, with razor-sharp edges.” They also spoke on how Grant is doing exactly what his book asserts – talking to his country – and how confronting the widespread issue of racism is a conversation that we all need to have. Less than a week after Grant’s address at the ANU, Grant sat for an interview with Prime Minister Malcolm Turnbull. In the interview, the Prime
Minister publicly broke down in tears when discussing with Grant the significance of maintaining Indigenous national identity and culture. Grant said at the event that he was considering a career in politics, which was heavily applauded at the event. In 2016 Grant stated he would also host The Point with Stan Grant, a news bulletin airing nightly on NITV. In explaining what led him to write the book, Grant said, “the things we hear are as important as the things we say,” relaying his vision that he hopes to bring change and break the stigma of racial prejudice in Australia, starting with his book. Stan Grant, a Wiradjuri man constantly questioned the audience – asking whether we were better than racism. Grant concluded, “We are better than the worst of our history.”
BRIAN SCHMIDT
MARNIE HUGHES WARRINGTON
MELODIE POTTS ROSEVEAR
BEN DUGGAN
ANDREW LEIGH CLODAGH O’DOHERTY
PUBLIC DEBATE: pp
DOES THE CLASSROOM HAVE A PLACE IN THE 21ST CENTURY?
6:00pm - 8:00pm Thursday, March 17 Centre for China in the World, ANU
Comment
Issue 3, Vol. 67
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Reflections on the Proposed Cuts to CHL: A Perspective From Inside the School Dario Di Rosa The news of the review process under which the School of Culture History and Language (CHL) has gone for the last two years has been now widely covered in media. Statements of solidarity and concern by academics in the fields of humanities and social sciences appeared in social media, asking how the ANU could let go so easily of such an important part of its international reputation.
disciplines such as foreign languages and literature, history, anthropology, archaeology, linguistics, and cultural studies. By framing the discussion as such, scholars of Asia contrasted themselves with scholars of the Pacific, and each discipline/department was implicitly pitched against the others to justify its own right to exist. I leave the reader to imagine what effect this divide et impera (divide and rule)
has been built over decades. To get rid of it, or significantly reducing its capacity, will be, in the long run, a waste of a worthy asset if we want to deploy the economic lingo. Moreover some HDR students will face a disruption in supervision, and, with reduced staff numbers, it is likely that fewer courses will be offered, a detrimental loss for both undergraduate and graduate students.
Despite the media attention, little debate within the ANU community has taken place. The review has complex and nuanced repercussions, which are all worth discussion. However, I will limit myself to offer the Woroni readers a few thoughts about what we could learn from what is happening to CHL. I will do so as a PhD Candidate in Pacific and Asian History in CHL who has been actively involved in the review process.
This might seem like too big of a task, but thinking together helped some of us at CHL to navigate these rough waters. Only recently have CHL HDR students overcame internal and departmental divisions to get together as the Collective of Concerned CHL HDR (CCCH), debating the process and outcomes of the review, and presenting a common front in their responses.
A brief recap of the situation might be useful. In early February 2014 CHL staff and students were invited to attend a meeting, where we learned that CHL was running with an account in red. The figures presented gave the overall picture of our financial situation, but were not detailed enough to understand how a once financially sound School could have lost its financial asset. Many salaries to pay and small revenues were presented as the two main factors. In an article on Canberra Times Professor Andrew Walker well explained that most of the problems that triggered the review are structural to the ANU, and not limited to CHL. Several requests of breaking down the financial figures were not met, and the review officially started in August that year. Since then several consultations between executives and CHL staff and students took place. Subtly, what started as a financial issue took the sinister form of questioning the value of the disciplines constituting the School, and the relevance of the Asia-Pacific region for the ‘national goal’ that the ANU is called to fulfil. In an allegedly ‘Asian century’, the relevance of one of the two regions seemed self-evident, but it is the combination of the two areas within which Australia is nested that makes the ANU unique in the world. The Pacific cannot be left out of the equation without losing a vital part of what the ANU has been, is, and hopefully will be. Moreover, to question CHL research interests put the staff in the unpleasant role of having to justify the very existence and usefulness of
ty. Strict deadlines (harsher for international students who have to finish within the timeframe of their visas) put considerable pressure on HDRs. It is understandable that, in managing their time, being involved in discussing administrative decisions might seem like a demanding burden. Those decisions, though, do have reverberating consequences affecting the whole society, and it is worth understanding the shift occurring in the perceived social function of our universities.
What is happening in CHL should be an (hopefully successful) example for all of us. The proposed cuts to CHL are a wake up call to the entire ANU community. At a time when decisions are being taken behind closed doors, we need a capillary representation that guarantees direct engagement and broader discussion within the constitutive units of our university (Departments, Schools, Colleges).
had on the morale of the School. Just recently the School announced a change of management plan, but in the document there is no sign of financial figures proving that this change will be economically viable in the future or specific investments are done to permit the School to grow again once the ‘crisis’ will be over. Jobs will be lost, and many of us fear that the post-review CHL might not be able to function up to the high standards of research quality of the past. CHL’s achievements were possible thanks to a research culture that
Almost globally we are in a regime of managerial governance of our universities, which relies on top-down decisional mechanisms. Democracies function best when citizens are informed and capable of critical thinking, and if we maintain that students are not customers but citizens of the university, then it becomes clear why students should be informed of decision-making processes, consulted, and heard. This could be achieved by institutionalizing student representation at several levels, so to create a net where to be informed, think, and discuss. The February 2014 document defined HDR students as the School’s stakeholders, but it took a good deal of negotiation to be included as an active part in the consultative steps. During the initial phase of the HDR involvement, I often asked myself how it could be possible that so few people got involved in the School’s future beyond their program completion deadlines. In my view the review exposed a raw nerve of the ANU’s democratic life – the lack of student informed participation as ‘citizens’ of this universi-
Artwork by Ellie Brotchie
Comment
Week 4, Semester 1, 2016
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What Sort of Humour is Off-Limits? Codie Bell Congratulations! Someone is complaining on the Internet about how their freedom of speech is being restricted by the PC Brigade, and you’ve decided that it’s vitally necessary to the health of the body politic that you immediately offer your opinion. Before you click too quickly on your bookmark to the Wikipedia page of “List of Logical Fallacies”, here’s a how-to guide on how to talk about being funny, without coming across as the kind of person who cyber-bullies high schoolers.
thing in real life”. A combination of these two points and heartfelt railings against restriction of free speech (“stop censoring me by not finding my jokes funny!!!!!!!”) form the basis of
of sexual violence and harassment of the kind that all women face. My own “edgy” sense of humour is how some of my favourite comedians deal with the “taboo” issue of rape. Ever Main-
What makes me qualified to write a guide on being funny? Nothing, really – the only thing more depressing than being a professional comedian is being an aspiring comedian. (Like those who describe their occupations as “Travellers” or “Students of the World”, you can file the direction my life has taken under “Reasons My Working Class Mother Doubts the Value of a University Education”). I make people laugh on the internet and in real-life, and I did a five minute comedy set at the O-Week Comedy Gala that was lauded as “not exactly terrible” and”‘wow I didn’t even feel embarrassed for you”.
went over well. But the reason it went over well was because the butt of each of my jokes was always the men who do bad things to women. If you make a joke and the butt of your joke is a person who is often the victim of a crime based on who they are, I’m going to reserve my human right to not laugh at your joke. I was once at a comedy night where the male host, in an extended monologue about his dating escapades, described Tinder as an “app for women to get free meals”. On the way back from the ER, after having my eyes surgically unrolled, my friend commented to me, “actually – being a woman on Tinder is a lot less like ‘oooh can I get a free meal out of this sucker’ and more like ‘are you the kind of guy who is gonna rape me and post it on Facebook?’”. Maybe that’s an unfair generalisation of all men on Tinder. Maybe you’ve never had to counsel a friend who was raped by a guy she met on Tinder. We all bring our own perspectives.
Not only am I an aspiring comedian, I’m also an aspiring comedienne: a woman who makes jokes that are unapologetically feminist. So while it’s definitely true that I’m an uptight bitch on a crusade against dank memes, laughter and bros just bein’ bros, the thing about being “aspiring” is that I also spend a lot of my time thinking about what makes things funny.
any trash Internet human’s argument against the 21st century bogeyman of ~~~Political Correctness~~~.
On the internet, there’s a lot of complaining when people are called out on using humour in a way that degrades women or minorities. Arguments often swing between two key points: “nothing is sacred, we should be able to joke about anything” and “it’s just a joke, it doesn’t mean any-
I find the “nothing is sacred” argument for making jokes about whatever you damn well please interesting, because in my own life, humour has always been a source of strength in coming to terms with the terrible things that have happened to me. The details are boring, but I have faced many incidents
ard, a female comedian from Chicago, has a set where she details the sort of game show women might play to find out when and where they’re going to experience “their rape” – an event that every woman anticipates. It’s a dark set, and it’s also really fucking funny. Mainard’s style of comedy inspired my own five minutes at the O-Week Comedy Gala, where I made jokes about emotionally manipulative fuckboiz and unsolicited dick pics – and it
Men who use rape as a punchline often don’t understand the power of the weapon that they are wielding, and victims of sex crimes end up bearing the brunt of it. When they make jokes about a group that wields less power in society, their humour isn’t so much clever as it is bullying. And only those without a backbone of their own find bullies funny. The intelligent deployment of humour is a powerful tool for highlighting the hypocrisies of our society – use it wisely.
Artwork by Ellie Brotchie
Issue 3, Vol. 67
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In Defence of the Public Service (ft. a quick bitch about my colleagues) Anonymous Two years ago, I would have told you that I had to leave my hometown of Canberra at all costs. Unfortunately, my dreams of moving to Melbourne were quickly crushed by reality. So although I was resigned to my fate of dying in Canberra, I promised myself that there was one line that I would not cross – becoming a public servant. Throwback to last year. I was desperately looking for a job to pass the endless boredom of Canberran holidays. In the end, I got a job in a dodgy call centre selling electricity contracts to old ladies in regional NSW. The pay was great, and once I even sold a contract to the father of Nathan from Hi 5. But apart from that, the job was fucking awful. So when one of my best friends from high school told me about a public service job, I was sceptical, but not outright dismissive. I had a lot of preconceptions about what the public service was like. My understanding was that they spent most of their time printing new business cards when departments were split and merged after every election, or firing public servants “to decrease bureaucracy” and then hiring them back as consultants six months later (at a greater cost). However, nothing could be worse than
conning old people into 24 month contracts. So I applied and got the job. The program employs four university students to help the Department of Employment redesign their job search website, “jobactive”. You’ve definitely never heard of it, so all you need to know is that it is like Seek.com, except slightly worse in every single way. The first thing that I noticed in the public service was that you quickly learn how to do work slowly. We were given one task per week, and it would normally be as simple as answering a couple of questions like: “Why do graduates find it hard to get work and how can we better provide services to help them?” At first, we would finish these tasks in a day. However, when you know you only have 5 tasks, you realise the quicker you finish them the sooner you will be unemployed. All of a sudden, people on your team start actually watching movies at work, instead of researching. It also becomes clear that there’s no point in delivering high quality reports. The people who spend most of their time “researching our social media strategy” (read: being on Facebook) get an equal share in our final report and an equal say in our management presentation. So on the one hand, I’ve had time to get on top of my readings for the rest of the semes-
ter. But on the other hand, we’ve been given a rare chance where real adults are being forced to take our recommendations seriously and we’ve wasted it. At uni, it’s easy to think that we can make a difference. But it becomes a lot harder to believe that when you ask someone in your team to write a report and they say “actually I don’t care about this job”. I have also developed a lot of sympathy for the good people in the public service. All of my division’s leaders are really super excellent and intelligent people. I would be the first to dismiss government programs as “out of touch”. Their websites, including jobactive, are ugly and difficult to navigate. But what I know now is that the government is really just bound by a lot of equity standards. Literally every site has to be viewable by a colour blind person using dial-up in Wagga Wagga. And honestly, that doesn’t seem like a bad thing. And even though our program was probably the first time they have ever consulted someone under 50, it is not all their fault. One of the biggest problems that the public service faces is trying not to sound too “government-y” and actually have some benefit. For instance, we’re trying to come up with a new
marketing campaign to get people to download the jobactive app, and it is a lot more difficult than you’d think. You can’t just give information because then you’re being patronising, but you also can’t make it fun because it’ll look like you’re trying too hard to be hip. Really, all that we want to get across is that if you just have a look, there are some really cool programs that are designed to help people like us. For example, did you know that if you are on Newstart or Youth Allowance and stay employed for two years you can get a $6,500 bonus? (It’s called the job commitment bonus) So I guess what I’m trying to say is that working in the public service is (almost) exactly what you expect it to be. Everyone is wasting taxpayer dollars and taking two hour lunch breaks. At the same time, however, there is so much potential for programs that really help people. There are some really creative and dedicated people in the public service, who are being held back by arbitrary bureaucracy and weird divisional turf wars. At the end of the day, I don’t have a solution to these issues – but it’s worth giving the public service a chance.
2016 on the Markets Rhys Dobson If January on the ASX is anything to go by, it is that our local market is in the zone of some serious volatility at present. The real question is, will it be a prelude to a recession for Australia in 2016? The Australian Stock Exchange ASX 200 index opened the year above 5000 pts at 5200. At the time of writing this article, it is trading just shy of 4900pts. Weighed down heavily by the underperformance of mining market heavyweights BHP Billiton and Rio Tinto, the market has followed an inconsistent spell of volatility for much of the new year. Weakening demand from China has hammered resource stocks, and as if systemic demand issues were not enough for the ailing giants, the price of oil has tumbled due to a surge
in supply lead by the United States and a resilient OPEC. Banking and Financial Services stocks have thus far maintained shelter from the cataclysmic reduction in the mining sector’s fortunes, with all of the big four remaining at a consistent price to round out the last six months in the black. Low oil prices have yielded their advantage to many transport and infrastructure concentrated companies. Qantas has enjoyed not only one of if not the most successful corporate turnarounds in history but has also endeavoured to improve its product in response, innovating its cabins and launching new routes around the world. That being said, while the
low Aussie dollar leaves little to shout about for Aussie’s heading overseas, data from the Department of Immigration and Border Protection shows the market is not as deterred as you’d expect by the prospects of expensive travel costs The recent collapse of retail electronics company Dick Smith has demonstrated that not only is corporate greed alive and well, but that these days crooks wear a suit and tie and work for Private Equity. It takes skill and gall to turn a $10 million investment into a $500 million return, especially when the destruction of a brand and employee’s livelihoods is the result. While it’s business model has been under threat for months it was a carefully calculated cut and gut heist that
will go down in the history books. This volatile market setting and bearish outlook for the lucky country means that the RBA is unlikely to be raising rates anytime soon. Ongoing signs of weakness in the Australian Economy such as sluggish GDP growth, inflation rates and balance of payments means that the RBA will not change its position. To avoid a liquidity trap and indeed maintain its course away from a recession the powers that be must do just that. So sit down and buckle up because whatever the outcome, 2016 is going to be a bumpy ride on the markets.
Comment
Week 4, Semester 1, 2016
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You Don’t Need Direction Yet Alex Patterson with Artwork by Marion Ribuot
Awkward O-Week mingling centres around four questions: “What’s your name?” “What’s your college?” “What’s your degree?” “What do you want to do in the future?” I was surprised hearing everyone’s responses. Most people seemed able to give clear answers to each question. It felt like they all knew exactly what they wanted to do and had already intricately planned the pathway to get there. They were impressive – a great many people I had only just met had enormous ambitions and aspirations to create genuine change in the world, or to be incredibly successful in their chosen field. By contrast, I could never answer the fourth question. I hadn’t even chosen a field, how was I supposed to know what I wanted my future to hold? The thing is: I’m not apathetic, but I don’t have any real passions yet. I mean, I do stuff. I play sports, I have hobbies, and I care a great deal about issues in the public sphere. That being said, I wouldn’t describe myself as passionate about any of those things. There isn’t one single issue which I feel an innate connection with.
Back when my ex-girlfriend and I first started talking, one of the questions she asked me was “What do you care about?”. She had just explained at length why she was passionate about mental health and psychology. That was something that I admired a lot. I still do. But admiring her passion didn’t mean I could find my own. I couldn’t pick an issue and say that I was most passionate about that. I still don’t have an answer to that question, and when you’re surrounded by people who do, it can make you feel worthless. It can make you feel like you don’t deserve to be here. In the last week I’ve met people who want to devote their lives towards indigenous health, sustainable tourism and a plethora of other worthwhile and admirable pursuits. Lots of us have heard about that guy at the XSA event who answered “Why are you here at ANU?” with “To bring democracy to Azerbaijan”. Good for that guy. But we don’t all need to be that guy. Certainly not yet. I’m a first year. I’m new here and it’s pretty evident that I can’t talk about
anything with authority. I have no idea what the fuck I want to do. I’m writing this article because I suspect that there are probably a lot of first-years (and later years for that matter) who are in the same boat as me. They usually go unnoticed because they also tend to be the quieter, more insular people – certainly when it comes to the discussion about our futures. So despite my position of approximately zero authority, I give two pieces of advice. Firstly, there are positives of being in this position. Without having any sense of direction, I have the opportunity to explore completely unburdened by worries about leaving my “set” path. I can figure out my future organically and have it feel like I’m just having fun in the interim. Admittedly, this is something that I have to remind myself of constantly, but all the same, I think there’s a shred of truth in it. The other thing that I can say, as a person who constantly stresses about all sorts of things, is that it’s easy to fall into a mindset of nihilism. Especially when you’re constantly hearing about the ambitions and passions of
everyone around you. Don’t do it. Don’t convince yourself in the short term that you’re a failure and that everything’s pointless. Don’t become a hermit in your room. Don’t disengage. I’m partly saying this directly to myself because the temptation to lock my door and not participate in anything is really, really, really strong. This isn’t news and you will have inevitably heard it before, but I think it bears repeating: you do not need to pick or find your passions right now. It’s okay to be unhappy and to wait for things to settle down and for you to find a groove. If you have a passion and want to devote your life to it, good for you. If you don’t yet, or don’t at all, it doesn’t matter. University is where you get to explore and figure out who you really are. Even if, right now, you feel bad, or you feel like you don’t know who you are, or you feel lost, university is the place where you find yourself. Even if you don’t have direction, there’s always a reason to get out of bed in the morning.
Issue 3, Vol. 67
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One Answer to Loneliness on Campus Geoffrey Ballard
BSc BTh MA MCounsPych DipEd DipAdultPsychotherapy
Commencing university life can be exhilarating and full of possibilities, but can also be lonely, especially if you have no family and friends close by. Religious people can normally connect with their faith community, but what of the many who have no faith? I am a Humanist. I do not believe in a supernatural god. I believe in scientific evidence, reason, community development and empathy. On Thursday afternoons, I sit in the ANU Chaplaincy Centre as a volunteer chaplain. As a recently retired psychologist/psychotherapist, the chaplaincy role encompasses my ongoing belief in the value of friendship. A student may walk into the chaplaincy space. I welcome, I wait … I have no agenda … what is the person’s agenda? A con-
versation commences … the ending is unknown. Non-theist or atheist students do not normally use this type of service, a place in which to foster their identity and spiritual life. There can be spirituality without religion. The Chaplaincy Centre is a place for intellectual, emotional and spiritual support. A safe place to be yourself. We welcome all people. As a chaplain I have time to sit, time to listen ‒ to be a friend. I am offering friendship and a place of hospitality; the Chaplaincy Centre is creating an opportunity for you to find your way, not my way. Chaplaincy is a mode of friendship whereby people can become themselves through being with another.
The chaplain is being “the other”. Empathy is the key ingredient here. And friendship is about time and space. It’s like the lyrics from Carole King’s classic 1971 song “You’ve Got a Friend”. Cicero said: “Without friendship life is no life”. A university education is remiss if it ignores life and the big questions of meaning and purpose. Chaplaincy attempts to open up a space for those questions. For me, a valid life stance needs to encompass friendship, belonging and the development of community. A place for that to evolve is vital for our wellbeing ‒ not least in universities, where the leaders of the future are being educated. And, yes, a place also to alleviate loneliness. Are you looking for meaning and pur-
pose? Are you struggling to live a good life? Haven’t thought about it? Or, are you just in need of a friend? Volunteer chaplains are in your university to engage with you, to sit and listen, to allow you space to develop and be. For information on the Canberra Humanist community, see: canberrahumanistcontemplative community.org
Photography by Hannah Axelson
Week 4, Semester 1, 2016
15
Feature
This Article Has No Label Ellen Makaryan and Harriet Kesby
with the month of Mardi Gras, and the backstories of the marchers themselves.
Societal transformation occurs through the momentum of people ‒ their physical movements and voices, by creating, rallying, migrating, travelling, communicating ‒ we take on the views of the people closest to us, and when these people come with valuable experiences that differ from our own, we become different.
The identity of queer* people and the momentum of social change they are trying to achieve in a month long celebration of their culture is ignored by the rest of the population that use the name of Mardi Gras for their financial gain ‒ Mooseheads’ “Can’t Think Straight” pre Mardi Gras party demonstrates that environments that are typically sources of blatant homophobia have no problem taking a night to capitalise on the years of momentum queer* people have built towards achieving acceptance and equality.
We cannot help but to absorb the information around us. We do not and cannot limit our relationships to people who hold the same political, social and cultural views ‒ especially in a country where almost 3 million people speak a language other than English, and a quarter of the population were born overseas. It is unsurprising that you will find your sense of identity change as you go through life and meet a myriad of people who are nothing like you. When your sense of identity changes, you will inevitably influence someone else, who will in turn change. I came to the realisation that I was queer* by meeting someone else who was ‒ whether or not my identity is innate is irrelevant to the fact that by interacting with another person who did not share the same experience and identity as me, I was able to further explore my own. This was a transformation of my sense of self through building a momentum of questioning, introduction to new queer* cultural ideas, and meeting someone who was out as something other than straight ‒ which had up until then, been the only way I could possibly view my sexuality. There is no gay agenda, no desire of the queer* community to “convert” everyone else - but by being exposed to that community, I was able to grow as a person, gathering a catalyst for exploring another facet of my identity. Being an out queer* woman means I
in turn influence others to consider understandings of gender and sexuality beyond heterosexuality, and so societal transformation begins and spreads through individual self expression. The Sydney Gay and Lesbian Mardi Gras will be celebrating its 38th year this month, allowing 300,000 people to be exposed to queer* culture at the Parade, and countless others attending its other events. Australian society will see it advertised on their televisions, in their newspapers, on their streets ‒ people of all sexualities and genders will encounter same-sex couples publicly expressing their love. The face of the parade itself is celebratory, colourful and loud ‒ it confronts its opposition with an overt acceptance of gay and lesbian identities, creating the opportunity for closeted people to build acceptance within themselves by seeing their hidden identity so openly celebrated. However, the commercial value of
the Sydney Gay and Lesbian Mardi Gras Parade often overshadows how Mardi Gras began ‒ with police violence and public outing. It was only this year that the original protesters of 1978 were apologised to formally and publically. Despite the Mardi Gras Parade being seen as one of Australia’s greatest contributions to the tourism industry, the key messages behind it fall to the wayside. Sponsors throw money at the festival in the name of “support”, while trans people must divorce their spouses in order to legally change their gender markers, there is an epidemic of queer* homelessness, and investigations into anti-bullying programs are called for by the Australian government. If the experience of others informs our own, what message is being sent to a generation of young queer* people who see the pinnacle of celebration of queer* culture as stereotypical “GAYTMS” designed by straight artists, and media coverage limited to sexualisation and shock, ignoring the countless cultural events that come
Mardi Gras is undoubtedly an important source of celebration of queer* identity and culture, but I can’t help but wonder who is truly directing the momentum of its movement, and to where. The lens through which the public views the meaning of the Parade is controlled by media outlets and corporations who ultimately do not hold the same passion for queer* rights that queer* people marching on the streets do. This year I will celebrate Mardi Gras, and celebrate that I live in a country that can even recognise gay and lesbian identity - but I will also recognise the other queer* identities that fall to the wayside, and the struggles and queerphobia that I and others face in our daily lives that is ignored by people looking to capitalise from what they see as all glitter and rainbows.
Photography by Joanne Leong
Issue 3, Vol. 67
Feature
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Student Theatre Drowning Kat Carrington As the beloved home of dozens of student theatre groups on campus, the ANU Arts Centre has been witness to award-winning performances, launched the careers of dozens of ANU students, and provided a healthy and enjoyable university experience to hundreds of students. The ANU Arts Centre is the backbone of the ANU theatre experience... and it may be replaced by a swimming pool. The Union Court Redevelopment Proposal, as revealed and displayed, rather ironically, in the Arts Centre late last year has no current plans to retain or replace the ANU Arts Centre. This will leave the campus devoid of a suitable indoor performance space for theatrical productions ‒ over the course of 2015, the Arts Centre was hired by 22 ANU affiliated societies and 12 external Canberra groups. Though the redevelopment proposal has yet to be accepted by the University, with final plans to be confirmed over the next 3 months, venue hire has barred all bookings for 2017, causing alarm within the ANU theatre community. Even the administration of the Centre is uncertain of the plans for the Centre beyond 2016. Chris Grange, the Executive Director of ANU Administration and Planning, and one of the main forces involved in the redevelopment expanded
on the future of the ANU Arts Centre, saying: “Any proposal is highly likely to include the demolition of the Arts Centre.” “What will replace it and whether that will include theatre facilities is still unclear… we aim to put something forward for approval over the next 3 months”, he commented. Three months without certainty is undesirable for all parties currently invested in Union Court. The decision to cease 2017 bookings has already forced external Canberra theatre groups such as Phoenix Players to move to alternative venues, decreasing the profitability of the Arts Centre if 2017 bookings are resumed. For student groups, a move to alternative venues is just not achievable. There is no theatre in Canberra that is as accessible, or as affordable as the ANU Arts Centre for student groups. The Street Theatre, which will be the only remaining performance space on campus, is a commercial entity which does not cater to student groups, hence removing yet another suggested solution. This could have an immense impact on many Clubs & Societies on campus, with ANU Interhall Productions believing that the demolishment of the Arts Centre could mean the dissolution of their company. IHP Vice President, Jeevan Haiker-
wal, expressed that “the fundamental premise of our entire society is that communities can rally around art”. “When the housing for the art form of theatre on campus is uprooted and not replaced, the community we have built within and around will no longer have the capacity to exist as it does.” The Interhall Arts Committee (IAC) also has several major arts events that utilize the ANU Arts Centre ‒ Dance Night, Talent Show, Choir, and Theatre Sports. Although the ANU prides itself in offering a complete residential experience, the integral part access to the arts has within residential and non-residential colleges does not appear to have been considered. “The accessibility of IAC is very much dependent on centralised performance spaces”, IAC President Cameron Allan commented. “By removing the arts centre, the ANU campus’ ability to facilitate artistic expression is lost.” Residential college productions, with their more limited budgets and their inability to gain funds from the ANUSA Grants & Affiliations Committee may completely disappear. Since 2010, the relationship between the performing arts and the ANU has been, at best, strained.
The 2010 review of the drama department saw the cancellation of all performances by ANU affiliated theatre companies, Papermoon and Moonlight, and eventuated in the resignation of the Head of Drama, Tony Turner, with the drama school absorbed into the BA English major. All but one staff member resigned from the ANU. The Arts Centre followed a similar path, falling into serious disarray until the reins were passed to Facilities and Services in 2012. Since that time, the theatre has thrived, both physically and financially, under the management of the F&S Venues and Events team. It is clear that the ANU has limited appreciation and understanding of the importance of the performing arts on campus. This has been reflected time and time again through the 2012 cuts to the School of Music, the restructure and obliteration of the Drama Department, and now, the complete disregard for a suitable indoor performance space in the Union Court redevelopment plans. But then again, given the chance, Shakespeare probably would have had The Globe converted to an Olympic size swimming pool as well. Kat Carrington is the 2016 N.U.T.S Artistic Director, the 2016 ANUSA CASS Representative, and was the 2015 ANU IHP Treasurer.
Cutting our Chance at a Sustainable Future MaryClare Woodforde Just last October, Turnbull promised to put science at the centre of Australia’s agenda. Later in December, at the UN climate negotiations in Paris, he held firm that science and research are of utmost importance in Australia’s ability to mitigate and adapt to climate change. Now, the proposed cuts to 350 CSIRO jobs, which could potentially remove 50% of the existing climate measuring staff, is entirely telling of what Turnbull really thinks is important. It is clear that the change in government has in no way stopped the inactivity towards the dismantling of the meaningful climate policy that his predecessor began.
Coal prices are plummeting; yet there are a worryingly high number of elected members of Parliament who will do all in their power to protect the dying industry, and to put climate change and science in the bin. Why are they doing this? Because the fossil fuel industry has a very powerful and nasty hand in our elected MPs back pockets. For every dollar donated by fossil fuel companies to political parties, the fossil fuel industry receives $2000 back in the form of subsidies. These subsidies have been held in place for far too long, and are protecting an industry that would rather leave us with no clean air or water, than submit to the rules of the “free market” that they believe so readily in.
The Paris agreement in December and the upcoming election, however, have given us incredible momentum to demand accountability. Australia agreed to 1.5 degrees of warming, and that is what we should stick to. Anything less is utterly unacceptable. Politicians have a vested interest in maintaining their power, and will never aim higher than what is demanded of them. Last Wednesday, more than 120 people rallied outside of Parliament House, to demand an end to the looming cuts. Politicians joined us in saying that the cuts could not go ahead, not in a time when we need even more investments into climate change research. Independent, Labor
and Greens Senators made promises to use the Senate to put the cuts under scrutiny. The weeks to come will see this momentum brought onto campus. The movement will be amplified by the voices of students - voices that are too often not heard. It is our future jobs and our future climate that is in danger. Young people should not have to inherit a world that is unable to mitigate the risks of climate change, and cuts to science, given the realities our environment faces today, would put us directly on that path.
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Week 4, Semester 1, 2016
Feature
Fast Fashion Alexandra Green fashion institutions such as Burberry produce their clothes overseas and it was only recently that Alexander Wang was sued by his workers for “sweatshop like conditions” in his New York production facilities. Admittedly, I think that it is sometimes almost too hard for consumers to buy ethical clothes, especially considering the lack of transparency. It’s one thing to buy clothes made from China, but it’s a whole other story not knowing the conditions within which the garment has been produced. Ultimately, there needs to be stricter enforceable rules to regulate the production of manufacturing clothes overseas. There needs to be more transparency so that consumers know when they buy a piece of clothing where it was made, and in what conditions.
In a 2010 United States Vogue article titled “Do I get a coffee? A snack? Or something to wear? The H&M 4.95 dress”, journalist Lynn Yaeger draws attention to the fact that these days you can buy a dress for the price of a coffee. Similar to Yaeger, it only took me 5 minutes to search through Cotton On’s website to find a dress retailing at $5. Just think for a moment about how cheap that is. $5 won’t get you 2 Mee’s sushi rolls, you can’t even get drunk at Moose before midnight on $5, but you can get a dress. It’s startling to me how large brands such as H&M and Cotton On, whose main aim is profit, can produce and sell clothes at such an unbelievably low price... and trust me they are making money! On the Forbes 2016 list, Zara’s co-founder was ranked the 2nd richest person in the world with a net worth of 68 billion dollars. The answer to the question of how such cheap prices can lead to unimaginable profits is the offshore production and manufacturing of clothing in countries such as Bangladesh, India and South Korea, where little regulations apply. A majority of workers in these offshore factories are getting paid less than three dollars a day and little to no safety regulations are in place. The Guiding Principles on Business and Human Rights, endorsed by the UN Human Rights Commission
Rights Council in 2011, expresses that States, and the third-party business enterprises within them, must protect human rights abuses within their territory. In reality, however, though companies will enforce these regulations on the factories they contract with, these factories often then subcontract out to other factories where the original rules are not enforced and the company has no responsibility for the conditions in which the clothes are manufactured. Furthermore, the companies are then not liable for any damages that occur to workers in the subcontracted factories, despite these workers producing their clothes. This was the case in the 2013 tragedy at Rana Plaza factory, which collapsed killing over 1130 people. Despite clear warnings that the structural integrity of the building was failing due to cracks in the walls, the owners ordered the garment workers to return to work because of the pressure to complete orders from buyers on time. Many American brands such as Jo Fresh were named and shamed in the Rana Plaza scandal. A brand that is perhaps closer to home (although the incident did occur in America) was drawn into the media in 2013 when a woman opened her Kmart Halloween costume to find an SOS letter from a Chinese worker stating that he was imprisoned in a labor camp working 15 hours a day, 7 days a week to produce clothes for Western countries.
So, whose responsibility is it to change the direction in which the fashion industry is heading (if it isn’t already too late)? The crux of the argument is that we as the consumer buy too many clothes and we pay way too little for them. Instead of there being 4 seasons in a year, every week there is something new. You can walk into Zara on a Tuesday to buy a dress and then return on Friday to find a whole new and different selection on display. John Oliver put it nicer than I ever could in his statement that: “trendy clothing is cheaper than ever and cheap clothing is trendier than ever”. As consumers we have the control to call out companies for their manufacturing standards, to be more conscious of where our garments are being made, and also to refrain from the constant need to buy “the next big thing”. I don’t mean to preach, nor do I mean to write this article from a moral high ground. I myself can’t afford to buy designer clothes and recently bought a Big W t-shirt for work, despite knowing full well the inhumane conditions in which the product was manufactured. Additionally, it’s no longer a matter of “well if I spend more money on a garment I can assume that it has been made ethically”. Over 90% of the clothing we buy in Australian is made overseas. Even
As sad as it is, however, corporations won’t develop these regulations voluntarily, and the realistic way I can see to regulate large transnational fashion corporations is through a UN declaration. There has been some momentum over the past few years to push for a UN declaration, however, there has been limited progress because developed and developing nations can’t agree. There needs to be a change, and in my opinion it needs to develop in response to a stronger push in international law to make large transnational corporations responsible for the inhuman conditions in which their products are made. Unfortunately, the development of such a document is far away. In the meantime here are a few great companies, which source and produce their clothes ethically.
Everlane
This company not only sources their materials and produces their clothes under strict ethical guidelines, but they also provide full transparency with photos of the factories where the clothes are produced.
Patagonia
As of 2015 Patagonia now provides 33 styles made in Fair Trade Certified sewing facilities.
Cue Veronika Maine
All their clothes are made in Australia and are a certified fair trade company. If you are after a more extensive list http://w w w.ethical.org.au/3.4.2/ get-informed/clothing/clothing-alternatives/ has an extensive list of different companies, whether they are ethically or fair trade certified and/or made in Australia.
Feature
Issue 3, Vol. 67
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Stop the Cuts, Start Some Action Liam Fitzpatrick Our emotional responses to life are varied.
the attack on the universality of our healthcare system.
We are mostly calm, walking through our streets, the streets of uni, colleges and those around our homes with a sense of quiet.
Next, on the 20th of February, came coordinated protests against the attacks in all major cities. Political leaders like Bill Shorten spoke, banners were waved, and thousands upon thousands of Australians attended.
But sometimes, feeling overwhelms us; anger, incense and desperation. The “These Cuts are Killing Us” movement is one example of this, just one example of how flares of emotion can cause mass movements. For those who mightn’t be aware of the campaign, over the summer break, Prime Minister Turnbull sought to institute the same health care cuts that Abbott proposed in his disastrous 2014 budget. He proposed scrapping bulk-billing incentives, raising the cost of life saving pap smears, raising the price of urine and blood tests that check for cancer to at least $30, and the cost of MRI’s to $173. At the bedrock of the Australian way is a commitment to universal healthcare; no matter where you stand in this community – rich or poor, man or woman, queer or straight, regional or urban, Indigenous or not – the government is supposed to have your back and ensure your health and wellbeing. It’s only fair… and this policy was not. What came next was monumental momentum across the country. Starting with outrage from a small group of 6 women across the country, channelling their outrage into a petition that over 200,000 Australians signed. From the actions of these 6 women came a national response opposing
Amongst the many hoards of these people nation-wide were twenty or so ANU students, who walked from
lians who will be severely impacted, to the point where it isn’t just a slogan anymore. I didn’t know how to feel. On the one hand I was outraged by the policy, but on the other I was disappointed by the rather small ANU contingent. Yes it was hot, yes it was in the morning, but in the face of the universality of health care being shattered, did it really matter?
entitlement to non-attendance. Students though, for centuries, have been the leaders in fighting back against governmental overstep and policies which insult our appreciation for fairness, equity and caring for the marginalised. We need to do more. As a community, we need to stand together, shoulder to shoulder, and say “NO” to the policies that will hurt us along with the communities we want to fight for. It’s about momentum. Political change doesn’t happen when twenty ANU students rock up to a rally. Rather, political change happens when entire communities are mobilised. There will be more protests, and this year, two elections. We should never stop seeking opportunities to have our voices heard by the fat-cats on the hill.
Union Court to where the Canberra protest was being held. There, leaders of our territory stood in solidarity to oppose the cuts and to stress to us the great number of groups who would be disadvantaged by them. I realised, due to this protest, that the issue was not Turnbull’s short-sightedness but rather the disastrous extent to which marginalised groups would be put off by the cost of a trip to the doctor, and ultimately just not get tested. When women, Indigneous and regionally located individuals die at all too high a rate from cervical cancer already, these cuts are more than disastrous. “These Cuts are Killing Us” is more than just a motto. It’s the direct impact of Turnbull’s plans on Austra-
We pride ourselves on being champions for the marginalised at the ANU, and so we should. Our Queer, Women’s, Disabilities and other departments are revered by Australian campuses everywhere. And yet, in the face of cuts that will hurt the marginalised, we were largely absent. Then I thought though, maybe ANU students thought this protest was too partisan or political, despite it being supported concurrently by the NUS, Greens, Labor, Unions Act and CPSU. Maybe we didn’t hear about it, despite 6 separate organisations on campus creating events for it. Maybe protest isn’t our preferred form of rallying against bad policy. For these reasons, and many more, there was an
For the moment, the debate over these cuts continues. But here’s something I know for sure: communities who bother to shift their feelings to actions cause genuine political change. For each other, for those we love, and for those that this government needs to love more; more is required of us. We may be the leaders of tomorrow, but there’s no reason we can’t be the voices of now; being the equity minded and socially concerned students that the ANU was created to produce.
Week 4, Semester 1, 2016
19
Feature
Join Us in Saying #LetThemStay Harry Needham On Wednesday 3rd February, the High Court of Australia passed a ruling that would allow the Australian government to deport 267 asylum seekers to the detention centre on Nauru. 72 of these asylum seekers are children, including 33 babies who were actually born within Australia’s borders, sparking protest throughout the country. Medical professionals, with years of experience within offshore detention centres, continue to argue that conditions there are made to be akin to torture ‒ designed to make life so unbearable for asylum seekers that they are forced to return to their home countries. Experts maintain that the privatised nature of Australia’s offshore detention centre regime renders the wellbeing of asylum seekers a distant third priority, behind deterrence and profit. With one doctor, John-Paul Sanggaran, going so far as to label the detention system “a form of systematic child abuse,” the chief doctor of the
Australian Border Force has also admitted that the act of detaining damages the mental wellbeing of children. This reflects the Australian Medical Association’s code of ethics that states: “Regardless of society’s attitudes, ensure that you do not countenance, condone or participate in the practice of torture or other forms of cruel, inhuman, or degrading procedures, whatever the offence of which the victim of such procedures is suspected, accused or convicted.” To protest this decision by the High Court, thousands of people gathered across Australia, with even more voicing their anger online. One such gathering occurring on Northbourne Avenue in Canberra. Both through the act of physically protesting, and with the utilisation of online hashtags, critics of the ruling demanded that the Australian government #letthemstay and furthermore, #closethecamps.
One of the most notable gatherings was outside Lady Cilento’s Children’s Hospital in Brisbane, where hundreds gathered to prevent one-year-old baby Asha from being removed against her doctors’ will and sentenced to the unsafe environment of Nauru. Asha is now in community detention, but her ultimate fate remains undecided.
Facebook page, and can be signed by emailing your full name and university number to anu@refugeeaction. org. After a “Let Them Stay” photo is taken in Union Court on the 17th of March, the petition will be presented to the Vice-Chancellor. This will be followed by the Palm Sunday rally for refugees three days later.
On the same day as the High Court’s decision, a group of Australian religious leaders made history by invoking the principle of sanctuary and offering their churches as safe havens for the asylum seekers facing deportation. Soon, they were joined by numerous other churches and secular institutions ‒ including several state and territory governments.
This action may seem simply symbolic, but the value is in the message that it will send, one that the ANU community embraces what the petition labels as “the values of humanity, inclusiveness, and tolerance”.
The ANU too, is participating in the protest. The ANU Refugee Action Committee (RAC) is circulating a petition calling upon Vice-Chancellor Brian Schmidt to offer sanctuary to the 267 asylum seekers on the campus of the ANU. The full text of the petition is available on the RAC’s
In signing the petition you would be pledging, alongside fellow members of the student body, that you agree to do your part in preventing 267 men, women and children who have committed no crime, from being sentenced to what asylum seekers imprisoned on Manus Island have vividly dubbed a “gradual death” within Australia’s offshore detention centres.
Woroni Radio Playlist: Momentum Mark Wilson and Brendan Keller-Tuberg Another edition, another massive playlist to get you moving! This week’s theme is “Momentum”, and for this playlist we’ve taken a much more music-centric approach, focusing less on lyrical content and more on the songs themselves – songs that make you move, and move with you. This week’s selections have an inherently experimental nature; this lies closely with the theme, as experimentation and exploring boundaries with music is ultimately what delivers us musical progress and change. The theme is shown through the music in many different forms. From changes in song structure and time signatures (Captain Murphy, Clipping) to rhythmic complexity and variation (BATTLES, Pleased to Jive You), all the way down to production techniques used to give a sense of movement within the songs (Cast of Cheers, Oneohtrix Point Never). Also explored is the diversity of styles in which these elements are evident: from classical minimalist music with Phillip Glass, to TesseracT’s mod-
ern, maths-influenced ‘Djent’. Jazz also has a strong influence this week, through Wynton Marsalis and Phronesis. JAALA, and their self-described “bedroom punk”, also show signs of jazz training, while Hiatus Kaiyote and Captain Murphy bring the urban/hip-hop element of the genre to the fore. We hope you enjoy this week’s playlist, come back next week for another list of tunes to get you going!
1. Caribou – “Can’t Do Without You” 2. Battles – “Ice Cream” 3. Everything Everything – “Cough Cough” 4. Phronesis – “Herne Hill” 5. Captain Murphy – “Gone Fishing” 6. Closure In Moscow – “Sweet#hart” 7. The Cast of Cheers – “Family” 8. Oneohtrix Point Never – “I Bite Through It” 9. Pleased to Jive You – “Cataclysmic Avenue” 10. Converge – “Aimless Arrow” 11. Phillip Glass – “Floe”
12. JAALA – “Double Dutch” 13. James Blake – “Modern Soul” 14. TesseracT – “Palengenesis” 15. Wynton Marsalis – “Autumn Leaves” 16. Seekae - “+Dome” 17. Duck Duck Ghost – “Hey 18. Clipping – “Story 2” 19. Hiatus Kaiyote – “By Fire” 20. Vijay Iyer Trio – “Accelerando” 21. Liturgy – “Harmonia”
Arts & Reviews
Issue 3, Vol. 67
20
Interview with Toyo Phyllida Behm
Toyo, also known as Jarrod Bartlett, graced us with his presence at Hypernova earlier this year. Bartlett is an innovative and prolific producer, having also performed as Zodiac. Toyo’s work is relaxed and really easy to listen to – sitting in the grass on Fellow’s Oval and listening to his track “Wonderlust” was almost transcendental. I was lucky enough to get to chat to Toyo, to get his thoughts on the Canberra music scene and some great life advice too. PB: So from what I understand, Toyo has entered the scene pretty recently, and before that you were playing as Zodiac. Your sets as Zodiac are really vibrant and energetic, whereas Toyo is way more relaxed. What inspired you to change directions with your music? T: Yeah Toyo is still pretty new, I created the project back in 2014 but never released anything. I kind of planned a lot out with it before releasing it to the public eye. I still do Zodiac sets and make music under as Zodiac as well. I would say I am inspired by a lot of things, whether it be just going outside and exploring or watching a documentary on something interesting. I feel I get inspired by life itself and the journey we are all on. Listening to my
music is pretty much like reading my diary! PB: You’ve been picking up a lot of momentum recently, appearing on Triple J Unearthed last November, Dragon Dreaming in 2015 and at a heap of events over the summer. What are you hoping to get up to this year? T: Yeah its been so great! It’s nice when you put all this hard work into something and people start noticing and it starts paying off. I like to keep myself busy as well, so playing a lot of shows, sharing my music with people and seeing new places is a lot of fun. This year I am sort of taking it how it comes, I have a lot of music I plan to release. I would love to land a spot on Groovin’ The Moo this year in Canberra, that would be amazing! PB: I loved the time-lapse video of Canberra that was shared on the Hypernova page, it worked perfectly with your track “Wonderlust” and it made me feel really sentimental about my hometown! You’re from Canberra, right? Do you like it here? T: Davey did such a good job with that video! It really shows Canberra in a new light and how beautiful it is.
I was blessed he used “Wonderlust” for that video, it worked really well. I am from Canberra, I love it! I have a great group of friends here and there is always something happening. Not to mention the music scene is on the up.
the ones who help influence my music.
PB: What has been your experience with the Canberra music scene, and where do you think it’s headed?
T: Keep going, even when things go wrong, and believe me they do, pick yourself back up and continue on your musical journey. If people doubt you then use that as motivation to help you prove all those who doubted you wrong. If you are passionate about your music and really want it then it will show, people will start to notice you and your hard work and it will pay off for you. It’s not about the destination, it’s about the journey along the way so remember to always have fun with it!
T: Throughout the years I have seen the Canberra music scene grow so much. There are always gigs on now, and lots of promoters who are pushing their brand as well which helps keep it alive. I think it is heading into a really good direction and I think it is going to be even stronger in the coming years. Even with the limited venues in Canberra people always seem to make it work, they are passionate about keeping the scene going and that is why I reckon it will keep growing. PB: How has living in Canberra influenced your music? T: I would have to say the people I surround myself with and have met along the way are the ones who influence my music. I have a really great group of friends who have helped push me and support me when I need it. They are
PB: So do you have any advice for Canberra locals who are keen to develop their music?
PB: So, moving on from music in Canberra, what do you think about the nightlife here? Do you enjoy going out in Canberra? T: I think the Canberra nightlife is good, I do enjoy going out every now and then mainly for my friends’ events, but yeah I like it. I am more than happy to help support the scene which supports me.
Arts & Reviews
Week 4, Semester 1, 2016
21
Classic Album Review – Radiohead: Kid A Isabel Keller-Tuberg
You are in one of those rooms in old sci-fi movies where there are doors in every direction, and each one leads to a whole new universe. You take a few cautious steps forward, reach out, grab a handle, and open the door. And then you get sucked into the turbulent new world. That’s what it feels like for me every time I scroll through my music collection on my iPod and click on Kid A (2000). This album is a rollercoaster ride of different emotions, seamlessly linked into an exhilarating journey through the different minds which make up Radiohead. Kid A was the British rock band’s fourth studio album, coming out after the critically acclaimed and widely loved OK Computer (1997), a generally more acoustic alt-rock record. Even though the world was anxiously anticipating Kid A to be a follow-up album, lead singer Thom Yorke had something else in mind. After releasing OK Computer he had a mental breakdown and suffered from serious depression and writer’s block. He started listening to new styles of music, such as instrumental electronica, as a way to escape human voices and melodies, taking a keen interest in electronic producer Aphex Twin. He convinced the rest of Radiohead to follow this new sound with him into the new album, and thus the unique aesthetic of Kid A was born. The record opens with “Everything In Its Right Place”, an eerie song which features different voice samples, filtered through so many electronic effects as to make them barely recognisable. The following song is the more minimalistic title track, opening sweetly with a simple marimba line which could just as easily be a kid’s musical toy box. An electronic drumpad line with a pulsing rhythm joins in, followed by vocals which make the previous song’s electronic effects seem like child’s play. The song fades away, making room for the heavy bass line
of “The National Anthem.” The middle of this song morphs into a freakout session, with layers and layers of different horns playing lines on top of each other, to the point where everything just sounds like a wall of noise, and the only thing keeping it together is the relentless bass line. This was said
feeling trapped due to his popularity and couldn’t handle it. His close friend and acting psychologist told him to just repeat “I’m not here, this isn’t happening”, to help him deal with his depression. These words are a recurring lyric in the song, sung again and again in Yorke’s trademark nasal
to have been influenced by the 20th century jazz legend Charles Mingus. On top of this, Thom Yorke occasionally wails something which sounds a bit like, “what’s going on?” or, “so alone!” or, “turn it off!” or “just holding on!”. What Yorke is really saying could realistically be any or none of these lines, because he refused to release lyrics in the linear notes of the album.
voice, dripping with emotion. Near the end of the song, you can hear his warble start to break with oncoming tears, followed by the backing orchestra sliding out of key into grating chords which seem to scratch at your heart until it bleeds. Everyone would have a different experience with this song, but I am sure that each would be special.
When you just about feel that you can’t take the discord any longer, it fades away into quite possibly the saddest song I have ever heard: “How To Disappear Completely”. This song was said to be written by Yorke during the OK Computer tour, where he started
“Treefingers” is an out-of-character ambient song which isn’t particularly special on its own, but cleanses you after the turbulent string emotions you’ve felt over the past 20 minutes, and provides the perfect transition into the second half of the album. “Optimistic” is a strong track, with
the chorus being what Yorke’s wife said to him when he felt like his music was unlistenable: “you can try the best you can/ the best you can is good enough”. Some say that the bitterness in his voice reveals sarcasm, but I prefer to believe that he is being truthful, even if there is resignation in what he says. “In Limbo” is a more dreamy song, with slurred and layered vocals moaning “I’m lost at sea/ don’t bother me”, in a raw rather than melodramatic way. It ends on a disturbing note which transitions to “Idioteque”, where you can easily see connections to IDM (intellectual dance music). It is the most invigorating song, as well as the most accessible and catchy. “Morning Bell” finally eases the energy back a little, in a slightly off-kilter time signature of 5/4. It sounds like Yorke is trapped in a box, has gotten over the initial anger and energy, and is now just sadly and sweetly pleading, “release me”. “Motion Picture Soundtrack” is the perfect closer: it almost puts you to sleep, which is a welcome change after your heart being stretched in every which way with all the other songs. It sounds peacefully sad and beautiful. Radiohead said that it was inspired by old Disney movie soundtracks, and although I find it hard to see the connection, this change in pace is exactly what Kid A needed. I have listened to Kid A more times than I can count, and each time it feels like a completely different experience, a new door I am opening. The record is incredibly intricate, with each song meticulously thought-out and consisting of layers and layers of different textures. It’s hard to believe that living people actually made it. Similar recommended albums: Aphex Twin – I Care Because You Do, Bjork – Homogenic, Slint - Spiderland
Arts & Reviews
Issue 3, Vol. 67
22
Schengen Diamonds Short Story by Callum Florance
Artwork by Abbey Lockwood A dog only lives a while in a wire cage. Today, seven dogs lie in free beds. Tomorrow, three dogs. The next day, seven. An oscillating pattern emerges. It isn’t a migrant camp, but the beds are just as filthy. The high turnover doesn’t lead to profits. It leads to losses. Someone has to pay. *** The aged mutt in Cage 7 pants its dry tongue. Its blonde, malnourished coat shimmers brown and grey under the fluorescent lighting. Rising from its bed, the mutt wanders mildly to the opposite corner of the cage where two metal bowls, one red and one blue, rest emptied. It sniffs the red one, the one for food, and licks the blue one, the one for water, and waltzes back to its cushioned bed; covered in a plastic sheet. The mutt rises again and goes through the routine. No food. It patters to a different corner and sniffs at the linoleum floor, at its reflection. No food. Back to the bowls. No water. Back to bed. *** Through the wire, past the other cages and down the hall, a lock collapses. The mutt rises and wanders over to the cage door and peers into the hallway. A brick wall, painted white, lines the hallway with small windows placed too high for any dog to see the sky. A feathery door flicks open in a slight squeak and heels click against the floor. The mutt goes to the bowls nearby and sniffs them. No food. Back to the door. The heels stop at a cage nearby. “C’mon,” a soft, remorseful voice utters.
The jangle of collar and tag grow promisingly and toenails tap against the linoleum floor over the creaking of a cage door opening and closing briefly. The heels follow at a slower pace and both grow faint. The feathery door closes in a slight squeak and the lock leaps upwards. Unmoved, the mutt paces to another corner of the cage and paws at a loose bit of flooring. A scarab beetle vibrates underneath, stuck. The flap of linoleum lifts irritatingly slightly after each paw. No food. The mutt patters to the bowls. No water. Back to bed. A dog in Cage 5 scoffs. Then it barks. Then it scoffs twice. The aged mutt rises from its bed and moves towards the door. The mutt scoffs, then barks twice, then scoffs. The other dog scoffs back. The mutt becomes silent. It wanders back to the scarab beetle and paws weakly at the linoleum flap. It sniffs at the beetle. No food. Back to bed. *** A lock collapses. The feathery door flicks open. Heels click. The door shuts. The mutt rises from its bed and pants its tongue as it patters to the cage door and peers into the hallway. A woman in baggy, navy blue shirt and trousers and tied up hair stands by the door, sobbing. Glazed, wet spots pepper her shirt. Her heels don’t click. The mutt goes to the bowls and sniffs the red bowl. No food. Back to the door. The woman wanders down the hallway, heels clicking, and passes each cage. Small, greedy eyes follow her. The mutt stops panting and sits on the reflective, linoleum floor. It turns its head towards the trapped scarab beetle and turns
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The mutt takes several, timid glances up at the woman, now in front of its cage. Anger washes over the woman and drips callously from her chin. The mutt stands on all-fours and wags its confused, matted tail. Weak wires on the cage door bend and twist into rounded diamonds between the two and barely split them apart. “You shouldn’t be here,” the woman says through a tight bottom jaw. Her eyes whiten as much as her knuckles and the mutt continues to wag its confused tail. Its dry tongue rests on the rough wire door. It stares straight ahead. “We give you food and water and beds to sleep in,” she yells through the wire and leans down. Her pants crumple at the knee and the corners of her mouth crumple too. “All you do is want,” she cries and hits the cage. The mutt jumps back a few steps and darts its eyes to the ground and up to the woman’s own and back to the ground. It shuffles to the bowls and sniffs the red one. A buzz from a corner of the cage flips one of its ears back, but its attention remains on the woman. Her hands creep slowly towards the cage door. “You have no home,” she says, “this isn’t your home,” she opens the cage door sharply and the mutt shuffles backwards, “you don’t belong here.” Light reflects off the open, wire cage door like moonlight on a rippling, Mediterranean Sea. So, too, do the glazed specks on the woman’s baggy shirt flicker, as she walks towards the cowering mutt, which stares at the woman and drowns in her shimmering, blue eyes. It wags its confused tail. “You probably snuck through fences and slept in bushes before you came here,” she says with spit sailing from the corners of her mouth. She stops short of the mutt and stands towering like a wave about to peak. Water.
A piercing yelp snaps into the white hallway and jingles the collars of each dog standing by their diamond-patterned, wire cage door. The mutt feebly curls its right paw up to its chest and braces for a second kick. The woman coughs a guttural scream at the cowering mutt and kicks sharply into the mutt’s ribcage. Another yelp is followed by a short, defiant growl. The mutt wrinkles its nose upwards, bearing yellowed teeth, and holds steady with its right paw still hovering above the linoleum floor and tucked into its ribcage. The trapped, scarab beetle vibrates far, far away. “Filthy mutt,” the woman yells chokingly and leans down. The mutt snaps back defensively and the woman is jerked upright; straightening her wrinkled, navy clothes. Her breath palpitates and her thoughts race. The mutt holds steady and shivers in front of its bed. That golden, right paw is still. The woman snaps from her rigid pose and glances fearfully over her shoulder into the hallway. She turns back with relief and her stiff body sinks. The hallway door is closed. The other cages are silent. The bowls are empty. The mutt trembles. She turns again and clicks her heels as she walks through the cage door, shuts it, walks down the hallway, opens the feathery door, and closes the door swiftly. The mutt lowers its right paw. The mutt quickly brings the paw back up into its ribcage and shuffles painfully into bed. The scarab beetle goes silent. *** The aged mutt pants its dry tongue. It rises delicately from its bed and hobbles over to the linoleum flap. The mutt sniffs at the flap and doesn’t paw. The scarab beetle is quiet. It hobbles over to the red and blue bowls and sniffs the red one. No food. It licks the blue one. No water. The mutt limps to the cage door, covered in wire diamonds, and stares up seeking the sky through those windows placed too high for any dog to see the sky. No hope. Back to bed.
The mutt closes its mouth and that tender, pink tongue disappears. It reaches its bed, but doesn’t crawl inside. Instead, the mutt stops. The woman does, too. Both breathe through widened nostrils and their chests rise and fall together like ripples at opposite ends of a rock’s splash. The mutt looks up and flicks its eyes over her face. She kicks it.
Zoolander 2: Don’t Believe the Hype Vahini Naidoo The first Zoolander film was released in 2001 to rave reviews from critics, with The Guardian describing the movie as “the finest film ever made about the fashion industry”. Since then, Zoolander has gone on to become something of a cultural institution with jokes about “Blue Steel” and “The Derek Zoolander Centre for Kids Who Can’t Read Good” abounding even 15 years later. For once, the hype surrounding a movie seems to have justified itself ‒ the first Zoolander movie was magical, just the right blend of irony, cultural critique and fabulous story-telling. It’s no wonder that its cultural legacy has lasted. As a result of its predecessor’s runaway success, anticipation for Zoolander 2, or “Twolander” as some have named the new film, ran feverishly high. Pre-release excitement was fueled by fan events, Ridiculously Good Looking Selfie posters and a teaser trailer featuring the one and only
Justin Bieber. When I finally made it to the cinema ‒ several weeks after the film’s initial release ‒ I had high hopes. I hoped that the film would be as incisively funny as its predecessor. I hoped that I’d laugh so hard I’d cry, and that I’d also be provoked to think about fashion and culture on some level. But I was disappointed. This is not to say that Zoolander 2 is not an enjoyable film. Ben Stiller and Owen Wilson are still both outrageously charming and frustrating as Zoolander and Hansel. The new film begins fifteen years on from where the last one left off and features both of the ridiculously good-looking former models grappling with fatherhood. Zoolander, stupid as always, has made a series of decisions that lead to the death of his wife and the loss of his son to social services. Meanwhile, sex-addicted Hansel has abandoned his orgy of lovers (ft. Kiefer Sutherland of 24)
upon finding out that they ‒ yes, all of them! ‒ have fallen pregnant with his child. At the film’s beginning, both characters are estranged from the world of modeling; Zoolander, due to the shame of his really, ridiculously stupid decision-making, and Hansel, due to facial scarring caused by the aforementioned bad decision-making. Although the narrative arc propels both characters toward parenthood and, of course, back into the world of fashion, and has a solid emotional core, the events which spin out around this arc are hyperbolic and less than cohesive. This is, to some extent, the point. Zoolander 2 is joyously self-referential, reveling in its own legacy and bathing in the cultures of celebrity and fashion, that it ultimately sends up a plot complete with a Chosen One and a swimsuit model/member of the Fashion Police based in Rome, played by Penelope Cruz, who also
brings just the right amount of sexy and spunky to the role, and is perfectly suited to the tone that the film sets out to achieve. Indeed, the film is often brilliantly and incisively comedic, playing its larger-than-life plot against the trappings of modernity with uproarious results. Unfortunately, these moments are ultimately overwhelmed by the lack of coherence in the plot, specifically as events often seem inserted with the only intention to slot in yet another celebrity cameo. Prepare yourself for not just Biebs and Kiefer Sutherland, but Katy Perry, Neil DeGrasse Tyson, Marc Jacobs, Billy Zane, Skrillex and many, many more. I didn’t think anyone could outdo Queen Tay on the cameo front, but director Ben Stiller has truly got her beat here.
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What is that song you sing about the dead? Kidding, they’re all about the dead. Gabi Meek reports on Sufjan Stevens @ Canberra Theatre
Sufjan Stevens commenced his first, full Australian tour since the release of his 2015 album Carrie and Lowell on Monday 22nd February in Sydney. Fortunately for those of us living in the nation’s capital, the tour included a stop at the Canberra Theatre last month as well. Upon the announcement of a Canberra tour date, I was dreamily ecstatic. My year had included an international move, a long-term relationship break down, the start of my university years and a furious grappling with the idea of pursuing my childhood faith independently. Although the content of Carrie and Lowell primarily concentrates on Stevens’ tumultuous relationship with his mother and stepfather. With glimpses of hope, feelings of abandonment and sorrow juxtaposing each other lyrically, I (like so many angst ridden teens) found a refuge in it. To an extent, I was able to relate to the heart-aching pain and lack of closure depicted by Stevens. Most importantly, it was his honesty in clinging to the familiar, and appealing to the
supernatural at his most vulnerable moments. What astounded me about his live performance was his ability to recreate this sense of transcendent fragility and impending mortality, which I so regularly connected with in the comfort of my own bedroom. As the lights in the theatre began to dim, the band silently made their way onto the stage. Faint scuffling of feet and the sound of stringed instruments being cradled were all that could be noted, as tangible anticipation built within the crowd. The instrumental piece “Redford (For Yia-Yia and Pappou)” dominated by a piano and haunting backing harmonies, opened the show, adding to the pensieve excitement for Stevens’ arrival. Seamlessly, the figure seated behind the piano, moved to centre stage, simultaneously picking up a guitar and revealing himself as Sufjan Stevens, humble and barely distinguishable from the rest of his extremely talented band. Within seconds, the instantaneously recognisable opening picking line to “Death With Dignity” began to play, causing
the crowd, still recovering from the shock of Stevens’ surprise appearance, to draw in a collective breath. It was at this point that I began to cry. Although Stevens’ first few lines of the verse were slightly shaky, he quickly recovered, reaching celestial falsettos accompanied by mesmerising, instrumental swells. Hit after hit was played, one after the other, with a grand total of ten of the 22 songs performed stemming from the album. Highlights included “Fourth of July”, “No Shade in the Shadow of the Cross” and “Blue Bucket of Gold”. Numerous songs coincided with home videos of Stevens and his parents, the advantage of hindsight making the suffering of those involved even more poignant. After an extended request for an encore from the audience, Stevens re-entered the stage, wearing his trademark trucker hat and recounting humorously morbid stories about death from his childhood; think beeswax coffins and clogs. This transformed the atmosphere completely from a
stage performance, into that of an intimate gig at a bar. Post guitar tuning, Stevens burst into a cover of The Innocence Mission’s “The Lakes of Canada” before being joined once again by the band, who all gathered around one central microphone. It felt like a late night chat with close friends. Highlights from the stripped back set of the second half included “The Dress Looks Nice on You” and “To be Alone With You” both from the 2004 album Seven Swans and the closing number “Chicago” from Stevens’ “Illinois” album. The sensitive and harmonious cooperation of instruments coupled with the simplicity of the vocals, allowed for upbeat, but an equally delicate performance which captivated the audience. By the end of the evening, I struggled to spot a single listener still in their seat. Stevens had evoked a level of emotion and self-reflection that was incomparable and difficult to describe.
Hugo Lee’s Confluence: A Review Jayne Hoschke In Hugo Lee’s letter to the listener he tells us to close our eyes, open our ears and drift away. That’s exactly what I did – I lay down and just listened, and it was 45 minutes well spent. Confluence is the 5th official release of songwriter and multi-instrumentalist Hugo Lee. Primarily recorded right here at ANU School of Music, as well as in peoples’ homes and on location, the recording and writing processes were often merged to create an organic and experimental style. The leading track, “Confluence”, throws you into a gust of brilliant brass and intelligent lyrics, sung with the beautifully relaxed voice of Rose Costi. The saxophone trills and trombone crescendos, contrasting with playful guitar rhythms and soft keys makes for a roller-coaster sound experience. This first track really shows how many talented musicians were involved in creating Lee’s sound – about 18 of them. From the haunting harmonies of Canberra female vocal trio Kaleid in the introduction of “The Boat”, to the impressive jazz piano solo of Tate Sheridan in “Damage Control”, Lee brings a wide group of musos togeth-
er to create this complex but cohesive album. Hugo Lee’s main instrument, the alto sax, stands out with the constant theme of the whole album, and he uses it in a way I personally have never heard before. It pierces through all other layers of sound in the big instrumentals, whilst it also softly complements Costi’s voice in the strippedback, lighter tracks. Lee definitely proves that this lil’ brass instrument is goddamn versatile. This album is a beautiful balance of big and impressive sounds, married with soft and humble tones. Throughout Confluence you can hear the presence of a myriad of influences – from the hypnotic tunes of Pink Floyd to the psychedelic tone of Tame Impala’s production style, to the great foundational sax players Kenny Garrett and Dave Sanborn. He mixes up instrumental songs with free-style solos, pop-like beats and beautiful lyrics, all tied together with a strong sense of groove. You might think there’s only so much saxophone one can listen to. But that thought never comes to mind during
when you sit down Confluence. In each song Lee explores new sounds, rhythms and arrangements which all
somehow fit perfectly together into a consistent and unique.
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Arts & Reviews
Atrophy: from Play to Film Bronte McHenry interviews Gowrie Varma Atrophy was originally site-specific play developed by ANU students Gowrie Varma and Ellie Greenwood, in which the audience navigated six different spaces exploring the stories and mental illness of Greek and Roman characters of classic myths and legends. Bronte McHenry interviews Varma on the response to the play and the process of adapting the play into a short film.
project was invaluable. Not only did they all have the most incredible vision but further the best possible attitude on set. Shooting is tough and very intense, especially when you’re doing the whole thing in four days with everyone on set together! Our Art Director, Katie Tong, is a florist by trade and ANU Alumni. Her ca-
more difficult to carve out your own style and audience simply because there’s more people and more competition. Having said that, recently I have been getting the feeling that the key phrase “supporting local artists” has been bastardised by festivals and events around Canberra attempting to “be more like Sydney or be more
What was the reasoning behind cutting the male parts from the original script when creating the film?
What inspired the transformation of ‘Atrophy’ from the raved about ANU play of 2015, into a film?
The decision was not to cut male parts, rather to focus on the female stories. Alex Hoskison, who appeared as Creon in the stage production, took on the role of Haemon in the film. Although Haemon tells us the story in this scene, the story itself is Antigone’s. The focus of the original stage show was, at the risk of sounding a little wanky, the human psyche and how we try to understand our emotional responses to trauma. For the film, we simply took that one step further and chose to focus on the experiences of the women. Why? Because, in the originals, women were not encouraged to share their stories, so effectively we attempt to give those women some authorial power over their own lives in the film.
Honestly, I have Liv (Olivia Love, my co-director on the film) to thank for that! Liv and Athena Chambers made the short that accompanied one of the monologues in the site-specific work. When she came to see the show as a whole, she found the material as inspiring and moving as Ellie Greenwood and I did when writing it. She started bugging me incessantly after the end of the run and I finally agreed to talk about it (when I recovered from the show). The second she sent me a first draft of the screenplay adaptation I was sold. How did you approach the undertaking? It was a huge task! The way it is structured, as a non-linear series of vignettes or monologues, means we were really creating five short films in one. Our first thought was the creative team. We contacted some very talented young Canberra artists, many of whom were women (who are desperately underrepresented in the industry) to get them on board. When you’ve put this much time into a project you’re determined for to do it justice, and for that you need help! The second step was for Liv and I to set up our production company, Myrmidon Productions as a framework to organise funding and boring (but important) things like insurance; and then of course the adaptation. We spent about four weeks working around the clock to transform the characters and the meaning from stage to screen. What notable support have you had to help you tackle the film’s production? Every single person involved in the
ment, the National University Theatre Society and the ANUSA College of Arts and Social Sciences Representatives have all come on board to support the project and a free screening is set for term two. We are also inviting some incredible women in the theatre/ film industry to join us for a panel discussion.
How have you collaborated with the two different co-directors you have worked with each in each medium?
pacity to bring our vision to life was astonishing. Further, the camera department – Luis Power, our Director of Photography, also ANU Alumni, was supportive in delivering on our concepts. I also must mention Ellie here, as her help in editing the screenplay and actor training kept us on task and refocused us on story and meaning before the shoot. What are you thoughts about the state of arts in Canberra currently? I am not an expert, by any means, so I speak to this on my own experience. Over the last five years, I’ve felt truly supported by the Canberra arts scene. Opportunities exist here to explore and create that don’t exist anywhere else. In a bigger city, it is far
like Melbourne”. That’s not to say that good stuff doesn’t still exist here, we just need to stay grounded and commit to supporting local art not just in catchphrases, but also in practice. How did you fund the film’s production? Funding the film was difficult, especially since we only had eight weeks for pre-production. We are so grateful to everyone who supported us, particularly the individuals who made donations to our crowdfunding campaign. Our greatest avenues for funding were the bodies at ANU who were willing to organise a premiere with us in return for supporting the project. Keep your eyes peeled for details coming soon; the PARSA Women’s Depart-
Ellie and I devised, designed and directed the original stage production and Liv and I adapted, produced and directed the film. Both Ellie and Olivia are truly marvellous, talented women. They also happen to be very good friends of mine. What I have found is vital in this process, when you’re sharing creative space under the most trying physical and emotional circumstances in production, is trust. I’d trust both women with my first-born! We share a love for the material and a respect for the craft. That doesn’t mean we agree all the time, in fact often we disagree but the most inspiring moments of collaboration come from that conflict.
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Only The Present Hurts: A Review of Michel Houellebecq’s Submission Alexander Joske
In a terrible act of coincidence, Michel Houllebecq’s novel Submission hit the shelves on the same day as the Charlie Hebdo massacre. In fact, Houellebecq himself was parodied on the cover of that week’s edition of the magazine. The novel’s title is a literal translation of “Islam,” and it tracks a few months in the life of the ageing professor François, a specialist on the 19th century French writer J. K. Huysmans. Submission envisages a violent and chaotic 2022 French election, in which leftist and centrist parties align themselves with the Muslim Brotherhood party, which eventually wins the election, to deprive the increasingly popular Front National of government. Through the confused journeys of François, whose name implies a representation of France as a whole, Houellebecq shows us submissions of many kinds. Those who know only Houellebecq the Hater but have not yet read more than a description of Submission will probably expect this review to attack the novel’s supposed Islamophobic currents. This is a reasonable expectation when one looks at Houellebecq’s past, as he was once taken to court for inciting racial hatred, and later acquitted, after calling Islam “the dumbest religion.” Yet in Submission, he depicts a sentimentalist, a depressive, a cynic, a self-loather and most of all a fatalist. Houellebecq seems to not be a crusader against Mohamet, but a chronicler
of our own slumber and societal depression, as he manages to complete his novel with the perfect combination of aestheticism and humour that one expects from a veteran writer. The translation by Lorin Stein, editor of the Paris Review, also wonderfully maintains its comic side. François is a wisely chosen protagonist for Houellebecq’s novel. He is pitiful in his moral depravity as he sleeps with his students and pairs of prostitutes, and subsists on a troglodyte’s diet of Chinese takeaway and “gourmet” microwave dinners. The Catholic conversion of his “faithful friend”, Huysmans, is a foil for his own spiritual and human failings. He visits the Black Madonna statue of Rocadamour and thinks he has a mystical experience, only to dismiss it as the product of his hunger in the one of the author’s familiar comic twists. He acts as if intellectuals like himself are perfectly insulated from the world, and not responsible for its cycles. In one of the novel’s terrifying and absurd moments, François casually steps over the bloodied corpse of a petrol station attendant, to help himself to a sandwich, a non-alcoholic beer, and a Michelin guide to the region. Impressively, Houellebecq still manages to feed our sympathy for this man throughout the novel, showing us the parallels between our own insecurities and those of François. However, when François’s mistress, the Jewish student
Myriam, emigrates to Israel, we find him despairing about this woman whom he did not quite love, but rather eased the loneliness of his cynicism and modern life. Yet, after the Muslim Brotherhood wins the election, Islamic law is rapidly enacted. Women are veiled, polygamy encouraged, egalitarianism abandoned, and education is Islamised. The people of France are largely compliant. Men, particularly, are pleased with their increased power. The Jews have already left. Astonishingly, this Islamic French society seems stable and successful. François initially finds himself jobless because of his refusal to convert to Islam, but eventually comes to accept the new France, as the narrator eerily speculates about François converting to Islam, and taking up a young bride or two. According to Houellebecq, Islam can do for France what Catholicism no longer can. Is this a realistic piece of speculative fiction? Only marginally. In the actual December 2015 French Regional elections, the Republican and Socialist parties conspired to prevent Front National from winning. But it is farfetched that in the near future, a Muslim Brotherhood party could gain the support of mainstream parties, and not only win a landslide majority of the Muslim vote, but also the wider French vote. Therefore, it would be ludicrous to view an exposition of Is-
lam’s threats as Submission’s central purpose. Furthermore, the novel is so relentlessly critical that it is futile to try to tie it down its allegiances. The reasonable conclusion, then, is that through its portrait of François, Submission points the finger at the quiescent, resigned masses of Western Nations. Most of us here at ANU, have been living in industrialised, egalitarian, and democratic societies for our entire lives, so we easily find ourselves ambivalent and disinterested about each Hannibal at the gates, or even those inside our gates. François observes, “We feel nostalgia for a place simply because we’ve lived there; whether we lived well or badly, scarcely matters. The past is always beautiful, so, for that matter is the future. Only the present hurts”. Yet there is still beauty to be found in the present, and it is a beauty worth defending. Ultimately, there are doubts as to whether a novel like Submission can have any effect on history. Houellebecq maintains that it cannot. I am pessimistic but undecided. Read the book and you can decide for yourself. You are sure to enjoy it.
International Student Welcome Woroni attended the International Student Welcome hosted by ISD and PARSA on Friday the 19th of February. Pictured are some of the most fashionable attendees.
Natashe Santos
Bruce Li
Arebelle Zhang and Zhengxiang Feng
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Life & Style
Campus Style
Amel Saeed
Isla Tobin
Deng Qi
Jesse Buxton-Leslie
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Art in Woroni
Rebecca Selleck
Fenkata/ Watering Hole, 2015
Rabbit pelts, found objects, electrics, heated wiring, steel, fabric, synthetic stuffing 130 x 230 x 170cm (approximately) The forms in this piece are warm to the touch.
It’s been my aim to find a specific sculptural language that gives communicable presence to the moment my conflicting perceptions of non-human animals clash:
I have explored this through the use of three primary devices: the skins of each animal returned basic form, domestic objects that create a psychological and bodily connection with the viewer, and finally through the use The push and pull of empathy and of basic electronics that create a semdisengagement that results in percep- blance of life. These simulate breath, tual dissonance. offer warmth, or create disembodied movement.
Faculty Staff Exhibition Canberra Grammar School Gallery, opening Friday 12 February at 6pm. Exhibition runs until 24 March.
Art News March
2015 Resident Series Exhibition Works by Isobel Rayson, opens 6pm Thursday 4 February at CCAS Manuka. Exhibition continues until 14 February.
Smiths Alternative Bookshop Exhibition Featuring the work of Catherine Claessens, opening 4 March. Exhibition runs until 24 March. Speak Uneasy Noted Festival at Smiths Alternative Bookshop, featuring the work of Shags, Nicci Haynes, Caren Florance and Jane Rawson. Open from 18 March to 24 March.
Blaze Ten Canberra Contemporary Art Space, featuring the work of ANU alumni, opening 6pm 19 February. Exhibition runs until 24 March.
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Rihanna - Anti: A Review Matt Bowes Say what you will about Rihanna, but she’s a fighter. It’s hard to imagine anyone else pulling off a stunt on the scale of “Bitch Better Have My Money”; a tribute to her own lazy power which, in the hands of anyone else, would have fallen far short of the provocative bloody mess that it became. After 2012’s deeply average Unapologetic, and the curiously bland, though undoubtedly successful, FourFiveSeconds, Rihanna’s career threatened to go the way of the many other pop singers, mainly female, as LA specialises in continuing to flog them into mediocrity. At least it could be said, through all of the hubbub, and despite all of the issues it posed, “My Money” had succeeded in giving Rihanna back her own voice. That’s not to say that Rihanna ever really aimed for ultimate musical authenticity; most of ANTI, with its multitude of A-Grade producers and writers (most notably Drake, Timbaland, and Boi-1da) is still as much of a product of the music industry machine as any of her earlier albums, even if it is being released on a differ-
on “Kiss It Better”, to straight out taunting him on “Woo”, and giving up on relationships in “Needed Me”, before finally admitting in the acoustic “Never Ending” that, under it all, she’s just cut, and wishes she could find love again.
ent label. But from the moment you hear her voice for the first time, she seems in control. She starts off slow, as the surprisingly mellow opener “Consideration”, which sees her trade in staccato barbs with fellow songstress SZA, before she breaks out into the eventual refrain of “Got to do things my own way”. It’s as much a musical message as a romantic one, with the overly accentuated bass and dancehall synths echoing languidly across the album, which draws a line under the excesses of Rihanna’s former attempts at EDM. In its louder moments, on tracks like
“Woo”, ANTI even strays into The Weeknd territory, whilst the all tortured guitars and vocoders, provide a contrast to the more minimalist, “Work” featuring Drake. In fact, the lyrical content alone could even give Abel Tesfaye a run for his money. Sex and drugs are the only real constants in this world; when Rihanna says “You light my fire” she’s talking about the J**** in her hand. Underneath these distinctly A-List musings, the narrative itself is a familiar one. Rihanna, recovering from a past relationship, vacillates between wondering how far he’d go to get her back
The climax itself comes in the all too brief moments of “Higher”, where Rihanna finally lets her voice go, as the rasping edges lending authenticity to her retelling of a drunken encounter with her newfound lover. It seems too good to be true, and it is. Only moments before this she admits to still craving the dominant presence of her abusive former partner. Whilst Rihanna may have physically moved on, there’s an uneasy feeling that Chris Brown’s sordid hands have made their own mark forever. After all, violence scars, and judging from ANTI, those scars run deep.
In Defence of Getting Along With Girls Matilda Millar-Carton The phrase “I get along better with boys” is often said by girls in their late teens and early twenties when describing their circle of friends. It’s not murmured as a secret, or something one finds out about another deep into a friendship. Often, it’s proclaimed matter-of-factly, with pride and confidence. Moreover, it’s a sentiment that’s met with approval and agreement. I’ve been in groups of girls where we all simultaneously agree that we get on with boys better than we get on with each other. It seems absurd, but it’s something that I’ve been guilty of several times. Why? Somehow, between our pubescent detestation of boys and our college cries of girl power, it seems girls decided that it was “cool” to be better
friends with guys. So, in an age where we triumph the power and equality of women, why are we so hesitant to admit that we get on with each other? It seems to me that we’re not so much trying to say something about other girls as we are ourselves. The statement is normally followed by a rationale or two. It’s because there’s less drama with boys. They’re funnier. They’re more relaxed. They’re less judgemental. But like any huge generalisation, these justifications fall through pretty quickly. Anyone who’s been friends with any boy knows that dramas, anxieties and judgements are as prevalent in groups of boys as they are in groups of girls. It turns out that these are common amongst people,
not just girls. Effectively, the statement relies on generalisations of men and women that border on stereotypical. When we say we don’t get along that well with other women, we’re hardly referring to the women we know in our everyday lives. We’re referring to stereotypical girl friendships. We’re referring to the groups of girls we see on TV and in movies – Clueless, Mean Girls. Girls who judge other girls, girls who bitch about each other, girls who, to an outsider, appear superficial and laughable. They’re friendships that, possibly, we believed we saw replicated at high school, and believed to be the norm. Girl friendships tend to get a tough rap in popular culture, and are also largely misrepresented. They
don’t reflect who we believe ourselves to be, and so we’re desperately trying to separate ourselves from them. But in claiming we don’t get along with girls, we enforce the very stereotype we’re trying to defeat. In trying to prove that we’re not bitchy, superficial and dull – that we’re not like “other” girls – through asserting that that kind of girl is “normal”, we reinforce the notion that it is. It may well be that many girls have more friends that are guys, but that’s not because girls don’t make good friends. It’s time we reclaimed the girl-friendship, with all its negative, pop-culture stigmas. Only then will we be able to change our own prejudices, and remember that we’re not all that bad after all.
Life & Style
Issue 3, Vol. 67
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A Letter from Abroad: Versailles Rachel Kirk account. The style of lectures and tutorials here is completely different to that of Australian universities, and the language barrier doesn’t make it any easier. But, slowly, I’m starting to get by.
When I first arrived in France for my semester’s exchange at the Université de Versailles, I thought I’d made a terrible mistake. “Well,” I decided, “I gave it a go. Tried it. Didn’t like it. When’s the next plane back?” I felt that way when university started, and I had to sit in classes of enthusiastic French students, picking up about one word in five. I felt it when I moved into my residence, and when I first got lost looking for classrooms, and when I first had to spend the night out in Paris after missing the last train home. The thing is that for all these firsts there’s a second time that’s not as completely terrible. Then there’s a third, and then a fourth. And after a while, it all starts to get a little bit better. One of the things that I knew would be the hardest was getting by in another language. I’ve been studying
Exchange is handsdown the hardest thing I’ve ever done, and that’s not even considering the masses of paperwork and running around and terrible administration I had to deal with before I set off. Living and studying in another culture and another language is hard in ways that you can’t really prepare for. French for about eight years, and I was pretty convinced that I’d do just fine after stepping off the plane. After all, university courses had taught me how to talk about French film, literature, and current affairs – what else would I possibly need to know? Quite a lot, as it turned out. It’s dif-
ficult to open a bank account when half the conversation is conducted in elaborate hand gestures. I decided to take up a sport, and spent the first few classes hanging around the back as the awkward exchange student, wishing I’d remembered to find out what the French for “bat” and “ball” were. That’s not even taking the classes into
At the same time, though, it’s great to have the opportunity to have all these firsts. By the end, I won’t be ready to jump on the plane back home. I may even be able to conduct a whole conversation in French without having to use hand gestures at all. That’s the dream, anyway.
Fresh off the Boat Jonathon Peter Twelve days on a cruise ship isn’t the preferred holiday option for most students, especially with gap years and summer vacations spent on Contiki, or just backpacking in general on offer. However, I’m here to change your misconceptions on cruising and why it is another incredible way to see our beautiful world. Firstly, you do not have to be over 60 or play bingo to go on a cruise. Yeah, I know right?! Booking a cruise for you and your best friends will be the single most drunk and enjoyable experiences you will have on 78 thousand tonnes of steel in the middle on the ocean. Yes, of course there are a considerable number of over 50s enjoying their children’s inheritance, but with over 3000 people on board you will always find like-minded people who, like you, want nothing more than to go to happy hour every day before riding
that Dutch courage to the nightclub which is open every night. Days at sea can be spent doing numerous activities which you will actually have to prioritise because there is too much to do. Activities on board include many fitness classes, water volleyball in one of the 3 pools on board and beginners ballroom dance classes everyday which I would highly recommend because who doesn’t want to pull out those moves on formal nights and give DiCaprio a run for his money. Night times on board are a real treat with live music happening all around the ship, and a different firstclass stage show every night that will make you forget all about your worries and studies. Secondly, the on board experience is literally only half the trip, my cruise in particular took us to 6 different
island destinations in New Caledonia and Vanuatu. These islands were incredibly beautiful in so many ways, the environment, the people, the food, everything! Surprisingly, the interactions and experiences we shared with the locals were very intimate and real, considering the amount of tourists they receive every year to boost their economies and general livelihoods. The locals were extremely friendly and joyful, and why wouldn’t they be when living in paradise. Some highlights off the ship for me were the pristine beaches with warm water that will make you never want to leave, freediving at The Blue Lagoon (it was so blue!) and most importantly the snorkelling at every island, from anemones with clownfish to a school of baby angel fish and the most fluorescent pink coral I have ever seen. The sea life in the Pacific islands
is truly a sight to see. Fun filled days on shore end with us heading back to our ship and relaxing until the seven course dinner awaits you every single night, with desserts to die for and mains that don’t even come close to mi goreng back at uni. Most importantly, you will never forget the friendships you create with the people you meet on cruises, from the amazing crew, to the beautiful locals and the lifelong friends you make from simply getting ridiculously daydrunk while cruising the South Pacific, without a care in the world.
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Sport
ANU vs. Sydney Uni Intervarsity Cricket Wrap-Up Jack Birtwhistle
The Australian National University (ANU Owls) recently hosted Australian University Games champions, The University of Sydney, in the inaugural Intervarsity One-Day cricket fixture between the two universities. The University of Sydney came into the game as hot favourites following their national success on the Gold Coast late last year, however, it was the ANU Owls took the spoils with a 4 wicket victory. A picturesque ANU North Oval was the setting for the 50 over-a-side match, with the condition of the ground and pitch surprising the visitors. Despite the mercury reaching 37 degrees, it did not deter either team, with bragging rights between the two Group of Eight universities on the line.
the first 9 overs. However, ANU managed to slow the run rate by breaking key partnerships in the middle period of the innings. Matt Edwards and Angus Polhill worked well together to restrict Sydney Universities run rate. Opposition opener, Jack Hill managed to craft a solid 60 runs before being brought undone by Guy Gillespie in his second spell. Fellow paceman, Jono Warren, followed this up with two wickets in twp balls, putting the visitors in a compromising position of 9/184. However, some big hitting late in the innings by Kieran Tate gave the visitors something to defend. All out for 227 with two balls to spare.
1st Innings Highlights
Both teams were scattered with ACT and NSW grade talent, with the ANU’s entire squad playing in Canberra’s premier division.
USYD 10/227 – Jack Hill (60), Kieran Tate (47), Jack Holloway (36); Matt Edwards (3/30), Jono Warren (2/31), Guy Gillespie (2/39)
University of Sydney won the toss and elected to bat first. ANU’s opening bowlers Alrick Campbell and Guy Gillespie bowled well without luck, with the visitors reaching 0/40 after
In response to USYD’s total of 227, ANU got off to a flyer thanks to opening batsmen Sam Carters and Laksh-
man Shivakumar. The pair were 31 off the first 20 deliveries before the skipper, Shivakumar, went for one too many and was caught behind 21. This brought Rhys Healy to the crease who took no time at all getting his eye in. He and Carters put on a 45-run stand before the opener was caught on the boundary trying to bring up his half century. Nonetheless, Carters’ 44 off as many balls had put the home side in a great position after eighteen overs – 2/116. Chivers joined Healy and continued to knock the willow to all parts of North Oval. Neither looked like getting out before Healy came unstuck on 78 runs. With the score at 3/192, ANU were sitting comfortable, requiring 38 runs off 20 overs. However, a flurry of wickets saw a middle order collapse and a few nervous moments in the dressing sheds. Chivers managed to maintain his nerve and steer to home team to a four wicket victory with 14 overs to spare.
2nd Innings Highlights ANU 6/228 – Rhys Healy (78), Owen Chivers (45), Sam Carters (44), S.Roby
(2/1), Lewis McMahon (1/31), Ryan Kurtz (1/37) A big thank you must go to University of Sydney and ANU Cricket Clubs for their assistance in organising such a successful event. The ANU Sport staff did a great job keeping the spectators well fed and hydrated at the BBQ and bar. We must also mention the umpires, for which the game would not have been possible without them. Thanks also to Jeremy Wilcox and the team at The RUC in Turner for their continued support of sport at the ANU, hosting the after match function. Finally, thanks to players from both universities for playing the game in a great spirit and putting on an exciting display of Intervarsity Cricket for the crowds. We look forward to the return fixture next year.
Issue 3, Vol. 67
Sport
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Recap: ISO Volleyball Carnival Henry Delves
ISO officially kicked off with Basketball on Thursday of Week 2, but the season really kicked into gear on the Friday with the commencement of the highly anticipated Volleyball weekend. Held in very high regard by many in the ISO community, those believers were not disappointed. As we wiped the sleep out of eyes and tried to sift through hazy memories from the night before at Mooseheads, our attention turned to the first serves of the day. As the day wore on, we all asked one question: why did volleyball have to be held inside the furnace that was the sports hall on a 35 degree day? Wiping sweat from our brows (and other obscure bodily crevasses), both nervous spectators and animated players held on as the heat took its toll. We pushed into Saturday all with our
recommended 8 hours of sleep and it was proven in everyone’s performance. B&G and Fenner boys asserted their dominance on the competition. Poor Burgmann and Bruce struggled through many close sets which all fell against them. From the girls, Griffin and Johns surged ahead with Unilodge following in hot pursuit. Day three, Sunday, was where the action and controversy was. With finals looming, the competitive streak in all of us boiled at the surface. However, this didn’t stop the teams from playing respectfully. In easily the most heated and brilliant matches ISO anyone has seen in years, Unilodge kept a cool head and mowed B&G down to be crowned the male
champions. Due to unforeseen circumstances and matters arising beyond the control of ISO, the Women’s bronze playoff and Grand final could not be fit into the weekend. In an effort to seeing the silver lining, it will leave everyone with something excellent to hypothesise and keep the 2016 volleyball season going! Burgmann and Griffin will potentially be fighting it out for gold on the Tuesday 8th March at 5 pm. As for
the third place match between Unilodge and Johns, stay posted for the details! Thank you to everyone for getting around a bloody fabulous weekend! Credit must all go to B&G who did a fantastic job in organising the competition.
Week 4, Semester 1, 2016
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Sport
Five Reasons Things Aren’t All That Bad For Essendon In 2016 Ashwin Chandekar Whether you’re a staunch realist or the most delusional Bombers supporter in the country, your expectations for the 2016 AFL season at this point aren’t exactly sky high. The season long drug-related suspensions of 12 Essendon players ‒ including stars Dyson Heppell, Michael Hurley and skipper Jobe Watson ‒ would be difficult for any team to bear, not least a team that finished bottom 4 the previous year. That being said, here are five things to look forward to for this coming season.
If history is anything to go by, Essendon should be able to bank on one, two or maybe more wins. And imagine if those wins come against competitive rival clubs like North Melbourne or Richmond. As a Tigers supporter, I’d avoid my Bomber mates for at least a fortnight if they managed to snatch a win.
1. Absolutely humiliating the team(s) you actually beat
2. Fast tracking the development of some kids
Since the AFL moved to a 22 game home and away season, no team has ever gone a whole season without a win. The closest teams to do so were Fitzroy in 1996 and GWS in 2013, recording one win each against Fremantle and Melbourne respectively.
With less competition for spots and low to no expectations for the season, young guns like Darcy Parish, Marty Gleeson, and Jayden Laverde et al will be able to play plenty of games. As long as they’re protected by the bigger bodies of the top up players, the extra
Even the spoon is not a foregone conclusion, with clubs like Carlton and Brisbane looking to snatch that elusive number one draft pick.
experience should hold them in very good stead for the future.
3. Knowing that you’ve bent some clubs over the trade table, at least for this season
veiled for this year marks the end of the grey abomination’s reign of terror. Seriously, that thing was total trash.
5. Rebounding in 2017
Sending Jake Melksham to the Demons for pick 25 is as close to bartering “magic beans” for a cow as reality allows.
A season of complete catharsis looks less and less likely with the players resolving to appeal their bans. That said, a season of virtually no injury risk, mental refreshment and general development is a nice silver lining.
Jake Carlisle and pick 44 for pick 5 (used on Darcy Parish) and Craig Bird is an absolute steal. His particular brand of “white line fever” won’t be missed either.
And just quietly: when Essendon finished last in 1921, they won back to back flags in 1923-24, the quickest turnaround from wooden spoon to premiership in the history of the sport.
4. Never having to see that disgusting silver clash Guernsey again
So take heart Bombers fans – there’s plenty to see you through the year that isn’t just at the bottom of a bottle.
Though it may never see a win, the new vibrant red on red jumper un-
Get involved in the issues that concern YOU ANUSA has six departments that represent marginalised groups of our community, along with several student committees focused on various aspects of student life. DEPARTMENTS
- Disabilities - Environment - International
- Indigenous - Queer* - Women
COMMITTEES - Education - Mental Health - Ethnocultural - Safety on Campus - Grants & Affiliations - Social
Get involved by joining in on events, attending meetings, raising concerns and becoming part of the community. More info at anusa.com.au/advocacy
Science
Issue 3, Vol. 67
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Scientist The Gendered Profession Kate O’Sullivan
What do you think of when someone says “scientist” ?
I asked this question in a lot of schools last year, and usually got “he wears a lab coat”, “he has crazy hair”, “he wears glasses” and other similar responses. Now for me, this is a problem. As a tall, non-spectacled and long, straight haired female…I don’t really fulfil any of those stereotypical descriptions. In fact most children I saw decided that I didn’t look like a scientist – especially when standing next to a male colleague. As someone with a BSc in Nanotechnology and Chemistry, and two postgraduate degrees in Science Communication – I find this troubling. And, research indicates that these gender-in-science stereotypes persist worldwide. I recently came across an article on HuffPost Tech, about what it means to be a woman in Science, Technology, Engineering and Mathematics (STEM). A quote from fifteen-yearold Maria caught my eye. She said:
“I believe women in STEM aren’t any different than men in STEM ‒ there are just less of them, most likely due to difference in societal expectations.” STEM has always been seen as a bit of a boys club. And I’m going to draw on some statistics to back that statement up (I know, boo, but hear me out). If you look at the proportion of women and men who’ve won Nobel prizes across all fields, women lose out. Only 5.6% of Nobel prizes have been awarded to women – and of those, less than half to women were in STEM fields. In 1970, only 7% of people employed in STEM fields in the USA were women. By 2011, that figure had climbed to 26% (US Census, 2011). To break that down a little further, in 2011 women were 13 percent of engineers, 27 percent of computer professionals, 41 percent of life and physical scientists, 47 percent of mathematical workers, and 61 percent of social scientists. Statistician Berry Vetter claims that 14% of year 9 boys and 10.5% or year 9 girls will have taken enough maths to pursue a STEM career. Of these, about 50% of the men and 20% of the women will major in science in college. Of these, 30% of men and 45% of women will complete their degrees in science. Five of these men and one of these women will go on to obtain their PhD. This is sometimes known as the “leaky pipeline” metaphor. Now I know this all sounds doomand-gloom-y, but there is some good news. We know that pop culture is where we commonly see stereotypes, and that, is a reason more women scientists should be featured in leading roles. And the upside is that there is a trend of more “cool” female scientists in mainstream media. From movie characters like Jane Foster in Thor and Dr Ryan Stone in Gravity, to the variety of female characters we see on TV shows; characters in Orphan Black and The Big Bang Theory to name a few, women in STEM are being seen more and more. By increasing the number and diversity of female leaders and role models on screen, the media can af-
fect the ambitions and aspirations of girls and young women worldwide. To quote Geena Davis: “If she can see it, she can be it.” In 2015, the Australian Academy of Science (AAS) launched a pilot of the Athena SWAN Charter — Science in Australia Gender Equity (SAGE). SAGE will assess and accredit the gender equity policies and practices in Australian science organisations. The idea is that this will drive changes that will increase the number of women in senior roles and the number of women with STEM skills in the broader workforce. To shift the perception of women in STEM, we need to move beyond heralding single examples of eminent female scientists such as Marie Curie or Dr Fiona Wood. We even need to move beyond creating lists of accomplished female scientists, and instead, directly integrate those examples into the world around us. This can include art exhibitions like the “League of Remarkable Women in Australian Science” exhibition and lectures held at the ANU last year, the blog, “Women in Science Australia”, the ARC Centre of Excellence for All-Sky Astrophysics’ Gender Action Committee (chaired by ANU’s Vice Chancellor, Professor Brian Schmidt), as well as mentoring programs at the University level, such as ANU’s GETSet program for year eleven and twelve students. We need to show more women in STEM rather than just talk about them. The more women involved in STEM, at all levels, the weaker the stereotypes become – a study from the University of California, Berkeley indicates that student’s ideas about who can be scientists change when they can see and compare both female and male scientists in the real world. “Women don’t need to be told that “science is for girls too” - they need to be shown that science is for everyone, not just the boys club of old.” To close, I think I’ll turn to the words of Minal, age fifteen, from the same HuffPost Tech article I referenced earlier:
“The women in STEM have embraced their dreams and proven to society that women are just as capable in the fields of science, math, technology, and engineering. My perception of them is that they are brilliant people who have taken this step not just to benefit them but also to help other young girls like me who would hope to in the future be a part of one of these fields.”
Science
Week 4, Semester 1, 2016
35
Papua New Guinea’s Fight Against Drug-Resistant Tuberculosis Georgia Eccles
With one of the highest tuberculosis (TB) rates in the world, Papua New Guinea’s TB pandemic is referred to by national health authorities as an “emergency”. With approximately 30,000 newly-infected with the TB bacteria every year, increasing incidences of drug-resistant strains and limited access to adequate healthcare, the nation has seen a recent resurgence of support from international governments and medical humanitarian agencies. TB is a communicable, airborne infection that is caused by the bacteria Mycobacterium tuberculosis. It can lie dormant within the body for many years. However, for those with compromised immunity, TB develops into a disease that destructs organ tissue, most commonly in the lungs and kidneys. It presents symptomatically as a fever-like condition and can be fatal if left untreated.
Throughout the latter half of the 20th century, the global fatality rate for TB was greatly reduced through the administration of rigorous antibiotic treatment. However, the development of antibiotic resistance has instigated two aggressive strains of the disease. The increased incidence of both Multidrug-Resistant TB and Extensively Drug Resistant TB in PNG has occurred at an alarming rate. This drug resistance eradicates a response to the most effective TB medication. Thus, patients are left with a more severe strain of infection and less effective treatment options. According to the PNG Institute for Medical Research, many remotely-situated TB sufferers die of TB without
even receiving a formal diagnosis. Furthermore, only 50% of those infected with TB have access to “adequate treatment”. This is problematic as TB convalescence can require a daily regimen of injections, oral medication and supervised medical care for anywhere between six and twenty-four months. Inconsistent treatment can not only increase the disease’s severity but also strengthen the infection’s resistance to treatment options. Government commitment is vital for the minimisation of this issue. The World Health Organisation has urged the PNG government to maintain a sense of urgency in their emergency response efforts. Additionally, the Australian government is monitoring
the distribution of sixty million dollars in aid targeted at the TB response over the next six years. On World Tuberculosis Day 2015, the PNG Prime Minister, Peter O’Neill, thanked the Australian government for its ongoing support. He also urged the nation to encourage patients to finish their full course of drug treatment in an effort to combat the drug-resistant strains. Moreover, international non-government organisations continue to support the TB response, sending medical professionals to meet the demand for care and assisting with the development of health
Satire
Issue 3, Vol. 67
36
Satire & Humour
You Girls Just Don’t Get What Mansplaining is Joey Julian
Look, as a straight, white, cisgender man, it pains me to say this: women just don’t get what mansplaining is. I’m a feminist, and fully believe that mansplaining is very much a real issue we should all be aware of. But women can’t make progress on this issue if they keep abusing the term to suit their own agenda. All they’re doing is alienating men. Feminism won’t get anywhere without the support and direction of males, so why make us feel that our ideas are unwanted or unwelcome? The fact that our valid opinions are ignored because of our genitalia is, frankly, a little sexist.
When Katy Gallagher accused Mitch Fifield of mansplaining during the recent Senate community affairs committee, she got it wrong. He was simply clarifying cabinet process to a minister with 13 years of experience in politics. In order for explaining to move into mansplaining territory, the explanation MUST be condescending. It’s an easy mistake to make, but if we’re all to be better feminists we need to work on this. Furthermore, Mrs Gallagher’s attempts to match Mr Fifield’s assertiveness came off as abrasive and bossy ‒ unbecoming of a woman of such high political stand-
ing. It was an embarrassment, and makes it harder for real feminists to be taken seriously. But this isn’t the only example of such misuse. In the years since Rebecca Solnit’s blog post “Men Explain Things To Me” was published in 2008, the term “mansplain” has taken on a life of its own. The meaning has become so broad, so diluted, that it’s basically meaningless. What originally referred to men assuming they know more than women can now be applied to almost anything a man says to the fairer sex. To support this us-
age, you’d have to believe that most men see themselves as more capable than most women, as if it’s some ingrained part of our culture. We know that’s not true. I certainly don’t fall into this category, and neither do any of my guy friends. We’re great feminists who read Jezebel every day. The fact is, not all men are the enemy. It’s time you let us guys handle this for a while. Leave mansplaining to the experts.
Satire & Humour
Wolly Matt Daly
Lost it inside you? Broken up with over snapchat? In this spontaneous segment, Woroni makes fun of your worst romantic disasters from that time you discovered the identities of the amateur porn stars on your floor to the time room inspections had you on the edge. And kept you
there for the next painfully long 10 minutes. Email satire@woroni. com.au with your stickiest adventures and we might actually publish it, depending on how badly it will make you cringe when you see it in the paper. Yours truly, Wolly
Dear Wolly, I am writing to you as a concerned mother and taxpayer regarding the backlash over Malcolm Turnbull’s investigation into the Safe Schools Coalition. The destruction of the Safe Schools Coalition is the right move. It is homosexual indoctrination. Why should children feel safe when I am personally threatened by their happiness and self-confidence?? Now, I’m no homophobe. I am perfectly ok with my daughter being gay OR straight. As long as I don’t have to know it if she’s a lesbian ‒ that’s fine! I will love her whether she marries the love of her life or an ignorant man who will never find out the entire relationship is a sham to appease her father and I. With Safe Schools, my child will feel comfortable expressing her sexuality and exploring her gender without judgment. I’ll have to confront that holding onto my intolerance is not as important as my child’s happiness, which is something I’m just not ready to do. Everyone should love only the opposite sex. And everyone should be stuck
with the genders we randomly assign them at birth, because we as parents know exactly what is best for our children. My action group of concerned mothers/book club agrees with me, so how can anyone disagree? However, for the first time. I have had to question my beliefs. Yesterday, my fifth grade son, Lakyn, came home to yell at me. He told me I was ruining people’s self esteems and destroying their lives. Are they really people too? Should I be concerned about their feelings?!? Has Lakyn become one of THEM??? Yours in fear, Sharon
Satire
Week 4, Semester 1, 2016
37
Satire & Humour
37 Australian Born Refugee Babies “Serious Threat To Our Border Security” Xinju Shi
In a bizarre continuation of Australia’s quest for border security, Immigration Minister Peter Dutton has recently flagged his intention to send a group of 160 adults, 54 children, and 37 Australianborn babies back to Naru.
After being confronted on Q&A last week, Dutton asserted that these 37 infants are deemed to be a real threat to Australian border security. Particular emphasis was put on the necessity of detaining children, despite increasing social concern about the impact this detention has on mental health. Additional concerns have been raised following the publication of The Forgotten Children Report, which shows 233 recorded assaults involving children and 33 incidents of reported sexual assault over a 15 month period in 2013 and 2014.
new era of xenophobia and islamophobia, there is nothing one can’t do if we simply say ‘Australia feels the border security has been threatened’. It also apparently implies that we can disobey international human rights laws, our own laws and morality. Compassion and morality are missing in Australia, should you find it; please return to the Federal Parliament where, with some luck, you may be able to resuscitate Australia’s conscience.
Does Australia claim the moral high ground? Apparently we do. In this
Satire & Humour
Riots Erupt In Canberra Locals Thirsty For More Super-Likes Cat Karrington and Pettie Bage
Protests in Canberra descended into chaos last week as locals rallied over a favourite Canberra past-time: Tinder. The riots followed a series of widespread rallies across Canberra campaigning the service for unlimited super-likes due to the unparalleled quality of the Canberra dating pool. Renowned for a curated selection of aging public servants, sexually-frustrated ADFA cadets, and students not attractive enough to find love in Melbourne or Sydney, the high calibre and extensive choice of singles in Canberra is seemingly well known to all but the developers of the popular app. Organizers of the rallies, the National Union of Singletons (N.U.S.), described the move as “inconsiderate”, as “not all dating pools were created equal”, and argued that super-likes should be distributed accordingly. ACT N.U.S. President, Michelle* explains:
“I understand that you can’t super-like everyone, but obviously the Tinder developers have never seen Mooseheads at 3am on a Saturday. One super-like every 12 hours simply doesn’t cut it. Not in Canberra.” The “super-like” feature, introduced by Tinder in 2015, allows users to signal to potential love interests that they are not just interested, but desperately interested. Allowing users to easily transcend the boundaries of what is socially appropriate, super-likes replicate all the deliciously uncomfortable aspects of “too much, too soon” encountered in real life dating. Dating app expert and perpetual singleton, Callum*, 27, suggests that this fills an important gap in the market. “I’m a huge fan of Tinder, but I really missed the sensation of telling a new partner that I was in love with them on the second date. Super-liking their profile gives me some of that thrill,” he reveals.
Nice guy and fedora enthusiast Liam* was an initial supporter of Tinder, but quickly found that he ran out of super-likes on the free service. His frustration at wasting a number of super-likes led him to upgrade his Tinder account and purchase additional super-likes, a costly but seemingly worthwhile investment. “It’s not ideal,” he admits,“but I don’t mind splashing out a little cash here and then to make a lucky lady feel special. I am a gentleman after all.” However, not all nice guys can afford the hefty charge of $30.99/month for Tinder Plus, which has left the N.U.S. Executive particularly distraught after having spent their annual budget solely on petting zoos. The wilful overlooking and lack of consideration for Canberra’s quality has led locals to develop a new app restricted solely to the ACT with unlimited super-likes. The new app, “SKYFIRE: Get Some ACTion” has
already been downloaded on over 5,500 devices. It is believed that at least 31.24% of this number consists of users mistakenly looking for the ACTION Buses app. However, one user who made this mistake, Steve*, was pleasantly surprised: “I still have no idea when the 52 comes, but at least now I do. Regularly. Unlike the bus.” It is hoped that local apps such as SKYFIRE will offer a cost-effective alternative to Tinder, with the added benefit of being designed with Canberra in mind. Only time will tell if this is a good match for Canberra or after their initial lusty encounter they’ll end up ignoring it and getting real awkward and pretending not to know each other in supermarkets *Real names have been changed as you’ve probably dated them before.
Pictures from the Woroni Archives Curated by Nicholas Wyche