Every year, there are high hopes that the budget will usher in new policies for refugees and people seeking asylum. Unfortunately, the 2021-22 budget appears to forecast another bleak 12 months for refugees.
A generation of Australians have now grown up during the war on terror, the effect this has had on Australian society is pervasive, and nowhere more so than in our schools, as Randa Abdel-Fattah writes in her book Coming of Age in the War on Terror.
From safe within their national borders, Australians watch the calamity unfold on their screens – terror stricken families trying to save dying loved ones as the subcontinent’s hospital system collapses – desperately crowdsourcing medicine and oxygen cylinders.
In early March, then Minister of Home Affairs Peter Dutton signalled his intention to proscribe British Neo-Nazi group Sonnenkrieg Division (SKD), a terrorist organisation. This represented a significant, if contextually alarming, moment in Australian history.
Blackness has long been absent from Australian public galleries. And if present, it is often portrayed as the voiceless and nameless muse or servant to the whiteness of the protagonist. Importantly the National Gallery of Victoria’s Triennial shows signs of change.
Curated by Kaantju woman Shonae Hobson, the Bendigo Art Gallery’s first-ever First Nations Curator, Piinpi, is a landmark exploration of the cultural importance of Indigenous seasonal knowledge, community connection and storytelling in a contemporary context.