Growing Up Aboriginal in Australia: a review

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Growing Up Aboriginal in Australia

Edited by Anita Heiss

Black Inc.

Dr Anita Heiss, Wiradjuri woman and prolific writer with the well-known 2012 memoir Am I Black Enough For You in her back catalogue, has published the anthology Growing up Aboriginal in Australia, a collection of short stories from a diverse number of indigenous Australians that speak from the heart and provide deeply personal insights into what it means to be an Aboriginal Australian.

A nationwide call out for nonfiction submissions saw more than 120 accounts about growing up over country from Noongar in Western Australia to Gumbaynggirr in New South Wales to Kuku Yalanji in the rainforest areas of Far North Queensland and all places in-between. The submissions chosen for the book are therefore just a part of the personal experience that individuals wanted to share with a wider audience, a part carefully curated to illustrate the breadth of experiences so that readers may ponder on the content of stories not yet shared into the public realm, but which are very much a part of the shared experience of Indigenous Australians.

While each story is as individual as the person sharing it, there are experiences that are shared amongst the writers that deeply impact upon themselves, their families and their own sense of growing up and identifying as an Aboriginal Australian.

The Stolen Generation, the forced removal of children from their parents from 1869 onwards, has had catastrophic effects with the suffering passed down to each generation ­– if they’ve been able to reconnect.

Experiencing overt and subtle racism and a feeling of trying to find self between “two worlds resting in on each other,” as eloquently described by Evelyn Araluen in the piece Finding ways home is also a shared experience amongst contributors.

Araluen, at twenty-four, reflects upon how her identity changed in the shift from primary school to teenage hood and high school and how she was called names such as “shit-skin” and “Abo” at the same time she was she learning to celebrate her ancestral heritage.  Alice Eather’s Yúya Karrabúrra which starts with an evocative poem using some Ndjébbana language also speaks of walking between two worlds, mentioning too the prevalence suicide has on communities and young indigenous people. Alice’s contribution is particularly poignant as, at the age of twenty-eight, she took her own life.

The pieces vary in length, ranging from two pages such as Taryn Little’s Just a young girlwhere she writes of her memory of smashing cherries, at twelve-years old, into beloved cousins at a family friend’s farm, to the longer A story from my life by William Russell on the complexity of identity. Each contribution though has a strong connection with being an Aboriginal Australian, on country, about country, talking about awareness of ancestral heritage or the passing down of memories and identity that makes each writer unique but part of the tens of thousands of years of history that follows them on their journey in contemporary Australia.

Growing up Aboriginal in Australia is an important anthology that serves as a collection of public history, the personal tales providing insight into the everyday experiences that have shaped and continue to shape Aboriginal Australians – in many different and diverse ways.

Originally published at Right Now

Queer Screen 2019: Right Now’s top picks

Rafiki 

Directed by Wanuri Kahiu

Rafiki, directed by Wanuri Kahiu, has an interesting backstory in that it is the first Kenyan film to make its debut at the Cannes Film Festival, and there was talk of it being submitted as Kenya’s entry for Best Foreign Language film at the 2018 Academy Awards. But in order to get there, and to have audiences view Rafiki, Kahiu had to bring a lawsuit against the Kenya Film Classification Board and the Kenyan Attorney General.

The promotion of same sex relationships in Kenya is illegal under the Kenyan Penal Code so the depiction of a blossoming romantic relationship between two young women, Kena and Ziki, whose fathers are political rivals, was originally banned by the Kenya Film Classification Board due to the films lesbian themes.

In order to have the film, with its sublime hyper-real colours and beautiful cinematography submitted to the Academy Awards, it needed to be released domestically. A High Court challenge resulted in a temporary lift on the ban of the film and audiences sold out the screenings. Watching Rafiki, it is easy to see why. Kahiu has captured the tenderness and excitement of friendship and love between Kena and Ziki, who don’t want to be “typical Kenyan girls”, whilst also highlighting the danger around the expression of their relationship within their tight-knit community in Nairobi.

The film moves along to a great soundtrack that ebbs and flows along with their story. Whilst Kenya didn’t end up submitting Rafiki to the Academy Awards the hype around the film is well deserved and will have you thinking about it long after you’ve left the cinema.

Rafiki will screen for the Closing Night Gala at 7pm, on Thursday the 28th of February. Tickets can be purchased here. Watch the trailer below.

Originally published here.

AACTA DOCS FEST | Tales of Loss, Redemption and Forgiveness

Some tales are hidden and wait for the right filmmaker to come along and weave their stories into something that creates such an impression on the audience that they’ll forever carry a part of that story with them. Gabrielle Brady’s ISLAND OF THE HUNGRY GHOSTSMathew Sleeth’s GUILTY and Catherine Scott’s BACKTRACK BOYS are stories that will stay in the minds of audiences long after the films end.

Christmas Island is full of hungry ghosts; ghosts of people who have died and not received a proper burial and ghosts who are living, caught between the injustices of the Australian immigration system and the brutality of the place that they flee.

Brady’s ISLAND OF THE HUNGRY GHOSTS is as hauntingly beautiful as it is distressing, with Michael Latham’s cinematography expertly capturing both the volatility and vulnerability of the island. Christmas Island is both a safe haven to the island’s famous red crabs who are cared for in their migration from jungle to sea, but also a jail and a place of suffering for those seeking asylum in Australia. The film follows Poh Lin Lee, a trauma counsellor who provides detainees with the opportunity to talk about their traumatic past. Yet these opportunities are never enough to alleviate the untold hurt and suffering of those seeking asylum who are detained indefinitely in the high-security Australian run detention centre. The island holds its secrets well and Lee’s struggle to navigate the increasingly political environment leaves her with few choices, impacting heavily on those she cares about.

Loneliness and isolation is a theme that connects Brady’s ISLAND OF THE HUNGRY GHOSTS with Sleeth’s documentary GUILTY. The last time a prisoner faced corporal punishment in Australia was the 1967 hanging of Ronald Ryan. Whilst Australia abolished the death penalty, numerous countries around the world still practice it and Indonesia, Australia’s closest Asian neighbour, is one such country.

GUILTY is a story of personal redemption and a nation’s heartache. Expertly capturing the final 72 hours of Myuran Sukumaran‘s life on death row in the infamous Kerobokan prison, the film offers a heartfelt glimpse into the transformative power of art in an contemptible situation. GUILTY showcases the dual fragility and strength of the human condition. Interspersed with archival footage from Sukumaran’s sentencing and newspaper reportage, and reflecting cinematographic influences from artistic expression the film is a moving tribute to Sukumaran’s legacy as well as an indictment on corporal punishment.

Forgiveness and redemption often go hand-in-hand and in Catherine Scott’s BACKTRACK BOYS the power of self-belief and the offer of non-judgemental assistance to vulnerable boys is a potent mix.

When Bernie Shakeshaft was younger he spent time in Tenant Creek where he was taught to track wild dogs, not by pushing them away but by listening to them and instead having them approach him. The lessons learned have kept Shakeshaft in good stead with the Backtrack Boys volunteer group he created, made up of caring adults, at-risk young boys and a group of dedicated working dogs looking for their own safe place in the world. Set near Armidale in regional New South Wales, the film exposes the harshness of the juvenile criminal justice system and the daily struggle to keep young boys from being caught up in it. Using their own words, BACKTRACK BOYS’ intimate exploration of the value of at-risk boys believing in themselves tugs at the heartstrings and provides a glimpse into the vulnerability of all involved in wanting these children to succeed.

You can read the original here.

Counterfeiting and Illicit Trade Book Review

Peggy E Chaudhry (ed), Edward Elgar Publishing, 2017 hb

The increased ease with which international trade and commerce occurs across the globe brings with it not only the ability to reach new audiences and markets for goods and services but also the ever-present threat of counterfeiting and illicit trade.

This is a comprehensive and well researched handbook that calls upon experts from industry, law enforcement, the legal community and the private sector (to name a few) to provide working insight into diverse topics covering such things as money laundering and terrorist financing, music piracy and pharmaceuticals.

Divided into five sections, the first part deals with trends and global enforcement issues in relation to illicit trade. Part II details the United States, Mexico and China’s initiatives in stemming illicit trade, which makes for an interesting comparative study highlighting the complexities of regulation and enforcement. The focus shifts in Part III to counterfeit pharmaceuticals, luxury goods and the tobacco sector while Part IV deals exclusively with the internet, including an extensive chapter on social media and intellectual property rights that came out of the 2015 United Kingdom’s Intellectual Property Office research into social media platforms and IP infringement. Case studies and industry examples are peppered throughout the handbook, which serves to highlight the enormity and complexity of the issue of curtailing illicit practices on a global level.

The final part of the handbook provides an overview of managerial and consumer perceptions around the various anti-counterfeiting tactics deployed in the international business space and offers real insight into the impacts on consumers of illicit trading. These are supplemented by recommendations that could offer tangible benefits to consumers and business and deal crippling blows to the counterfeiting and illicit trade industry.

This book is essential reading for those interested in the impact of counterfeiting and illicit trade on international business.

Originally published in Law Institute of Victoria Journal ‘in_print’, 2nd July 2008.

This is Congo Right Now’s HRAFF 2018 film picks

One of the most resource rich countries in Africa, the Democratic Republic of the Congo (DRC) has been ravaged by over 20 years of civil instability and its vulnerable people are the ones who suffer the most.

In the first five minutes of Daniel McCabe’s This is Congo you are given a frightening glimpse into the sights and sound of civil war and this sets the stage for the rest of the film.

The threat of war is everywhere, from the 50 plus armed groups vying for control over areas rich in gold, diamonds and other minerals, to the feared Rwanda-Ugandan backed M23 rebels who are well armed and move through the country with impunity.

The rebels all share one thing in common: they’re united in their mission to overthrow the Kabila government whom they see as corrupt and siphoning away the potential of the country for their own material gain. But is this a recent issue for the DRC? McCabe’s use of archival footage illuminates the path that the country has found itself on, willingly or not.

McCabe’s focus on the four characters that he has chosen – a National Army Colonel, a high-ranking army officer, a mineral dealer, and a tailor – shows the impact of living in a country that is constantly at war with itself.

This is Congo is as harrowing as it is beautifully shot. The frontline footage is confronting but so is the story of the Democratic Republic of the Congo, and it’s one that needs to be told.

This is Congo screened on Friday 4 May at 6:00pm at ACMI (Melbourne),

City of Ghosts Melbourne International Film Festival Review

Matthew Heineman’s new documentary, City of Ghosts, focuses on RBSS (Raqqa is Being Slaughtered Silently), a group of citizen activists who documented the path of destruction and death inflicted on the city of Raqqa in 2014. The group set out to witness the crimes of both the Bashar Al-Assad regime and ISIS (Islamic State of Iraq and the Levant) through active reporting, including the secret filming of events leading to the fall and capture of Raqqa.

Extensive footage shows how ISIS rose to power in Syria, seemingly on the back of Assad regime protests around democracy, and how RBSS silently filmed them to ensure that there was a historical record of the atrocities that would be committed, which unbeknownst to RBSS would eventually amount to genocide and Crimes against Humanity. From the inception of ISIS arriving in the city, to the realisation that they were worse than Assad’s pro-government forces, the documentary frighteningly captures the nightmare that besieges Syrians daily.

ISIS trucks parade through the city centre with crucified hostages, beheaded bodies line the footpath outside a popular park, while mainstream and western media remain silent.

The film’s focus is on RBSS communicating to the international community the atrocities taking place, and pleads with it to spread the news of what is occurring in Syria.

Extremely confronting, City of Ghosts is essential viewing for those interested in the rise of ISIS and how citizens are able to bear witness for generations to come.

City of Ghosts screens at Hoyts Melbourne Central on Saturday 5 August at 9:15pm and on Sunday 20 August at 4:15pm. 

Originally published here.

Representations of the African-Australian Diaspora in Contemporary Australia

Ways of Being Here
Rafeif Ismail, Yirga Gelaw Woldeyes, Tinashe Jakwa and Yuot Alaak
Margaret River Press

WaysOfBeingHereCoverWays of Being Here is a collection of stories by African-Australian writers showcasing a diaspora that receives little attention in contemporary Australian writing. The four writers, Rafeif Ismail, Yirga Gelaw Woldeyes, Tinashe Jakwa, and Yuot Alaak, trace their lineage to Sudan, Ethiopia, Zimbabwe, and South Sudan, respectively, and it is their strong connection to their homelands, culture and memories that drive their own individual stories.

Easy to read, the novellas provide readers with unique voices and experiences usually hidden in the Australian literary landscape. The stories themselves were exposed through the Ways of Being Here flash fiction competition set up by the Centre for Stories in Western Australia, which seeks to share the work of diverse storytellers, poets, and other creative people in order to strengthen the connections within the community.

Inclusivity within communities is definitely a theme running through all the stories, each highlighting the issue of acceptance in their own poignant way.

In Rafeif Ismail’s piece, ‘Light at the End’, she notes “You were born to deserts and rushing rivers. Summer is in your soul, in your bones, buried deep beneath inches of ice and cement. From the moment you arrive, you’ve been too much and not enough.” Tinashe Jakwa, in ‘No Child of One’s Own’, takes the reader on a journey that further considers the impact of childhood memories, folk tales, and history, stating “As it is, some bridges conspire with the waters beneath them.”

In Yirga Gelaw Woldeyes, ‘When the Sky Looks like a Donkey’, it is shown how cultural and linguistic explanations can conflict with the social expectations placed on new Australians. Through the eyes of Ermi, a security guard in training who is trying to navigate workplace conversations and expectations, the reader sees how Ermi’s formal migrant English challenges the often lazy Australian drawl.

Yuot Alaak’s story ‘The Lost Girl of Pajomba’, about the terrifying separation of mother and child during war, highlights the importance of humanitarian and human rights effort with the powerful statement “I can only wish Mum and Dad were alive to witness the kindness of the human spirit. That my brothers survived to experience the innocence of childhood.” Whilst the shortest of the four stories at only eight pages, Alaak’s strong and sharp prose captures the reader immediately and is a fitting finale to the collection of stories that makes up Ways of Being Here.

Originally published at RightNow here