The University of Melbourne’s Newman College has taken steps towards greater inclusivity of its queer students, with efforts being made to improve their wellbeing and representation.The Dean of Newman, Genevieve Leach, has been a resident counsellor at the college for over a year, and oversaw the formation of a queer group for Newman students. She was also involved in updating the college’s student conduct policy.
The democracy sausages have been sizzled and the votes have been cast, the polls reflected the perceived hopes of the nation and the Coalition roundly smashed these to the ground. Scott Morrison has done the unthinkable, after the disastrous LibSpill of 2018 he has recaptured the support of many Australians to become Prime Minister, once again, although this time through the decision of ordinary voters around the country.
For over 130 years, UMSU has been the heart of student life at the University of Melbourne. The history of the Union is heavily entwined with activism, radical politics and power struggles. Delving into the archives offers a detailed reflection of the issues facing students throughout the decades. Even the soon-to-be demolished Union House has layers of history hidden in plain sight: from anti-conscription barricades and police raids, to refugees avoiding deportation in a back room.
Botched management of alleged misconduct by a recently- appointed Head of School has forced the University of Melbourne into a legal battle in the Australian Federal Court.
Appointed in April 2017, Professor Jennifer Milam, an art historian, took up her term as Head of the School of Culture and Communication on 1 January, 2018, but was suspended with full pay in late January this year following two colleagues’ allegations of academic misconduct.
The University of Melbourne Student Union (UMSU) Environment Collective held their third successive Radical Education Week during Week 7, from April 15 to 18. The week was a cross-campus event exploring radical ideas about education within and beyond the classroom.
It has become more or less axiomatic that if women want to achieve equality in our time, we must first strip ourselves bare—revealing our worst shames, heartaches and sins so that we may be seen as utterly human. To be a woman in public these days is—more often than not—to be in the business of confession.
The word ‘wilderness’ conjures images of towering trees, forest paths, bubbling brooks and open skies. There are no buildings, no signs of human habitation, and there is a stillness or silence punctuated only by the wind, birdsong or animals scampering over leaf litter. This form of wilderness is linked to a longing for a life that is more in touch with the natural world. At the same time, this wilderness, in its emphasis on pristine, untouched nature, excludes human beings. How can we exist in wilderness if our very presence alters it and makes it less wild?
I’ve found that my anxiety lessens on bushwalks. Standing still, the cool breeze against my skin, able to hear birds, frogs, and the rustle of leaves in the wind. I am able to free myself of societal constraints, prejudice and discrimination.
Front-man Georgia Maq closed Camp Cope’s Falls Festival 2017 act demanding that 2018 be the year that minorities take to the forefront of the music scene. As I stood on the grass field, surrounded by hundreds of fans applauding this controversial statement—their song The Opener takes aim at the exclusionary nature of the industry with lines such as “yeah just get a female opener, that’ll fill the quota” and “it’s another straight cis man who knows more about this than me”—I found myself wondering about the experience of being a gay woman in such an environment.
Imagine being one-quarter Sindhi, one-quarter Bengali, one-quarter Tamil and one-quarter Telegu and not being able to speak any of the languages from these areas. Imagine being the colour of a perfectly blended hot chocolate from Standing Room, but sounding like a cup of tea with almost a whole bottle of milk poured in.
The University of Melbourne’s Creative Literature and Writing Society present The Remarkable Quests of Raddish and Quill, a collaborative column for Farrago.
I want to say that death is just a wound things grow around and that I Miss the way the world tasted back then, before life touched me like that, Cold Finger pressed to my Tongue; hurts like freezer-burn, tastes like freezer-burn.
is the truant in my sheets / barely sixteen / I am / telling fibs to stay home with my thoughts / with my feet tucked in the pockets of sleep /
By 7pm, there was already a spate of eager concert-goers, lining the paint filled Hosier Lane.By 8pm, the mosh pit was filling up.
Even flipping through the collection days later. I feel a sense of strangeness, like I haven’t uncovered all the paths into Burns’ mind. This is a powerful strength of hers, you will not look at the same sentence the same way twice.
Sometimes Always Never is at its best when it stays true to its core. It is a simple narrative. One that is hardly resolved and has no beginning, middle and end in the larger scheme of things. But it is a wonderful character analysis. An amazing exploration of love, despair and hope.
Never did I think the question, “Ever had a dream?” and all the self-doubt and fear of rejection which comes with that question, would be so aptly summed up for me by a one-woman operatic show. Mari-Poša, mezzo-soprano, known simply on stage as Maria, delivers a soulful and vocally powerful performance in El Vito!, performed in Melbourne CBD’s quirky and cool Butterfly Club, accompanied by the heartfelt talents of pianist Julian Wade.