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Among the bustle of hundreds of thousands of teenagers with clever signs, mild sunburns, and a palpable disdain for major party politics, there was a sense that we could change the world. The noise we made felt so deafening that no one could ignore it. And then we were promptly ignored.
Here is why the Morrison government was so slow off the mark: to acknowledge the unprecedented nature of these fires is to concede that there is something happening to the climate. The only way to downplay the reality of climate change, was to downplay the severity of the fires themselves.
While we can only speculate on what it means for the future of funding beyond the current budget, alarm bells are ringing for many of us who recognise the symbolic power of rendering the arts invisible at a federal level. A strong, vibrant arts sector is essential to a thriving democracy.
The stats are chilling. The rate of homelessness in the Northern Territory is 12 times the national average. Six per cent of all Territorians are experiencing homelessness. More than 16 per cent of Territorians under 16 are homeless. Twenty per cent of Aboriginal people in the NT are homeless. It's time to do something.
At the next global financial crisis, when questions about what we want our monetary system to do for us become a matter of survival, why not devise a transactional system that is not just geared towards the consumption of goods and services, but involves monetary exchanges for social goods, such as sustainable production, or civic benefit?
That the Catholic Church in Hong Kong has not only chosen to remain silent, but also enforce this silence through the banning of a song, is itself a political act. Considerations as to whether this silence is a consequence of the Vatican's recent agreement with the PRC about the appointment of bishops within China do seem to have merit.
As musician James Blake pointed out regarding Jameela Jamil's contributions to his most recent album, the muse is an objectified woman who is seen to have no direct impact on the creation of the work itself and no creative life of her own, but is merely the source of the male artist's inspiration and a vehicle to project his own desires onto.
Of English saints the newly canonised John Henry Newman is the most intellectual and active in public life since Thomas More. When conversation turns to faith it is common to regard the gift of finding good words as no more than a decoration on the hard reasoning that faith demands. Newman stands as a reproach to that view.
A recent report on the lack of culturally and linguistically diverse (CALD) representation in arts leadership recognises the limitations of the label. In an era marked by media bubbles, it is more vital than ever that we use categories such as CALD to build bridges, while not losing sight of our differences and varying levels of disadvantage.
The democracy movement in Hong Kong, with its ideal of political freedom and its embodiment of it in spontaneous and decentralised organisation, is one of many such revolutions, most of them short lived. It is inspiring because of its idealism, and poignant because its precedents demonstrate the power of the forces arrayed against it.
At stake here is who takes responsibility for sector development in the arts as both a cultural and an economic good. Because right now, there is no national organisation or government agency whose role it is to take a responsible, long-term, national view, making sure there are programs in place to address key priorities.
As a society we have tended to ignore ageing women, and menopause has been read as a signal of our descent into decrepitude. The sales pitch for a procedure to delay menopause buys into this way of thinking. For many women menopause is not a burden, but a gift: no more menstruation, no more pregnancy, new purpose.
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