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There were more than 5,000 people at Treasury Gardens. Across Australia, there were 40 marches from Adelaide to Wagga Wagga. All in, 100,000 people were involved either in person or signing a petition demanding change and accountability. It may be the biggest uprising of women that this country has seen, and it happened quickly.
The young in Myanmar have no personal memory of those events of 1988 and 2007. They are Generation Z, raised on the internet and with new ways of communicating. Their emotions overcome fear. Gen Z meets the deadly threat with humour and creative protest.
The two most incisive statements relating to the allegations of sexual assault currently miring the Liberal party have come from opposite ends of its hierarchy: the junior employee allegedly raped in a defence ministry office two years ago, and the head of government who denies any prior knowledge of her ordeal.
Instead of retaining its control of a fruit market, or preserving an oil monopoly, Facebook harnesses another resource: data. Any regulator or sovereign state keen to challenge the way the Silicon Valley giant gathers, monetises and uses that data will face their ire.
What we have is a rare opportunity — in all likelihood a once-in-a-lifetime chance — to shape the future and emerge from the pandemic as a better, fairer nation.
Now, for a few days it seems something new is happening. Can we name it? Thousands, even millions of people have come to the streets in almost a hundred townships and cities across Myanmar. They reject the coup. The young have glimpsed a new light.
2021 is set to be a big year for women’s sports — dependent on COVID, of course. Yet, if you looked to the Australian mainstream media’s reporting and coverage of sports, there’s a fair chance you’d get an idea that women’s sports are happening far less than they actually are.
Many refugees in Australia live in conditions that the rest of the population would find unacceptable. Most of the 192 refugees who were transferred to Australia under the Medevac legislation between February and December 2019 are currently held at hotels in Melbourne and Brisbane, known as ‘alternative places of detention’ (APOD), where they have had no access to the outdoors or fresh air for more than 12 months.
The continued persecution of Tamils has led to many fleeing Sri Lanka over the past ten years, with some landing on Australia’s shores — they have literally fled for their lives. The Australian government’s response to the inhumane treatment of refugees returned to Sri Lanka has been to praise the Sri Lankan government’s efforts to thwart any asylum seeker attempt to leave Sri Lanka.
Since the pandemic started to show its teeth on our shores in March, there’s been a trend to wave away any other matter other than COVID-19 with an examination of, ‘Just one crisis at a time — we’ll get to climate change after we’ve got the economy back on its feet.’ The only problem is we don’t have the luxury as a nation to solely focus on one crisis at a time.
A common argument is that publicly-funded artists take unnecessarily from the ‘average Australian’. In the current international crisis, this argument fails to recognise that artists and arts workers are just as deeply impacted financially by COVID-19 as the ‘average Australian’ in other industries.
Tall Fences, Taller Trees, directed by Dutch-based Iranian filmmaker, Arash Kamali Sarvestani, is a companion to Chauka, Please Tell Us the Time, which Sarvestani co-directed with Kurdish-Iranian writer and Manus Island detainee, Behrouz Boochani. On its most basic level Tall Fences, Taller Trees documents the making of the first film, but it is far more than that.
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