Book review: Pitch your tents on distant shores: A history of the sisters of the Good Shepherd in Australia, Aotearoa/New Zealand and Tahiti

This book is a comprehensive history of the Good Shepherd Order in the Pacific region, and the author is able to draw on substantial archival collections. Catherine Kovesi and the Sisters of the Good Shepherd are to be congratulated for the high standard of the book, its careful research and writing, and for its design and illustrations. The book is especially important as there are few substantial published histories that explore the ethos and work of Catholic women’s orders in Australia.

Sisters

Melinda Capp and her sister Meredith are identical twin. The Sisters installation presented at the Castlemaine state festival is an exploration of the experience and memories of having grown up as a twin and the complexity for both the self as single and self as other/double which underpins and confronts both the physical and psychological sense being a twin. Nature / Nurture: The work is explored as a dichotomy of Nature / Nurture by referencing the domestic context of childhood (which can be interpreted as an exposition of the influence of nurture) and reference to the physical, genetic aspect of being a twin (a reference to Nature). The Installation was located in a bedroom of a 1960’s brick house, now empty, and invites the viewer to enter into a world which pulls between these two forces of nature/nurture, which shape the sense of identity and realization of self for each twin. The bond between twins emerges at the cellular level and continues for the rest of their lives. Despite all emergence of individuality and bloodline thread binds them together forever no matter the distance between them and changes through time In dark wooden wardrobe two dresses, made from fine white tissues paper, hang quietly on each side of the robe with backlighting which floods the room with an ethereal luminance. Placed in the center of a large bare wall, a small image of Melinda and Meredith as young children (a photo transfer also on the ephemeral tissue paper) hangs in isolation. This placement and the surrounding space unites these two young twins together, bound in symmetry like a mirror image in the vast open space of the empty wall, a symbol of the potential for growth and individual identity in a world which surrounds them. On the opposite wall a series of object and artifacts are pressed between sheets of acrylic and backlit as if they were some sorts of scientific samples for detailed inspection. Feathers/hair, handmade paper with embroided (reference to the traditionally feminine arts) text and the words Blood Ties traced out. Each object is placed for analysis and hovers in space at the viewers approximate eye level like a series of clues for the revelation of some deeper insight. Hidden speakers were embedded within the walls of the room and played looped recordings at low level inviting the viewer to listen as a voyeur. A series of whispered schoolyard chants by Melinda and Meredith (identical wording were individually recorded by each sister and then superimposed) and a collage of spoken word, memories and anecdotes from the period of their childhood. Most notably recollections of the Apollo Moon landing. A symbol of the ability of science to transcend and reveal that which lies beyond and within, while at the same time counterpointed by the poetics of childhood songs emerging in unison as two twins reveal their innate unification.

Cyber sisters: Buddhist women’s online activism and practice

While the churches are emptying, other virtual religious places as the religious websites seem to be filling up. The researcher focusing on religion and internet or digital religion as an object of study must seek answers to a number of questions. Is computer-mediated religious communication a particular communication process whose object is what we conventionally call religion? Or is it a modern, independent form of religious expressiveness that finds its new-born status in the web and its particular language? To examine the questions above, and others, the book collects more empirical data, claiming that the Internet will have a specific or novel impact on how religious traditions are interpreted. The blurring of previous boundaries (offline/online, virtual/local, illegitimate/legitimate religion) is another theme common to all the contributions in this volume.

Ghostly sisters: feminist collaborative performance in Australia

This article examines how feminist performance has been, and continues to be, a key vehicle for the collaborative exploration of sexual difference and female subjectivity in Australia. It focuses specifically on the Lean Sisters and Generic Ghosts, whose collaborative performances occurred during the seventies and eighties, and their impact on subsequent feminist collaborative performance groups. As the article demonstrates, this counter-cultural tradition of performance typically deploys tactics of intertextuality, cross-media experimentation, humour, and détournement to critique gender oppression and its recurrence, while staging new possibilities of an embodied feminist politics.

Building an evidence base to practice 2004

The Big Brother Big Sister program obtained funding from the William Buckland Foundation to commission a project that was designed to build an evidence base to gauge the effectiveness of mentoring practice.

Class action

Hannie Rayson followed the success of her play Life After George (2000) with Inheritance. It is a rural family saga set in Victoria's Mallee region where two families, headed by eighty-year-old twin sisters Dibs and Girlie, battle it out for possession of the family farm. The play, directed by Simon Phillips, was performed in March 2003 to capacity audiences at the Melbourne Theatre Company, and then at the Sydney Theatre Company in April-May 2003. Rayson's most recent play, Two Brothers, opened at the Playhouse, Victorian Arts Centre, in April 2005.

Family circumstance and adolescent dietary behaviours

The available information on the contribution of family circumstance to adolescent dietary behaviours is inconsistent. Indicators of family circumstance may impact adolescent behaviours by influencing their daily home environment. This study examined cross-sectional and longitudinal relationships between indicators of family circumstance and (i) breakfast skipping and (ii) consumption of snack food, fast food, fruits and vegetables among adolescents. Dietary behaviour was assessed using a web-based survey completed by 1884 adolescents from years 7 and 9 of secondary schools in Victoria, Australia, at baseline and 2 years later. Five indicators of family circumstance (parental marital status, maternal education, maternal employment status, number of brothers and number of sisters) were assessed with a questionnaire completed by parents at baseline only. Logistic regression was used to examine cross-sectional associations between indicators of family circumstance and dietary behaviours. Multinomial logistic regression was used to examine associations between indicators of family circumstance and 2-year change in dietary behaviours. Individual indicators of family circumstance were differentially associated with adolescent dietary behaviours. Cross-sectional and longitudinal associations differed for adolescent boys and girls highlighting the importance of assessing specific dietary behaviours and food types individually by gender. This study highlights the complexity of the relationships between family circumstance and adolescent dietary behaviours. Future research needs to assess the efficacy of strategies promoting maternal nutritional knowledge on the dietary behaviours of adolescents.

Cultural connections across time and place : Wardell's late 19th century Genazzano FCJ College Kew

The Catholic Church was profoundly affected by the 1872 Victorian Education Act, which made education secular, compulsory and free, and led to the withdrawal of state aid to religious schools. In order for the Church to run its own schools, it had to look overseas for help and invited religious teaching orders, such as the Faithful Companions of Jesus (FCJs) to set up schools in Victoria, Australia. In many instances purpose built buildings were designed by architects. William Wardell was well established in private practice in Sydney when he designed the new Convent and School, Kew, Victoria, for the FCJ Sisters, in the late 1880s. Building commenced just before the crash of Marvellous Melbourne. Less than half of the total concept of Wardell’s original plan was built. It opened for business in April 1891. Today this building forms the heart of the contemporary Genazzano FCJ College Kew. Many histories intersect in this commission. The vision for Catholic education in Victoria in the late 19th century is critical. The FCJs charism and their experience of teaching in Europe, in France, England, Ireland, Italy and Switzerland, provides a model for their work in Australia. At this time the importance of architecture to society is made manifest in education and its demands on building: if learning is valued then buildings should reflect this, for public buildings can shape morality. Wardell was trained as a Gothic Revival architect and his building participates in a broader medieval and Gothic tradition. Wardell’s original plan for this late Victorian Gothic style asymmetrical three-storeyed building, was designed to integrate a convent, school, chapel, and dormitories. This paper considers architectural history from diverse perspectives, educational, social, religious, economic and political, recognising the complexity of this project and the people who played a part in its conception and realisation.

Visionnaire 2010

Visionnaire 2010 : A screening of 15 postgraduate and masters films.

Two hundred and two - Daniella Said, Adam Green, Phoebe Beasley, Juntra Santitarangkun, Olexander Barnes & Rhett Ortlipp.
Gone to see - Sean Rafter.
Hippocratic oath - Nathan Primer, Daniel Merei, Melina Flood, Michael Dearnley, Mathew Karanicolas & Nicholas White.
The other voices - Tania Raouf.
Standover - Nicholas Hancock, Ryan Thomas, David Hurley, Nicholas Weller, Mitch McTaggart & Djorvan Caro.
Sisters - Kailai Gu.
Escape - Jonathan Burton, Simon Todd, Todd Johnson, Amanda Klimos, James Murphy, Ola Gytri & Max Reed.
Welcome to the Anderson's - Maneesha Jacob.
Hannah - Jodi Deutrom, Ardimas Andi, Ben Engeset, Kim Han Law, Steffen Hagen & Timotius.
Hour3 - Akanksha Shakya.
3-25-6 - Syamsul Azhar, Ethan Bottomley, Tiffany Dalton, Kane Gloury, Alexandra Latimer & Lene Moerch.
Seher and others - Bircan Eral.
Edward Barsky - Breidi Boyle, Bree Mansell, Simon DeNatris & Murphy McLachlan.
Detecting Calvin - Kara Tyson, Aimee Linossier, Jessica Ruffino, Seamus Parkinson, Dean Sacco & Simon Holt.
Double date - Adriana Bizzarri, Matthew Smolen, Effie Telianidis, Oliver Kerr, Lucy Ramshaw & Luisa Tascone.

Influence of Gertrude Jekyll in the Adelaide Hills : the landscape of 'Broadlees'

‘Broadlees’ exists as an Adelaide Hills hill-station retreat in Australia, established in the 1920s as a permanent residence for the Waite sisters.1 Typically most large hill-station residences and their accompanying private ‘botanic gardens’ were developed as summer residences from the summer onslaught of the Adelaide Plains, but the Waite sisters saw ‘Broadlees’ as their permanent residence. Further, although the design of the residence was not important in the eyes of Misses Eva and Lily Waite, it was the gardens of the property that were their real passion. This article reviews the history and development of the ‘Broadlees’ property and in particular the role played by the writings and gardens of Gertrude Jekyll (1843–1932)2 in its design, form and plantings, which remain the most intact and mature Jekyll-inspired landscape in South Australia today. It is a significant, extant Jekyll-influenced garden developed in the 1920s and 1930s in the Adelaide Hills3 that has been little featured in the coffee-table garden profile literature in Australia, and no article has previously been written about the property. It has been profiled in the Australian Home Beautiful and the South Australian Homes & Gardens magazines in 1932 and 1936 respectively, and also has been subject to a recent comparative assessment as to the role and influence of prominent Adelaide garden designer ElsieMarion Cornish (1870–1946).4 Perhaps because of the wishes of the owners who personally developed and sought to maintain the privacy of the gardens and house, subsequent owners have sought to respect this philosophy in their curatorship of the property.5