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Journal articles on the topic 'Feminism and theater Australia'

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Published: 10 December 2022

Last updated: 29 January 2023

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1

Fensham, Rachel. "Farce or Failure? Feminist Tendencies in Mainstream Australian Theatre." Theatre Research International 26, no. 1 (March 2001): 82–93. http://dx.doi.org/10.1017/s0307883301000086.

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A feminist analysis of the repertoire written and directed by women within mainstream Australian theatre at the end of the millennium reveals that, in spite of thirty years of active feminism in Australia, as well as feminist theatre criticism and practice, the mainstream has only partially absorbed the influence of feminist ideas. A survey of all the mainland state theatre companies reveals the number of women making work for the mainstream and discusses the production politics that frames their representation as repertoire. Although theatre has become increasingly feminized, closer analysis reveals that women's theatre is either contained or diminished by its presence within the mainstream or utilizes conventional theatrical genres and dramatic narratives. Feminist theatre criticism, thus, needs to become more concerned with the material politics of mainstream culture, in which gender relations are being reconstructed under the power of a new economic and social order.

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2

VARNEY, DENISE. "Identity Politics in Australian Context." Theatre Research International 37, no. 1 (January 26, 2012): 71–73. http://dx.doi.org/10.1017/s0307883311000794.

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Identity mobilises feminist politics in Australia and shapes discursive and theatrical practices. Energised by the affirmative politics of hope, celebration and unity, Australian feminism is also motivated by injustice, prejudice and loss, particularly among Indigenous women and minorities. During the 1970s, when feminist theatre opened up creative spaces on the margins of Australian theatre, women identified with each other on the basis of an unproblematized gender identity, a commitment to socialist collectivism and theatre as a mode of self-representation. The emphasis on shared experience, collectivism and gender unity gave way in the 1980s to a more nuanced critical awareness of inequalities and divisions among women based on sexuality, class, race and ethnicity. My discussion spans broadly the period from the 1970s to the present and concludes with some commentary on recent twists and turns in identity politics.

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3

D'Cruz, Glenn. "‘Class’ and Political Theatre: the Case of Melbourne Workers Theatre." New Theatre Quarterly 21, no. 3 (July 18, 2005): 207–17. http://dx.doi.org/10.1017/s0266464x05000114.

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Traditionally, class has been an important category of identity in discussions of political theatre. However, in recent years the concept has fallen out of favour, partly because of changes in the forces and relations of capitalist production. The conventional Marxist use of the term, which defined an individual's class position in relation to the position they occupied in the capitalist production process, seemed anachronistic in an era of globalization. Moreover, the rise of identity politics, queer theory, feminism, and post-colonialism have proffered alternative categories of identity that have displaced class as the primary marker of self. Glenn D'Cruz reconsiders the role of class in the cultural life of Australia by examining the recent work of Melbourne Workers Theatre, a theatre company devoted to promoting class-consciousness, in relation to John Frow's more recent re-conceptualization of class. He looks specifically at two of the company's plays, the award-winning Who's Afraid of the Working Class? and The Waiting Room, with reference to Frow's work on class, arguing that these productions articulate a more complex and sophisticated understanding of class and its relation to politics of race and gender today. Glenn D'Cruz teaches drama and cultural studies at Deakin University, Australia.

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4

DIAMOND, ELIN, NOBUKO ANAN, DENISE VARNEY, KATRIN SIEG, BISHNUPRIYA DUTT, and TIINA ROSENBERG. "Identity Politics Forum." Theatre Research International 37, no. 1 (January 26, 2012): 63. http://dx.doi.org/10.1017/s030788331100085x.

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Introduced, compiled and edited by Elin Diamond, this forum brings together feminist theatre/performance scholars to revisit the question of identity politics. Does it still have currency? Does it still matter for feminists today? In what theatre and performance contexts do we still discuss identity politics? Following an overview (from a US perspective) of past and present concerns by Elin Diamond, the forum voices a range of international views as contributors consider identity politics, theatre and performance in their countries of origin: Nobuko Anan (Japan), Denise Varney (Australia), Katrin Sieg (Germany), Bishnupriya Dutt (India) and Tiina Rosenberg (Sweden).

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5

Gilbert, Helen, Peta Tait, Venetia Gillot, Julie Holledge, Anna Messariti, Lydia Miller, and Mary Moore. "Converging Realities: Feminism in Australian Theatre." Theatre Journal 47, no. 3 (October 1995): 430. http://dx.doi.org/10.2307/3208908.

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6

Mitchell, Tony. "Doppio: a Trilingual Touring Theatre for Australia." New Theatre Quarterly 8, no. 29 (February 1992): 70–75. http://dx.doi.org/10.1017/s0266464x00006333.

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Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of Youth Theatre, but its appeal is fast increasing beyond the confines of specialisms, ethnic or theatric, and being recognized in the ‘mainstream’ of Australian theatrical activity. Tony Mitchell – a regular contributor to NTQ, notably on the work of Dario Fo – who presently teaches in the Department of Theatre Studies in the University of Technology in Sydney, here provides an analytical introduction to the company's work, and follows this with an interview with one of its directors and co-founders, Teresa Crea.

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7

Tait, Peta. "Danger Delights: Texts of Gender and Race in Aerial Performance." New Theatre Quarterly 12, no. 45 (February 1996): 43–49. http://dx.doi.org/10.1017/s0266464x00009611.

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Circus artists, especially aerial performers and wire-walkers, transgress and reconstruct the boundaries of racial and gender identity as part of their routine. In the following article, Peta Tait analyzes the careers of two twentieth-century Australian aerialists of Aboriginal descent who had to assume alternative racial identities to facilitate and enhance their careers. Both Con Colleano, who became a world-famous wire-walker in the 1920s, and Dawn de Ramirez, a side-show and circus aerialist who worked in Europe in the 1960s, undermined the social separation of masculine and feminine behaviours in their acts. Theories of the body and identity, including those of Foucault and Judith Butler, inform this critique of the performing body in circus. The author, Peta Tait, is a playwright and drama lecturer at the University of New South Wales. She is author of Original Women's Theatre (1993) and Converging Realities: Feminism in Australian Theatre (1994).

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8

VARNEY, DENISE. "White-out: Theatre as an Agent of Border Patrol." Theatre Research International 28, no. 3 (October 2003): 326–38. http://dx.doi.org/10.1017/s0307883303001160.

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In Australia in 2001, there was a marked escalation of debates about nation, national identity and national borders in tandem with a right-wing turn in national politics. Within the cultural context of debate about national identity, popular theatre became an unwitting ally of neo-conservative forces. Within popular theatre culture, the neo-conservative trend is naturalized as the view of the Anglo-Celtic-European mainstream or core culture that also embraces and depoliticizes feminist debates about home and family. Elizabeth Coleman's 2001 play This Way Up assists in the production of an inward-looking turn in the national imaginary and a renewed emphasis on home and family. The performance dramatizes aspects of what we are to understand as ordinary Australian life which might be interpreted as that which Prime Minister John Howard defends in the name of the National Interest. The cultural imaginary that shapes the production of the popular play is that of the conservative white national imaginary.

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9

Varney, Denise. "‘Droughts and Flooding Rains’: Ecology and Australian Theatre in the 1950s." New Theatre Quarterly 38, no. 4 (October 18, 2022): 319–32. http://dx.doi.org/10.1017/s0266464x22000239.

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This article uses historical-ecological insights for a re-reading of two little-known mid-twentieth-century Australian plays, Oriel Gray’s The Torrents and Eunice Hanger’s Flood, which highlight developments relevant to the environmental disasters of today. In particular, the article focuses on the significance of key cultural assumptions embedded in the texts – and a revival of The Torrents in 2019 – including those to do with land use in a period of accelerating development. This approach offers new insights into the dominance of mining, irrigation, and dam-building activities within the Australian ethos, landscape, and economy. One of these insights is the framing of development as progressive. The article thus also examines how development projected as progressive takes place amid the continuing denial of prior occupation of the land by First Nations peoples and of knowledge systems developed over thousands of years. The intersectional settler-colonialist-ecocritical approach here seeks to capture the compounding ecosystem that is modern Australian theatre and its critique. The intention is not to apply revisionist critiques of 1950s plays but to explore the historical relationship between humans, colonialism, and the physical environment over time. Denise Varney is Professor of Theatre Studies in the School of Culture and Communication at the University of Melbourne. Her research is in modern and contemporary theatre and performance, with published work in the areas of ecocriticism, feminism, and Australian theatre. Her most recent book is Patrick White’s Theatre: Australian Modernism on Stage 1960–2018 (Sydney University Press, 2021).

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10

Jackson, Shannon. "Unmaking Mimesis: Essays on Feminism and Theater." Theatre Journal 51, no. 2 (1999): 223–24. http://dx.doi.org/10.1353/tj.1999.0026.

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11

Tait, Peta. "Contemporary Politics and Empathetic Emotions: Company B's Antigone." New Theatre Quarterly 26, no. 4 (November 2010): 351–60. http://dx.doi.org/10.1017/s0266464x10000655.

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Sydney-based Company B's 2008 season included The Burial at Thebes: Sophocles's Antigone in Irish poet Seamus Heaney's translation. This article shows how the production conveyed notions of war, social upheaval, displacement, and exile that are relevant to contemporary Australian spectators. With its ethnic and racial diversity, and one overt reference to the plight of indigenous people under colonial rule and its legacy, the production confirmed that the emotional resonances in this staging of Antigone reflect and yet transcend the contemporary Australian situation; and Peta Tait here argues that the production contributed to spectators' understanding of the emotions underlying contemporary political debates. Peta Tait is Professor of Theatre and Drama at La Trobe University. Her recent publications include Circus Bodies: Cultural Identity in Aerial Performance (Routledge, 2005) and Performing Emotions: Gender, Bodies, Spaces (Ashgate, 2002). She has published widely on theatre, drama, circus performance, and gender identity, and is co-editor (with Liz Schafer) of the anthology Australian Women's Drama: Texts and Feminisms (Currency Press, 1997).

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12

Mina, Hao. "Feminism Is Still Relevant in Australia." Studies in Social Science Research 2, no. 3 (July 15, 2021): p26. http://dx.doi.org/10.22158/sssr.v2n3p26.

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Feminist movements had been pervasive in the 20th century. It helped women to earn civil rights globally, welcomed by most civilized citizens. Then in the 21st century, it seems to have no reason to exist since there are no apparently observable and unpleasant unequal treatments towards women. Feminism, hence, is regarded as a word of the past by some people. Nevertheless, it is not the fact. By studying the situation in Australia, women in this nation have become the study object. Working opportunities in politics and business have been counted, combined with the study of relevant government policies towards different gender. The male’s changing attitude towards female in gender role has also exposed the socialization process in Australia. Through close scrutiny, it is found that feminism is still very much relevant in Australia.

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13

Ho, Christina. "Diversifying Feminism: Migrant Women’s Activism in Australia." Signs: Journal of Women in Culture and Society 33, no. 4 (June 2008): 777–84. http://dx.doi.org/10.1086/528742.

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14

Jaime, Karen. "Patricia Herrera. Nuyorican Feminist Performance: From the Café to Hip Hop Theater." Modern Drama 64, no. 3 (August 1, 2021): 378–80. http://dx.doi.org/10.3138/md.64.3.br3.

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Patricia Herrera fills a void in scholarship on the Nuyorican Poets Café. Her focus on women performers ( performeras) and their writing and performance challenges these artists’ marginalization and erasure, while the Nuyorican feminist aesthetic she proposes, as situated within intersectional feminism, underscores the work’s critical intervention in feminist performance theory.

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15

Bartlett, Alison, and Margaret Henderson. "Feminism and the museum in Australia: an introduction." Journal of Australian Studies 40, no. 2 (April 2, 2016): 129–39. http://dx.doi.org/10.1080/14443058.2016.1157702.

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16

Eloit, Ilana. "the queer turn in feminism: identities, sexualities, and the theater of gender." Feminist Review 112, no. 1 (February 2016): e16-e18. http://dx.doi.org/10.1057/fr.2015.64.

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17

Fensham, Rachel. "Converging Realities: Feminism in Australian Theatre. By Peta Tait. Paddington, NSW: Currency Press, 1994. Pp. 276. AUS $19.95." Theatre Research International 20, no. 2 (1995): 175. http://dx.doi.org/10.1017/s0307883300008543.

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18

GOETZ, ANNE MARIE. "No More Heroes? Feminism and the State in Australia." Social Politics 1, no. 3 (1994): 341–54. http://dx.doi.org/10.1093/sp/1.3.341.

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19

Le Masurier, Megan. "Desiring the (Popular Feminist) Reader: Letters to CLEO during the Second Wave." Media International Australia 131, no. 1 (May 2009): 106–16. http://dx.doi.org/10.1177/1329878x0913100112.

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The second wave of feminism in Australia became a popular reality for ordinary women through many forms of media, and especially through the new women's magazine Cleo. The reader letters published in Cleo throughout the 1970s provide rich, if productively problematic, evidence for the media historian's desire to interpret the meanings readers can make from magazines. In this case, the desire is to understand how younger, ordinary (non-activist) Australian women made sense of the immense challenge of feminism. Through letters written in response to Cleo's feminist journalism (and journalism about feminism), it is clear that a popular feminism was being experienced in the period of the second wave.

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20

Baker, Susan Read, and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." South Atlantic Review 56, no. 1 (January 1991): 131. http://dx.doi.org/10.2307/3200162.

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21

Wright, Elizabeth, and Gail Finney. "Women in Modern Drama: Freud, Feminism and European Theater at the Turn of the Century." Modern Language Review 86, no. 1 (January 1991): 249. http://dx.doi.org/10.2307/3732175.

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22

Cocalis, Susan L., and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." German Quarterly 64, no. 4 (1991): 573. http://dx.doi.org/10.2307/406680.

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23

Schlueter, June, and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." Theatre Journal 44, no. 1 (March 1992): 127. http://dx.doi.org/10.2307/3208537.

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24

Knapp, Mona, and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." German Studies Review 13, no. 3 (October 1990): 554. http://dx.doi.org/10.2307/1430796.

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25

Bammer, Angelika, and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." German Studies Review 17, no. 1 (February 1994): 210. http://dx.doi.org/10.2307/1431350.

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26

Youngju Hoang. "Comparing State Feminism: The Cases of Sweden, Australia and South Korea." Comparative Democratic Studies 7, no. 2 (December 2011): 39–70. http://dx.doi.org/10.34164/injede.2011.7.2.002.

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27

Kenway, Jane, Sue Willis, Jill Blackmore, and Leonie Rennie. "Are boys victims of feminism in schools? Some answers from Australia." International Journal of Inclusive Education 1, no. 1 (January 1997): 19–35. http://dx.doi.org/10.1080/1360311970010103.

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28

Raddeker, Hélène Bowen. "Feminism and spirituality in fantastic fiction: Contemporary women writers in Australia." Women's Studies International Forum 44 (May 2014): 154–63. http://dx.doi.org/10.1016/j.wsif.2013.12.009.

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29

Hurst, Cameron. "Doing Feminism: Women’s Art and Feminist Criticism in Australia." Australian and New Zealand Journal of Art 22, no. 2 (July 3, 2022): 218–23. http://dx.doi.org/10.1080/14434318.2022.2143761.

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30

Rini, Peni Candra. "Interpretasi Feminisme Tokoh Nyai Ontosoroh Dalam Novel Bumi Manusia Tulisan Pramoedya Ananta Toer Pada Komposisi Musik Ontosoroh Karya Peni Candra Rini." Gelar : Jurnal Seni Budaya 17, no. 1 (August 6, 2019): 24–30. http://dx.doi.org/10.33153/glr.v17i1.2598.

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ABSTRAK Komposisi musik Ontosoroh mencoba menginterpretasi feminisme Nyai Ontosoroh dalam karya musik Ontosoroh, karya Peni Candra Rini. Dalam karya ini mencoba mengungkap wacana-wacana feminisme dari seorang wanita dalam menghadapi lika-liku kehidupan yang penuh dengan kemalangan dan nasib buruk yang diperoleh sejak kecil. Tetapi dari nasib buruk tersebut, Ontosoroh memiliki tekad yang kuat dalam mengubah nasib hidupnya dari seorang gundik, menjadi seorang pengusaha sukses dengan kekayaan yang melimpah. Karya yang digunakan sebagai obyek material adalah pementasan yang dilakukan di TBJT Surakarta pada 18 Agustus 2013, pukul 19:30. Pementasan ini adalah ‘preview season’ menjelang ‘Australia premiere’ di OzAsia Festival, Adelaide, Australia Selatan, pada tanggal 16 dan 17 September 2013. Pementasan ini dibantu oleh tiga musisi, yakni; Prisha Bashori Mustofa (Biola), Iswanto (Gender), dan Plenthe (Perkusi). Landasan teoritis karya ini menggunakan teori feminisme, sedangkan wacana feminisme yang diperoleh akan dipaparkan menjadi beberapa babak dalam satu pementasan, antara lain babak yang menggambarkan kelahiran tokoh Ontosoroh, Adegan Ontosoroh dijual oleh ayahnya, dan usaha-usaha yang ditampilkan oleh Ontosoroh dalam mengatasi nasib malangnya. Interpretasi feminisme di tafsir ulang dalam bentuk interaksi musikal, berupa komposisi musik dan vokal tunggal. Kata Kunci: Ontosoroh, Bumi Manusia, Feminisme, Peni Candra Rini. ABSTRACT The musical composition Ontosoroh tries to interpret Nyai Ontosoroh’s feminism in the musical work Ontosoroh by Peni Candra Rini. This work tries to uncover feminism discourses from a woman in facing her life that is full of misfortune and bad luck obtained since her childhood. From the bad luck, Ontosoroh has a strong will to change his destiny from a mistress to become a successful businessman with abundant wealth. The work used as a material object is a performance presented at the Surakarta TBJT on August 18, 2013, at 7:30 p.m. This performance is a ‘preview season’ ahead of ‘Australia premiere’ at the OzAsia Festival, Adelaide, South Australia, on September 16 and 17 2013. The performance is assisted by three musicians, namely; Prisha Bashori Mustofa (Biola), Iswanto (Gender), and Plenthe (Percussion). The theoretical basis of this work uses the theory of feminism, and the discourse of feminism obtained will be presented into several stages in one performance. The stages include the birth of Ontosoroh, Ontosoroh is sold by his father, and the struggle of Ontosoroh in overcoming his bad luck. The interpretation of feminism is reinterpreted in the form of musical interaction presented in the form of a musical composition and a single vocalist. Keywords: Ontosoroh, Bumi Manusia, Feminism, Peni Candra Rini.

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31

Litwack, Evan. "The Queer Turn in Feminism: Identities, Sexualities, and the Theater of Gender by Anne Emmanuelle Berger." philoSOPHIA 7, no. 7 (2017): 199–203. http://dx.doi.org/10.1353/phi.2017.0020.

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32

Canning, Charlotte. "Re-Dressing the Canon: Essays on Theater and Gender. Alisa SolomonUnmaking Mimesis: Essays on Feminism and Theater. Elin DiamondThe Explicit Body in Performance. Rebecca Schneider." Signs: Journal of Women in Culture and Society 26, no. 1 (October 2000): 309–12. http://dx.doi.org/10.1086/495590.

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33

Magarey, Susan. "History, cultural studies, and another look at first‐wave feminism in Australia∗." Australian Historical Studies 27, no. 106 (April 1996): 96–110. http://dx.doi.org/10.1080/10314619608596001.

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34

Rowlands, Shane, and Margaret Henderson. "Damned bores and slick sisters: The selling of blockbuster feminism in Australia." Australian Feminist Studies 11, no. 23 (April 1996): 9–16. http://dx.doi.org/10.1080/08164649.1996.9994800.

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35

Dominijanni, Ida. "Rethinking the Change: Italian Feminism Between Crisis and Critique of Politics." Cultural Studies Review 11, no. 2 (October 11, 2013): 25–35. http://dx.doi.org/10.5130/csr.v11i2.3636.

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I think of the kinds of questions that I’ve heard female researchers and students ask of Italian feminism in Sydney, Melbourne and Auckland. I think of a certain ease of dialogue between men and feminists that is less suspicious than what we’re used to in Italy. There is an openness to the other and to otherness, which might derive from Australia being a multicultural society. The relativisation of Europe, and even more so of Italy, happens spontaneously when looked at from Australia with Asia in between. All this adds up to an ‘Australian Effect’ that has profoundly changed me and that in turn changes my way of talking about the ‘Italian Effect’. I am therefore writing from within a relationship to this context that already marks me, questions me and dislocates me, and my intention is to yield not so much a thought as a practice of thought, born and bred in close proximity to a political practice.

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36

Vu, Linh D. "Bones of Contention: China’s World War II Military Graves in India, Burma, and Papua New Guinea." Journal of Chinese Military History 8, no. 1 (May 17, 2019): 52–99. http://dx.doi.org/10.1163/22127453-12341339.

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Abstract Exploring the construction and maintenance of Nationalist Chinese soldiers’ graves overseas, this article sheds light on post-World War II commemorative politics. After having fought for the Allies against Japanese aggression in the China-Burma-India Theater, the Chinese expeditionary troops sporadically received posthumous care from Chinese veterans and diaspora groups. In the Southeast Asia Theater, the Chinese soldiers imprisoned in the Japanese-run camps in Rabaul were denied burial in the Allied war cemetery and recognition as military heroes. Analyzing archival documents from China, Taiwan, Britain, Australia, and the United States, I demonstrate how the afterlife of Chinese servicemen under foreign sovereignties mattered in the making of the modern Chinese state and its international status.

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37

Bredikhina, Mila. "On Feminist Aesthetics and Anti-Propaganda in Russia." Arts 12, no. 1 (December 29, 2022): 6. http://dx.doi.org/10.3390/arts12010006.

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The feminist agenda in Russia experienced a phase of intense aesthetic search in the field of contemporary art and contemporary theater. The split in society, war, increased censorship and state propaganda, and mass emigration stopped this process. Feminist ethics and aesthetics are oriented toward democratic values and the absolute value of human life; it is difficult for them to survive in totalitarian states. Using material from the history of feminism and aesthetic practices in the post-perestroika decades of Russia, this article examines two historical forms of such survival: the Stockholm syndrome and, in more detail, “anti-propaganda”, the popularization of the feminist agenda through aesthetic practices with mandatory feedback and the utmost attention to individual fate and personal trauma.

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38

Frese Witt, Mary Ann. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century by Gail Finney." Comparative Drama 25, no. 3 (1991): 308–10. http://dx.doi.org/10.1353/cdr.1991.0007.

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39

Sachs, Leon. "Legislating the French Family: Feminism, Theater, and Republican Politics, 1870-1920, by Jean Elisabeth PedersenLegislating the French Family: Feminism, Theater, and Republican Politics, 1870-1920, by Jean Elisabeth Pedersen. New Brunswick, Rutgers University Press, 2003. xi, 270 pp. $60.00 US (cloth)." Canadian Journal of History 39, no. 2 (August 2004): 368–70. http://dx.doi.org/10.3138/cjh.39.2.368.

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40

Allen, Felicity. "Feminism and Behaviourism in Academia: Strategies for Change." Behaviour Change 8, no. 1 (March 1991): 10–16. http://dx.doi.org/10.1017/s0813483900006860.

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This paper considers the employment of women academics in Australia and describes ideological sources of individual cognitions about the acceptability of the jobs typically performed by women in academia. A cognitive-behavioural model is used to explore the role of certain group behaviours in maintaining power divisions between the sexes. It is suggested that women can control aspects of their interactions with others in ways that might facilitate their promotion. The importance of time and resource management in making these changes is emphasised. The questions of reconciling the issues of feminism and behaviourism in dealing with co-workers in tertiary education are discussed. The context is not a client/therapist interaction and the model of behaviour change underlying this article is participant rather than administrative, in that it assumes that at least some members of both sexes within Australian universities will take responsibility for self-directed behaviour change. The purpose of this paper is to consider the areas of academic politics, both micro and macro, which might be susceptible to change by people using self-directed behaviour modification techniques.

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41

Gopal, Sangita. "Media Meddlers." Feminist Media Histories 5, no. 1 (January 1, 2019): 39–62. http://dx.doi.org/10.1525/fmh.2019.5.1.39.

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This article explores and historicizes the rise of the woman filmmaker in India in the late 1970s and the 1980s in two overlapping domains: a vastly expanded communications infrastructure, including the spread of television, and second wave feminism. It takes as a case study the media maker Sai Paranjpye, whose eclectic career across a range of media—theater, TV, cinema, print—in multiple formats—ad films, documentaries, educational shorts, TV films, full-length features—was fairly typical of the nature of women's media work at this time, as women took whatever work they could find in a rapidly mutating media ecology. The article suggests that these media migrations provide a model of gendered media work that is constitutively intermedial, and thus reorders the aesthetic and narrative protocols of mainstream cinema.

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42

BLOCH, RUTH H. "THE ORIGINS OF FEMINISM AND THE LIMITS OF ENLIGHTENMENT." Modern Intellectual History 3, no. 3 (September 22, 2006): 473–94. http://dx.doi.org/10.1017/s1479244306000886.

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The publication of the collection of essays Women, Gender and Enlightenment (ed. Sarah Knott and Barbara Taylor, Houndsmills: Palgrave MacMillan, 2005) affords an unusual opportunity to confront a myriad of interrelated issues, at once definitional and ideological, that face intellectual historians of seventeenth- and eighteenth-century Europe and America. The 768-page work came out of a highly unusual collaborative research project conducted from 1998 to 2001, “Feminism and Enlightenment, 1650–1850: A Comparative History,” a series of colloquia, conferences, and Internet exchanges enlisting the participation of over a hundred historians in Europe, North America, and Australia. The product of this extensive interaction showcases the contributions of thirty-eight authors, not only covering a broad array of topics but, still more remarkable, displaying a large degree of consensus about issues of interpretative concern. While dozens of books and articles have anticipated pieces of the arguments made in this volume, never has so extensive an attempt been made to pull them together into a cohesive whole.

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Ghobadzadeh, Naser. "A multiculturalism–feminism dispute: Muslim women and the Sharia debate in Canada and Australia." Commonwealth & Comparative Politics 48, no. 3 (July 2010): 301–19. http://dx.doi.org/10.1080/14662043.2010.489747.

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Trethewey, Lynne. "Christian Feminism in Action: Kate Cocks’s Social Welfare Work in South Australia, 1900–1950." History of Education 36, no. 6 (November 2007): 715–34. http://dx.doi.org/10.1080/00467600701621925.

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Burtt, Jon, Katie Lavers, and Iqbal Barkat. "Introduction and Interview: A multi-arts project." Performing Islam 8, no. 1 (December 1, 2019): 157–71. http://dx.doi.org/10.1386/pi_00009_1.

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Abstract In this article digital artist and filmmaker Iqbal Barkat discusses his new work Terrorist/Apostate, a multi-arts project, with scholars Katie Lavers and Jon Burtt. Terrorist/Apostate is based on the lived experience of his collaborator, Lebanese Australian actor Fadi Alameddin. It explores the tensions that arise as the central character begins to question his faith and his identity as a Muslim in Western Sydney. Barkat discusses how the play is informed by the critical discourse between different, often polarized, readings of Islam across a wide range of media. In particular he suggests that contemporary discussions of Islam by Muslim writers including feminists, humanitarians, LBGTI community members, and religious scholars reveal a more complex and nuanced idea of Islam than the reductive 'popular critiques' presented by many western commentators, and that authors such as Tariq Ali, Fatema Mernissi, and Nawal El Saadawi engage with the notion that there never has been a single idea of what constitutes Islam, but rather 'a plurality of Islams'. Through a wide-ranging open-ended interview process Barkat discusses this critical discourse about contemporary Islam in the context of this important new theatre work.

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Paisley, Fiona. "Citizens of their World: Australian Feminism and Indigenous Rights in the International Context, 1920s and 1930s." Feminist Review 58, no. 1 (February 1998): 66–84. http://dx.doi.org/10.1080/014177898339596.

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Inter-war Australia saw the emergence of a feminist campaign for indigenous rights. Led by women activists who were members of various key Australian women's organizations affiliated with the British Commonwealth League, this campaign proposed a revitalized White Australia as a progressive force towards improving ‘world’ race relations. Drawing upon League of Nations conventions and the increasing role for the Dominions within the British Commonwealth, these women claimed to speak on behalf of Australian Aborigines in asserting their right to reparation as a usurped people and the need to overhaul government policy. Opposing inter-war policies of biological assimilation, they argued for a humane national Aboriginal policy including citizenship and rights in the person. Where white men had failed in their duty towards indigenous peoples, world women might bring about a new era of civilized relations between the races.

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Townley, Cris. "Playgroups: Moving in from the Margins of History, Policy and Feminism." Australasian Journal of Early Childhood 43, no. 2 (June 2018): 64–71. http://dx.doi.org/10.23965/ajec.43.2.07.

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PLAYGROUPS BEGAN IN AUSTRALIA in the early 1970s, at the same time as significant changes in early childhood education and care (ECEC) began taking place. This paper explores how early playgroups were positioned in the ECEC policy, and the experiences of playgroup organisers in New South Wales. Methods used were documentary analysis of Project Care (Social Welfare Commission, 1974) and interviews with key players. Findings were that playgroups grew rapidly in response to grassroots demand from mothers wanting their children to learn through quality play, besides the demand for adult social support. Since Project Care was strongly influenced by feminist lobbying and the objective of enabling women to engage in paid work—and playgroups relied on mothers to deliver the service—playgroups were an uneasy fit in the ECEC policy. Although Project Care integrated playgroups into its recommendations for ECEC services, subsequent funding was at a low level. Today, ECEC services would benefit from a strengthening of the community playgroups model.

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Pini, Barbara, and Sally Shortall. "Gender Equality in Agriculture: Examining State Intervention in Australia and Northern Ireland." Social Policy and Society 5, no. 2 (April 2006): 199–206. http://dx.doi.org/10.1017/s1474746405002885.

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This paper is concerned with the extent to which the state offers potential for furthering farm women's status and rights. Using case studies of Australia and Northern Ireland, it examines the extent to which the state has intervened to address gender inequality in the agricultural sector. These two locations provide a particularly rich scope for analysis because while Australia has a long history of state feminism and an extensive legislative framework for pursing gender equity, this is not the case with Northern Ireland. At the same time, the restructuring of the state in Northern Ireland, following on from the Belfast Agreement of 1998 and the Northern Ireland Act of 1998, has generated new opportunities for state intervention regarding gender equality. Moreover, while gender is now for the first time being placed on the state agenda in Northern Ireland, gender reform is being wound back in Australia, as equity discourses are subsumed by the hegemonic discourses of neo-liberalism.

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Pascoe Leahy. "From the Little Wife to the Supermom? Maternographies of Feminism and Mothering in Australia since 1945." Feminist Studies 45, no. 1 (2019): 100. http://dx.doi.org/10.15767/feministstudies.45.1.0100.

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Pascoe Leahy, Carla. "From the Little Wife to the Supermom? Maternographies of Feminism and Mothering in Australia since 1945." Feminist Studies 45, no. 1 (2019): 100–128. http://dx.doi.org/10.1353/fem.2019.0004.

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