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100 WOMEN
edited by Gillean Shaw, Keryn Stewart and Kevin McConkey
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©The University of Newcastle 2011 First published in 2011 by The University of Newcastle University Drive Callaghan NSW 2308 Australia (612) 4921 5000 www.newcastle.edu.au
National Library of Australia Cataloguing-in-Publication entry:
Title: 100 women / editors, Gillean Shaw,
Keryn Stewart, Kevin McConkey.
ISBN: 9780980761887 (pbk.)
Subjects: Women--Australia--Biography.
Other Authors/Contributors:
Shaw, Gillean.
Stewart, Keryn.
McConkey, Kevin.
Dewey Number: 920.720994
Set in Akzidenz Grotesk by Australian Type Foundry, Australia
Printed in Australia by Whirlwind Print
edited by Gillean Shaw, Keryn Stewart and Kevin McConkey
iii
100 WOMEN
edited by Gillean Shaw, Keryn Stewart and Kevin McConkey
iv
The StoriesContents
ElhamDoroodchi 2
SentaTaft-Hendry 4
SusanLim 6
IvyIreland 8
DeborahWright 10
MargaretOlley 12
KatherineProudfoot 14
SherelleCharge 16
LizMcMinn 18
PimpimonWongchaiya 20
NicoleGerrand 22
GivernyLewis 24
IrinaBelova 26
LizNicol 28
CatherineandJenniferStrutt 30
LaurenColthorpe 32
RionaTindal 34
PaulineChiarelli 36
FelicityBiggins 38
BronwynHall 40
RosemaryBeckett 42
KristienneThomas 44
PippaRobinson 46
CatherineBritt 48
KerryKete 50
RoxanneBlack 52
JulieAinsworth 54
TinaOffler 56
TeelaMayReid 58
Bat-shevaStewart 60
JudyVajak 62
CarolMartin 64
SamanthaMartin-Williams 66
VickiClifton 68
DianaRah 70
CateHayes 72
Cheong-ChuaKoonHean 74
KathyButler 76
JulianneButler 78
AfafGirgis 80
EmmaJackson 82
KatrinaKellett 84
ShayneBlackburn 86
PamelaConnell 88
XiaoliDeng 90
JeanetteRothapfel 92
EugenieLumbers 94
SarahHilton 96
OonaghChan 98
SarahTaylor 100
v
Contents
KatherineJonesTorres 102
CatherineMahony 104
LauraSeabrook 106
TaraMallie 108
LoisBryson 110
MahlaPearlman 112
CarolynHastie 114
PennyBiggins 116
JudithBeveridge 118
LieslTesch 120
KarenHitchcock 122
HeidiForrest 124
SarahMaddison 126
JackieSales 128
Rowena,JulianaandAngelaFoong 130
AlexiaSinclair 132
RennyChivunga 134
JenniferDuncan 136
BeibeiZhang 138
SueGould 140
SusiePorter 142
PatriciaForsythe 144
JennieThomas 146
EileenDoyle 148
JosephineTam 150
MargaretHarris 152
RachelKing 154
DoreenKum 156
MarionHalligan 158
DonnaMeehan 160
MargaretWatson 162
StephanieMoras 164
SuzePodger 166
CatherinePhoenix 168
JanicePetersen 170
RubyAndrion 172
SueMcNeil 174
JeanTalbot 176
ShelleyClark 178
RaeRichards 180
MarniJackson 182
MazSmith 184
LakinAgnew 186
VeronicaPettifer 188
KathleenKirkby 190
JacquelineKrynda 192
ChengSmart 194
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The WomenContents
LakinAgnew 186
JulieAinsworth 54
RubyAndrion 172
RosemaryBeckett 42
IrinaBelova 26
JudithBeveridge 118
FelicityBiggins 38
PennyBiggins 116
RoxanneBlack 52
ShayneBlackburn 86
CatherineBritt 48
LoisBryson 110
JulianneButler 78
KathyButler 76
OonaghChan 98
SherelleCharge 16
PaulineChiarelli 36
RennyChivunga 134
ShelleyClark 178
VickiClifton 68
LaurenColthorpe 32
PamelaConnell 88
XiaoliDeng 90
ElhamDoroodchi 2
EileenDoyle 148
JenniferDuncan 136
Rowena,JulianaandAngelaFoong 130
HeidiForrest 124
PatriciaForsythe 144
NicoleGerrand 22
AfafGirgis 80
SueGould 140
BronwynHall 40
MarionHalligan 158
MargaretHarris 152
CarolynHastie 114
CateHayes 72
SarahHilton 96
KarenHitchcock 122
IvyIreland 8
EmmaJackson 82
MarniJackson 182
KatherineJonesTorres 102
KatrinaKellett 84
KerryKete 50
RachelKing 154
KathleenKirkby 190
Cheong-ChuaKoonHean 74
JacquelineKrynda 192
DoreenKum 156
1
THE WOMEN
3
Afewweeksbefore,acompanyhadpresentedthetwochemicalengineerswithaconundrum:thecompanywantedtorecoverenergyfromgeothermalresourcesmoreefficiently,buttherewasnothinginthemarketplacethatenabledthemtodoso.
“Thatafternoon,wefoundourselveswithsomeraresparetime,”Elhamsays.“Wegotoutapieceofpaperandstartedbrainstormingtheproblem,doingcalculationsandthinkingaboutapplications.”Theresultswerestartling.“Wenotonlyfoundoutthatitwaspossibletogeneratetheelectricitybutwealsofoundouthowtoharnesstheextraheatproducedbyindustryandturnthatintoenergytoo.”Fromthatpieceofpaper,GRANEXwasborn,aninventionthathaswonElhamandherhusbandbothajudges’choiceandpeople’schoiceawardonABC-TV’sNew Inventors program.
ElhamwasborninIran,migratingtoAustraliaasateenager.“Myparentshavealwaysbeenencouragingbuttheywereneverpushyabouteducation.Whattheytriedtodowasbringupchildrenwhowereindependent,”shesays.“MysiblingsandIallstudiedorworkedindifferentcountriesandweallstilllovetotravel.”Evenwithalltheencouragementandsupportintheworld,movingtoAustraliawasn’teasy.“I’llneverforgetthedayIarrived,”she
says.“Iwasstandingintheairport,waitingformyluggage,andIcouldn’tunderstandathinganyonewassaying.Icouldn’tunderstandtheannouncementsorreadthesignsandIrealisedthenwhatachallengeitwasgoingtobe.IdecidedfirstandforemosttoconcentrateonlearningEnglish.”Forsixmonths,Elhamworkedonherlanguageskills,goingtodifferentsocialgroupsandclassesandhavingconversationswithpeople,untilshewasconfidentenoughtoapplyforuniversity.“Iappliedforengineering,andspecificallychemicalengineering,becauseyoustartwiththerawmaterialandseetheprocessallthewaythroughtotheendproduct,”shesays.“You’reinvolvedineverythingfromdefiningtheproblemtodevelopingtheproblem.That’swhatIfindsatisfying.”
ElhamgraduatedfromtheUniversityofNewcastlewithaBachelorofChemicalEngineering,firstclasshonoursandaUniversityMedal.ShethenwentontocompleteaPhDandsheisaresearchfellowatthePriorityResearchCentreforAdvancedParticleProcessing.“Ithinkit’sbecauseIaminsatiablycurious,”shesayswhenaskedaboutherachievements.“Iwanttoknowhowtheworldworks.Ifthere’saproblemIwanttoanalysetheproblemandcomeupwithasolution.Engineeringisthekeytoeffectiveproblemsolving,”shesays,“andI’minspiredbytheprospectofcomingupwiththeanswers.”
ItisclearElham’slifeisinAustralianow.“IranhasaplaceinmyheartbutIgethomesickwhenIleaveNewcastle.EverythinghaschangedinIran.Eventhesceneryischanging.I’mnotconnectedtothelocationanymore;it’sthepeopleIgobacktosee.”DidtheNew Inventorsprogramandtheinterestitgeneratedinherinventionchangeherlife?Elhamischaracteristicallydowntoearth:“It’smoreabouthavingconfidenceinyourselfratherthanexpectingotherstohaveconfidenceinyou.”Elham’sresearchgoalistodeveloptechnologyplatformsthatareenergyefficientandenvironmentallyfriendly.“Nothinginlifeisimpossible,”shesays,pausingtoaddwithapealoflaughter,“aslongasit’snotagainstthefirstandsecondlawsofthermodynamics!”
Elham DoroodchiElham Doroodchione afternoon in 2006, recovering from the social whirl of another busy Christmas, elham Doroodchi and her husband sat down with a piece of paper to do what they do best: solve a problem.
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This fascination with the “animal within us” is still the driving force in a life spent in pursuit of Pacific and Oceanic art. Taking her from Hanover to the highlands of New Guinea, via Melbourne and Africa, Senta’s passion has sparked a life crammed with adventure.
As the founder and owner of Galleries Primitif, the oldest gallery of Oceanic art in Australia, Senta has spent more than 50 years travelling to remote areas of Polynesia, Micronesia and Melanesia in search of art and artefacts. The seeds of her career were sown early, nurtured by twin family passions for travel and art. “My mother collected art and we’ve always travelled, bringing pieces of each old country with us to the new. Our house was full of sculptures. I love sculptures. You can caress sculpture but you can’t caress a painting.”
Born in Germany, Senta came to Australia with her family as a child, and studied art education in Melbourne before joining Trans Australia Airlines (TAA) as an air hostess. It was during this time that her interest in the art of New Guinea was first realised. “TAA were putting together an exhibition of tribal art from New Guinea, and they asked me to go. It was wonderful – I got to fly back and forth to New Guinea for free, collecting art.” A two-year stint in
what was then Rhodesia followed, until Senta found herself back in Australia in 1956. She opened her first gallery not long after.
Senta estimates that she’s walked “for hundreds of miles” around different villages looking for skulls, bark paintings, masks and jewellery. Along the way, she learned how to cook human flesh—“best flavoured with coconut”—and gained her pilot’s licence, a rare achievement for a woman at that time.
Travelling to remote villages as a lone woman was not without its dangers, and Senta admits to some close shaves on buying trips. “In one village I took a Polaroid photograph. People were usually amazed to see the picture develop before their eyes like magic but this time, when the photograph developed, a line appeared down the middle of the chief. He thought it meant I was going to kill him and immediately people surrounded me with bows and arrows. The guide had to say I’d made him twice as strong and the chief finally conceded.” Quick thinking helped to turn the situation to her advantage, and Senta completed her negotiations.
On another trip, she collected two skulls in Borneo and was sailing away from the island when the tribe called her back demanding their return.
“I gave the skulls back, of course. You have to be very careful, as tribal art is often very sacred and spiritual.’ She pauses, a glint appearing in her eye like a naughty schoolgirl’s. “I’ve had some fun times too. Once I bought a whoopee cushion in a little shop in Sydney and took it with me on a buying trip. When I sat on it, the tribe thought I had a spirit in my bum!”
Senta is passionate about education and its ability to equip young people for life; with her husband, Dr Peter Hendry, she has made significant donations to the University of Newcastle and intends to establish a scholarship. “I believe the way to open doors is through education. I think the most important part of living today is gaining education so you can face life without an inferiority complex. It’s such an important time being young; you can impregnate your brain with new ideas.”
Senta’s life-long dream has been to establish Australia’s first Museum of Tribal Art; a dream that is now one step closer with the donation of her personal collection to the University of Newcastle and the opening of The Senta Taft-Hendry Museum. “If I give something, I give it with a warm hand. This is the way I want to be remembered. I’ve had the opportunity to do so much in my life, and I want the same for others.”
Senta Taft-HendryWhen senta taft-Hendry was a small girl, she used to look for animals in the patterns of curtains.
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Susan LimThesehandshavemovedwithprecisionanddelicacywithinthemostintimatespacesofpatients’bodies;gentlyprobing,invisiblymending,evenperformingtheseeminglyimpossiblefeatofturningbacktheclock.
Eversinceshewasayounggirl,SusanLimknewshewantedtobeasurgeon.“Iwasinterestedinthemorephysicalaspectsofmedicineandusingmyhands,”shesays.Susangrewupinalargeextendedfamilyofdoctors—thoughherfatherwasamechanicalengineerandhermothera“wonderful”full-timeparent—andshewasadiligentandfocusedstudentatschool.SusanwentontosuccessfullyperformthefirstcadavericlivertransplantforAsiain1990,andthepatient–inthepinkofhealthtwentyyearspost-transplant-isthelongestsurvivoroftheprocedureinAsiatodate.“Thisisimportantandmeaningfulformebecausethereisalifethathasresultedfromthisbreakthroughprocedure,andinfactanotherlifeafterthat,sincemylivertransplantpatientsubsequentlydeliveredahealthybabyboy,nowinhisteens.”
WhenthesecondwaveofsuicidebombersstruckBaliin2005,twenty-twopeople,includingfourAustralians,losttheirlives.ManymorewereinjuredandtheAustraliancommunitywentintoshock.Inthedaysthatfollowed,criticallyinjuredAustralians
wereflowntoSingapore,wheretheywereplacedinSusanLim’scapablehands.Shetreatedthevictimsofthebombing,someofwhomhadsufferedhorrificinjuries,fromwithinthehospital’sintensivecareunit,restoringthemtohealthaftersurgery.
Susan’sworkfollowingtheBalibombingswassorespectedandappreciatedbytheAustraliancommunitythatshewasbothawardedanhonorarydoctorateandreceivedapersonalmentionintheAustralianParliamentrecognisinghercontribution.ThishasreinforcedSusan’sconnectiontoAustraliaandshehassinceencouragedyoungstudentsfromAsiatopursuetheirundergraduatestudiesinAustralia.“IwonascholarshiptostudyatMonashUniversity,”shesays,“anditsetmeonthepathI’montoday.I’monlytoohappytogivesomethingback.”Withthisinmind,shehasestablishedtheDrSusanLimMedicalScholarshipfordeservingstudentsatherpreviouscollege.
AsenseofnationalpridepromptedSusantovolunteerherskillsasasurgeonintheSingaporeArmedForces,wheresheservedasavolunteercaptain.Unsurprisingly,combiningherfull-timeclinicalwork,stemcellresearchandentrepreneurialactivitieswithfivechildrenandahusbandmeansthattimeisthemostpreciouscommoditySusanhas.“Itisalwaysafinebalancingact,”
shesays.“Ihavetriedtoinvolvemyfamilyinmycareerandmychildrenspenttheirearlydaysinthewaitingroomsoftheoperatingtheatre,oratconferencesoverseas.IrememberSundayswere‘SpecialDays’whentheywouldaccompanymeonwardroundsandthenforsconesandpastriesattheDeli.”
Susanstaysmotivatedbydedicatinghertimeandefforttoresearchingcuresforherpatients’diseases.“Imeetpatientswhoselivesareturnedupsidedownwiththediscoveryofsomedreadedcancer;Iseethempersonallybattletolive,andthismotivatesmetopursueacademicresearchtotrytoworktowardsnewdiscoveriesandcuresthatcanbenefitpatientsinourlifetime,”sheexplains,asherteamresearchesadultstemcellsandbreastcancerstemcells.Medicinemoveswithastonishingpace;Susanisconfidentthatadvancesinmolecularscience,stemcells,genetherapy,mobilehealthand–futuristically–roboticsurgerywillenableusnotonlytoenjoylongevity,butalsoavastlyimprovedqualityoflife.Forthiscommitted,talentedsurgeon,thegiftoftimeisthemostpreciousofall.
A wax model of surgeon susan Lim’s hands sits in the Madame tussaud’s exhibition in singapore. nails cropped close by professional necessity and long fingers painted to a lifelike lustre, the model captures thirty years of motion in the stillness of wax.
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“Iwasalwaysinballetconcerts,eisteddfodsandschoolplays,”shesays.“IfIamterriblyhonest,though,I’vealwayshadalackofself-belief.It’ssuchadebilitating,light-destroyingthing.”ThisdestructionoflighthasbeenonIvy’smindrecently,asshehasovercomeseriousillnessfollowingaburstectopicpregnancyandcaraccident.
“I’vehadsomehugehealthissuesinthepastyear,andImustconfessIwasreallyshakenupbythem,”shesays.“WhileIhavebeenverylucky,andterrificallyblessedinmyrecovery,theartofstillnesshasbeenahorriblelessonforme.Forbetterorworse,IhavenowexperiencedwhatitisliketobeinapositionwhereIsimplycan’tdothatthingorbethatpersonlikeIusedtobeableto.Beinginhospital,beingilltoanear-lifelesspointwasashock;thewavesandechoesthatcrashthroughintomylifenowarestillhardtoride.”
Ivymightputherheartintopoetryonthepage,butfragilityandhonestyarealsothethingsthatmakeherperformancessoappealing.Sheinvitesyouintoherinnermostsecretswithherharpmusic,ordancesacrossthestageonbrokenglassaspartofherperformanceswithpartnerJason“Dangerboy”Hodgson.Thereisahumblenesstoherwordsthatcontraststhevibrancyofherlife,perhapsareflectionofthelessons
learnedonathree-yearexchangetriptoIreland.“Ithinkallthatcold-grey-wetwasgoodformypoetry,”shesays.“Itgavemebalance.”Perhapsitwasalsoseeingthingsanew,experiencingadifferentlandscapeandattitude.
Ivycandrawstrengthfromhercontinuedsuccessonthelocalandnationalstage.In2007shewontheAustralianYoungPoets’Fellowshipandpublishedherfirstcollection,incidental complications.SheisnowstudyingforherPhDincreativewritingwhileperforminginsideshowactsandcabaretshows.
“MyPhDismotivatingbecauseIamconstantlyencouragedtoenterthingsandpublishmywork,”sheexplains.“Igetsobusy;IwouldforgettosendthingsofftoanycompetitionifIdidn’thavesomeoneremindingme.”Ivy’sparentshavealsobeensupportive,encouragingherdanceandmusicactivitiesfromanearlyageandnowbuildingpropsforherperformances.
“IwasfortunateenoughtogrowupinaverysmallcoastaltowninNewSouthWales.Bothofmyparentsgrewupinthatareatoo,sowewereverywell-rootedincommunity,”shesays.“IrememberbeingoutsidemostofthetimewhenIwasgrowingup–mostlyuptrees,onthemountain,inthelakeorintheocean.”Ivy’saffinitywiththe
outdoorshasamplifiedandnowshehasapenchantforcosmologyandmysticism.
“IwishIcouldcombineallthethingsIlove,”shesays,“butI’mthekindofpersonwhoalwaysdividesthingsup,fragmentsself,putsonadifferenthateachdaydependingonwhichjobI’mgoingto.ItwouldbeterriblyconvenientifIwereaperformance-poet,wouldn’tit?ButI’mjustnot.Idowritemusicalepicpoemsfortheharp,though,andIfindthatallthedifferentartformsI’minvolvedinallhaveacertaindialoguewitheachother.”
Ivywillcontinuetorecover,perform,write,publishandlove.Althoughthesethingswerealmosttakenawayfromher,“thethreads,”asshewritesinapoem,“aresungbackintoourbodies.”
For poet and harpist Ivy Ireland, it feels as if she was born performing.
Ivy Ireland
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As chief executive officer of NBN Television in Newcastle, and the first woman in several senior Australian media roles, her firm handshake and friendly smile testify to a career spent building relationships. They don’t completely hide the fighter within, though; it’s there in the directness of her gaze, and a certain way of tilting her head when she’s considering the answer to a question.
Deborah’s life is one of opportunities seized with both hands. She tells the story of how as a young woman, after four days working for The Star newspaper in a junior advertising sales role, she was called into the general manager’s office. He offered her the role of features manager, a huge leap for someone with minimal media experience. “And I said ‘That’s unbelievable, that’s brilliant, thank you very much! I’ll take it.’ Then I got to the door and turned around: ‘Just one question, Brian. What, precisely, does the features manager do?’” From that initial leap of faith, her career in media is testament to her personal drive and commitment. In 2005, Deborah was appointed NBN station manager and two years later became CEO, only the second woman in Australian television to hold this role.
A life in the cut-throat world of media wasn’t what Deborah Wright had planned. When she finished school in
Newcastle, Deborah intended to become a physical education teacher, but circumstances intervened and she ended up teaching social science in Sydney’s western suburbs. After teaching in a few different schools, Deborah came to an abrupt realisation: although she loved contact with her students, teaching, or more specifically the culture of the Department of Education, was not for her. “I felt that my wings were clipped within the Department,” she says. “There was this negativity. I really didn’t want to end up like a lot of the teachers that I saw there, who just struggled, who just got by, who just existed. I saw that the kids deserved much more than that.”
During this period of her life, the death of a beloved older brother brought home the fragility of existence and the importance of making every second count. “We lost my brother from chickenpox when he was thirty-one. To me it reinforced this drive that I have in all things that I do. But more than that, it was a sense that life is a bit like a pilot lamp: it can be snuffed out at any time.” Sitting by the water on a holiday break from school, reading a local newspaper, she spotted an advertisement for an advertising role with The Star. It marked the beginning of a new career, one ideally suited to her energetic, competitive nature.
Deborah’s strength comes from many places. She credits her parents for refusing to limit her sense of her own possibilities: “I wasn’t pigeonholed into the whole ‘you’re a girl, you’ve got to do these things’ mentality,” she remembers. A keen athlete, she was encouraged to play football and cricket “with the boys”; she has a clear memory of her father holding her up to a pool table as a toddler so she could take a shot, the little girl chanting “I can. I can myself!”
Even today, sorting through the hundreds of job applications that arrive for any job in media, she looks for candidates with sporting backgrounds: “I can’t help myself. It’s the leadership qualities in sport.” Much like a champion sports team, Deborah plans to keep NBN in its dominant position by continuing to embrace new broadcasting technologies and seize opportunities as they arise.
Deborah WrightDeborah Wright likes people and they like her.
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Margaret OlleyAlmostclaustrophobicbeautyiseverywhereinthisroom;sculpturesandflowerscompeteforspacewithscatteredcanvases,andpaintingsclusterinwildprofusiononthesiennawalls.AtthecentreofthissitsthediminutiveframeofOlleyherself,ateighty-sevenrecognisedasagiantoftheAustralianartworldandaNationalLivingTreasure.
Apainterwhoseartisticvisioncentresonthegenreofstilllifeordomesticinteriors,MargaretOlleyhasalwayspursuedhercreativevisionwithoutregardtochangesinstyleandconvention.Asayoungartist,MargarettraveledtoEuropetodrawfromthegreatartcollections,becomingpartofthecriticalpost-warculturalscene.ShemetChagall,workedwithSirFrancisRose,andsharedafternoonteaswithAliceB.Toklasinaroom“wallpapered”withthepaintingsofPicassoandBraque:“Iwassoinnocent.Ididn’tknowshemadethosefamouscookies!”
ForAustralianartists,raisedonbookplateimagesofWesternArtmasterpieces,encounteringthesamepaintingsinthefleshcanbeintimidating.“Itwaslikeyourwallcollapsingandhavingtobuilditupagain,”admitsMargaret,musingthatshe“mighthavegoneovertooearly,becauseIwasjustbeginningtomakemyownhandwriting.”ReturningtoAustraliaafterthedeathofherfather,shebattleddepressionand
alcoholism,emergingfromthesedarktimeswithanunusualdegreeofartisticclarity.Sheisfirmonthispoint:“Idon’twanttopaintdark.Peoplewhopainttheirdarkplacesarepassingontheirdark.Whowantstoknow?”
TherearetwopaintingsthatcometomindwhenonethinksofMargaretOlley.OneistheArchibaldportraitbySirWilliamDobell,showingMargaretasagloriousyoungwomaninafloatingwhitedress.Likeanygoodpicture,ithasastorybehindit.Anartistfriendhadaskedhertocometotheopeningofhisexhibitiondressedasaduchess.Withwartimerestrictingmaterialtocoupons,he“mademeadresstowearfromalotofaeroplanesilkandthetopofhisgrandmother’sweddingdress.Justthebodicepart,becausetheresthadbeeneatenawaybymoths.”TheexhibitionendedandMargaretfoundherselfonthesame“rattlingtram”asDobell,aninterminablejourneythatendedwithhimaskingifhecouldpaintherportrait.Shelatersatforhimandhepaintedtheduchessdressfrommemory.
Anotherisanearlyself-portraitofMargaretlookinginthemirrorofherSydneyflat.Despitethedecorativeaesthetic(flowers,shells,fruitandpostcardscrowdtheforeground)sheencountersherselfwithoutsentimentality;thepaintingisadepictionoftheselfthatishonest,stronganddirect.Thepaintingalsoreflectsavital
truth;anyperson,andespeciallyawoman,whohasgiventheirlifetoartisnecessarilytough.
Resistingsocialexpectationstomarryandhavechildren,Margaretchoseherowndestinywithdetermination,creditingherstrengthtoacountryupbringing,commonsenseandparentswhoencouragedautonomy.Artalwayscamefirst.“Isawexamplesofartistsmarryingandthemaledominating-andthefemalewasthebetterpainter!Andthenhavingchildren.AndIthought‘ohno,Idon’tlikethatatall.’”WhenwavesoffeminismsweptthroughAustraliansocietyinthe1960sand1970s,Margaretremembersbeingnonplussed.“Ididn’tknowwhatitwasallabout,becauseI’dalwaysdonewhatIwantedtoanyway.”
Agenerousbenefactorandpatronofthearts,MargaretOlleyhascontinuedtopaintwellintohereighties.Whenaskedwhatdriveshertokeeppainting,herresponseisimmediate:“Topushthebarriers.Everythingyoudoshouldbetherightmoment;youmustputeverythingyou’vegot—everything—intothatmoment.”
Margaret Olley died on 26 July 2011. She was 88 years old.
Margaret olley’s Paddington house is full of the sound of opera. the radio proclaims that Dame Joan sutherland has died, the announcement followed by piercing, unearthly arias.
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ForParalympianKatherineProudfoot,thedecisiontodragherselfoutofbedononeparticulardaychangedthecourseofherlife.
“IoftenwonderwhatwouldhavehappenedifIhadn’tdecidedtogetupandgotothegymthatmorning,”shemuses,glancingdownathermuscularforearmsandsmilingatthememoryofherlifebeforeelitesport.“I’mnotsurethatIreallybelieveinfate,butit’soneofthosemomentsofbeingintherightplaceandtherighttime.It’squiteuncannyhowmuchofanimpactthatcanhaveonyourfuturedirection.”
OnthatSaturdayKatherine,aPhDstudentinspeechpathology,walkedintothecampussportscentreatthesametimethattheAustralianParalympicCommitteewasrunningatalentsearch.Itwasabright,sunnymorningandKatherinewasthinkingaboutherwork-out,abreakfasttofollowandthepossibilityofadayatthebeachwithfriends.Outofcuriosity,shestoppedattheregistrationdeskandwasofferedtheopportunitytotryoutfortheAustralianParalympicteam.
Katherinehascerebralpalsy.Shespenttherestofthedayatthegym,swimmingtimedlaps,running,jumping,throwingandhavingallaspectsofhercardio-vascularfitnessmeasuredandtested.
Whenshefinishedeachexercise,theorganiserswouldmakenotesontheirclipboards,andleadhertothenexttestingstation.“It’sreallyhardwhenyou’redoingthesetests,becauseyoudon’tknowwhatkindofstandardthey’relookingfor;you’renotsureifyou’vedonewellornot,”sheremembers.“ItwasareallypleasantsurprisetoopentheletterinthemailafewweekslaterandfindoutthatI’dbeenselected.IfeltthatI’dbeengivenanopportunityanditwasuptometoseeifIcouldtakeittothenextlevel:that’ssomethingIreallyembraced!”
ThetestingindicatedthatKatherinewasanaturalathlete,ideallysuitedtoeventsthatrequirethrowingactionslikeshotput,discusandjavelin.Shewasassignedathrowscoach,andplungedintoarigoroustrainingschedulethatcompletelyre-organisedherlife.AlthoughKatherinelovedthechallengesofhernewrole,pushingherbodytothelimittookitstoll.“I’vebrokenmyrightelbowtwiceandhurtmyshoulderafewtimes,”shesays,grimacinginrememberedpain.
Herperseverancepaidoff,though,andbythefollowingyearshewascompetingattheCommonwealthGamesandthenattheWorldChampionshipsintheNetherlands.ThepaceofherprogressionastonishedevenKatherine.
“Itwasareallyfasttransitionfromjustdoingthingsrecreationallytogettinginvolvedinelitesport,”shesays.
ForKatherine,thehighlightofhersportingcareersofarhasbeenwinningasilvermedalattheParalympicGamesinBeijing.“It’snotalwaysaneasythingtothrowapersonalbestataninternationalcompetitionwith80,000peoplelookingon,”shelaughs.
Katherineiseffusiveaboutthepotentialofsporttobuildself-confidence,friendshipsandtenacityinallpeople,regardlessofphysicallimitations.“EverythingParalympicsportstandsforispositive:you’relookingatagroupofpeoplewhoareovercomingsignificantdisabilitiesinordertocompeteandachievetheirgoals,”shesays.
An extra hour or two of sleep doesn’t mean much to most university students, except maybe to those sleeping off the excesses of the night before.
Katherine Proudfoot
16
Her physical grace is so profound that you become aware of both the positive and negative spaces of her body: the way she moves an arm and displaces air, an elegant twist as she turns to answer a question. Even the straight lines of a chair look crude against the flow of her long neck and spine.
As a little girl, Sherelle pestered her parents for ballet lessons. But they, having read an article by a famous dancer that said children should not start dancing until age seven, urged against formal instruction. Sherelle, stroking a sleek wing of hair away from her face, remembers the turning point for their change of heart. “I was about six at the time and my father invited his boss over for dinner. I told my father’s boss how my mean parents didn’t let me go to ballet lessons!” Capitalising on that strategic move, Sherelle started lessons the next day.
The desire for perfection in movement became unquenchable. “I left school when I was fifteen because I had to study dancing full time,” she says. “It was six o’clock in the morning to nine o’clock at night, five days a week, and then on Saturday nine until five. I didn’t have a personal life for
about two years.” During this time, a judge at a Sydney eisteddfod commented on her lyrical, theatrical style, observing that she was “a European dancer”. It was a judgment that would prove to be prescient.
At age seventeen, Sherelle left her close-knit family in Newcastle and traveled to Europe, determined to win a place with one of the major dance companies. “I spent six weeks travelling around Europe, sleeping on trains and auditioning the next day,” she remembers. “Then I would sleep on a train to get to the next city.” With many of the world’s best young dancers making the same pilgrimage, the competition for places was fierce. “It is cut-throat,” Sherelle admits, “but if your approach is honest, you can’t be treated unfairly by others.”
Sherelle was offered a place with Bayerisches Staatsballett, the highly regarded Bavarian State Ballet, based in Munich. Over the next sixteen years she would rise through the corps de ballet to become principal dancer. She lived in an intensely emotional world, fraught with the ever-present risk of physical injury. “After a performance the adrenaline is pumping until three o’clock in the morning,” she says. “This is the
danger with dancers: they develop such a pain barrier that they work past injuries. I worked on a broken toe; you push your body beyond the limit.”
In 2005, Sherelle danced the leading role of the Marschallin in Graeme Murphy’s The Silver Rose, a character especially choreographed for her. Two years later, she retired from ballet. “I knew that I was at the peak of my game and I didn’t want to fall down the other side,” she says. “I didn’t want to have people saying ‘can she get off the stage now, please!’”.
Sherelle returned to Newcastle with her partner Joerg to a house bought unseen, and a job in human resources at the University of Newcastle. She is currently studying towards a management qualification and plans to continue with postgraduate study next year. Sherelle’s passion for dance remains undiminished; as well as mentoring principal ballerinas of the Australian Ballet in interpretation of the Marschallin, she adjudicates ballet competitions – including, in a twist of fate, the Sydney Eisteddfod, the competition that first inspired her European journey.
Sherelle Chargesherelle Charge inhabits the space around her like a fluidly moving sculpture; like many ballerinas, sherelle seems born to be in motion.
19
Liz McMinnGrowingupinacountrytown,shemarriedherboyfriend,andtheymovedtoaremoteminingtowninWesternAustraliafarfromfamilyandfriends.Itwasherethatherhusbandbecameviolent.TheyreturnedtoNewSouthWales,whereaconversationwithherdoctor,amanshetrusted,changedherlife.“Hesaid,‘ifyoustay,you’regoingtogetkilled.He’sgoingtobeingaol,andwho’sgoingtoraiseyourchildren?’”Lizpackedherbagsandleftwithhertwosmalldaughters.
“Ispentaboutsixyearsasasingleparent,”shesays.“Myself-esteemwasverylow.Ihadtobasicallyre-buildmylife,soIwaitressedandcleanedmotelrooms,justtogetbackonmyfeetfinancially.Atthattimenotmanywomenweredivorcedsoitwashardtoclimboutofthat.”Climboutofitshedid,though,graduallymovingintobetterpaidemploymentandslowlyre-assemblingthepiecesofherfragmentedsenseofself.Shewasfortunateenoughtomeetakind,lovingman,whomshemarried.
Despiteahappyfamilylifeandasupportivepartner,Lizstillfeltthatsomepartofherremainedfrozen,asifshewaslivingbehindawallofglass.“Irememberbeingonatrainandhearingpeopletalkaboutthebeautifulcountryside,andIcouldn’tseewhattheyweretalkingabout,”shesays.“Itfrustratedme:itwasjusttreesandcows.”Inherforties,duringaplane
flighttotheNorthernTerritory,Lizfeltsomethingshiftinsideher.“IlookedoutofthewindowandIcouldjustseeasunburntcountry,”sheremembers.“AndIfoundmycolour-it’stheonlywayIcandescribeit.Ihavealwaysthoughtofitintermsofhavingmycolourstolen.Lifewasalmostblackandwhite,andquitedetached.”Thechangewasprofound,itseffectsripplingthrougheveryaspectofherpersonalandprofessionallife.Inherwords,Liz“realisedthatImadelifehappen,ratherthanhaveithappentome.”
Liznowworkstomakesurethatpeoplefromlowsocio-economicstatuscommunitieshavethesameaccesstoeducationaseveryoneelse.Afewyearsago,shetookheryoungdaughterMegtoseeanexhibitionofEgyptianartefactsattheUniversityofSydney.TheirconversationwithMegthatdaywasthegenesisofagreatidea.“Whilewewerethere,sheturnedtomeandsaid‘youknow,Icanseemyselfhere’,”Lizremembers.“Hercommentwaslikealightgoingonforme.”LizrealisedthattakingMegtovisitauniversityhadeffectivelyturnedanintimidatingunknownintoapositive,concretereality.
Liztooktheideabacktohercolleagues,leadingtotheestablishmentoftheMEGS(MakingEducationalGoalsSustainable)program.MEGStakesyear6and7highschoolstudentstouniversity,vocationaleducationand
workplacesettings,threeyearsinarow,withafamilymember.“Thisprojectisaboutengaginglowsocio-economicstatusfamiliesandgivingthosestudents,atanearlyenoughstage,themotivationtoattainthelevelofeducationtheyneedtomoveintouniversityorvocationaleducation,”Lizexplains.“Orwhateverthey’dliketoachieve!”Atitsheart,MEGSisaboutempowerment:encouragingpeopletobelieveinthemselves,valuetheirlivesandembracenewchallengesandpossibilities.AsLizsoeloquentlydescribesit,it’saboutlivingincolour,notblackandwhite.
Liz McMinn’s story is one about power, and how it can be denied, abused or enabled. When Liz was a child, an extended family member abused her. For years she suffered the effects of somebody else’s crime, putting up a wall between herself and the world.
21
Duringthe1980s,PimpimonworkedasanurseattheheightoftheHIV/AIDSera,whichhitThailandhard;later,asaspecialistinmentalhealth,shewatchedtheglobal“epidemic”ofmentalillnessimpacthercountry’sill-preparedhealthsystem.AsapostgraduatestudentofuniversitiesinEnglandandAustralia,sheknewthathealthsystemsacrosstheworldwerestrugglingtocopewiththesameissues.“Projectsandideasrelatedtomentalhealtharenotwellsupported,”Pimpimonexplains.“Thishappensinmostcountries,butthesituationisworsefordevelopingcountries,andevenworseiftheprojecttargetspeoplewithchronicmentalillness.”
Theyoungestdaughterofalovingfamily,PimpimonwasborninThailand’sPhayaoprovince.Shesmilesassheremembershowpleasedherfamilywerewhenshesecuredalecturingpositionatanursingcollege“justfiveminutesdrivefromhome”andhowherfathercriedwhenshetoldhimthatshe’dwonagovernmentscholarshiptostudyabroad.“Hewassoproudofme,”shesays.“Sadly,hediedbeforemygraduation.”Alovedchildhaslittlefearoftheopenroad:Pimpimon’sfatherencouragedhertopursuehighereducationandgavehertheconfidencetostudyabroad.LikePimpimon’sunderstandingofmentalhealth,itwasarelationshipculturallyatoddswiththemainstream.
“Inmyculture,daughtersusedtoreceivelesseducationthansons,”Pimpimonexplains.“Mymothergrewupinaprivilegedfamilybutonlyreceivedabasiceducation.Thenshewassenttothetowntolearnhairdressing.Meanwhile,herbrothersweresenttoteachingcollegeinanothercityandbecameteachersinpublicschools.Mymothermarriedandbecameahousewife,andherlifedependedonherhusband.”
AftercompletingherMastersinAdvancedNursingintheUnitedKingdomandadoctorateinMentalHealthNursinginAustralia,PimpimonreturnedtoThailandwithafreshperspectiveonlocalhealthissues.Shewasdeterminedtoinitiatechangestothewaymentalhealthwasbeinghandledinhercommunity.Toherhorror,shediscoveredthatduringherabsenceteachinghoursforthementalhealthsegmentofthenursingcoursehadbeencut.“Thestudentsusedtospendsixorsevenweeksonthissegment,”shesays.“Now,onlyfourweeksareallocatedforamentalhealthplacement.Thisisinsadcontrasttothementalillnessepidemichappeninginthiscountry.”
Despiteherenergyandcommitment,Pimpimonsometimesexperiencesintensefrustrationinherprofessionalsphere.“Itissometimesexhaustingto
explaintopeoplethereasonswhyitisnecessarytoprovidehelpforthosewhoareatriskofmentalhealthproblems.Weurgentlyneedmoreresourcestopreventandcombatmentalhealthdisorders.”Shesmiles,lookingrathertired.“Therearen’tanymajorobstaclesinmypersonallife,butthereareconsiderableonesinmywork.”
Pimpimonworkstoovercometheseobstaclesthroughcollaborationandcommunication.Knowingthattheproblemofmentalhealthistoobigforjustonecountrytohandle,anddeterminedtoprovideleadershipinherown,Pimpimonrespondedbycreatinganinternationalunit,forminglinkswithnursinginstitutionsinJapan,TaiwanandAustralia.Astheonlylecturerwithanoverseasdoctorate,sheestablishedaninternationalvolunteerproject,aimingtoimprovethelanguageskillsofstaffandstudentsandbuildabroaderperspectiveonmentalhealthtreatment.Progressisslow,butsteady.Mentalhealthissuesmaythreatenhercountry,butPimpimonWongchaiyaisonewomanworkingtotrytostemthetide.
In her lifetime, Pimpimon Wongchaiya has seen three devastating waves break across her home country of thailand, only one of which— the 2004 tsunami—the world outside could see.
Pimpimon Wongchaiya
196
The WritersKatharine Gillett
KatharineGilletthasaPhDinCreative
WritingfromtheUniversityofNewcastle,
andabackgroundincommunity
publishingandculturaldevelopment.
Sheiscurrentlythecoordinatorofthe
NewcastlePoetryPrizeandin2011
willtakeupthepostofDirectorof
theHunterWriters’Centre.Shelives
inNewcastlewithherhusbandand
twochildren.
Helen Hopcroft
HelenHopcroftisanartistandwriter
whogrewuponinTasmaniaandnow
livesinNewcastle.Aftercompletinga
FineArtsdegreeattheCentreforthe
Arts,Hobart,shetravelledtoLondonto
completeaMastersdegreeinPainting
attheRoyalCollegeofArt,whereshe
sharedastudiowithartistDamienHirst.
Asuccessfulexhibitingartistwhohas
wonnumerousawards,Helenhas
writtenforCeramic Art & Perception
magazine,theAustraliannewspaper,the
Sydney Morning Herald,NAVA
Quarterly,unsweetened,ArtsHub.com
andvariousotheronlineorprintmedia
publications.Heleniscurrentlyworking
onacrimenovelsetinNewcastle.
Keryn stewart
KerynStewartisawriterandeditor
fromNewcastle,Australia.Sheholds
afirstclassHonoursdegreein
EnglishliteraturefromtheUniversity
ofNewcastle,withafocusonAustralian
literature,andhaspublishedworkin
anumberofscholarlypublications.
Shehasseveralyearsexperiencein
editingforonlineandprintpublications,
andaninterestincreativenon-fiction.
197
The PhotographersPhotographersparticipatedinthis
projectaspartofaWorkIntegrated
LearninginitiativeattheUniversityof
Newcastle.ThirdyearPhotomedia
studentswereinvitedtocollaborate
withprofessionalwriterstoproduce
portraitsofthewomenprofiled.
Theprojectprovidedstudentswith
theopportunitytointegratetheory
andpracticeinareal-lifesetting
aspartoftheirstudy.
Additionalphotographsweretaken
byUniversitystaffandformer
students.Inlinewiththeaims
oftheproject,thecontributing
photographersareallwomen.
Patricia Aguado
elaine Bull
Lanelle Lee Chin
sally-Ann Constable
Fiona Crane
Bree Cunningham
Fiona Galbraith
Justine Gaudry
eryca Judy Green
Michelle Groth
Kylie Harris
emily Hitchcock
Helen Hopcroft
Miranda Lawry
Fiona Lee
Renee Malby
Dominique Mathisen
Anna Morewood
sarah Morewood
Keren-suzanne nicholson
Gillean shaw
Alison smith
samantha Arnull thondavada
198
Writing & Photography Creditsp2-3,ElhamDorooDchiStorybyKatharineGillett.PhotobyKylieHarris.pg4-5,SEntataft-hEnDryStorybyKatharineGillett/HelenHopcroft/KerynStewart.PhotobyGilleanShaw.p6-7,SuSanlimStorybyKatharineGillett.PhotosuppliedbySusanLim.p8-9,ivyirElanDStorybyKatharineGillett.PhotobyErycaJudyGreen.p10-11,DEborahWrightStorybyHelenHopcroft.PhotobyGilleanShaw.p12-13,margarEtollEyStorybyHelenHopcroft.PhotobyGilleanShaw.p14-15,KathErinEprouDfootStorybyHelenHopcroft.PhotobyGilleanShaw.p16-17,ShErEllEchargEStorybyHelenHopcroft.PhotobyLanelleLeeChin.p18-19,lizmcminnStorybyHelenHopcroft.PhotobyAnnaMorewood.p20-21,pimpimonWongchaiyaStorybyHelenHopcroft.PhotosuppliedbyPimpimonWongchaiya.p22-23,nicolEgErranDStorybyHelenHopcroft.PhotobyEmilyHitchcock.p24-25,givErnylEWiSStorybyKatharineGillett.PhotobyKeren-SuzanneNicholson.p26-27,irinabElovaStorybyKatharineGillett.PhotobySally-AnnConstable.p28-29,liznicolStorybyHelenHopcroft.PhotobyLanelleLeeChin.p30-31,cathErinEanDJEnnifErStruttStorybyHelenHopcroft.PhotobyAnnaandSarahMorewood.p32-33,laurEncolthorpEStorybyHelenHopcroft.PhotosuppliedbyLaurenColthorpe.
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199
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