Mike Nahan and a cynical attempt to grab votes

“The Government has come and cut a whole range of programs to fund Safe Schools. My statement is — the better allocation is going back to the programs they cut, rather than Safe Schools.” Thanks for the statement, Mike Nahan. You’ve inspired me to write to the Education Minister after she shot you down.

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We’ve seen how effective targeting Safe Schools was for conservative politicians Federally and on the east coast – so it is no real surprise that WA conservatives have finally caught up. Hell, everything from policy, to road safety campaigns, to health systems to education initiatives comes from Victoria about five years late – so there shouldn’t really be a surprise. In fact, the Safe Schools Coalition launched in WA years after it had been running successfully over east since 2010.

An in some ways – you have to give Mike some credit. He hasn’t JUST attacked Safe Schools.  He didn’t just come after a program that has run in one form or another in WA since 2015. Mike rolled this in to the Moora College issue to make it really difficult to argue against if you love rural kids. A side note, what he is referring to is actually called Inclusive Education WA here – but conservative voters wouldn’t recognise that, so I understand why he didn’t used the right name.

So lets have a look at some things.

We’ll put aside the details on the program it self – the ridiculous and often homophobic/transphobic claims around the material and how it is implemented have been answered elsewhere.

Just to be clear: If you think Safe Schools has anything to do with Marxism, sexualises children, brainwashing kids in to being lesbian/gay/bi/trans/intersex or parents don’t have a say – you are an idiot. Seriously. You are. Sorry (not sorry) you are offended, but you obviously lack to ability to critically analyse the homophobic hate propaganda peddled by disgusting creatures such as Lyle Shelton.

If for some reason you need to be convinced, go read any of these and come back:

Welcome back. So – this program won’t turn your kids gay or trans – but what it aims to do is create school environments where every students can learn, every teacher can teach and every family can belong. Bloody shocking.

Mike Nahan has done a great job this week of reminding WA that this program exists. It existed under his government of course, running while he was Treasurer since 2015 – but why get caught up on that. I know he hasn’t:

“There are very few new programs that the Labor Government has come up with, one of them is Safe Schools”- Mike Nahan (quote from ABC)

Mr Nahan also cares a lot about rural people and the Moora College. So this hugely expensive program will be cut to fund the Liberal Government’s refurbishment of the College. Just so we are clear, Inclusive Education is funded for $1.2 million dollars. Over 4 years. Costs of refurbishing Moora College are predicted at being somewhere between $700k (Mike’s estimate) to $7.2 million (Labor’s numbers). This doesn’t include ongoing running costs or the existing maintenance budget ($350k).

“If we win government, [we will] renew the funding for Moore Residential College, no operating costs. Landsdale College, Herdsman Eco Centre and the farm schools, not a large amount of money, by cutting back at Safe Schools and putting that money back into existing programs for education.”  – Mike Nahan (quote from ABC)

If we win. Great line. Only issue with this, of course being the next election isn’t due until around 2021. Inclusive Education WA would’ve been funded approximately $1 million dollars in that time, with $350k left to put towards the refurbishment. Other small issue is that Moora College will close at the end of the year, so Mike’s new Liberal Government 2021 will have to refurbish it, and reopen it and set it up with a maintenance budget.

“The Government has come and cut a whole range of programs to fund Safe Schools. My statement is — the better allocation is going back to the programs they cut, rather than Safe Schools,” – Mike Nahan (quote from ABC)

Now, good on Mike for sticking up for the rural kids at Moora College. The problem is – Mike can’t help Moora now or next year. So why pledge funding to it three years out from the next election? Why target a program that was running (admitted Federally funded by the Liberal Government) when Mike’s party was in power?

Well – I my personal take is that it is a dog whistle to conservative voters. This paired with his attack on mainstream media reeks of Trumpist populist politics.There are other things he could’ve focussed on to “cut” once (if?) he regains power in 2021. Its a big budget. Targeting Inclusive Education WA is not accidental.

This is the reason I was moved to write to Education Minister, Sue Ellery today supporting her rebuttal of Mr Nahan’s comments. Calling for her to continue to support Inclusive Education WA. It is why I’m pleading with you to write to her, or email her and thank her. Today.

“Safe Schools is an important program designed to ensure safer school environments, for those public secondary schools that decide to access it,” Education Minister Sue Ellery said. (quote from ABC)

Don’t let populist politics impact on vulnerable WA kids. LGBTI kids experience some terrible outcomes without support from families and schools. Programs like Inclusive Education WA. So stand up, step up and stick up for these kids.

They are our future, they deserve to be loved and supported – don’t let them down.

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Contact details for Sue Ellery

How to address an MP

Letter to Sue Ellery

Exploring your comfort zone: a thing of Beauty

I stared in to the night sky, allowing deep breaths to enter my lungs, fill me with energy and leave my body as clouds of steam. I stood still and strong in front of my family, my friends, my community. I felt their gaze on me, I enjoyed their attention, their focus. The lights slowly became brighter and our names became distorted. This night was the final night of The Beauty Index, a project I joined to get out of my comfort zone. What shocked me, as I watched another breath of steam rise above me, was how comfortable I felt.

Way back in December I attended a workshop that was a taster to becoming more involved in a men’s dance project. As I’d previously overcommitted in a car park (follow the link to my SeeSawMag interview) as an enthusiastic spouse at Annette Carmichael’s Creation of Now; I felt I had to rock up and see what this whole thing was about. I was terrified walking in to the Civic Centre. Some of the men here could already dance, already move well. I felt awkward and uncoordinated. Self-conscious and stiff. It isn’t like I never danced or moved – I loved mucking around at concerts and festivals, I was fit from running and football – but keeping in time and having awareness of my body? I was lost.

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I enjoyed the day, and felt like I should commit to the project – but this was not coming from a place of confidence. I was desperate to push my boundaries and get myself out of my comfort zone. I really wanted a new challenge, and the way I had felt on that first day – this whole “becoming a dancer” thing was going to be that challenge. When the call came out in April to put up or shut up – I dove in to the main group of the project. A group of men with varying physical abilities, fitness, age and experience.

What followed was months of rehearsals. There were times I questioned how wise this whole thing was. There were times we couldn’t walk in a straight line, or keep basic three pattern movements in time – how the hell were we going to be part of a big performance. We ground away, getting better every few weeks – before putting in some utter shit-show of a rehearsal that would have everyone, including Annette, second guessing us. Then, things would click, timing would improve. We developed a sense of ownership over the project and the process. We could do the rehearsals – now, could we perform it?

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Rehearsals – Photo courtesy of Nic Duncan

I had no performance experience – dance or otherwise before this project. In fact, my first time on a real stage was the Wednesday before the start of the Country Arts WA Regional Arts Summit when we had the chance to wander about ManPAC as part of our “bump-in”. We were in Mandurah to be the living, breathing proof of effective community engagement and were there to work alongside delegates to put on a show on the final day of the conference. It was invaluable experience – the bunkered in rehearsing for hours; the joy of sharing a house with five other men; the late night partying and frivolity of a world far from responsibility; the hangovers; and on the final day – getting on-stage in front of an audience to perform. It was unifying. It was exhilarating. It was the chrysalis of the ManPack.

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The ManPack performing at ManPAC – Photo Country Arts WA

Suddenly, we were back in Denmark and back with the wider group. Hard in to rehearsals. On site. Dealing with dancing on slippery clay in the rain when we’d spent months rehearsing on floorboards, in doors. I slipped and fell hard moving in a way I had previously had no second thoughts doing. I wasn’t hurt but I was rattled. We were in hoods for our costume. Another adjustment. The floor of the shed was high pressure hosed to get rid of the slippery clay. We were rehearsing under lights. Suddenly it was dress rehearsals. Suddenly – there was no more time. Suddenly, I was going to find out a lot more about my comfort zone.

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Our youngest member – shredding his solo on rehearsal

Our Tech Rehearsal night, from my own perspective, had been a debacle. I was late, or early, or just out of time. My body was not right. My back felt sore and I felt heavy and unstable. I went home in what at best could be described as a funk. At worst – abject terror. Had I not been driving a couple of fellow community dancers home that night – I would’ve burst in to tears. Had my windscreen not been so difficult to see out of, I would’ve still done in in front of them. Dress rehearsal came about and I was stressed. We had a handful of VIPs in to watch and this was a full run through. The stakes were much higher than ever before, even higher than Mandurah.

Dress rehearsal went ok. We weren’t great. We weren’t bad. I was ok. I felt the nerves that had rocked me the day before became slightly placated. Things were going to be different on opening night in front of 140 people – but at least I wasn’t about to burst in to tears. Hopefully. As a group we were happy with how it had gone – the mistakes that are inevitable in a performance weren’t big enough to cause trouble in the run – and the manner in which we either recovered from them, or covered them was a tribute to our preparation. I went home ready to take on the real thing the next night and ready to let the world see what we’d been playing around with for months.

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Our pros – Scott Elstermann and Sam le Breton Photo by Nic Duncan

Our first two nights of the season were fantastic. There was a buzz amongst us and a buzz in the crowd. People had come with a forgiving mindset and a careful curiosity – I mean, seriously, how well could a bunch of blokes from the community really dance? It was good of us for having a go. What no one had counted on was our desire to be more than a curiosity. We went for it both nights and put on solid performances. The buzz around town was fantastic. People were clamouring for extra tickets to the sold out Saturday night show. People willing to stand. People who had heard that we were actually pretty good. Even some of the art snobs who didn’t want to watch men plod around stage.

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Photo courtesy of Nic Duncan

Suddenly the final night was here. The night were this post began. We’d had our now traditional warm up to the Game of Thrones intro. We’d a brief sing-along of the Lion Sleeps Tonight. We mucked around in the dressing room together. We’d told a few more dodgy jokes, done our warm up games and had our hugs. There was a feeling that tonight was going to be a big one. I was feeling good. The aches and pains weren’t too bad. The energy in the group was great. Our unity was forged.

We hit that final night with another level of focus and intensity. Standing in front of my family, my friends and my community. Some of my family had travelled from Perth to come and watch. As I gazed out towards the moon, peaking out from behind the trees; just over the heads of the audience; I readied myself to go as hard as I could one last night for them. You have to meet commitment with commitment. I stood and enjoyed sensation, audited my body in my mind and relaxed.

That was the most amazing thing about this process – that moment of relaxation, of enjoyment, of comfort. At key moments in the show I had the chance to take in the audience, enjoy their gaze and attention. Make myself to take up more space and feel larger than I truly was. We were performing in an old saw mill – a huge industrial space, a place of masculinity, blood and sweat; where trees came to die. There was no fear of overwhelming the stage with presence. We had to fight for the audience’s attention over our setting – it challenged us to be bigger and demand more respect as our confidence grew in each show.

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The hinge – Photo courtesy of Nic Duncan

After the second show, Annette asked me what I was going to do on the final night – what was going to come out in my performance. I think the both of us had been pretty shocked how far I’d come along in the process. I’d trusted her fully in preparing us to perform; and had unlocked part of myself along the way. That final night, as I challenged myself to go harder and harder through the show to take up more space, stretch further, embody the work more than the night before. I wanted to move with more air, more grace, more intensity, more purpose. I felt fantastic. I felt alive. I felt comfortable.

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Photo courtesy of Nic Duncan

Sure, my dancing still has its moments; I’m very much untrained – but this project was about getting out of my comfort zone and trying something new. About putting my trust in others and seeing where it would lead. About giving part of myself to the creative process. About forcing myself to take in the gaze of an audience and enjoy it. I’d talked about taking a running leap from my comfort zone, away from running and football and taking the piss out of myself.

I had never expected to so comfortable on-stage (well, on-concrete). To feel so comfortable performing, especially in front of my community. To find a new comfort zone. One I never new existed. One I am so grateful to Annette, the crew and the ManPack for unearthing. One that I’m not keen to lose track of again. Now, I’m not packing my bags for WAAPA – but what I have done, is added dancer to my identity.

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Photo courtesy of Nic Duncan

The Manpack:

Leader, mentor and force of nature: Annette Carmichael http://annettecarmichael.com.au/Home/Home.html

Our Incredible Community Performers: Don Anderson, Adrian Baer, Brad  Black, Dennis Buffart, Alexander Grace, Carl Heslop, Alex  Pyke, Todd Anderson, Rick  Bentink, Emil Davey, The Mountain Nigel Levinson, Phillip G Light, Martin Sulkowski
Professional Performers: The incredibly gracious and supportive Scott Elstermann, the capoeira king Zak Launay, the quiet intensity of Sam Le Breton, and Peter Fares (research phase)

Epic sound designer: James Gentle

Design gurus: Kevin Draper and Indra Geidans

Costume designer, stage manager and general support legend: Symantha Parr

Lighting designer: Kevin Blyth http://www.allevents.net.au/AllEvents.html

Photographic genius: Nic Duncan www.nicduncan.com

Tear inducing filmographer: Rob Castiglione http://www.robcastiglione.com/

Producer and Jingle-jangle lookout: Sandi Woo https://sandiwoo.com.au/

Co-ordinator of everything: Anna Boaden

The Beauty Index is supported by Denmark Arts; the WA Government through Departments of Cultural Industries and Regional Development; Country Arts WA; the Australian Government through the Australia Council for the Arts and the Regional Arts Fund; Lotterywest.

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Monochromatic trees by Kevin Draper and Indra Geidens – photo Carl