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"Makes me vomit": Richard Dreyfuss slams new Hollywood diversity laws

<p>Richard Dreyfuss has taken a stand against new diversity laws that will come into affect at next year's Oscars, saying the new rules make him "vomit".</p> <p>The legendary actor condemned the change to the standards, claiming the laws are trying to legislate people's feelings. </p> <p>Appearing on PBS show <em>Firing Line with Margaret Hoover</em>, a fired-up Dreyfuss said, “This is an art form. It’s also a form of commerce, and it makes money. But it’s an art.”</p> <p>“And no one should be telling me as an artist that I have to give in to the latest, most current idea of what morality is.”</p> <p>Mr Dreyfuss, who famously played Matt Hooper in the 1975 horror film <em>Jaws</em>, went on to say that minorities should not be "catered to" in the arts, but rather awards given based on merit.</p> <p>“What are we risking? Are we really risking hurting people’s feelings? You can’t legislate that. And– you have to let life be life. And I’m sorry, I don’t think that there is a minority or a majority in the country that has to be catered to like that,” he said.</p> <p>With the rules set to come into effect in 2024, a film will have to meet certain diversity and inclusion standards in four different categories set out by the Academy of Motion Picture Arts and Sciences to be considered for “Best Picture” at the Oscars.</p> <p>The categories, each pertaining to different aspects of a movie’s production, would require new diversity measures to be met through “On-screen Representation,” “Creative Leadership and Project Team,” “Industry Access and Opportunities,” and “Audience Advancement.”</p> <p>“On-screen Representation” is classified as at least one lead character from an under-represented racial or ethnic group, which the Academy defines as women, people of colour, people who identify as LGBTQ+ or people with disabilities, with the new standards meant to encourage diversity on and off the screen.</p> <p>Dreyfuss continued his rant about the new standards, saying the rules will limit what roles actors are able to take, and simply described outdated racist ideals as forms of "art".</p> <p>“Am I being told that I will never have a chance to play a black man? Is someone else being told that if they’re not Jewish, they shouldn’t play the Merchant of Venice? Are we crazy? Do we not know that art is art? This is so patronising. It’s so thoughtless, and treating people like children.”</p> <p><em>Image credits: Getty Images</em></p>

Movies

5 books for kids and teens that positively portray trans and gender-diverse lives

<p><a href="https://www.stonewall.org.uk/about-us/blog/trans-day-visibility-global-perspective">International Transgender Day of Visibility</a> is an opportunity to celebrate trans and gender-diverse people – and to raise awareness of the ongoing discrimination they experience.</p> <p>Trans and gender-diverse people <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7826417/">experience</a> higher levels of depression, anxiety, self-harm and suicidal behaviours than the general population. </p> <p>Recent events in <a href="https://www.theguardian.com/australia-news/2023/mar/25/whats-behind-the-terrifying-backlash-against-australias-queer-community">Australia</a>, <a href="https://time.com/6250646/united-kingdom-scotland-transgender-bill/">the United Kingdom</a> and <a href="https://www.vice.com/en/article/5d378d/anti-trans-bills-2023">the US</a> remind us of the need to promote acceptance of trans and gender-diverse young people, and to support their mental health and wellbeing.</p> <p>Community, school and family <a href="https://link.springer.com/article/10.1007/s40894-019-00118-w">are vital</a> tools for this. </p> <p>So are books that positively represent trans and gender-diverse experiences, themes and issues. Such books can expand young people’s awareness, understanding and acceptance of gender differences from an early age. They also validate the lived experience of trans and gender-diverse youth.</p> <p>The five books below all positively portray trans and gender-diverse lives in age-appropriate ways.</p> <h2>1. My Shadow is Purple by Scott Stuart (ages 4-9)</h2> <p>This picture book, <a href="https://larrikinhouse.com.au/products/my-shadow-is-purple">My Shadow Is Purple</a>, considers gender diversity through the use of colour. The story focuses on a boy whose shadow is purple: presumably a blend of masculine blue and feminine pink.</p> <p>Early in the story, the boy celebrates his gender hybridity, enjoying a range of both traditionally masculine and feminine activities. Stuart also explores the way society regulates and limits gender expression, and how this can have negative effects on individuals.</p> <p>That said, the picture book is positive and offers a promising message to readers. Through both resistance and collective support, we can acknowledge and celebrate the spectrum of colours our shadows might take.</p> <h2>2. Too Bright to See by Kyle Lukoff (ages 10-12)</h2> <p>In his <a href="http://www.kylelukoff.com/my-books/tbts">award-winning</a> junior novel, <a href="https://www.penguin.com.au/books/too-bright-to-see-9780593111178">Too Bright to See</a>, Kyle Lukoff uses the ghost story to explore <a href="https://www.nhs.uk/conditions/gender-dysphoria/">gender dysphoria</a> and grief. </p> <p>Trans boy Bug, aged 11, lives in a house with relatively benign spirits. However, during the summer before school starts, Bug’s uncle dies and a new ghost takes up residence in the house.</p> <p>It is not only the grief of his uncle’s death that Bug must learn to live with. His best friend, Moira, is eager to give him a feminine makeover and the new ghostly resident seems intent on sending him a message.</p> <p>Bug’s investigation of the ghost and his journey of self-discovery and self-acceptance is sensitive and nuanced, allowing readers to learn about transgender issues (and grief) alongside Bug.</p> <h2>3. Euphoria Kids by Alison Evans (ages 12+)</h2> <p><a href="https://www.echopublishing.com.au/books/euphoria-kids">Euphoria Kids</a> is an urban fantasy young adult novel that centres on three trans and gender-diverse teenagers: Iris, who grew from a seed; Babs, the daughter of a local witch; and the boy, named so because his current name does not fit him.</p> <p>The world Evans creates is one of strange magic, free from the trauma and gender dysphoria often associated with representations of transgenderism <a href="https://theconversation.com/friday-essay-transgenderism-in-film-and-literature-71809">in literature and film</a>. The characters’ quest to break a curse enables them to demonstrate their resilience, develop their confidence and experience euphoria.</p> <p>Evans explains (in the author note) their decision to create a positive narrative for trans youth, "I want people to know about gender euphoria. I want them to learn about it before gender dysphoria. I want young trans kids that will read this book to be proud of who they are, and imagine wonderful magic lives for themselves."</p> <h2>4. Meet Cute Diary by Emery Lee (ages 14+)</h2> <p><a href="https://www.harpercollins.com.au/9780063038837/meet-cute-diary/">Meet Cute Diary</a>, a heartfelt young adult romantic comedy, explores gender identity and sexuality – and recognises self-discovery entails continuous questioning, rather than a linear progression.</p> <p>Noah Ramirez, a Japanese, white, Afro-Caribbean 16-year-old trans boy, loves the idea of falling in love. He writes fictional trans love stories for his blog, “Meet Cute Diary”. Noah is confronted in real life by Drew, a white cisgender boy who Noah has featured on his blog. After Noah explains his actions, Drew agrees to pretend to date him, in order to validate his stories. Their pretending quickly becomes real.</p> <p>Things become complicated, though, when Noah finds himself attracted to his nonbinary and asexual coworker, Devin. The narrative explores the changing nature of relationships and love.</p> <p>Lee creates interesting characters and complex relationships that respect gender fluidity and recognise the blurry boundary between the platonic and romantic.</p> <h2>5. Felix Ever After by Kacen Callender (ages 14+)</h2> <p>Felix, the 17-year-old protagonist of <a href="https://www.harpercollins.com/products/felix-ever-after-kacen-callender?variant=32280909578274">Felix Ever After</a>, is Black, queer and trans. The marginalisation and transphobia he experiences are exacerbated when pre-transition images of him are prominently displayed at his school. Felix’s search for revenge sees him open up more about himself to others. And he forms new relationships, including with his friend, Ezra Patel.</p> <p>Similar to Lee’s depiction of self-discovery in Meet Cute Diary, Callender suggests that learning about yourself and your identity is an ongoing process. Felix continues to make new discoveries about himself, including the realisation that he is not a boy but a <a href="https://queerintheworld.com/what-does-demiboy-mean/">demiboy</a>.</p> <p>Callender’s writing is engaging, and the cast of diverse characters that populate the narrative reflects the variation in our communities. This tender trans young adult romance sensitively explores the complexity of friendship, forgiveness and self-discovery.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/5-books-for-kids-and-teens-that-positively-portray-trans-and-gender-diverse-lives-202832" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Books

Female artists earn less than men. Coming from a diverse cultural background incurs even more of a penalty – but there is good news, too

<p>Artists all over the world, regardless of their gender, earn <a href="https://www.sciencedirect.com/handbook/handbook-of-the-economics-of-art-and-culture">considerably less</a> than professionals in occupations requiring similar levels of education and qualifications. </p> <p>But there’s an additional income penalty for artists who are female. </p> <p>In an analysis of gender differences in the incomes of professional artists in Australia that <a href="https://australiacouncil.gov.au/advocacy-and-research/the-gender-pay-gap-among-australian-artists/">we undertook in 2020</a>, we found the creative incomes of women were 30% less than those of men. </p> <p>This is true even after allowing for differences in such things as hours worked, education and training, time spent in childcare and so on. This income penalty on women artists was greater than the gender pay gap of 16% experienced in the overall Australian workforce at the time.</p> <p><a href="https://theconversation.com/screen-australia-celebrates-its-work-in-gender-equality-but-things-are-far-from-equal-122266">Some sectors</a> of the arts have tried to redress this problem. However, women continue to suffer serious and unexplained gender-based discrimination in the artistic workplace.</p> <p>Cultural differences are <a href="https://www.nber.org/papers/w27725">also known</a> to influence pay gaps in many countries. </p> <p>In new research <a href="https://australiacouncil.gov.au/advocacy-and-research/culture-and-the-gender-pay-gap-for-australian-artists">out today</a>, we considered whether cultural factors might also affect the gender pay gap of artists in Australia. In addition, we analysed the gender pay gap for remote Indigenous artists for the first time.</p> <h2>A larger gap for women from a non-English speaking background</h2> <p>In our <a href="https://australiacouncil.gov.au/advocacy-and-research/making-art-work/">2016 survey of 826 professional artists</a> working in metropolitan, regional and rural Australia, we asked participants if they came from a non-English speaking background. </p> <p>Only a relatively small proportion of artists – 10% – came from a non-English-speaking background, compared to 18% for the Australian labour force as a whole. </p> <p>A non-English-speaking background appears to carry an income penalty only for women artists, not for men. </p> <p>We found the annual creative earnings of female artists from a non-English-speaking background are about 71% of the creative incomes of female artists whose first language is English. But there is little difference between the corresponding incomes of male artists.</p> <p>Within the group of artists from language backgrounds other than English, the annual creative earnings of female artists are about half (53%) those of their male counterparts. </p> <p>By contrast, the ratio of female to male creative earnings among English-speaking background artists is 73%. </p> <p>These results suggest that women artists from a non-English-speaking background suffer a triple earnings penalty – from being an artist (and hence as a group earning less than comparable professionals), from their gender, and from their cultural background.</p> <p>Despite this earnings disadvantage, 63% of artists who identified as having a first language other than English thought their background had a positive impact on their artistic practice. Only 16% thought it had a negative impact.</p> <p>When artists were asked whether being from a non-English speaking background was a restricting factor in their professional artistic development, 17% of women answered “yes”, compared to only 5% of men from a similar background. </p> <p>Nevertheless, like their male colleagues, these women artists continue to celebrate their cultural background in their art. They contribute to the increasingly multicultural content of the arts in Australia, holding up a mirror to trends in Australian society at large.</p> <h2>No gender gap in remote Indigenous communities</h2> <p>For First Nations artists working in remote communities, a different picture emerges. </p> <p>For this research, we used results for remote communities in three regions of northern Australia drawn from our <a href="https://apo.org.au/node/257301">National Survey of Remote Aboriginal and Torres Strait Islander Artists</a>.</p> <p>The gender gap is not replicated among remotely practising First Nations artists. </p> <p>There are some minor variations in this finding for subgroups in different regions, depending in part on differences in the mix of visual and performing artists in the population. But whatever other differentials may exist between female and male earnings, they do not appear to be attributable to the sorts of systemic gender-based discrimination that affects the residual gender gap for other Australian artists.</p> <p>A possible reason relates to fundamental differences between the cultural norms, values and inherited traditions that apply in remote and very remote First Nations communities. </p> <p>Gender roles in Aboriginal and Torres Strait Islander communities have been <a href="https://anthrosource.onlinelibrary.wiley.com/doi/10.1525/can.1992.7.2.02a00020">described</a> by researchers as distinctively different, rather than superior or inferior. The importance of both women and men as bearers of culture has been clearly articulated. </p> <p>The unique cultural content of Aboriginal and Torres Strait Islander music, dance, visual art and literature is an essential feature of the work of these artists. These characteristics pass through to the marketplace, and there does not appear to be any obvious gender gap in the way the art from these remote communities is received. </p> <p>There is always differentiation between the art produced in different remote regions of Australia which varies depending on the complexities of different inherited cultural traditions. But there is no indication of any gender-based discrimination associated with these regional differences.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/female-artists-earn-less-than-men-coming-from-a-diverse-cultural-background-incurs-even-more-of-a-penalty-but-there-is-good-news-too-195646" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

“Is this a joke?”: Male finalist in Women in Technology award sparks debate

<p>A list of finalists for an award recognising women in technology and science has sparked controversy due to the inclusion of a male executive.</p> <p>Simon Button, the Group Chief Technology Officer at radiology specialist group Qscan, was announced as one of four finalists for the new 2022 Inspiring Diversity in STEM Award because he “inspires diversity” and empowers women, according to the organisation.</p> <p>The annual awards are run by Women In Technology (WiT), Queensland’s peak industry body for women in technology and life sciences, and aim to “recognise outstanding achievement and give women the recognition they deserve”.</p> <p>WiT Chair Iyari Cevallos said this year’s awards were themed to be a tribute to the contribution of women in defining, shaping and growing the digital economy.</p> <p>“As we celebrate and reflect on 25 years of Women in Technology it is as important to focus on the future,” Ms Cevallos said.</p> <p>“I believe we have the ability and responsibility to dream big, to visualise achievements for the women still to come, to continue to increase our energy and momentum in leading and motivating current and future generations of women.</p> <p>“We've created an opportunity to rally around our outstanding talent, unlock their potential, promote each other and ourselves - impacting our community in a way that creates positivity beyond the event itself.”</p> <p>Mr Button made the finalist list along with Professor Amy Mullens, a psychologist with an interest in marginalised communities, pharmaceutical researcher Dr Jyoti Sharma, and Professor Kym Rae, a physically disabled Research Fellow in Indigenous health.</p> <p>The new award has been introduced to celebrate the “ongoing commitment and tireless efforts of all leaders regardless of gender, age or background”, but some have taken to social media to share their disapproval of the move.</p> <p>“Lol is this a joke,” one woman commented.</p> <p>“That’s a long way to say you reward men for doing the bare minimum,” another said.</p> <p>“Having a male executive is certainly showing someone who ‘leads by example’. It’s just the most common example that already exists in STEM,” a third added.</p> <p>“He sure must’ve been the best pick to be a finalist for someone who ‘inspires diversity’ and creates a ‘sense of belonging’ for WiT out of all the nominees.</p> <p>“I mean, how else would you explain an executive up there with two professors and a doctor?”</p> <p>In a <a href="https://www.facebook.com/WiTqld/posts/pfbid02ajHaMedtDTKmRkWpiKHhqB4sTvEyEYb7w54zckFGcMPmNtmEBGETrthcadKxwKMwl" target="_blank" rel="noopener">Facebook post</a> announcing the finalists, WiT described Mr Button as a “digital leader” who “champions diversity and equity in the organisations he leads”, which includes the not-for-profit Hummingbird House, Queensland’s only children’s hospice that supports kids with life-limiting illnesses.</p> <p>“He thrives to create teams with high levels of diversity to drive increased creativity and higher orders of innovation,” the post read.</p> <p>“Nothing gives Simon greater satisfaction than leading teams by giving people the time and space to develop, learn and deliver outstanding outcomes under his stewardship.</p> <p>“He believes that one of the most important responsibilities modern, contemporary digital leaders have is to lead, mentor and shape tomorrow’s technology and business leaders.”</p> <p dir="ltr"> </p> <p> </p> <p> </p> <p><em>Image: WiT: Women In Technology (Facebook)</em></p>

Technology

Body positivity ad slammed for removing prosthetic limb

<p dir="ltr">A body positivity campaign has hit a poor note after the models featured claimed they weren't compensated and even photoshopped to remove prosthetic limbs or onto another person's body.</p> <p dir="ltr">The advert from the Spanish Ministry of Equality was published last week as part of a campaign to promote body positivity during summer at Spanish beaches, with the caption 'Summer is ours too' displayed over an image of diverse women with non-standard bodies.</p> <p><span id="docs-internal-guid-28029417-7fff-32aa-21eb-382810d0b660"></span></p> <p dir="ltr">"Fatphobia, hatred and the questioning of non-normative bodies - particularly those of women, something that's most prevalent in the summertime," the ministry said.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CfHmaPUo8WU/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CfHmaPUo8WU/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by S I Â N G R E E N-L O R D (@sianlord_)</a></p> </div> </blockquote> <p dir="ltr">But, model and activist Sian Green-Lord said she was left "shaken" after friends recognised her in the campaign - despite her not giving permission for her image to be used.</p> <p dir="ltr">Green-Lord suspects her image was taken from her Instagram page. Her prosthetic leg, which she has had since she was hit by a taxi in 2013 and had her leg amputated, had been edited out.</p> <p dir="ltr">"I don't even know how to even explain the amount of anger that I'm feeling right now," the UK model told the <em><a href="https://www.theguardian.com/world/2022/jul/28/all-bodies-are-beach-bodies-spains-equality-ministry-launches-summer-campaign" target="_blank" rel="noopener">Guardian</a></em>.</p> <p dir="ltr"><span id="docs-internal-guid-94ed9d42-7fff-5359-dbf8-ecaa75df93fa"></span></p> <p dir="ltr">"I'm literally shaking, I'm so angry."</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="es">Con que "el verano tambien es nuestro". Al igual que la imágen y manipulación que le han hecho a Sian Green-Lord sin su permiso <a href="https://t.co/zvb0onut0z">pic.twitter.com/zvb0onut0z</a></p> <p>— Zikade (@zikade_art) <a href="https://twitter.com/zikade_art/status/1553718707049959425?ref_src=twsrc%5Etfw">July 31, 2022</a></p></blockquote> <p dir="ltr">She isn't the only one whose image was used or altered without permission.</p> <p dir="ltr">Nyome Nichols-Williams, a London model and activist who has worked with Green-Lord previously, said the use of her image by the ministry was "downright disrespectful", after she recognised herself in the advert.</p> <p dir="ltr">"It really is deflating and then on top of that having to fight on my own to get paid," Nichols-Williams said.</p> <p dir="ltr"><span id="docs-internal-guid-d8a08b8b-7fff-6d4a-c7fc-9dfd656d3d5e"></span></p> <p dir="ltr">"Do I not deserve to be paid for the usage of said image?"</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Cd0S5p9ggX2/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/Cd0S5p9ggX2/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Nyome Nicholas - Williams (@curvynyome)</a></p> </div> </blockquote> <p dir="ltr">Juliet Fitzpatrick is the third woman to make the surprising discovery that she was feasted- though only her face seemed to have been used.</p> <p dir="ltr">Fitzpatrick, who has undergone a double mastectomy, found that her face had been photoshopped onto the body of another woman who had undergone a single mastectomy.</p> <p dir="ltr">"I have no breasts," she wrote.</p> <p dir="ltr">"I am furious if the image has been used without my consent."</p> <p dir="ltr">Australian paralympic swimmer Jessica Smith was among those slamming the advert, saying it was "so wrong and so gross on so many levels".</p> <p dir="ltr">She criticised those involved for editing the models' images and for failing to ask for permission to use them.</p> <p dir="ltr">Arte Mapeche, the artist credited with creating the advert for the ministry, was reportedly paid €4,490 ($AUD 6573 or $NZD 7289) to create the image.</p> <p dir="ltr">She has since reached out to the models whose images she used, as well as a graphic design company whose font she used without licensing, and has issued a public apology.</p> <p dir="ltr">"I would like to publicly apologise to the models for having been inspired by their photographs for the "Summer is ours too" campaign and for having used an unlicensed typeface," she wrote.</p> <p dir="ltr">"Given the - justified - controversy over the image rights in the illustration, I have decided that the best way to make amends for the damages that may have resulted from my actions is to share out the money I received for the work and give equal parts to the people in the poster," the artist said.</p> <p dir="ltr">"I accept my mistakes and that is why I am now trying to repair the damage caused."</p> <p dir="ltr">Nicholas-Williams said she was happy to have “inspired” the artwork, but said she should have been contacted beforehand and remunerated, while a trip to Spain for a photoshoot would have been a nice extra.</p> <p dir="ltr">The Spanish government has yet to comment on the matter.</p> <p dir="ltr"><span id="docs-internal-guid-a6db1dbc-7fff-a739-a6c2-8b91e99d7e29"></span></p> <p dir="ltr"><em>Image: The Ministry of Equality</em></p>

Legal

The “marshmallow test” of delayed gratification is actually culturally diverse

<p>The <a href="https://en.wikipedia.org/wiki/Stanford_marshmallow_experiment" target="_blank" rel="noreferrer noopener">Stanford marshmallow experiment</a> is one of the most enduring child psychology studies of the last 50 years.</p> <p>The test is a simple one. A child aged between 3 and 6 had a marshmallow (later experiments also used a pretzel) placed in front of them and told that if they wait, they could have a second marshmallow when the tester returned. The original study found that those who waited for the extra marshmallow had more success as an adult than those that scoffed the marshmallow down, suggesting that being able to delay gratification is an important life skill. </p> <p>But since its inception, people have argued whether waiting for a marshmallow as a five-year-old can really tell you how successful, thin and educated you’ll be as an adult, or if there might be other, more complicated factors going on behind the scenes.</p> <p>A new study published in the journal <a href="https://journals.sagepub.com/doi/full/10.1177/09567976221074650?journalCode=pssa" target="_blank" rel="noreferrer noopener"><em>Psychological Science</em></a> has suggested one of those factors – showing that cultural upbringing could change the way children respond.</p> <p> “We found that the ability to delay gratification – which predicts many important life outcomes – is not just about variations in genes or brain development but also about habits supported by culture,” <a href="https://www.colorado.edu/today/2022/07/21/new-take-marshmallow-test-when-it-comes-resisting-temptation-childs-cultural-upbringing" target="_blank" rel="noreferrer noopener">said one of the researchers</a>, University of Colorado Boulder psychology researcher Yuko Munakata.</p> <p>“It calls into question: How much of our scientific conclusions are shaped by the cultural lens we, as researchers, bring to our work?”</p> <div class="newsletter-box"> <div id="wpcf7-f6-p199467-o1" class="wpcf7" dir="ltr" lang="en-US" role="form"> </div> </div> <p>This is a larger problem than just some kids eating marshmallows. Historically, science – across <a href="https://www.scientificamerican.com/article/clinical-trials-have-far-too-little-racial-and-ethnic-diversity/" target="_blank" rel="noreferrer noopener">clinical</a> and <a href="https://journals.sagepub.com/doi/full/10.1177/1745691620927709" target="_blank" rel="noreferrer noopener">psychology</a> research – has a habit of having too little cultural diversity, and the new research shows why this can be an issue.</p> <p>The researchers found that the 80 children in Japan were much better at waiting to eat food when asked than the 58 children in the United States. However, this was reversed when asked to wait to open gifts. </p> <p>“This interaction may reflect cultural differences: waiting to eat is emphasised more in Japan than in the United States, whereas waiting to open gifts is emphasised more in the United States than in Japan,” <a href="https://journals.sagepub.com/doi/abs/10.1177/09567976221074650" target="_blank" rel="noreferrer noopener">the team write in their new paper.</a> </p> <p>“These findings suggest that culturally specific habits support delaying gratification, providing a new way to understand why individuals delay gratification and why this behaviour predicts life success.”</p> <p>This small study doesn’t look into the longer-term results of the original marshmallow experiment, like whether the kids will be more successful as adults. Along with cultural differences, other studies have shown <a href="https://www.theatlantic.com/family/archive/2018/06/marshmallow-test/561779/" target="_blank" rel="noreferrer noopener">qualities like affluence</a> are also a defining factor.</p> <p>All of this is only if the marshmallow test actually holds at all. <a href="https://anderson-review.ucla.edu/new-study-disavows-marshmallow-tests-predictive-powers/" target="_blank" rel="noreferrer noopener">Recent follow up studies</a> with <a href="https://journals.sagepub.com/doi/abs/10.1177/0956797618761661" target="_blank" rel="noreferrer noopener">larger groups</a> of children followed into adulthood have shown that those who chose marshmallowey goodness straight away are not generally more or less financially secure, educated or healthy than their food-delaying peers.</p> <p>It seems that 50 years later the test is still telling us things – just about our own biases rather than predicting the future of five-year-olds.</p> <p><img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=199467&title=The+%26%238220%3Bmarshmallow+test%26%238221%3B+of+delayed+gratification+is+actually+culturally+diverse" width="1" height="1" /></p> <div id="contributors"> <p><em><a href="https://cosmosmagazine.com/people/marshmallow-test-cultural-diverse/" target="_blank" rel="noopener">This article</a> was originally published on <a href="https://cosmosmagazine.com" target="_blank" rel="noopener">Cosmos Magazine</a> and was written by <a href="https://cosmosmagazine.com/contributor/jacinta-bowler" target="_blank" rel="noopener">Jacinta Bowler</a>. Jacinta Bowler is a freelance science journalist who has written about far-flung exoplanets, terrifying superbugs and everything in between. They have written articles for ABC, SBS, ScienceAlert and Pedestrian, and are a regular contributor for kids magazines Double Helix and KIT.</em></p> <p><em>Image: Getty Images</em></p> </div>

Caring

Sports Illustrated Swimsuit: Is inclusive objectification something to celebrate?

<p>The last two weeks of May generated a flurry of celebratory media commentary about the diversity of models in the <a href="https://swimsuit.si.com/model-years/2022">2022 Sports Illustrated Swimsuit Issue</a>. It was praised for “<a href="https://www.thestreet.com/lifestyle/sports/si-swimsuit-issue-maye-musk-breaks-barriers-cover-model-at-74">breaking barriers</a>,” “<a href="https://www.businesswire.com/news/home/20220516005285/en/Kim-Kardashian-Ciara-Maye-Musk-and-Yumi-Nu-Are-Revealed-as-Sports-Illustrated-Swimsuit%E2%80%99s-2022-Cover-Models">empowering women</a>” and “<a href="https://www.goodmorningamerica.com/style/story/sports-illustrated-swimsuit-2022-maye-musk-kim-kardashian-84748799">trailblazing</a>.”</p> <p>This year’s firsts included: Ashley Callingbull (<a href="https://thehill.com/changing-america/respect/diversity-inclusion/3492947-indigenous-first-nations-woman-featured-in-sports-illustrated-swimsuit-edition-for-first-time/">the first Indigenous model</a>), Yumi Nu (<a href="https://swimsuit.si.com/swimsuit/model/yumi-nu-2022-si-swimsuit-photos">the first Asian American curve model to appear on the cover</a>), Maye Musk (<a href="https://people.com/style/maye-musk-sports-illustrated-swimsuit-2022-cover-at-74-something-i-could-never-dream-up/">the first woman in her 70s</a>), Kelly Hughes (<a href="https://www.thecut.com/2022/05/a-model-with-a-c-section-scar-is-in-sports-illustrated.html">the first swimsuit model to show her C-section scars</a>) and Katrina Scott (<a href="https://swimsuit.si.com/swimnews/katrina-scott-first-visibly-pregnant-woman-in-si-swimsuit">the first visibly pregnant model</a>).</p> <p>In recent years the magazine has highlighted more diversity, including <a href="https://swimsuit.si.com/swimnews/halima-aden-si-swimsuit-2019-model-kenya">Halima Aden in a burkini</a>, more <a href="https://parade.com/1381969/allienelson/athletes-sports-illustrated-swimsuit/">athletes</a>, trans models like <a href="https://www.npr.org/2021/07/20/1018381498/sports-illustrateds-swimsuit-issue-trans-model-leyna-bloom">Leyna Bloom</a> and <a href="https://www.forbes.com/sites/carlieporterfield/2020/07/10/valentina-sampaio-becomes-first-trans-model-in-sports-illustrateds-swimsuit-issue/">Valentina Sampaio</a> and more <a href="https://swimsuit.si.com/swimsuit/model/hunter-mcgrady">curve models like Hunter McGrady</a>.</p> <p>But most of the models are still stereotypically young, thin and white.</p> <p>With the celebration of firsts, an important question falls by the wayside: Is including a broader range of women in the pages of a magazine issue whose sole commercial purpose is to present them as sexual objects for a mostly straight male readership a good thing?</p> <p><strong>‘Properly feminine’</strong></p> <p>I am a feminist philosopher who works on <a href="https://global.oup.com/academic/product/moral-responsibility-in-collective-contexts-9780199782963">responsibility in oppressive social contexts</a> and co-founder of the blog <a href="https://fitisafeministissue.com/">Fit Is a Feminist Issue</a>. In society, where sexist structures and attitudes are abound, women’s value — and by extension, <a href="https://www.abc.net.au/everyday/how-a-womans-glam-appearance-affects-her-career/11671912">range of opportunities — is frequently determined by their attractiveness and sexual desirability to straight men</a>. So I question whether expanding the field of women who are sufficiently sexy and, <a href="https://www.routledge.com/Femininity-and-Domination-Studies-in-the-Phenomenology-of-Oppression/Bartky/p/book/9780415901864">to borrow the words of philosopher Sandra Bartky</a>, “properly feminine” to “merit” inclusion in the swimsuit issue, constitutes overall meaningful progress for women.</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">.<a href="https://twitter.com/mayemusk?ref_src=twsrc%5Etfw">@mayemusk</a> joins us to talk about her <a href="https://twitter.com/SI_Swimsuit?ref_src=twsrc%5Etfw">@SI_Swimsuit</a> cover, what it was like juggling multiple jobs and more. <a href="https://t.co/bR5B2gHLu4">pic.twitter.com/bR5B2gHLu4</a></p> <p>— TODAY with Hoda & Jenna (@HodaAndJenna) <a href="https://twitter.com/HodaAndJenna/status/1531645368659849217?ref_src=twsrc%5Etfw">May 31, 2022</a></p></blockquote> <p>Granted, there is something to be said for <a href="https://bpr.berkeley.edu/2019/12/20/one-size-does-not-fit-all-the-rise-of-diverse-fashion-models/">challenging the stereotypical esthetic ideals of normative femininity with diverse models</a>. And even though <a href="https://www.shape.com/celebrities/news/kate-upton-body-attention-criticism">model Kate Upton expressed discomfort about the public scrutiny and discussion of her body</a>, others, including Yumi Nu, describe appearing in the swimsuit issue as <a href="https://www.scmp.com/lifestyle/fashion-beauty/article/3179391/sports-illustrated-swimsuits-first-asian-plus-size-cover">a validating experience</a>.</p> <p>Yet the swimsuit issue continues to promote sexual attractiveness as women’s main currency. As <a href="https://women-gender-equality.canada.ca/en.html">women fight to be taken seriously</a>, repeating this message <a href="https://www.forbes.com/2009/12/05/appearance-work-pay-forbes-woman-leadership-body-weight.html">is harmful</a>.</p> <p><strong>Sex does sell</strong></p> <p>When <a href="https://fitisafeministissue.com/2022/05/28/inclusive-objectification-anyone/">I wrote a blog post about this</a>, readers on <a href="https://www.facebook.com/feministfitness">the blog’s Facebook page</a> mostly agreed with me in comments writing: “yay, now us fat girls can be objectified too” and “even in ‘inclusivity’ the goal of the swimsuit issues is still policing feminine bodies.”</p> <p>But some said “sex sells: get over it” and “where’s the harm?” Others argued my view throws a wet blanket over a beach party where finally (finally!) women of diverse shapes and sizes are not just welcome but considered sexy and beautiful.</p> <p>Sex does sell and it’s too bad that the sexualization of women is a multi-billion dollar industry in which <a href="https://www.businessinsider.com/business-facts-about-the-sports-illustrated-swimsuit-issue-2013-2">the swimsuit issue trades</a>.</p> <p>The swimsuit issue is a setback for women and models are engaging in what philosopher Shay Welch, in her book <a href="https://rowman.com/ISBN/9781498505413/Existential-Eroticism-A-Feminist-Approach-to-Understanding-Womens-Oppression-Perpetuating-Choices"><em>Existential Eroticism</em></a>, calls “oppression-perpetuating choices.” She defines “existential eroticism” as women’s oppression through beauty and sexuality.</p> <p>Basically, some women’s choices contribute to conditions of oppression for women as a group even if we can understand why women make them.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/reel/Ced0FcSgm3t/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/Ced0FcSgm3t/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Sports Illustrated Swimsuit (@si_swimsuit)</a></p> </div> </blockquote> <p>While we would be better off without the swimsuit issue (we’d be better off without lots of things), I’m not suggesting it be censored or banned. Nor is this an objection to the display of bodies, even skimpily clad bodies. But is there a different way of going about it?</p> <p>Look to <em>ESPN</em>’s <a href="https://www.espn.com/espn/feature/story/_/id/27400369/the-body-issue">The Body Issue</a>, which depicts a diversity of athletes (not only women and not only non-disabled), nude and often in action shots that display their athleticism within their chosen sport.</p> <p>It presents a completely different esthetic of physicality, based in athleticism. Athleticism isn’t the only dimension along which to appreciate bodies, but it’s not clear how the swimsuit issue, the very essence of which is to represent a particular type of sexualized bodies, could morph into something that celebrates the body in a different way.</p> <p>Swimsuit issue editor-in-chief <a href="https://swimsuit.si.com/swimnews/sports-illustrated-swimsuit-2022-cover-models-kim-kardashian-ciara-maye-musk-yumi-nu">MJ Day says</a>, “We encourage readers to see these models as we see them — multifaceted, multitalented and sexy while they’re at it.” As multi-dimensional as these women may be, their suitability for the swimsuit issue ultimately depends on being sexy.</p> <p>We should be wary of uncritically accepting the sexual objectification of women for the sake of inclusion and diversity. When we do, we’re celebrating the swimsuit issue as something empowering for women and praising it for “breaking barriers.” Given its context and target-audience — straight, cisgender men — doing so perpetuates the pernicious idea that women (all women) need to be sexy-to-men to be acceptable.</p> <p>We can promote inclusion and celebrate the beauty of diverse bodies without piggybacking on that relentless message about what makes women worthy.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/184211/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/tracy-isaacs-967042" target="_blank" rel="noopener">Tracy Isaacs</a>, Professor (Philosophy), <a href="https://theconversation.com/institutions/western-university-882" target="_blank" rel="noopener">Western University</a></em></p> <p><em>This article is republished from <a href="https://theconversation.com" target="_blank" rel="noopener">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/sports-illustrated-swimsuit-is-inclusive-objectification-something-to-celebrate-184211" target="_blank" rel="noopener">original article</a>.</em></p> <p><em>Images: Sports Illustrated</em></p>

Beauty & Style

P&O Cruises celebrates diversity

<p dir="ltr">As cruises make their way back to Australia, P&O Cruises is celebrating with a weekend at sea for members of the LGBTQIA+ community, their friends, family and supporters. </p> <p dir="ltr">The ship will set sail on November 4 from Sydney and is a three-night event to allow Aussies from all walks of life to celebrate diversity and inclusion.</p> <p dir="ltr">The celebrations won’t stop there though, with a Pride Cruise departing from Melbourne on December 9, as well as another three cruises in 2023. </p> <p dir="ltr">P&O Cruises Australia’s Partnership Manager Chris Rich said the cruise line was excited to return to service and offer guests its first dedicated Pride sailing.</p> <p dir="ltr">“Guests on the Pride cruise will be able to celebrate the themes of love, compassion, respect and understanding through lectures, educational and spiritual events, same sex marriages and renewal of vows,” he said.</p> <p dir="ltr">“The cruise will welcome everyone who is a member or supporter of the LGBTQIA+ community – as well as the unique blend of love and laughter that makes the LGBTQIA+ spectrum so special.”</p> <p dir="ltr">LGBTQIA+ community organisations such as Bobby Goldsmith Foundation, Harbour City Bears and Queer Screen have helped P&O Cruises make this possible. </p> <p dir="ltr">The cruise line has gone a step further to include some of “the best names in the Australian entertainment business” to make the three nights memorable. </p> <p dir="ltr">Some names dropped by the cruise include international superstar Hans the German, Simon Dunn - the first openly gay male to represent any country in the sport of bobsled – P&O Cruises Queensland Rugby League ambassador Meg Ward and ex-Rabbitohs rugby star Ian Roberts.</p> <p dir="ltr"><em>Image: P&O Cruises</em></p>

Cruising

White male artists dominate US galleries

<p>The walls of art galleries in the US are hung, almost to the exclusion of all else, with the works of white men.</p> <p>That’s the conclusion of a team of statisticians and art historians, <a rel="noopener" href="https://doi.org/%2010.1371/journal.pone.0212852" target="_blank">published</a> in the journal PLOS One.</p> <p><span>The researchers, led by Chad Topaz from the Department of Mathematics and Statistics at Williams College in Massachusetts, US, examined the public online catalogues of 18 major US museums and extracted records for 9000 named artists.</span></p> <p>These were then given over to a crowdsourcing platform, and with the help of the many people thereon the majority of the artists were successfully identified and biographies built.</p> <p>“Overall,” the authors report, “we find that 85% of artists are white and 87% are men.”</p> <p>Topaz and colleagues position their work in the context of previous studies that have examined diversity in museum and gallery staff, as well as visitor profiles.</p> <p><a rel="noopener" href="https://mellon.org/programs/arts-and-cultural-heritage/art-history-conservation-museums/demographic-survey/" target="_blank">One study</a>, for instance, found that 72% of members of the US Association of Art Museum Directors (AAMD) identified as white. The same study found that while 60% of museum staff are female, women occupy only 43% of senior positions.</p> <p><span>Other studies have looked at visitors, and identified communities to target through outreach programs in attempts to increase diversity.</span></p> <p>The present work, though, is the first to study diversity among the artists represented.</p> <p>“If museums find knowledge of staff and visitor demographics important for programming decisions,” the authors write, “one might ask if demographics of the artists are important for collection decisions.”</p> <p>They cite “anecdotal evidence” that in the field of contemporary American art some collections are being actively augmented to rectify diversity imbalance, with the welcome effect that “it is now not unusual for these museums to compete with each other for major works of African American art”.</p> <p>However, the big picture – no pun intended – remains overwhelmingly coloured by men who are white.</p> <p>“With respect to gender, our overall pool of individual, identifiable artists across all museums consists of 12.6% women,” the authors report.</p> <p>“With respect to ethnicity, the pool is 85.4% white, 9.0% Asian, 2.8% Hispanic/Latinx, 1.2% Black/African American, and 1.5% other ethnicities.”</p> <p>Introducing greater diversity, however, is perhaps not as difficult as some might imagine.</p> <p>“We find that the relationship between museum collection mission and artist diversity is weak, suggesting that a museum wishing to increase diversity might do so without changing its emphases on specific time periods and regions,” the researchers conclude.</p> <p>They also admit that their analysis is constrained by a couple of limitations. First, a small proportion of artists identified could not be satisfactorily identified by gender or ethnicity. Second, artworks made by more than one artist were not included, and, third, many works of art – those from the Graeco-Roman period, for instance – are not assigned to identifiable individuals.</p> <p><em>Image credits: Shutterstock</em></p> <p><em>This article was originally published on <a rel="noopener" href="https://cosmosmagazine.com/people/society/white-male-artists-dominate-us-gallery-collections/" target="_blank">cosmosmagazine.com</a> and was written by Andrew Masterson. </em></p>

Art

In 20 years of award-winning picture books, non-white people made up just 12% of main characters

<p>A highlight for Australian children’s literature is the announcements of the Children’s Book Council of Australia (CBCA) Book of the Year award winners. This year’s winners will be announced on Friday October 16 — right before the start of CBCA’s Book Week on October 19.</p> <p>Making the <a href="https://cbca.org.au/shortlist-2020">shortlist</a> brings great exposure for the books and their creators. The shortlisted books are put on special display in public school libraries and supermarket shelves. They are even made into teaching <a href="https://petaa.edu.au/w/Teaching_Resources/CBCA2020/2020_CBCA_Guide.aspx">resources</a>, suggesting an exploration of the book’s themes, for instance.</p> <p>Crucially, award lists contribute to the “canon” of literary works that become widely read. This canon is distributed through libraries, schools and homes. Sometimes, benevolent relatives <a href="https://theconversation.com/5-reasons-i-always-get-children-picture-books-for-christmas-127801">give them as gifts</a>.</p> <p>We investigated the diversity — including ethnicity, gender and sexuality — of the 118 shortlisted books in the early childhood category of Book of the Year between 2001 and 2020. We also examined diversity among the 103 authors and illustrators who have made the shortlist over the past 20 years.</p> <p>Our yet unpublished study found most (88%) human main characters in the shortlisted books were white; none of the main characters were Asian, Black or Middle Eastern.</p> <h2>Why diversity matters</h2> <p>The <a href="https://cbca.org.au/">CBCA</a> was formed in 1945, as a national not-for-profit organisation promoting children’s literary experiences and supporting Australian writers and illustrators. The first awards began in 1946.</p> <p>There were originally three categories for Book of the Year: older readers, younger readers and picture book.</p> <p>In 2001, “early childhood” was added as a category. This was for picture books for children up to six years old.</p> <p>Picture books are significant for not only developing early literacy skills, but also for the messages and values they convey about society. They <a href="https://www.betterreading.com.au/podcast/new-6-part-podcast-series-a-conversation-about-diversity-in-childrens-books/">help children learn about their world</a>.</p> <p> </p> <p>The diversity children see represented in that world <a href="https://theconversation.com/bias-starts-early-most-books-in-childcare-centres-have-white-middle-class-heroes-130208">affects their sense of belonging and inclusion</a>. At this age, cultural values and bias settle in and become the foundation for how we develop. These values and biases have a profound influence on our successes and struggles in our adult lives.</p> <h2>A positive for gender diversity, but not ethnicity</h2> <p>We used visual content analysis to examine ethnic diversity, we well as gender, disability, sexuality and linguistic variation in the 118 early childhood category shortlisted books — between 2001 and 2020.</p> <p><a href="https://images.theconversation.com/files/363296/original/file-20201013-13-1teg5bo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/363296/original/file-20201013-13-1teg5bo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" alt="The cover of picture book Go Home Cheeky Animals" /></a> <span class="caption">Illustrator Dion Beasley.</span> <span class="attribution"><a href="https://www.allenandunwin.com/browse/books/childrens/picture-books/Go-Home-Cheeky-Animals-Johanna-Bell-illustrated-by-Dion-Beasley-9781760291655" class="source">Allen & Unwin</a></span></p> <p>We also examined diversity among the 103 authors and illustrators who have made the shortlist over the past 20 years. Only one person — Alywarr illustrator Dion Beasley, from the Northern Territory, and winner in 2017 for <a href="https://cbca.org.au/book/go-home-cheeky-animals">Go Home Cheeky Animals</a> — identifies as Indigenous.</p> <p>Female authors and illustrators, however, were more represented (66%) than male (34%).</p> <p>Looking at the picture books, we first identified four major types of characters: human (52.5%), animal (41.5%), object (4.4%) and imaginary (1.4%).</p> <p>We then distinguished between main characters and those in supporting roles that make up the story world in which the main characters act.</p> <p>One of the most encouraging findings was the gender parity among main characters. We identified 52 solo human main characters across all 118 books. Fifty-one of these are children, with 25 boy and 24 girl main characters (two main characters were not identified by gender).</p> <p> </p> <p>This placed boys and girls equally in the role of the protagonist, which stands in contrast to <a href="https://theconversation.com/i-looked-at-100-best-selling-picture-books-female-protagonists-were-largely-invisible-115843">previous research looking at best-selling picture books</a>.</p> <p>But in terms of ethnicity, the human main characters are overwhelmingly white (88%). There are just two Indigenous main characters and one who is multiracial. There have been no Asian, Black or Middle Eastern main characters.</p> <p>Looking at the wider story world, supporting characters are still overwhelmingly white. But this world does marginally include characters of Asian, Black and Middle Eastern heritage. Overall, human characters appear in 85 (72%) of the 118 books.</p> <p>White characters appear in 74 of these books, and only nine books have no white characters. Non-white characters appear in a total of 18 books (21%).</p> <p>Our results for ethnic diversity don’t correlate well with the <a href="https://www.abs.gov.au/statistics/people/population/migration-australia/latest-release">latest Australian census data</a> (from 2016). The cultural heritage of Australia’s population is described as: 76.8% white, 10% East and Southeast Asian, 4.6% South Asian, 3.1% West Asian and Arabic, 2.8% Aboriginal and Torres Strait Islander, 1.5% Maori and Pacific Islander, 0.7% African, 0.6% Latin American.</p> <p><a href="https://images.theconversation.com/files/362846/original/file-20201012-12-21c85x.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/362846/original/file-20201012-12-21c85x.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> <span class="caption">The 2020 Early Childhood Book of the Year shortlist.</span> <span class="attribution"><a href="https://cbca.org.au/shortlist-2020" class="source">CBCA/Screenshot</a></span></p> <p>The CBCA early childhood shortlist minimally represents other forms of diversity. We see only two main characters living with a disability and no characters who are sexually and gender diverse.</p> <h2>Other types of diversity</h2> <p>Linguistic variation is also minimal, in only four books, which does not reflect the linguistic diversity of the wider Australian population.</p> <p>In response to our queries regarding their judging criteria, the CBCA said:</p> <blockquote> <p>we do not select books for entry into our awards. It is the publishers and creators who select the books for entry. Our main criterion is literary merit, we do not actively exclude diversity, themes or genre.</p> </blockquote> <p>Only two of the six 2020 shortlisted books in the early childhood category have human main characters. And these are both white.</p> <p>The age of zero to six years is a crucial stage of development. It is important for young readers to see people and surroundings that are like their own to cultivate a sense of belonging. It is equally important to see a different world they are not familiar with.</p> <p> </p> <p>If award-winning books sit at the top of reading lists, these books also need to embrace and reflect the full and rich diversity that makes up our country.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/147026/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/helen-caple-730360">Helen Caple</a>, Associate Professor, <a href="https://theconversation.com/institutions/unsw-1414">UNSW</a> and <a href="https://theconversation.com/profiles/ping-tian-1124969">Ping Tian</a>, Lecturer , <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a></em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/in-20-years-of-award-winning-picture-books-non-white-people-made-up-just-12-of-main-characters-147026">original article</a>.</em></p>

Books

Empathy starts early: 5 Australian picture books that celebrate diversity

<p>Early exposure to diverse story characters, including in ethnicity, gender and ability, helps young people develop a strong sense of identity and belonging. It is also crucial in cultivating compassion towards others.</p> <p>Children from minority backgrounds rarely see themselves reflected in the books they’re exposed to. Research over the past two decades shows the world presented in children’s books is overwhelmingly white, male and middle class.</p> <p>A 2020 study in four Western Australian childcare centres showed only 18% of books available included non-white characters. Animal characters made up around half the books available and largely led “human” lives, adhering to the values of middle-class Caucasians.</p> <p>In our recent research of award-winning and shortlisted picture books, we looked at diversity in representations of Indigenous Australians, linguistically and culturally diverse characters, characters from regional or rural Australia, gender, sex and sexually diverse characters, and characters with a disability.</p> <p>From these, we have compiled a list of recommended picture books that depict each of these five aspects of diversity.</p> <p>Aboriginal Torres Strait Islander characters<br />Tom Tom, by Rosemary Sullivan and Dee Huxley (2010), depicts the daily life of a young Aboriginal boy Tom (Tommy) in a fictional Aboriginal community — Lemonade Springs. The community’s landscape, in many ways, resembles the Top End of Australia.</p> <p>Tom’s 22 cousins and other relatives call him Tom Tom. His day starts with a swim with cousins in the waters of Lemonade Springs, which is covered with budding and blossoming water lilies. The children swing on paperbark branches and splash into the water. Tom Tom walks to Granny Annie’s for lunch and spends the night at Granny May’s. At preschool, he enjoys painting.</p> <p>Through this picture book, non-Indigenous readers will have a glimpse of the intimate relationship between people and nature and how, in Lemonade Springs, a whole village comes together to raise a child.</p> <p>Characters from other cultures<br />That’s not a daffodil! by Elizabeth Honey (2012) is a story about a young boy’s (Tom) relationship with his neighbour, Mr Yilmaz, who comes from Turkey. Together, Tom and Mr Yilmaz plant, nurture and watch a seed grow into a beautiful daffodil.</p> <p>The author uses the last page of the book to explain that, in Turkish, Mr Yilmaz’s name does not have a dotted “i”, as in the English alphabet, and his name should be pronounced “Yuhlmuz”.</p> <p>While non-white characters, Mr Yilmaz and his grandchildren, only play supporting roles in the story, the book nevertheless captures the reality of our everyday encounters with neighbours from diverse ethnic backgrounds.</p> <p>Characters from rural Australia<br />All I Want for Christmas is Rain, by Cori Brooke and Megan Forward (2017), depicts scenery and characters from regional or rural Australia. The story centres on the little girl Jane’s experience of severe drought on the farm.</p> <p>The story can encourage students’ discussion of sustainability.</p> <p>In terms of diversity, it is equally important to meet children living in remote and regional areas as it is to see children’s lives in the city.</p> <p>Gender non-conforming characters<br />Granny Grommet and Me, by Dianne Wolfer and Karen Blair (2014), is full of beautiful illustrations of the Australian beach and surfing grannies.</p> <p>Told from the first-person point of view, it documents the narrator’s experiences of going snorkelling, surfing and rockpool swimming with granny and her grommet (amateur surfer) friends.</p> <p>In an age of parents’ increasing concern about gender stereotyping (blue for boy, pink for girl) of story characters in popular culture, Granny Grommet and Me’s representation of its main character “Me” is uniquely free from such bias.</p> <p>The main character wears a black wetsuit and a white sunhat and is not named in the book (a potential means of assigning gender).</p> <p>This gender-neutral representation of the character does not reduce the pleasure of reading this book. And it shows we can minimise attributes that symbolise stereotypes such as clothing, other accessories and naming.</p> <p>Characters living with a disability<br />Boy, by Phil Cummings and Shane Devries (2018), is a story about a boy who is Deaf.</p> <p>He uses sign language to communicate but people who live in the same village rarely understand him. That is, until he steps into the middle of a war between the king and the dragon that frightens the villagers.</p> <p>He resolves the conflict using his unique communication style and the villagers resolve to learn to communicate better with him by learning his language.</p> <p class="p1"><em>Written by Ping Tian and Helen Caple. This article first appeared on <a href="https://theconversation.com/empathy-starts-early-5-australian-picture-books-that-celebrate-diversity-153629">The Conversation</a>.</em></p>

Books

Diverse, daring and rugged – highlights of exceptional New Zealand

<p>Diverse and daring, New Zealand is a destination of exceptional beauty – imagine horse rides through otherworldly gorges and glaciers, soaring around dramatic coastlines and gliding down the best ski fields of the southern hemisphere.</p> <p>Home to ethereal landscapes featured in the Lord of the Rings Trilogy, natural hot springs and idyllic beaches, New Zealand is celebrated for its breathtaking phenomena – the perfect choice for those after a serene natural escape.</p> <p>An exceptional port of call for adrenaline-seekers, New Zealand is renowned as an adventure capital, with everything from sky diving and white-water rafting to spectacular hiking trails and, of course, world-renowned skiing Queenstown.</p> <p><strong>Toast the coast</strong></p> <p>For a comparatively tiny country, New Zealand’s geography boasts 14,000 km of coastline, making it the 10th longest in the world. From boisterous west coast beaches, to the more family friendly east, with such a modest population – just 4.7million at last count – you’re sure find the perfect cove, sometimes even an entire beach to yourself. Although, if you’d rather follow the herd, in the height of summer you can join the crowds on the beach at Mt Maunganui or Takapuna and settle in amongst the heavenly bodies.</p> <p><strong>On Your Bike</strong></p> <p>Cycle tourism in New Zealand is taking off, largely thanks to the birth of Nga Haerenga: The National Cycleway featuring everything from rail trails to forests. With 22 Great Rides, the less famous but equally fabulous cousins of New Zealand’s Great Walks, these trails provide mild to wild adventures on two wheels. From The Twin Coast Trail in Northland which connects the east and west coasts to Alps2Ocean in the South Island, a journey that rolls from Mt Cook to the coastal town of Oamaru, you can ride for days or an afternoon and with the advent of e-bikes, you don’t even have to be that fit.</p> <p><strong>Picture perfect</strong></p> <p>Renowned for dramatic landscapes and pristine natural beauty, New Zealand is paradise for photographers and painters or simply those who like to look. And with many beauty spots made famous by Sir Peter Jackson’s films, location tourism has really taken off. From the twinkling waters and diving dolphins in the Bay of Islands, to the majestic alps, gorges and glaciers of the South Island, this is a country where you don’t want to be in a hurry, as you’ll be needing to stop and stop often to truly appreciate the breathtaking sights.</p> <p><strong>Satisfy your cravings</strong></p> <p>Wining and dining in the land of The Long White Cloud are taken very seriously with world-class experiences available in big cities and small towns. From Pacific Fusion cuisine to small family run eateries from around the globe, New Zealanders pride themselves on fresh food, fine wine and a vibrant culinary scene. Whether you’re shopping at a farm gate to prepare a Masterchef masterpiece in your campervan or stopping in at one of the over 500 vineyards you’ll find as you roam – you’ll treasure your gastronomic adventures.</p> <p><strong>Hot Spots</strong></p> <p>Bursting with geothermal energy, beneath New Zealand’s surface there bubbles a steaming heat that regularly warms waters to temperatures that humans find perfect for relaxation. From laid-back Ngawha Springs in Northland to the plethora of spas in the central North Island and beyond, bathers can choose to bathe in high-end spas or in the bush surrounded by nature.</p> <p><em>Written by Elisabeth Easther. Republished with permission of <a href="https://www.mydiscoveries.com.au/stories/diverse-daring-and-rugged-highlights-of-exceptional-new-zealand/">MyDiscoveries.</a></em></p>

Cruising

Children’s books that teach diversity are more important than ever

<p><em><strong>BJ Epstein is a senior lecturer in literature and public engagement at the University of East Anglia, whose work focuses on diverse cultural representation in children’s books.</strong></em></p> <p>If you think back to your childhood, what sticks with you? For many people, it’s those cosy times when they were cuddled up with a parent or grandparent, being read a story.</p> <p>But bedtime stories aren’t just lovely endings to the day or a way to induce sleep, they are also a safe way to experience and discuss all sorts of feelings and situations. So even when children think they’re just being told about an adorable bunny’s adventures, they are actually learning about the world around them.</p> <p>We know that children’s books can act like both mirrors and windows on the world. Mirrors in that they can reflect on children’s own lives, and windows in that they can give children a chance to learn about someone else’s life. We also know that this type of self-reflection and opportunity to read or hear about different lives <strong><span style="text-decoration: underline;"><a href="http://blog.leeandlow.com/2013/02/04/what-does-this-book-have-to-do-with-me-why-mirror-and-window-books-are-important-for-all-readers/" target="_blank">is essential for young people</a></span></strong>.</p> <p>Research on prejudice shows that coming in contact with people who are different – so-called “others” – helps to reduce stereotypes. This is because when we see people who initially seem different, we learn about them and get closer to them through their story. The “other” <span style="text-decoration: underline;"><strong><a href="http://www.scholastic.com/bookfairs/readerleader/windows-and-mirrors-why-we-need-diverse-books" target="_blank">seems less far away</a></strong></span> and, well, less “otherly”.</p> <p>But while it may be ideal for children to actually meet people from different backgrounds in person, if that isn’t possible, <strong><span style="text-decoration: underline;"><a href="https://www.hammeronpress.net/shop/books/are-the-kids-all-right-the-representation-of-lgbtq-characters-in-childrens-and-young-adult-literature/" target="_blank">books can serve as a first introduction</a></span></strong> to an outside world.</p> <p><strong>Representing the world</strong></p> <p>Despite knowing how important it is for diversity to be represented in our day-to-day lives, many children’s books are still littered with white, male, able-bodied, heterosexual, cisgender, nominally Christian characters. <strong><span style="text-decoration: underline;"><a href="http://blog.leeandlow.com/2015/03/05/the-diversity-gap-in-childrens-publishing-2015/%20or%20http:/weneeddiversebooks.org/faq/" target="_blank">And research suggests that over 80%</a></span></strong> of characters in children’s books are white – which clearly doesn’t reflect the reality of our world.</p> <p>All of these reasons are why the <span style="text-decoration: underline;"><strong><a href="http://weneeddiversebooks.org/" target="_blank">We Need Diverse Books</a></strong></span> movement was set in motion in 2014, stemming from a discussion between children’s books authors <span style="text-decoration: underline;"><strong><a href="http://www.ellenoh.com/index1.html" target="_blank">Ellen Oh</a></strong></span> and <span style="text-decoration: underline;"><strong><a href="http://www.malindalo.com/" target="_blank">Malinda Lo</a></strong></span>. The movement aims for more diverse children’s books to actually be created and for these works to be available to young people. And while we need people to actually write them, we also need publishers to produce them, and bookstores, libraries, and schools to stock them.</p> <p>As someone who researches children’s literature, I think we’d have fewer conflicts in the world if we all read more diverse literature and lived more diverse lives.</p> <p>I like to think that if we had more diverse children’s books, featuring a broad range of characters in many different jobs and situations, as well as more diverse role models in the media, young people would feel empowered, and they’d believe that when they grow up, they could be anyone and do anything they wanted. And they’d look at their friends and think the same for them, and they’d grow up respecting and appreciating everyone’s talents.</p> <p>With this mindset present, issues such as race or religion <span style="text-decoration: underline;"><strong><a href="http://www.childrensliteratureassembly.org/docs/JCL-40-1-Article_Tschida.pdf" target="_blank">wouldn’t even play a subconscious role</a></strong></span>. And it would mean that within a generation or two, we wouldn’t read articles about appalling and depressing statistics, and we wouldn’t need campaigns to increase diversity in literature, academia, or anywhere else.</p> <p><strong>Role models</strong></p> <p>But books aren’t just about “others”. When we see people like ourselves in the media, including in fiction, we get a glimpse of who we might become, and we feel validated. We can gain role models and inspiration through literature.</p> <p>Perhaps partly in response to people’s growing awareness of the need for role models – whether in person or in literature – one young black girl, Marley Dias, <span style="text-decoration: underline;"><strong><a href="https://www.theguardian.com/books/2016/feb/09/marley-dias-1000-black-girl-books-hits-target-with-outpouring-of-donations" target="_blank">started a campaign</a></strong></span> to find 1,000 “black girl books”. Dias recommends works such as <span style="text-decoration: underline;"><strong><a href="http://www.nationalbook.org/nba2014_ypl_woodson.html#.WJh-0LaLR8c" target="_blank">Brown Girl Dreaming</a></strong></span> by Jacqueline Woodson, <span style="text-decoration: underline;"><strong><a href="https://www.amazon.co.uk/One-Crazy-Summer-Rita-Williams-Garcia-x/dp/0060760907" target="_blank">One Crazy Summer</a></strong></span> by Rita Williams-Garcia, <span style="text-decoration: underline;"><strong><a href="https://books.google.co.uk/books/about/Chains.html?id=ilIhcg_MdB4C&source=kp_cover&redir_esc=y&hl=en" target="_blank">Chains</a></strong></span> by Laurie Halse Anderson and <span style="text-decoration: underline;"><strong><a href="https://www.amazon.co.uk/Love-Hair-Natasha-Anastasia-Tarpley/dp/0316525588">I Love My Hair</a> </strong></span>by Natasha Anastasia Tarpley.</p> <p>But I wonder how many of those “black girl books” feature black girls in prominent roles, such as working as professors, doctors, teachers, or even as presidents of nations. I have a suspicion that the percentage would be disappointingly low.</p> <p>Just featuring a minority character isn’t enough to create quality diverse literature, but it is a first step. And while there are some useful websites that <span style="text-decoration: underline;"><strong><a href="http://weneeddiversebooks.org/where-to-find-diverse-books/" target="_blank">recommend diverse children’s books</a></strong></span> and even literary awards dedicated to promoting such works, much still needs to be done.</p> <p>Along with the increased worries today about immigrants, refugees, and general “otherness”, some societies seem to be headed towards a sense of false nostalgia about a time when the world was controlled by whites.</p> <p>Given this is not how the world is or should be, we owe it to young readers to show them reality in the books they’re reading. Perhaps then the next generation will be less frightened of the “other” if they get to meet them and learn about them from an early age.</p> <p><em>Written by BJ Epstein. First appeared on <a href="https://theconversation.com/" target="_blank"><strong><span style="text-decoration: underline;">The Conversation</span></strong></a>.</em> </p> <p><img width="1" height="1" src="https://counter.theconversation.edu.au/content/72146/count.gif?distributor=republish-lightbox-advanced" alt="The Conversation"/></p>

Books

Children with disabilities featured in Kmart’s new catalogue

<p>Retailer Kmart Australia has made history by featuring two boys with disabilities in its latest catalogue.</p> <p>“This is not a new focus for Kmart Australia, but an extension of our broader and very important focus on improving diversity within our business and truly representing our team, customers and communities that we operate in and are part of,” a Kmart spokesperson told Buzzfeed.</p> <p>The decision to include a diverse group of models has been widely praised in the community.</p> <p>The mother of 11-year-old Copper, who has Cerebral palsy and was one of the models in the catalogue, said her son was very happy with his experience.</p> <p>“For me, the shoot was very respectful and engaging,” she told Buzzfeed.</p> <p>“They spoke to Cooper just as they would any other 11-year-old. He felt extremely welcome and proud.</p> <p>“He still couldn’t really believe he was in the catalogue! He was so excited to see himself represent Kmart and represent kids who have a disability. He is very proud of who he is, including the fact he has Cerebral Palsy.”</p> <p><strong>Related links: </strong></p> <p><span style="text-decoration: underline;"><strong><em><a href="http://www.oversixty.co.nz/lifestyle/family-pets/2016/02/how-to-bring-up-a-happy-child/">22 tips for bringing up a happy child</a></em></strong></span></p> <p><span style="text-decoration: underline;"><strong><em><a href="http://www.oversixty.co.nz/lifestyle/family-pets/2016/01/grandparents-make-grandchildren-happy-study/">Why the grandparent grandchild relationship is important for happiness</a></em></strong></span></p> <p><span style="text-decoration: underline;"><strong><em><a href="http://www.oversixty.co.nz/lifestyle/family-pets/2016/01/texts-from-grandparents/">15 hilarious texts from grandparents</a></em></strong></span></p>

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Play School to feature gay fathers

<p>Australia's <em>Play School</em> is set to feature a child with two fathers in their “Through the window” segment for the first time in the show’s 50 year history.</p> <p>The show, which is looking to showcase more diverse family structure to reflect the current makeup of Australian society, will also feature an adopted family, an extended family, a blended family and an Indigenous nuclear family in segments to be screened later this year.</p> <p>"In these stories, we explore the relationships and bonds of a family. We will look at how they care for one another and share experiences, roles and responsibilities,” said Jan Stradling, executive producer of the show. </p> <p>"All of these factors are common aspects that promote a sense of belonging for a child regardless of family type.</p> <p>"The focus of the 'Through the Windows' segments is always on the child and the favourite activities they love to do with their families, the emphasis being on spending time together."</p> <p>It will be the first time two dads will be featured on playschool. A similar segment ran in 2004, featuring now Puberty Blues actress Brenna Harding with her two gay mothers, but caused a furore. Then Prime Minister John Howard labelled the ABC’s decision to broadcast the segment as foolish. But in the 12 years since then, hopefully the conversation around gay parenting has evolved.</p> <p><img width="433" height="244" src="http://images.smh.com.au/2016/02/04/7186430/Article%20Lead%20-%20wide1005416928gmll31image.related.articleLeadwide.729x410.gmlko0.png1454719556926.jpg-620x349.jpg" alt="Brenna Harding with mums Vicki Harding, and Jackie Braw. " style="display: block; margin-left: auto; margin-right: auto;"/></p> <p>"While there are still many families with Mum, Dad and two kids, there is also a significant and growing number of blended families, same-sex parents, single parents, grandparents as primary carers and many more!," Stradling said.</p> <p>"We don't see this as anything controversial, just a reflection of contemporary Australian life. We want preschool children from across the community to be able to see themselves as part of this very special show."</p> <p><strong>Related links: </strong></p> <p><span style="text-decoration: underline;"><strong><em><a href="/lifestyle/family-pets/2016/01/tips-for-a-happier-family/">3 simple tips for a happier family</a></em></strong></span></p> <p><span style="text-decoration: underline;"><strong><em><a href="/lifestyle/family-pets/2015/12/cheap-school-holiday-activities/">30 cheap – or free – holiday activities to do with grandkids</a></em></strong></span></p> <p><span style="text-decoration: underline;"><strong><em><a href="/lifestyle/family-pets/2015/11/funny-things-grandkids-say-part-4/">The funniest things grandkids kids say</a></em></strong></span></p>

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