• RUTH GOURLEY is a spokesperson for Stop Live Exports, a WA-based, community-led organisation that advocates for the end of live animal exports from Australia.

    IF you don’t have facts or public opinion on your side, try to manufacture a culture war.

    So the reasoning seems to go among the live animal export lobby, which in a flurry of media activity over the past month has taken aim at Fremantle-based animal protection organisation Stop Live Exports, as well as the Keep the Sheep Here campaign, which highlights the suffering of sheep on live export ships and supports the government’s plan to phase out the trade by 2028.

    Those with vested interests have been quick to use tired tropes that the animal protection groups involved are based outside of WA, and are a front for “vegan activists”.

    This simply isn’t true – more than seven in 10 everyday Australians, including Western Australians, support the phase out. 

    Whether meat-eater or vegan, living in the city or the country, most compassionate, fair-minded Australian voters want to see this cruel trade end.

    What I found interesting in the latest accusations were the attempts to suggest that Keep the Sheep Here and its supporters are “extremists” for backing the phase-out of live sheep exports, and that we’re not supportive of creating jobs locally in the transition to onshore processing of sheep meat.

    It raises the question: Is it really “extremist” to believe sheep should be slaughtered in Australia, close to where they are raised and under Australian standards, instead of enduring weeks at sea and extreme pain when their throat is cut without being stunned? 

    If so, that would make every animal welfare and veterinary organisation in Australia an extremist.

    Is it “extremist” to want to call time on a trade that exposes sheep to overcrowded and filthy conditions, extreme heat and poor ventilation, high levels of ammonia from urea, and incessant noise, light and movement?

    The fact is that ships are no place for sheep. 

    They are subjected to 24/7 fluoro lighting, the deafening sound from ventilation systems and ship engines, and the unpredictable motion of the ships – heaving, swaying, surging, rolling, pitching and yawing, for days and weeks on end. 

    That’s in addition to being made to stand in their own waste.

    Live export companies will claim that improvements have been made to welfare standards. 

    But regulatory reforms have not and cannot fix the trade. 

    Data gathered by on-board independent observers on more than 53 live sheep export journeys since 2018 shows that sheep were starving on 80 per cent of those voyages, and were suffering from heat stress on 60 per cent.

    Stop Live Exports believes there’s nothing extreme about wanting to stop such appalling and ongoing cruelty to animals.

    Likewise, there’s nothing “extreme” about backing the transition to the onshore processing of sheep meat to create and support Australian jobs.

    The Australasian Meat Industry Employees Union, for example, has suggested the transition to more onshore processing could add up to 800 additional direct jobs and many more indirect jobs. 

    The federal government’s $139.7 million package is there to support the producers and supply chains transition.

    To be clear, Keep the Sheep Here is a national campaign that represents the views of most Australians who support the phase-out of live sheep exports. 

    We are a broad church of fair-minded and compassionate people right across the country—including in WA—who simply want animals to be treated better, and jobs to be kept in Australia.

    It’s time for the live export sector to quit the divisive culture war rhetoric and accept the inevitable transition to sheep meat exports – a sustainable and valuable alternative.

  • RUTH GOURLEY is a spokesperson for Stop Live Exports, a WA-based, community-led organisation that advocates for the end of live animal exports from Australia.

    TO those who support live sheep exports from Australia, Craig Baco is an animal activist, a born and bred city dweller with no idea about farm life.

    But Craig Baco is many things to many people.

    A tree surgeon with over 25 years’ experience, a qualified tyre fitter, a partner in a rural animal sanctuary, a son, a friend.

    Moreover, to many people in the animal advocacy sector, Craig Baco is nothing short of a hero.

    A hero for the animals.

    Regardless of the labels he’s given, Baco, as he is affectionately known within his Fremantle animal-loving community, is laser focused when it comes to his life’s purpose: to document and showcase the abhorrent cruelty inherent in the live export trade.

    • Baco and one of his rescued sheep.

    Cruelty

    Cruelty which he observes every time there is a live export ship – which he terms a death ship – anchored at Fremantle Port.

    And that happens a lot.

    Far too often for someone with Baco’s deep care and passion for animal welfare.

    “It all started for me in 2017 when I watched the 60 Minutes expose of the Awassi Express which showed Australian livestock suffering terribly and dying in their own filth,” explains the 52-year-old, who was born and raised in Sydney.

    “The whole country was horrified, farmers were even reported as being horrified, but for me, when I watched that footage something in me shifted; it was the moment that my life changed.”

    Baco explains that the suffering recorded on board the live export carrier propelled him to do more research into the industry, after which he says he had the cold, hard realisation of the level of terror and misery involved in the trade.

    “A couple of years later, I had the opportunity to move to Perth, so I packed up and made the decision to devote my life to helping the Australian community gain awareness of the misery the industry inflicts on live sheep and cattle to make their millions,” he says.

    • Baco’s locked horns with the export industry, but not his woolly mates.

    And so, since moving to Perth five years ago, Baco has borne witness to pretty much every live sheep and cattle truck that has driven into Fremantle, with animals destined for countries in the Middle East, Africa or southeast Asia.

    To date, over 53 months, he has been there to film and document 167 live export ships enter Fremantle Port, and leave days later, engorged with thousands of live Australian sheep and cattle.

    Armed with nothing more than his mobile phone, Baco films the crowded trucks heading towards the Port, often bearing witness to heat-stressed animals, or those who have collapsed or are trapped, sometimes with limbs spilling out of the slatted metal sides.

    “I feel devastated that I can’t help them,” says Baco.

    “Those trucks drive past me continuously and it’s heartbreaking, I get so upset and I just feel their suffering falls on deaf ears.

    “The distress is overwhelming, just like the smell.

    “I don’t think Australians realise how active the live export trade is, how frequently the death ships visit Fremantle Port.

    “If people saw the constant and ongoing suffering that I see, the injuries, the blood, the sheep that are trampled on as they are offloaded, the majority of Australians would want live export banned immediately – once and for all.

    “Australians would surely agree that we are better than this, and we need to treat our animals better.

    “They shouldn’t be on those trucks for hours, sometimes in boiling hot temperatures.

    “And they shouldn’t be on those ships for days, weeks, sometimes even months. It’s completely inhumane.”

    Since relocating to Western Australia, Baco has become a part owner in a privately-run farm animal sanctuary in the Wheatbelt, known as Paradise Pastures.  Amongst its residents are more than 150 rescued sheep, 70 of which were saved from the live export trade.

    “Sheep are just so incredibly gentle, I have such a soft spot for them; they are intelligent and very obviously feel so many of the same emotions we do – fear, pain, joy, excitement,” explains Baco, who knows each sheep at the sanctuary individually, after spending years feeding and caring for them.

    “When I have a particularly bad day filming the trucks at the port, I’ll head to the sanctuary and just spend quiet time in the paddock with the sheep, the wool kids as I call them.

    “They very often pick up on my sadness and press their heads next to mine.  They comfort me and I feel devastated that the sheep I’ve seen on the trucks that day have never felt the same human kindness.

    “If that makes me an activist or an extremist in other people’s eyes, so be it.

    “But to my mind, I’m just an Australian who cares about animal welfare.

    “An Australian who knows the difference between what’s right and what’s wrong when it comes to how these gentle, innocent creatures should be treated.”

    Footnote: While the majority of Australians oppose live export (based on RSPCA Australia research), and the federal Labor government has introduced legislation to ban the live export of sheep by sea, the ban does not come into effect until May 2028.  In comparison, the federal coalition has vowed to repeal the legislation, if elected.

    by RUTH GOURLEY

  • I LOVE my kids, but it was time for them to go back to school.

    After eight weeks of Mr Beast, Timezone and Minecraft, I was ready to be sectioned under the mental health act.

    However, we did enjoy one last end-of-camp hurrah – an afternoon out in Freo.

    We kicked off with lunch at Suku, an Indonesian street food joint on William Street.

    Suku is officially part of FOMO, but feels like a distinct entity as it’s on the edge of the hospitality, shopping and entertainment precinct. The casual, family-run eatery is fun and vibrant.

    There’s cute hand-drawn pictures on the walls, a tropical mural in the corner and kitsch overhead lights.

    In terms of dining, there’s bench seating and tables inside, and an al fresco on William Street.

    The menu is small and there’s only really two main dishes – a chicken or veggie Nasi Bali or a beef or veggie Rendang.

    But you can get them with add-ons like shredded chicken, braised egg, urap veggie and sambal.

    There was also a selection of smaller dishes including rujak (tangy and spicy seasonal fruit salad), batagor (fried mackerel dumpling with peanut sauce), terong belado (chilli eggplant) and tahu telur (omelette and tofu with peanut sauce). 

    And for those with a sweet tooth, there was a couple of desserts – black sticky rice and burnt coconut gelato.

    My kids decided to share some tempe goreng ($9.50) and sate lilit (four skewers for $15).

    The battered tempeh (a traditional Indonesian food made from fermented soybeans) had a lovely crunchy exterior and a light tasty filling.

    It was similar to tofu but with a lot more flavour and a far more pleasant texture.

    The funky battered sticks tasted great when dipped in the accompanying sweet and spicy sauce, which wasn’t too hot for my kids.

    The minced chicken satay sticks had a lovely fragrant aroma.

    They were a nice change from regular satay sticks and really came to life when dipped in the accompanying sambal matah (a sort of tangy and spicy raw slaw).

    It was a bit lively for the kids, but I enjoyed the exotic mix of onions, chillies and lime juice.

    A welcome bonus – Suku is licensed, so you can enjoy a Bintang or glass of wine with your meal.

    In a nice touch, they don’t appear to sell global brands like Coke or Pepsi, instead offering coconut water, jasmine tea and ‘Happy Soda’.

    I liked the sound of happy soda ($7), but unfortunately it wasn’t a potent cocktail, but soda gembira (a sort of Indonesian fire engine with carbonated water, condensed milk, syrup and ice).

    It was a bit sweet for my daughter, but my son loved it.

    A few years back I had tried the Balinese chicken and rice – extremely delicious – so this time I went for the beef rendang ($19.50).

    It was another hit – large chunks of super tender meat with a delicious slow-cooked flavour and traces of coconut.

    In the middle was a neat mound of rice, which was surrounded by a dainty assortment of spices, sauces and sambal.

    The mix of piquant flavours refreshed my palate in-between mouthfuls of the strong beef.

    All the food at Suku feels like its super fresh and authentic.

    My only gripe – the beef wasn’t the warmest, which was strange given the soaring temperature that day.

    The service was super quick and polite, and the friendly staff were helpful when I asked about suitable dishes for my kids.

    I wish they would expand the menu, but maybe they like to do a small number of dishes really well and that’s why they are still around and doing a roaring trade.

    After Suku, my kids and I enjoyed a whirlwind trip around  Freo Markets, viewed some art at PS and Moores Gallery, and played a few retro games at Palace Arcade.

    Beat that, Mr Beastie McBeastie Face.

    Suku
    28 William St, Fremantle
    sukufreo.com

    by STEPHEN POLLOCK

  • AI-generated music has a lot of musicians, especially older ones, spooked.

    They’ve spent years learning their instrument and honing their songwriting skills, but now live in a world where they could be replaced  by a few clicks of a mouse.

    Paul McCartney is the latest high-profile artist to raise concerns about the technology, warning AI could “rip off” artists if a proposed overhaul of copyright law goes ahead.

    But is it an age thing and what do the next generation of musicians think?

    Say hello to Twelve Parsecs – the Palmyra band was formed by siblings Riley and Georgia Spowart in 2021, after their performance of Led Zeppelin’s Black Dog at a school event went viral on social media (it now has more than 100 million views). 

    • Twelve Parsecs: Jacob Burro (bass), Riley Spowart (vocals/guitar) and Georgia Spowart (drums).

    At the time, they were just 12 and 10 years old. 

    They went on to win the ‘Schools 14 And Under’ category in the 2024 WAM Song Of The Year Award and have just released their debut EP The Only Thing (That Matters). 

    Given Twelve Parsecs are a rock’n’roll trio, it’s perhaps unsurprising that singer/guitarist Riley is not a fan of AI.

    “While AI can be a useful tool for creatives, I personally think it sucks and don’t agree with how prominent it has become in the music industry,” Riley says.

    “AI can’t replace the human connection between musicians and audiences.

    “For us, music is all about sharing experiences and emotions, and I don’t believe listeners will ever fully connect with AI-generated music in the same way. Because of that, I don’t see AI music becoming a true genre of its own.”

    However, Riley is concerned that AI could takeover the technical side of making a record, like the mixing and mastering.

    “Not only is it taking work away from professionals who have dedicated years to perfecting their craft, but it also gives people an easy way out instead of learning those skills themselves,” he says.

    There’s not a hint of AI on Twelve Parsecs’ new four-track EP – a rocking affair in the vein of Foo Fighters and Silverchair.

    The award-winning title track The Only Thing (That Matters) features crunchy guitar, punchy drums and a slithering Jimmy Page-style riff.

    Riley’s deep voice and mature delivery belies his tender years and it’s no surprise the band have already built up a solid reputation on the live scene, playing more than 80 high-octane gigs across Perth in venues like Freo Social, Rosemount Hotel, the Civic Hotel, Indian Ocean Hotel, Mojos and Clancy’s.

    The Only Thing (That Matters) taps into those emotions of feeling alone or undervalued, whilst also finding the strength to move forward and become a better person because of it,” Riley says.

    “I feel like it captures that longing to be truly seen and appreciated, and the frustration of feeling like you’re not enough – or maybe too much.” 

    The newest song on the EP, And I, is one of Riley’s favourites.

    “It has a sense of fulfilment and resolution in its closing moments that I’m really proud of,” he says.

    “The song reflects on hesitation, overthinking, and the complexities of timing and how we can sometimes throw away opportunities as a result.”

    While Twelve Parsecs are currently busy gigging and promoting their new EP, their ultimate goal is to release a debut album.

    While a lot of newer artists are content to record and produce their music on a computer at home, Twelve Parsecs are trying to crowdfund $25,000 to record in the studio.

    “Recording in a studio has always resulted in a more inspiring and creative environment for us,” Riley says. “…We know that raising $25,000 is a huge challenge and will take time – in particular considering we are all still at school – but we believe it’s worth it to create the best possible album and one that truly captures our sound and energy.”

    Twelve Parsecs will launch their debut EP at a special gig at Clancy’s Fremantle on March 15. Tix on sale soon. To find out more about the band see facebook.com/12parsecsbandofficial.

    by STEPHEN POLLOCK

  • HIDDEN Treasures is my favourite music festival in WA.

    Every winter, local artists play left-field venues in Fremantle like The Buffalo Club, The Navy Club and the old Wyola Club.

    Crumbling heritage mingles with neo punk and alt rock in a strange and intoxicating brew.

    It’s an odd juxtaposition, like historian John Dowson shredding on a pink Van Halen guitar.

    All this makes for a unique and highly memorable night out.

    The annual music festival is getting a well-deserved retrospective exhibition: Hidden Treasures – 14 years of live music in Freo.

    Exhumed from the City of Fremantle archives, there’s an entertaining mix of photographs, posters and programs.

    Many of the photos have the feel of a lock-in or a secret gig where things are teetering on the brink of chaos (imagine wet steamy crowds packed into tiny venues late at night and inches from the stage).

    • Hidden Treasures: (above) Addison Axe in 2018 photo by Tashi Hall and (below) an intimate performance captured in 2014 photo by Max_Kordyl.

    “The photos of Alter Boy’s performance at PS Arts Space in 2021 are so evocative of Hidden Treasures events over the years,” says exhibition co-curator Ofa Fotu.

    “Photographer Tashi Hall captured the excitement of the punters, vibrancy of the stage, and the artists’ joy of performing for a live audience.

    “The black and white photographs by Neil Wallace capture the early years of Hidden Treasures, with all their grit.

    “It’s a powerful reminder of the festival’s role in artist development and its contribution to Fremantle’s reputation as a hub for original live music.”

    Aside from well-known local artists, the festival has been an incubator for young musical talent, featuring students from John Curtin College of the Arts, Fremantle College and Hilton Primary School

    It’s also given some ailing venues and working man’s clubs a much-needed shot in the arm, especially The Buffalo Club, which is now enjoying a renaissance under a group of young volunteers.

    Along with some other Herald staff, I used to frequent The Buffalo Club before it was trendy.

    We enjoyed free games of pool and cheap pints, but for all its quaint charm it was moribund and needed a membership drive (sadly the notice board was usually filled with dates of funerals).  

    “One of the most striking aspects of the exhibition is how it highlights the symbiotic relationship between the performers and the iconic venues that have hosted them,” Fotu says.

    “The infamous black and white striped wall with horns of The Buffalo Club features prominently in several images, a testament to its partnership over the years.

    “Equally signature are the fairy lights and rope lights of the Navy Club, the pillars of PS ArtSpace, and the transformed second floor and balcony of The National Hotel.”

    So while it’s fun to walk around the exhibition and say “Remember when we saw San Cisco ” take a minute to enjoy the venues in the background, which are a bit like the fifth Beatle.

    “These venues are as much the stars of Hidden Treasures as the bands themselves,” Fotu says.

    “They’ve provided the perfect backdrop for countless memorable performances and have played a crucial role in nurturing our local music scene.”

    Hidden Treasures – 14 years of live music in Freo is at the Moores Building Arts Space on Henry St, Fremantle until February 16. If you took a cool photo of the festival, bring along an A4 print of it with your name in the bottom corner and the exhibition team will hang it for you.

    by STEPHEN POLLOCK

  • RED DRESS workshops at Fremantle Arts centre are helping Aboriginal women process the disappearance of loved ones and family who have been murdered.

    At the workshops, leading Wadjak Yorga artists teach women how to make red patchwork pieces, which will eventually be combined to create a giant red dress – honouring murdered and missing Indigenous women in WA and across the world.

    Participants also learn how to create small fabric dolls, which represent the memories of families and storytelling.

    Amber Ugle-Hayward says the workshops help her work through the disappearance of her Aunty Beccy.

    “In January 2017 our beloved Aunty Beccy went missing in Alice Springs, and since then, we’ve been determined to ensure that her story – and the stories of many others like her – are heard,” Ugle-Hayward says

    “Aunty Beccy has never been found.

    “For me, the workshops are an opportunity to process my Aunty Beccy’s disappearance with my family. It’s a moment to heal with them.”

    • Caytlin Eades

    Running since October 2024, the workshops teach eco dyeing, weaving, quilting and embroidery, with the giant red dress scheduled to be completed and displayed at Moores Art Space in Fremantle on July 25.

    The project is run in conjunction with the Murdered & Missing Indigenous Womens Group.

    “The Red Dress Wadjak Arts project gives Aboriginal women a much needed space to acknowledge violence against women which has impacted all our lives and the lives of our mothers and grandmothers under assimilationist native welfare laws and system,” says Dr Hannah McGlade, human rights lawyer and UN Indigenous rights expert.

    “This history continues as Aboriginal women are at high risk of family violence as well as sexual assault and murder. 

    “The Wadjak Red Dress project supports the human rights of Aboriginal women and families affected by femicide and is being run at the same time as the Seven Sisters UN Communications to CEDAW on behalf of Aboriginal women impacted by violence.

    “We are sponsored by the Aboriginal Family Legal Service; if anyone needs held addressing family violence please reach out to AFLS for help.” 

    Meanwhile, the public can have a look at the progress made on the giant red dress on March 8 at Fremantle Arts Centre in the Seed Room from 10am-1pm.

    Workshop co-ordinator Rachel Riggs says they are currently fundraising to make the project and workshops ongoing.

    For Aboriginal Family Legal Service see afls.org.au or call 9355 1502.

  • YOU will feel at one with nature in this gorgeous Embleton home.

    It’s situated directly opposite McKenzie Reserve and from the first floor balcony you can enjoy relaxing views of the towering gums and grass across the road.

    This three bedroom two bathroom property lives up to the glorious view and is a fantastic family home.

    Especially the open plan living/dining/kitchen area, which is bright, cool and airy thanks to the large floor tiles and high ceilings.

    The French doors and windows let in plenty of natural light and it feels like a great place to chill during the ferocious Aussie summer.

    Whipping up meals won’t be a problem in the spacious kitchen which has gleaming white cupboards, high-end appliances and a sleek breakfast bar.

    The entire ground floor is modern, fresh and inviting, and it just feels like a friendly home with good feng shui as they used to say in the 1980s.

    There’s a great indoor-outdoor flow and you can walk from the living area straight onto the alfresco in the back yard.

    It’s a tranquil spot with plants lining the Colorbond fence and plenty of space for a dining table and BBQ.

    The Chook really likes the first floor. It’s got two bedrooms, a family bathroom and an additional living area.

    From this living area you can access the balcony and enjoy those majestic views of McKenzie Reserve with a glass of vino at night.

    The second living area is great and gives a growing family plenty of space to stretch out.

    The home has a good layout with the main bedroom on the ground floor.

    It’s got a lovely ensuite and a large walk-in robe with plenty of room for all your clothes.

    Built just eight years ago, the home includes timber-lined ceilings in the alfresco and balcony, elegant timber shutters, large laundry and powder room, reverse cycle ducted smart AC, and a double garage.

    Situated on a 343sqm green title block on the quiet McKenzie Way, you are close to the Galleria Shopping centre, Bayswater Waves and lots of parks and reserves, and it’s only 8km to the Perth CBD.

    This Embleton family home is bright, breezy and modern.

    Home open today (Saturday February 8) 1pm-1:30pm
    Offers from the low $1M’s
    76B McKenzie Way, Embleton
    Beaucott Property 9272 2488
    Agents Aaron Storey
    0417 931 604
    Emma Proud
    0412 499 568

  • YOKINE’S Holocaust Institute of WA has welcomed $2 million pledges from both major parties leading up to the federal election, but says the circumstances behind the announcements puts a cloud over them.

    The announcements, made on International Holocaust Remembrance Day, were aimed at curbing a rise of anti-Semitic attacks around the country and follows this week’s revelation of NSW police seizing a caravan packed with explosives, anti-Semitic literature and a list of potential targets. 

    Prime minister Anthony Albanese committed $2m as part of a broader $6.4m initiative to establish a National Holocaust Education Centre in Canberra and upgrade existing Holocaust education facilities across Australia. 

    Opposition leader Peter Dutton said the funding would support education about both the Holocaust and the October 7, 2023, attacks in Israel.

    Mr Albanese emphasised the importance of educating future generations about the Holocaust to combat prejudice and discrimination.

    • There’s only a single set of the notorious striped pyjamas to greet 92-year-old Holocaust survivor Nomy Duniza, her son Steve Lieblich and Holocaust Institute education director Judith Lawrence, but funding pledges from both parties will see the new education centre transformed with modern messages aimed at fostering peace and tolerance.

    “We must never forget the atrocities of the Holocaust,” Mr Albanese said. 

    “That’s why my government is making this investment in the National Holocaust Education Centre and in the Holocaust Institute of WA’s Education Centre at the JHub.

    “The Centre will serve to educate our young Australians about the horrors of the Holocaust and teach them from an early age that such prejudice, hatred, and violence have no place here. Not now, not ever.”

    Mr Dutton visited the institute at the Maccabi Community Centre as part of commemorations for the 80th anniversary of the liberation of the Auschwitz-Birkenau concentration camp.

    Atrocities

    “Educating Australians about the atrocities of the Holocaust and the October 7 attacks is an important mission that deserves support,” Mr Dutton said. 

    “By gaining awareness of the persecution and atrocities committed against Jews, Australians will have a better understanding of why there is no place for antisemitism in our community.”

    Institute education director Judith Lawrence says while WA hasn’t seen the fire bombings and other attacks of over east, the local Jewish community has reported children being bullied in the playground and racial taunts being flung from car windows.

    It’s left them with a sense of heightened anxiety and prompted schools and synagogues to raise their security levels from “three to a five”.

    “It’s unfortunate that it’s on the back of blatant antisemitism, of violent attacks,” Ms Lawrence said of the federal pledges. 

    “Of course, there’s pre-election frenzy, but there’s also another part of me that likes to believe in humanity, and maybe they have recognised this moment and this opportunity and the strength of what we’re trying to bring.”

    The Holocaust Institute of WA, which has been educating students since 1990, has recently expanded its vision, moving beyond static exhibits to create an interactive education centre that fosters critical thinking and social awareness.

    “The Holocaust Institute was formed to educate society, especially high school students, on the lessons of the Holocaust, and to honour the legacy of the victims and survivors,” Ms Lawrence said. 

    “We had a very small static exhibition, and school students used to come. The most powerful element of that was survivor testimony.”

    Dwindling

    However, with the number of Holocaust survivors dwindling, the Institute has shifted its approach, while the October 7 attacks changed everything.

    “Until October 7, our biggest focus was on how to teach without survivor testimony,” Ms Lawrence said. 

    “We responded by filming testimonies and using technology to maintain that undeniable truth that builds empathy and crosses divides.

    “We’ve seen a rise in blatant antisemitism in Australia, in our beautiful land where none of us thought that it would ever happen,” she said.

    “It’s reminiscent of Nazi Germany, and it’s scary, it’s confronting, and it’s real.”

    The Holocaust Institute’s new education centre will go beyond teaching historical events. 

    “We want to take these lessons and make them relevant to the whole of WA society,” Ms Lawrence said. 

    “We use, of course, the Holocaust as a well-documented case study. But this is not only about antisemitism and Jew hatred. It’s really about the opportunity to create a better WA—that’s the hope.”

    She said the new approach is centred on understanding human behaviour and recognising patterns of hate before they escalate. 

    “How was the Holocaust humanly possible? Recognising those patterns of hate, how it starts small with words, propaganda, violence without repercussion—this is what we need to unpack and think about critically,” Ms Lawrence said.

    The Institute work with educators and students to ensure a relevant and engaging program. 

    “We have a youth advisory group, so we’re designing it with the people that it’s targeted at.” 

    The funding commitments will allow the Holocaust Institute to complete the fit-out of the new education centre, ensuring it meets world-class standards.

    “The funding is to finish the fit-out,” Ms Lawrence confirmed. “So you know, all of those didactic tools that we need in the immersive and multi-modal experience.”

    When asked whether the Institute had applied for the funding, Lawrence clarified that it was unsolicited. “No, we didn’t apply. We’ve been talking for a long time about the importance of this, the relevance of this in WA specifically.”

    Ms Lawrence acknowledged that while some might question why funding targeting discrimination has been directed to the Jewish community, the Centre’s mission extends beyond Jewish history.

    “There will be backlash, I imagine. Some people may ask, ‘Why is it all going to the Jews?’ I can appreciate that. I’m not saying that Jew hatred is the only hatred and the only form of discrimination. 

    “But as I said, I hope that this is a message for the whole WA and that we can interrupt those patterns of hate.”

    Looking to the future, Ms Lawrence hopes for deeper collaboration with other marginalised communities, including First Nations people. 

    “We hope that we’ll be able to create, under the umbrella of the Holocaust Institute, a centre for tolerance where we can all come together and have these difficult conversations,” she said. 

    by STEVE GRANT

  • CONSTRUCTION has begun on a new urban forest at Riverside Gardens, with City of Bayswater officials marking the occasion with a ceremonial turning of the sod.

    The project, aimed at tackling the urban heat island effect, will see the introduction of extensive greenery to provide much-needed shade, cool the landscape, and create new habitats for native wildlife.

    Mayor Filomena Piffaretti said the initiative aligns with the council’s broader vision for a greener and more connected community.

    • Local government minister Hannah Beazley; Lisa Baker MLA; environment and climate action minister Reece Whitby, federal Perth MP Patrick Gorman, Bayswater mayor Filomena Piffaretti and CEO Jeremy Edwards at the sod turning at Riverside Gardens’ Urban Forest.

    “Riverside Gardens has long been a cherished space for recreation and relaxation,” she said. 

    “This urban forest will further enhance its appeal, offering a natural sanctuary for residents and visitors alike.”

    The development will include planting more than 75,000 trees, shrubs, and plants, alongside new paths, shaded picnic areas, drink fountains, and signage. 

    Habitat features such as bird waterers, bat and bird boxes, and turtle hides will also be incorporated, subject to funding.

    The project is jointly funded by the federal government’s Urban Rivers and Catchments Program and the City of Bayswater, with contributions including $1 million from the Department of Local Government, Sport and Cultural Industries, $600,000 from the Department of Water and Environmental Regulation and Water Corporation, and $233,147 from the Department of Biodiversity, Conservation and Attractions. 

    Federal Member for Perth Patrick Gorman also secured $200,000 in funding.

    Community input, Greening Australia and traditional owners played a key role in shaping the final concept, with residents and local groups consulted throughout the planning process.

  • GREENS candidate Sophie McNeill says if the state election delivers a split Upper House, her party will use any balance of power leverage to ban fracking in the Kimberley.

    At a press conference on Wednesday, Ms McNeill says her party will haggle with the elected government to push through a series of legislation, but that the fracking policy will be a “priority”.  

    • Could the Greens end up with the balance of power in the Upper House?

    “We will use our balance of power to negotiate with the government and enact a ban across all of the Kimberley,” Ms McNeill said. 

    “It is the Greens who will have the power to turn this into a reality.

    “We really wanted to put forward this issue, banning fracking in the Kimberley, early on because we know how important it is for voters here in Fremantle, but also people across WA and in the heart of the Kimberley.”  

    Notre Dame politics professor Martin Drum says that while it is unlikely that the Greens will be able to achieve a balance of power in the lower house, it is “much more likely” that a range of smaller parties will be elected according to current polling. 

    “There are 37 seats in the upper house under the new electoral system, unless Labor gets a 50 per cent majority, there will probably be a balance of power in the Upper House,” Mr Drum said. 

    “When you have that balance of power, you get to comment on, and amend and adjust, legislation… it doesn’t usually mean you can necessarily impose demands across, but you can certainly have the ability to influence and impact legislation as it comes through. 

    “As part of that, there will be opportunities for parties like the Greens to have an impact.”

    by KATHERINE KRAAYVANGER