Incorporating the Old Girls’ Bulletin | SPRING 2025
Editorial Mr Samuel Barson
Design Ms Ruth Gavin
Cover Photo Holly Farrer and Simone Yazbek (Year 9)
‘A holistic education ... must prioritise the attributes of critical and ethical thinking’
MS NATALIE CHARLES, PRINCIPAL ‘ ’
Girls’ education is foundational in growing strong, ethical female leaders. The students’ experience at St Catherine’s School, of course, instils within them the courage, determination, and compassion to lead purposefully into their adulthood.
Throughout the frenetic pace of Term 4, our teaching staff will continue to deliver the stellar education for which the School is known and respected. Quietly, behind the scenes, we are preparing to launch a new advertising campaign which will
From the Chair of Council
demonstrate, with breathtaking clarity, the importance we place on knowing, nurturing, and celebrating each girl, whilst also echoing the ethos of our Founder, Jeanie Hood, whose aim was to guide females through a robust education.
The development of our beautiful grounds has continued throughout Terms 3 and 4 and will do so over the course of the Christmas holiday break and into 2026. We are grateful for your patience through this time of change. Any disruption to the status quo may bring a sense of unsettledness as well as a feeling of anticipation; however, once we move through the commotion to the finished work, and experience the beauty and acoustics within the refurbished Frank Osborn and Wintergarden building, I am confident we will rejoice, with grateful thanks, to those who made it possible.
As we prepare for the end of year, it is an appropriate time for me to thank the
broader community for the acceptance and warm welcome shown to the new members of the School’s Leadership Team. Our Principal, Ms Natalie Charles, has taken the reins with a level of assuredness that engenders trust and confidence. Her appointment, as well as other key positions – including Dr Brendan Kean to Head of Junior School, and Lisa Hanlon to Deputy Principal, Teaching and Learning – greatly enhances the exceptional quality of experience that we offer our St Catherine’s girls during their learning journey at our School.
At the core of every decision, every daily task, is our student body; the girls are the beating heart of St Catherine’s and the very reason our staff members come to work each day. On behalf of the Council, Leadership Team and all staff, I thank you for entrusting your daughters to our care.
Ms Jane Hodder Chair of Council
From the Principal
Spring is my favourite season because it comes with the promise of longer, brighter days and the appearance of tiny buds yielding pink blossom atop bare branches. Like the green tinsel that adorns the Australian bush after any fire, it seems there is life in the most lifeless of forms and witnessing its arrival is a salient lesson in patience and hope, both of which are needed more than ever before, as we hold on tight to an increasingly polarised and fractured world. But as nature demonstrates with seasonal certainty, it is never too late, too cold or too dark
to set one’s own course and by doing so, push through the darkness and into the sun. And orientation is everything for those of us in schools and families trying to prepare our charges for an increasingly complex world characterised by widespread political disengagement and conflict, the dissolution of public trust, the giddy rise of artificial intelligence and the destructive forces of cancel culture. A holistic education at such a time, must prioritise the attributes of critical and ethical thinking; must nurture the ties that
LEADERSHIP
bind us in authentic relationships and must provide daily opportunities for the practice of virtues leading to the intentional construction of character – bravery, honesty, integrity, and kindness. In doing so, our children and young women develop the internal compass needed to chart their course, no matter how glorious and vexed be the times in which they live.
In his classic book, On Leadership (1990), the late John W Gardner, asserted that ‘the first and last task of a leader (and I would add, a school) is to keep hope alive.’ He went onto say:
‘We need to believe in ourselves and our future but not to believe that life is easy Life is painful and rain falls on the just [and the unjust]. Failure and frustration are not a reason to doubt ourselves but a reason to strengthen our resolve.’
As you read this Spring Edition of St Catherine’s News I hope that you will see the myriad ways in which we are strengthening our collective resolve against the backdrop of a liberal, humane, prevocational education, by giving the girls
the space to grow; the time to think and the opportunities to orientate themselves from within so that they may never fall victim to cynicism nor imagine themselves incapable of effecting change. And with a new strategic plan to be launched next year, St Catherine’s remains as committed as ever to fulfilling the vision of its founder to provide ‘an education for life, not just for school.’
Ms Natalie Charles Principal
Purpose & Zest Purpose & Zest
I have just sat down at my desk after doing early morning rounds of the School. Looking out the window from my office where I am writing this piece, there is blue sky and sunshine. I can see green shoots on the trees amongst the beautiful blossoms heralding the change in seasons. Winter is now behind us, and the girls are wearing their summer uniforms again.
Each morning, I walk around the School to gauge the mood and tone of the campus. The girls have just commenced Period 1 and there is a palpable sense of calmness and purpose going on in each classroom. Looking through the windows of the classrooms I see teachers and students working diligently. Each classroom is slightly different. In one, the girls were all reading their English text, in another they were quietly working away while the teacher moved
around the room stopping to pause here and there, offering support to individual students. Other classes were engaged in conversations with the teacher skilfully conducting the exchanges, and other teachers were conducting classes with very direct and explicit instruction. The common thread in all these classes is the deep engagement and purposeful work being conducted by teachers and students alike.
The commencement of Term 4, marks a time when students settle into a busy academic period. This is especially so for the Year 12 students. Over the holiday break, the senior girls completed trial exams in each of their subjects and now with classes resuming, they are in full revision mode. Term 4 sees them attending for a short time prior to their final exams. It is fair to say this is the pointy end for our senior girls. The workload
for the girls becomes very focused. However, it is not just about working hard for our senior girls. Talking to many of them during the past week after the break, it is clear many have a clear plan on how they will manage and navigate the rigours of the final weeks of Year 12. Many girls took the time over the break to put the books away for at least a week. They understand that to do well, there needs to be balance with their work and their wellbeing.
Staying fresh and energised is a key part of doing well. It is not just Year 12 for whom this balanced approach is important. Every student, whatever their year level, needs to adopt habits that promote their capacity to be the best they can be. The phrase ‘work hard, play hard’ promotes a lifestyle that balances academic success with personal enjoyment and leisure. It suggests dedicating oneself to achieving school goals while also prioritising
STUDENT PROGRAMS
relaxation, hobbies, and social activities. This approach is important to maintain a healthy study-life balance.
While we have a clear and important focus on our academic program during the final term of the year, other experiences are important. Most girls in the School are heavily involved in the Sports program enjoying the opportunity for some physical exercise and playing in teams alongside their friends. Our Music and Drama programs provide equally important avenues. The Middle Years students are now putting the final touches to the upcoming musical Roald Dahl’s Matilda the Musical JR. Having watched rehearsals and seeing the girls talent, energy and enthusiasm, it promises for a wonderful production. Whether it is in the classroom, or participating in all the opportunities available to them, our girls are busy, engaged and participating all day long.
With arrival of Term 4, thoughts of course look forward to the end of the year. House Music awaits in the least week of term. However before then, there is much to do over the next couple of months. Year 7 students will head off to camp in November, while the more senior students will commence their exams. It is a busy time for all.
For our Year 12 girls especially, their challenge is staying on an even keel as they approach the end of their journey at St Catherine’s. Our teachers task is to support and nurture them to that end point so they can tackle their final exams with confidence before they head off to life after St Catherine’s. For everyone else in the School, we aim to immerse fully in all the opportunities that lie before us with purpose and zest.
Mr Robert Marshall Deputy Principal
PLAY AS A VEHICLE FOR LEARNING
In the early years of education, play is far more than simply an enjoyable experience – it is a central mechanism for learning and development. During this critical period of brain development, play supports cognitive growth, language acquisition, social skills, emotional regulation, and physical coordination.
Leading researchers in early childhood education and neuroscience have increasingly affirmed that play is not ancillary to learning; rather, it is fundamental to it. It is therefore critical that a play-based learning approach is embedded in our Early Learning Centre programs.
Play-based learning is grounded in the understanding that young children learn best through hands-on, active engagement.
According to the Australian Early Years Learning Framework (EYLF), play provides opportunities for children to explore, discover, imagine and create, all of which are essential to becoming confident and involved learners. The framework emphasises that play allows children to make sense of their world and fosters curiosity, creativity, and problem-solving skills.
Current research in developmental psychology also supports this view. A 2022 study published in Frontiers in Psychology highlighted how pretend play, a prevalent form of play in the early years, enhances executive functioning, including memory, flexible thinking, and self-control. These are key predictors of later academic success. The study found that when children engage in imaginative scenarios, such as role playing
‘doctors’ or ‘shops,’ they practise taking on roles, following rules, and managing emotions, all while developing language and narrative skills. As such, the children in the ELC engage in a range of role play experiences to build these competencies.
Social development is also deeply embedded in play. Group activities such as building with blocks, role play, or taking turns in games are offered within the ELC programs to provide rich opportunities for learning cooperation, negotiation, empathy, and conflict resolution. Neuroscience research from Harvard’s Centre on the Developing Child has shown that these social-emotional capabilities are intricately linked to brain architecture, and that the experiences children have during play shape neural connections critical to lifelong learning.
Importantly, the role of educators in facilitating high-quality play cannot be overstated. Guided play—a teaching approach where adults provide a thoughtfully prepared environment and subtle scaffolding—has been demonstrated to be especially effective. A 2025 report by the LEGO Foundation found that children engaged in guided play demonstrated better learning outcomes than those in
direct instruction or free play alone. In the ELC setting, educators intentionally extend children’s thinking through open-ended questions, narrative prompts, or by modelling new language and strategies.
Physical play is equally vital. Gross motor activities, such as climbing, dancing, and running, are not only important for physical health but also support spatial awareness, rhythm, and coordination. Our expansive outdoor learning environment provides opportunities for the ELC children to develop these physical skills. These abilities have been linked to early mathematics and literacy development, especially when play involves patterns, sequences, or directional language.
Play is not separate from learning; it is learning. For children aged 3 to 5 years, it is the most natural and effective way to develop foundational skills for school and life. When we embrace play as a powerful educational tool, we are responding not only to the developmental needs of children but also to a growing body of evidence that supports play as essential for building capable, curious, and resilient learners.
Ms Sarah Bethune Head of ELC
Rethinking ASSESSMENT
In today’s classrooms, assessment is no longer just about grades at the end of a term. Contemporary research recognises that the most meaningful assessments happen during learning, not after it. This approach, known as formative assessment, is transforming how students engage with the learning process.
Formative assessment is focused on improving learning in real time. Rather than waiting until the end of a unit to check for understanding, teachers gather insights throughout lessons to guide their instruction and meet individual student needs. It is a responsive process that helps identify what students already know, where they need support, and how to move forward. In this way, assessment becomes a tool to support learning, not just to measure it.
For the teachers at St Catherine’s, this means learning intentions are made clear at the start of each lesson. Students understand what
they are working towards and what success looks like. Teachers ask purposeful questions, provide targeted feedback, and adjust teaching accordingly. Importantly, students are also involved in assessing their own work and that of their peers, developing reflection skills and a stronger sense of ownership over their learning. This approach not only strengthens academic outcomes but also builds confidence and motivation. When students understand their progress and how to improve, they feel more engaged and invested in their growth. A sense of agency
JUNIOR SCHOOL
is developed through this learning process, which helps build students’ skills in becoming responsible for their own learning, a life-long skill every person needs in the future.
From a reporting view, we want to ensure parents have a clear picture of their child’s learning and a consistent approach in the reporting process. In 2026, we will move towards two semester reports a year, alongside two parent teacher interviews. This ensures we are reporting to parents either in written form or through a meeting on a termly basis. This reporting process is
imperative for parents to be informed of thier child’s areas of strength and development.
A key enhancement in this model will include the introduction of digital portfolios in 2026 as well. This online collection of learning will represent student work, reflections, and teacher feedback. These portfolios will offer a rich, evolving picture of learning. Students can revisit and share their work, while parents gain a deeper insight into day-to-day classroom experiences.
At St Catherine’s, this shift in assessment and reporting reflects a more student-
centred and growth-focused philosophy. It prioritises learning, encourages open communication, and supports every child in reaching their potential. By focusing on progress, not just performance, we are preparing students not only for success in school, but for a lifetime of learning.
Dr Brendan Kean Head of Junior School
The Little MermaidJr.
‘Life under the sea is better than anything they got up there… The seaweed is always greener in somebody else’s lake. You dream about going up there, but that is a big mistake. Just look at the world around you, right here on the ocean floor. Such wonderful things around you, what more are you waiting for?’
SEBASTIAN
For many students, The Little Mermaid Jr. was a defining moment of the year. Students are both proud of their achievement and perhaps missing the energy and camaraderie that rehearsals and performances brought to the Year 5 and 6 cohort.
The production was a true highlight of the year. After months of rigorous rehearsals, our students presented six outstanding performances across four days. Each girl played a vital role in telling the story of Ariel and her journey to save the land and the sea. A special mention to our lead performers who showed remarkable skill and mastery of their characters. St Catherine’s extends a heartfelt congratulations to every Year 5 and 6 student for this achievement, and a special thank you to our parents and School community for their support. It was rewarding to see how much each student grew throughout the process,
from those stepping on stage for the first time, to others discovering a new confidence in singing, dancing, acting, or performing.
Our Junior School staff worked closely together with our girls during rehearsals and show week to ensure they had the best experience possible. Beyond showcasing music, dance, drama, and public speaking, the musical built key character traits such as confidence, resilience, creativity, empathy, and integrity. Students also developed friendships across year levels, connecting with peers they may not usually work with. We hope this experience remains a cherished memory and a proud milestone.
Mrs
Kristen Hanafie
Junior School Performing Arts Coordinator
JUNIOR SCHOOL
Below are some student reflections from our Year 6 leaders:
‘I wasn’t sure if I should audition, but I’m so glad I did. Playing Scuttle gave me confidence in singing, dancing and acting. I loved every rehearsal and will miss them. Thank you to Ms Hanafie and Ms Mason for their guidance and encouragement.’
Amelia Macrae
JUNIOR SCHOOL MUSIC CAPTAIN Scuttle, Dancer
‘My favourite part was acting and learning to collaborate with others. This musical really improved my teamwork and inspired me to keep performing. It has been such a fun experience and has motivated me to dream of being in future productions – maybe even a movie one day.’
Ashley Siswanto
JUNIOR SCHOOL MUSIC CAPTAIN Scuttle, Dancer
‘Playing Prince Eric was daunting, as it was my first lead role, but I loved stepping into the character. With support from Ms Mason, Ms Hanafie and my singing teacher, Ms Dana, I grew so much as a performer. This production was a highlight I will never forget.’
Catherine Barry
JUNIOR SCHOOL CO-CAPTAIN Prince Eric, Dancer
‘I loved being part of The Little Mermaid Jr. and learning so many new skills. The energy on stage is something special and unforgettable. Even though I didn’t play a large role, I felt grateful to be surrounded by talented peers and such supportive teachers throughout the process.’
Pearl Gunnersen
JUNIOR SCHOOL CO-CAPTAIN Tentacle, Dancer
Our new Director of Sport, Mr Lewis Gray, shares his vision and values shaping the future of sport at St Catherine’s. From his international experience to his commitment to inclusion and student voice, he discusses what drew him to the role, what a flourishing sport culture looks like, and how sport can empower every girl to thrive.
THE FUTURE OF SPORT
What does a strong and flourishing sport culture look like to you?
It’s a culture where every student feels proud to be part of sport, whether they are elite performers or trying something new. It is inclusive, visible, and values effort, connection, and school spirit. Coaches are supported, students are celebrated, and the program has a clear identity that reflects the school’s values. A strong culture inspires pride, community, and sustained engagement.
How do you plan to ensure sport at St Catherine’s is inclusive and supports all levels of ability and interest?
Inclusion begins with listening and understanding what students enjoy, value, and need. We will offer a diverse sport program with clear pathways for both participation and performance, while ensuring coaching, recognition, and resourcing reflect that balance. It is about making sure every student feels welcome, challenged, and supported, no matter their goals or ability. Every girl should feel that sport is for her.
What drew you to the role of Director of Sport at St Catherine’s?
St Catherine’s has a proud tradition of empowering young women, and I was excited by the chance to lead a sport program that values both excellence and inclusion. The role offers a unique opportunity to shape a high-quality experience where every student feels supported, challenged, and proud to represent the School, regardless of their level or ambition.
What excites you most about leading a sport program in an all-girls school?
I love the opportunity to help girls build confidence, connection, and resilience through sport. In an all-girls setting, we can create an environment where students feel empowered to lead, take risks, and thrive as athletes. It is incredibly rewarding to see girls embrace sport as a space where they can be strong, capable, and celebrated for who they are.
How have your experiences in the UK and Sydney shaped your approach to sport and leadership?
Working in both the UK and Sydney has given me a broad perspective on school sport. I have led programs focused on national success, but also built cultures that prioritise participation and wellbeing. I have learned that great sport environments are built on strong relationships, student voice, and clear values. That success looks different for every student and team.
In what ways do you believe sport contributes to the wellbeing and personal development of young women?
Sport helps young women build confidence, leadership, and resilience; skills that extend well beyond the field or court. It’s also a space for social connection, identity, and joy, whether through training, teamwork, or competition, sport supports physical, emotional, and social wellbeing. Done well, it becomes a powerful tool for developing strong, healthy, and self-assured young women.
What’s something students or families might be surprised to learn about you?
Before moving into school sport, I served in the Royal Air Force in the UK. It taught me a lot about leadership, teamwork, and working with purpose. On a lighter note, I am also a big coffee enthusiast and love spending weekends exploring Melbourne with my
wife and two young children, often finding playgrounds and cafés at the same time!
How do you see students, families, staff and coaches working together to shape the future of sport at St Catherine’s?
Collaboration is key. Students bring energy and insight, families offer perspective and support, coaches bring expertise, and staff create structure and connection. When these voices work together, we can build a sport program that is inclusive, energising, and sustainable. My goal is to create a shared vision where everyone feels invested in the growth and success of sport at St Catherine’s.
Investing in our Future leaders
By Matt Finnis CEO of the Cranlana Centre for Ethical Leadership
Albert Einstein espoused that compound interest is the eighth wonder of the world. A powerful financial concept, compound interest sees us earn interest not just on our original savings or investment, but also on the interest it has already generated.
This compounding effect builds momentum over time, leading to faster and greater financial growth. ‘He who understands it, earns it; he who doesn’t, pays it,’ Einstein famously said. Australian financial commentator Scott Pape (The Barefoot Investor) went further by suggesting an understanding of the miracle of compound interest is amongst the most important wisdoms any parent can impart upon their child.
Far be it from me to disagree with such divergent minds, who are not the only disciples of a principle grounded in the combined value of consistency, foresight, and time. However, our work at Cranlana in the second quarter of the year has prompted a different and hopefully higher order question, namely: What might be the compound impact of equipping young people with the tools and frameworks of ethical reasoning in the formative stages of their lives?
This year, we have had the privilege of designing and delivering a new Ethical Leadership Program to a group of Year 9 students at St Catherine’s in Melbourne. It is a bold initiative, led by new Principal (and Vincent Fairfax Fellow) Ms Natalie Charles and grounded in the School’s motto: Nil Magnum Nisi Bonum –‘Nothing is Great, Unless it is Good’.
The program is shaped by a belief that ethical reflection and virtuous character are not just the foundations of good leadership, but essential to human flourishing. Over the course of a two-week immersive retreat in Narmbool, students were given
ETHICAL LEADERSHIP
the opportunity to explore ethics not as a list of rules to follow, but as a lens for living. From considerations of Justice and Power to Virtue Ethics, the group were introduced to frameworks for moral reasoning and encouraged to think not just about what they do, but who they are becoming. By drawing upon provocations derived from sources that varied from Plato’s Cave to The Hunger Games, students were invited to build their own relationship with ethical principles in a carefully curated space free from the usual daily distractions, including an absence of digital devices.
Listening to the student presentations delivered to teachers and parents on the final day, it was obvious that the students’ sense of what is good—both individually and for society—had been stirred and was taking shape. This is where the opportunity of compound ethics lies.
The students’ reflections reminded me that much like compound interest, the capacity for ethical imagination grows over time. When encouraged to reflect at age 14 —‘What kind of person do I want to be?’ —an idea is planted that can echo over the course of a lifetime.
If young people are given the space and the tools that help them think about their values, examine their character and practise ethical judgment now, then when they face more complex dilemmas (and we can agree that today’s young people will have no shortage of those), they might well bring advanced moral muscles to the table when it is their turn to act. Just like savings tucked away in a long-term account, the
return on these early ‘investments’ might not be visible immediately, but over time they can be immense.
• A moment of empathy can reinforce a sense of shared humanity.
• A principled decision could become the foundation for future integrity.
• A small act of courage today could blossom into moral leadership tomorrow.
Ethical habits will compound.
Neither Cranlana nor St Catherine’s are setting out to produce a generation of saintly actors or moral perfects. Our program is simply seeking to provide young people with the tools and language to connect who they are to the kind of society they want to help build. To support them as they resist algorithms and other numbing forces that so often crowd out better instincts and help students stay awake to what is good, what matters, and ultimately, what perseveres.
In an education system often obsessed with outcomes, we can too easily forget the power of process. But hopefully this initiative will show that by investing in the ethical development of young people early (before the noise of adult life takes over), we do not just prepare them for great school results or even high paid jobs. We prepare them for life and everything it has in store.
At the end of the day, nothing is truly great unless it is also good. And goodness, when cultivated with care and courage, has an amazing way of multiplying.
On Sunday 6 April, Year 9 students Ellie Williams and Coco Johnson ran side by side in Melbourne’s Run for the Kids; their hearts set on raising $7,000 for the Royal Children’s Hospital Good Friday Appeal. It was a cause close to home.
A GLOBAL WAVE OF GIVING
Ellie, who suffered a stroke in 2022, was determined to give back to the hospital that supported her recovery. Coco, inspired by Ellie’s story and their close friendship, joined the mission with unwavering dedication. Together, they not only reached their goal, they exceeded it.
But what began as a local initiative quickly turned into something far greater.
Their story caught the attention of the St Catherine’s Old Girls’ Association (SCOGA), which contributed $1,000 to help the girls reach their goal. In doing so, SCOGA ignited a powerful message: that the bonds of sisterhood at St Catherine’s transcend generations. The gesture was not just a donation; it was a celebration of courage, service, and community spirit.
The ripple effect did not stop there. Dr Edwina Thompson (’96), recipient of the Nil Magnum Nisi Bonum Award
and CEO of the Amanacard Foundation, was so moved by Ellie and Coco’s story, and SCOGA’s commitment, that she reached out with an extraordinary opportunity. On the very same day the girls achieved their $7,000 target, Dr Thompson visited St Catherine’s to speak with Ellie and Coco and share her journey from her own days as a student to leading a global foundation focused on healthcare and social justice.
Recognising in them the same values that have guided her own path: compassion, courage, and outward-looking leadership, Dr Thompson made a bold commitment. To honour their efforts, she pledged a matching donation of $7,000 to fund a healthcare project for women and girls in Papua New Guinea. What began as a fundraiser for Melbourne’s children has now extended across oceans.
Ellie and Coco will be working alongside Dr Thompson as part of this next chapter;
learning, leading, and continuing to amplify their impact. This is the beginning of what Dr Thompson calls The Ellie and Coco Ripple: a testament to how small acts of kindness and courage can grow into movements of change.
The story of Ellie and Coco reminds us all that ethical leadership begins not with age or title, but with empathy, action, and a willingness to look beyond oneself.
In the spirit of Nil Magnum Nisi Bonum –‘Nothing is Great Unless it is Good’, they have shown what is possible when generations of St Catherine’s women come together.
From a run in Melbourne to a ripple felt around the world, Ellie and Coco have sparked something extraordinary. And the St Catherine’s sisterhood, past, present, and future, is running with them every step of the way.
IMAGINATION Radical
This article examines how speculative fiction can serve as a significant pedagogical tool to engage students in discussions on colonisation, historical revisionism, ethical concerns and social justice. By integrating speculative texts that challenge dominant narratives, educators can cultivate critical thinking, inspire radical imagination, and empower young people to question systemic inequalities in the English classroom.
The speculative genre disrupts Eurocentric storytelling by amplifying, what I call plural voices, and exploring history through diverse perspectives. First Nations speculative fiction, such as Merryana Salem’s short story When From, offers vital counter-narratives, resisting historical erasure and reclaiming storytelling as a means of Indigenous empowerment and decolonisation.
Speculative fiction is a genre that engages Young Adult audiences and is often accessible to a demographic spanning the ages of about 13 to 19-year-olds. Indeed, it is a genre that can also be enjoyed by adults. Speculative fiction is
part of the science fiction genre, also regarded as the ‘youngest of the genres … [and] a twentieth-century phenomenon’ (Cart, 2016, p. 97) that includes writers such as George Orwell, Aldous Huxley, Phillip K. Dick and Margaret Atwood. Speculative fiction, or dystopian fiction, burgeoned in the 2000s with writers such as Suzanne Collins, Lois Lowry and Veronica Roth.
The conventions in speculative fiction usually show a setting some time and somewhere in the future, technology may feature in the story and settings may be in other worlds. Importantly, speculative fiction may question and challenge the social and political status quo; ethical concerns may
be a focus or philosophy. Speculative fiction may encompass complex ideas and may question a central idea such as: What is it to be human? The speculative or science fiction genre can sometimes contain missives from the future, perhaps as a warning. Readers may need to suspend belief when reading the speculative genre.
So why is it that YA audiences find speculative fiction or dystopian texts so engaging? I posit that these are the years when young people are beginning to take note of what is around them. Young adults are beginning to forge their own identities and begin to take stock of some of the social and political structures around them. The speculative genre can take students beyond recognising themes of inequality within texts such as Harper Lee’s To Kill a Mockingbird, or George Orwell’s 1984 and Animal Farm, or Doris Pilkington’s Follow the Rabbit-Proof Fence. Jeannine M. Love writes that speculative fiction ‘creates space for readers to explore wicked problems and envision creative solutions to these problems’ (Love and Fox, 2021, p. 297).
The publishing boom of speculative and dystopian texts for young adults appears to prove that young people are often positioned by these texts through the texts’ protagonists who often fight against oppression. Speculative fictional narratives allow for escape and can also give readers (and writers) a sense of inspiration. The speculative genre can allow students to not only address inequality but go farther to challenge inequity and inspire possibility for change.
There is power in storytelling. The mere use of language allows for a voice to be heard and for ideas to be communicated and conveyed. Author Sayantani DasGupta talks of how children’s literature can be a critical platform for the important work of speculative fiction to inspire ‘not just young people’s imaginations but their radical imaginations’ (DasGupta, 2023, p. 34). As educators, there is a responsibility to inspire children’s radical
imagination. for students to explore speculative fiction to help understand and critically analyse the social and political structures around them.
At St Catherine’s we have a Year 9 unit of study called Creative Writing as Protest. The unit asks that students investigate different text types to inform and refine their creative writing with an awareness of audience, context, genre and purpose. Students read literary texts drawn from different historical, social and cultural contexts including First Nations Australian and non-First Nations Australian authors, and authors from around the world. The mentor texts act as stimulus to develop student creative writing as a form of protest and many choose the speculative genre to use in their writing.
Marek Oziewicz, Professor of Children’s and Young Adult Literature, writes about how speculative fiction is important so that young people can forge a justice consciousness, where he argues that ‘YA speculative fiction ought to be recognised as one of the most important forges of justice consciousness for the globalised world of the 21st century, an argument with clear implications for both literary criticism and educational practice’ (Oziewicz, 2015, p. 4).
So, within educational practice Oziewicz reiterates that speculative fiction is not mimetic and therefore provides the perfect medium for young people to examine, speculate and challenge notions of injustice or inequality that they may observe in their current surroundings. It is my view that young adults are often passionate about the imperfect social or political constructs they may notice, and speculative fiction, whether consumed or created, can be validating to young people – even if it is as simple as pointing out the inequality in the first place.
Oziewicz asserts that ‘young people experience injustice differently than adults … their growth is subject to the many pressures of socialisation through the institutions that define them’ (Oziewicz, 2015, p. 11). Oziewicz also describes speculative fiction as ‘justice scripts’
and it is ‘these scripts that YA speculative fiction empowers readers to question … the challenges of the contemporary world’ (Oziewicz, 2015, p. 18). Young adults may be positioned by these dystopian texts as already described, however, speculative fiction and its search for justice can often reposition young adults to think (and perhaps act) in a different way; thus, informing protest, even if it is only in the reader’s mind.
What then can I suggest for a speculative fiction text that could be used in the classroom?
Merryana Salem is a Wonnarua and Lebanese-Australian critic, author, and podcaster who has written a short story, When From, that can be found in This All Come Back Now: An anthology of First Nations speculative fiction. Readers know at once that they are reading a speculative or futuristic story as the opening line talks of time travel. Protagonist Ardelia Paves is an Australian First Nations character who applies and easily gets a job at a movie studio. The movie studio ignores the illegality of time travel and Ardelia learns that her job as a time travelling assistant is to help provide authenticity to the historical films being shot. As Ardelia is a First Nations person, the studio estimate that this will allow for her to ‘get close’.
Right, well, I’ll just come right out with it. As you might have guessed you’re both going to be time jumping today. I know, right?
Worst kept secret in the industry. But why bother with restorations when we can go back and reshoot films from twenty or thirty years ago? Why bother building immaculate period sets when we can just take a trip back to the real thing?’ … He looked Ardelia up and down the way her PE teachers used to. ‘Look, I understand you’re nervous. You’re a bit lighter in person than you are in your pictures, but we’re not asking you to go fully native here. It’s just that every time we’ve sent one of our people back there, they haven’t gotten close (Saunders, 2022).
Ardelia attempts to challenge her new boss by pointing out that when she goes
back in time, she can warn First Nations people that they will be massacred. The story undertakes to provide an Indigenous voice or perspective, and Salem offers clues throughout her story that indicate an unjust system or oppression.
People young and old were wandering around with memories no-one else had, asking after people who had never lived, asking directions to towns no map had ever carried. Even the movies, her nan said, were not the ones she remembered (Saunders, 2022).
Australia is being filmed so that it can appear in a more positive light. Salem writes a powerful story. She is subtle, she offers instances of stereotypical, derogatory description of First Nations people and contrasts this perspective with a dominant white voice – a futuristic society where history is being changed or whitewashed. The speculative feature of time travel allows for the idea of ‘reference footage’ to be obtained and, as Ardelia’s boss says, ‘will tell their story’. However, this is not happening at all.
Salem offers readers a narrative that shows a ‘reset’ of history and that once again Australia’s Indigenous peoples are being stolen from – this time it is their memories. However, the dominant white voice is undermined, and this is because of the story itself. Salem, writing in the speculative genre, offers to her readers protest about the past treatment of First Nations people.
The beauty of this genre is that she, ultimately, has the last word.
Speculative fiction is an important genre for young people. I think it pushes the dystopian boundary further and offers young adults, or students, an opportunity to engage in texts that can be seen as positive, inspiring and integral to their radical imagination.
Ms Roxanne James English Teacher
Article references and information about the author can be accessed (on p. 59) using the QR Code
‘ Stories are wild creatures .
When you let them loose , who knows what havoc they might wreak ?’
Patrick Ness, A Monster Calls
From our first rehearsal, the team were faced with bringing to life a compelling, raw and complex script; one that demands a level of emotional honesty – grief, rage, fear, healing – that would stretch even the most seasoned performers. The VCE Theatre Studies class took on roles not only as actors, but as co-directors and designers across costume, set, makeup and hair, contributing deeply to the creative decisions that shaped the world of the play. Our student ensemble approached this challenge with a mixture of nerves and fierce dedication. What emerged over the next term was a production that became as much about personal growth as artistic achievement.
Early in rehearsals, students needed structured support – particularly when navigating unfamiliar scenarios, symbolic storytelling, or highly charged scenes. They were becoming more confident with lines and blocking, but had differing levels of hesitation when exploring beyond the surface. So, we focused on thinking routines: rehearsal journals, cold reads, collaborative scene problem-solving, and physical theatre techniques to help unlock emotion and subtext. Pre-show breathwork,
The climactic moment in A Monster Calls is when Conor, our protagonist, begins to see the truth not as something to fear, but something to face. In many ways, this mirrors the journey of the student ensemble and production team over the course of our Senior Play season, growing not just as performers, directors and designers, but as self-aware, emotionally intelligent young people
Let the Monster Loose
physical and vocal warmups, ensemble stillness and visualisation rituals, movement check ins (especially when lifting actors in the air), and debriefs to let go of the emotional scenes, became core to regulating energy and creating a sense of shared trust. By production week, the shift was extraordinary.
The ensemble had grown from a group of individuals into a tight, responsive, creative unit. They made bold choices, adjusted to setbacks with resilience, and were able to articulate their decisions – vocally, physically, and emotionally. They showed up for each other in and out of the rehearsal room. What was once nervous energy had transformed into calm confidence and intentional risk-taking.
The results were powerful. Mia Upton brought immense truth and fragility to the role of Conor, anchoring the story with courage and restraint. Harper Roberts’ Monster was magnetic – part ancient force, part emotional mirror. Sahara Pender’s Mum and Annabelle Goh’s Grandmother revealed deep emotional nuance, never overplaying the sentiment but instead allowing space for the audience to
PERFORMING ARTS
feel alongside them. These performances were supported by a cast who understood the value of every breath, every pause, every shared glance, shifting between the real and the magical with aplomb.
The audience response was a testament to the depth of the work. Many were moved to tears – not simply by the narrative itself, but by the way the production allowed emotion, memory, sound, and symbolism to converge into something deeply human. Some reflected on a profound sense of being connected not only to the story and the performers, but also to their fellow audience members. It became clear that this was a shared experience – one that stirred empathy, reflection, and, for some, even healing. It reminded us that theatre, when it trusts its audience and holds emotional truth at its core, has the power to move us in ways we don’t expect.
The design, too, reflected the students’ evolving understanding of theatrical symbolism. The rope circle—at once tree, storm, and emotional perimeter—was an
idea they developed further in rehearsal, manipulating its meaning in real time. With excellent guidance from our movement coach, Ms Lilla Barrington (Class of 2024), and Drama staff, Ms Kathryn Lucas and Ms Lucy Mason, the cast explored physical metaphor as a primary storytelling tool. The result was a production that honoured the emotional intensity of the original novel while reframing it through the voices, bodies, and lived experiences of our student team.
This process has reinforced that theatre education is not just about the performance. It is about equipping young people to face difficult truths, to reflect deeply, to collaborate meaningfully, and to speak with both clarity and compassion. Our students walked into the rehearsal room as actors. They walked out as artists, and as empathetic, emotionally literate young people, better prepared to navigate the wildness of their own stories.
Mr James Brown
Head of Performing Arts
THE IMPORTANCE OF
The integration of professional artists into educational settings through programs such as artist residencies or initiatives, like our own Artist Educator program, has garnered increasing recognition for its multifaceted benefits. Contemporary research underscores the profound impact that artists can have on student learning, teacher development, and the broader school community.
Artists such as Emma Davies, our 2025 Artist Educator, bring unique perspectives and practices that can invigorate the learning environment. Emma’s presence led to heightened student engagement and motivation. A study by Bresler et al. (2000) examined artist in residence programs and
found that students exhibited increased enthusiasm and participation in learning activities when artists were involved. The hands-on, experiential nature of the artistic processes introduced by Emma; painting and ripping recycled fabrics, winding and binding, forming structures while pondering the materiality of the technique, allowed students to connect more deeply, fostering a more immersive educational experience. Our students were so engaged during their sessions with Emma that we are still manipulating time to complete the growing body of work instigated by our Artist Educator program.
Artists not only impact students but also serve as valuable resources for teachers. At St Catherine’s, the staff involved learnt new techniques. We felt awed by the open
ended question of how to use one technique, over many year groups to create ‘something’. In a world of projects and rubrics, it was refreshing to play with materials and techniques without an outcome in mind. What started as ‘let’s make some strips’ with the Year 8 cohort has developed into a group garland of individual pieces that other year groups have further responded to, and it is still growing. A study by the National Centre for Education Statistics (2002) highlighted that teachers who engaged with artists reported increased confidence in integrating arts into their curriculum, leading to more dynamic and effective teaching methods.
A focus of the Artist Educator week with Emma was collaborative art-making which fosters a deep sense of connection and shared purpose within the School
ARTISTS IN SCHOOLS
community. Working alongside Emma, our students from diverse year levels contributed their ideas and skills to a collective and communal vision. This process strengthens relationships among students and teachers by celebrating shared experiences and diversity through artistic collaboration, cultivating a sense of unity and pride.
The inclusion of artists in educational settings offers a multitude of benefits that extend across academic, personal, and communal domains. Through enhancing student engagement, fostering essential life skills, enriching teacher practices, and strengthening community bonds, artist residencies serve as a catalyst for holistic educational development. As our own Artist Educator program has demonstrated, the collaboration between artists and
schools is not merely an enrichment activity but a fundamental component of a comprehensive holstic education.
Mrs Vicki Marinelli Head of Arts
References
Bresler, L., DeStefano, L., Feldman, R., & Garg, S. (2000). Artists-inresidence in public schools: Issues in curriculum, integration, impact. Visual Arts Research, 26(1), 13-29.artsedsearch.org+1eric.ed.gov+1 Brookings Institution. (2019). New evidence of the benefits of arts education. Retrieved from https://www.brookings.edu/articles/ new-evidence-of-the-benefits-of-arts-education/brookings.edu
National Center for Education Statistics. (2002). Arts education in public elementary and secondary schools: 1999–2000. Retrieved from https://nces.ed.gov/ surveys/frss/publications/2002131/nces.ed.gov
American Academy of Arts and Sciences. (2021). Art for Life’s Sake: The Case for Arts Education. Retrieved from https://www. amacad.org/sites/default/files/publication/downloads/2021Art-for-Lifes-Sake.pdfamacad.org+1amacad.org+1
The annual Music Gala is one of the most anticipated highlights of the St Catherine’s calendar, and this year’s event was no exception. Held in the world-class venue of the Melbourne Recital Centre, the Gala showcased the extraordinary breadth of musical talent within the school and provided a platform for students across all year levels to perform for a highly appreciative audience of families, friends, and staff.
raise your voice
The 2025 theme, Raise Your Voice, was more than a title; it was a guiding spirit that resonated throughout the evening. From the youngest performers to the most senior musicians, the concert celebrated not only technical skill but also the courage, expression, and joy that music inspires.
A standout moment of the night came when, for the first time in many years, a massed choir of Year 5 to Year 8 students took to the stage. Under the dynamic direction of Head of Choral, Ms Juliana Kay, the choir performed the traditional spiritual Bring Me Little Water, Silvy
The performance was enlivened by rhythmic body percussion, creating an atmosphere that was both fresh and deeply engaging. For many younger students, it was their first time singing as part of such a large ensemble, and the energy was palpable.
The Gala also provided an opportunity to witness collaboration at its finest. A diverse array of ensembles, from orchestras and bands to choirs along with our Year 12 VCE Music soloists, each contributed to the program with passion and dedication. The evening culminated in a moving finale that brought together all of the performers
on stage. Backed by strings and a staff band, the combined forces of the school’s musicians delivered a stirring rendition of Miley Cyrus’ The Climb. The song’s message echoed beautifully with the Gala’s theme, leaving the audience uplifted and inspired.
One of the most cherished traditions of the Music Gala is the Rose Ceremony, a poignant moment that recognises the dedication of the school’s Year 12 musicians.
Each graduating student is presented with a yellow rose by a Year 6 student, symbolising both gratitude and transition. This ceremony not only acknowledges the countless hours
of practice, rehearsal, and performance contributed by these senior students but also serves as a powerful reminder of the continuity of the music program. As the Year 12 students prepare to take their next steps beyond St Catherine’s, they leave behind both a legacy of excellence to inspire our younger musicians.
Such an event is only possible through the tireless work of the school’s music staff, whose commitment ensures the smooth running of rehearsals and the professional quality of the concert. Special thanks must be extended to Mr Saska Ayris, whose
organisation was instrumental to the success of the evening, and to Miss Sally Wilkinson, who worked alongside him to bring the Gala to life. Their efforts, combined with the dedication of the entire music department, ensured that the Music Gala once again embodied the spirit of St Catherine’s
The 2025 St Catherine’s Music Gala was more than a concert – it was a celebration of music’s power to connect, inspire, and, most importantly, raise voices together in harmony.
Mr
Francis Blakiston
Head of Music
EMBRACING IMPERFECTION
In education and the Arts alike, it is easy to become preoccupied with the final result: a polished essay, a flawless performance, a perfect grade. But true expertise is cultivated not in these static moments of achievement, but in the dynamic, often messy journey that leads to them.
At St Catherine’s, we believe that the process of learning —marked by self-reflection, creative process, critical feedback, and persistent effort—is where real growth occurs.
Research shows that perfectionism is particularly prevalent among girls (Sand et al., 2021), with studies indicating continued increases in rates of perfectionism among adolescents (Curran & Hill, 2017). Perfectionism affects an estimated 25% to 30% of children and adolescents (Flett et al., 2016). In the context of music education, this drive for a flawless performance can sometimes overshadow the joy of discovery and self-expression, or what we would call ‘the journey’.
Studies have found that music students face increasingly high levels of perfectionism, which can stifle creativity and inhibit the development of a true musical voice (Herrera et al., 2021). Therefore, it is essential to create learning environments that encourage students to explore and embrace the unique opportunities music offers and look beyond a grade. Never has it been more important for our young
people to start being comfortable with imperfection. By shifting the emphasis from achievement to personal growth and artistic exploration, our students can connect more deeply with music. They can find their inner voice, and experience the intrinsic rewards of learning, free from the constraints of perfectionism.
Recognising the need to foster such environments, the Years 9 and 10 Music Programs have provided students with a range of opportunities designed to nurture confidence and self-expression. Over the semester, students participated in workshops with alumni Coco Butterfield and Lilla Barrington, two former music students who are both pursuing tertiary studies in the Performing Arts. Students also developed their skills through masterclasses with internationally acclaimed Australian concert pianist Coady Green. Green, a past winner of the City of Sydney National Piano Competition who has performed at prestigious venues from Royal Albert Hall to Carnegie Hall, now lectures at the University of Melbourne. These enriching experiences empowered students to further develop their musical works and embrace the creative process.
Their journey culminated in a concert at Regis Aged Care in Armadale, where students presented their final polished solo performances and concluded with a joyful ensemble sing-along featuring favourites such as Over the Rainbow and Georgie Girl. In this way, the program encouraged students to value personal growth and meaningful connection with others through music, rather than focusing solely on perfection. Reflecting on their experiences through the program, it was clear that our young musicians felt the same way.
Ms Liv Cher Music Teacher & Head of E-Learning
References
Curran, T., & Hill, A. P. (2017). Perfectionism is increasing over time: A meta-analysis of birth cohort differences from 1989 to 2016. Psychological Bulletin, 143(1), 18–33.
Flett, G. L., Hewitt, P. L., Besser, A., Su, C., Vaillancourt, T., et al. (2016). The Child–Adolescent Perfectionism Scale: Development, psychometric properties, and associations with stress, distress, and psychiatric symptoms. Journal of Psychoeducational Assessment, 34(7), 634–652. Herrera, L., Westerlund, H., & Miettinen, L. (2021). The role of perfectionism in music students: A review. International Journal of Music Education, 39(4), 573–586. Sand, L., Bøe, T., Shafran, R., Stormark, K. M., & Hysing, M. (2021). Perfectionism in Adolescence: Associations With Gender, Age, and Socioeconomic Status in a Norwegian Sample. Frontiers in public health, 9, 688811. https://doi.org/10.3389/fpubh.2021.688811
ON MASTERCLASSES
‘It was good to have feedback from two people who were so experienced and had gone to the School, who’d had similar school experiences to me. And two people who had gone on to do music and performance work at uni and had that experience too. I really trusted the process and feedback. It was really nice to perform to people outside our class. It was also so great to hear their tips and strategies, because some of it were things I hadn’t considered before. I ended up using Lilla’s feedback to perform with more confidence and engage others into my final performance and really think this helped. Having different opinions from different people meant I learnt so much through this experience.’
Ava Nachmias – Year 9
‘The masterclass was nerve-wracking but exciting. I really wanted to hear another musician understand and observe my playing. To be able to talk to them about what I am doing well, how I could improve, or another way to play different phrases. I was so nervous at first but when we worked on the piece together this nervousness went away. After I played, Coady had so much to say. He is really strict about his own playing, and this helped me feel more comfortable about my own mistakes. It really made me think about the music in different ways.’
Elsa Zhou – Year 10
‘I was nervous, but only to begin with. When Lilla and Coco gave feedback, they were kind, and knowing they had stood in my shoes really helped me settle in to this experience. I was actually able to enjoy this performance and the workshopping of the piece, this surprised me. They had great feedback, particularly about my posture and stage presence. This ended up as one of my performance goals for the Regis Concert, and their strategies really helped me. I took just as much away from this as from the other assessed performances we’ve done.’
Olivia Liu – Year 10
ON SHARING A PERFORMANCE WITH OTHERS
‘My goals going into my final performance were to evoke emotion within the audience, express myself within the character of the song, and sing with precision. At my Regis performance, I could feel myself meaning every word that I was singing. My change in dynamics added a lot of emotional impact to my performance. I felt like my performance really reached the audience. I think they felt this way because I was able to express emotion from within the song. The audience was so welcoming and kind, I would love to perform there again. My favourite part of this experience was being able to witness the performances of others as I could see how well they have progressed in their own musical skill, especially from the masterclasses.’
Lucy Lim – Year 9
‘I was both nervous and excited for our performance at Regis. I really wanted to show variety through my pieces and reach my top notes and I did this well. Making the residents smile and sing along to my pieces though, was the part that made me most proud. I think the older generations like seeing young people with a passion for something. Given the opportunity I would definitely love to do this again. Usually I would say that I care the most about how I perform, but on this occasion, it was definitely more important to me as to how it was received by others. Rehearsing as an ensemble was also something I loved in the lead-up to this experience. It was a really special opportunity for all of us and I thought everyone’s performances were some of the best they had done! Everyone looked so comfortable and pushed through it, even when it was nerve-wracking.’
Olivia Grasso – Year 10
Our Boarding Home
Stepping into the role of Head of Boarding in Term 3 was an immensely rewarding experience. I was immediately struck by the warmth and vibrancy of the Illawarra boarding community.
What I had imagined as a supervisory role quickly revealed itself to be so much more: an opportunity to know each student, share in their daily lives, and witness their strong sense of community.
The greatest joys have often been the simplest: chats in the Boarders’ café queue, afterschool check-ins, or time around the jigsaw table. In just a short time, I’ve learned about their interests, goals, and hometowns or countries. These conversations highlight the richness of our community, with boarders from rural and regional Australia and overseas contributing diverse stories, cultures, and perspectives. Watching friendships form across year levels and backgrounds has been truly inspiring.
I have also gained a first-hand appreciation of how boarding builds independence and resilience. Students quickly learn to manage their time, organise their studies, and take responsibility for themselves, knowing support is always close by. That support is strengthened by the dedication of our Boarding Assistants and the Deputy Head of Boarding. Lowri Sully, in her interim role, has led with professionalism and poise. Together, the staff ensure Illawarra remains a place where boarders feel safe, cared for, and encouraged to create a community with their unique gifts and talents.
Boarding life also brings unique moments of joy beyond the classroom: Movie Nights in the Lounge, Sunday suppers, themed socials, and dinners celebrating diverse cultures. These occasions capture the spirit of boarding: laughter, togetherness, and belonging.
At its heart, boarding is not just about accommodation – it is about creating
a home. It has been a privilege to watch our young people grow in confidence, character, and connection, supported by an outstanding team. Illawarra continues to thrive under the excellent leadership of the new Head of Boarding, Tracey McCallum, and Deputy Head of Boarding, Babette Buddle (’18). Both are well known and respected by the students, and their appointments were met with loud cheers and broad smiles. Adding to this strength, Song Cui, teacher of Chinese, provides invaluable expertise as International Student Coordinator, further enriching the circle of care that defines Illawarra.
Boarding is, at its essence, a home and I am proud to have been part of it.
Merran O’Connor Term 3 Interim Head of Boarding
CENTRE STAGE FROM HEYINGTON PLACE TO
THE ENDURING LEGACY OF ANN CHURCH (’41)
Ann Rachel Church (7 May 1925 –17 May 1975) is remembered as one of Australia’s most accomplished set and costume designers of the mid-20th century; a visionary whose work elevated the art of ballet to new heights. Yet before her name became synonymous with elegance, innovation and theatrical magic, she was a St Catherine’s girl, walking the grounds of Heyington Place from 1936 to 1941.
While Ann did not study art at St Catherine’s, her Leaving Pass in English, French, Latin, Geography and Biology, coupled with her time in the Hockey 2nd team, reflected the breadth of her interests and her disciplined spirit, traits that would later shape her professional artistry. After graduating, she pursued formal studies at the (Royal) Melbourne Technical College (1942-1945) and the National Gallery Schools, where her creative talents flourished.
Ann’s career blossomed in collaboration with the Victorian Ballet Guild and choreographer Rex Reid. Her ability to weave narrative, movement, and colour culminated in landmark productions, including the 1962 Australian Ballet staging of The Melbourne Cup, for which she designed both sets and costumes. From the fine watercolours of characters like Archer to the vivid gouache backdrops for works such as The Comedians (1964), her designs revealed an innate understanding of theatrical storytelling; each palette daring yet harmonious, each silhouette sculpted to move with the dancer. Her influence endured well beyond her lifetime. In 1998, her Melbourne Cup costumes were donated to the Australian Ballet, and in 2017 her estate gifted a remarkable archive of paintings, design notebooks, and fabric swatches to the Arts Centre Melbourne. That same year, St Catherine’s School Archives received over 150 of her drawings and gouaches,
along with three diaries brimming with biro sketches capturing the immediacy of her creative process. These works have since been meticulously photographed and digitally restored, preserving them for future generations.
Ann’s artistry was never merely decorative. It was integral to the drama and emotion of the stage. Her work remains a masterclass in how vision, craftsmanship, and imagination can define the very soul of a performance. In celebrating her legacy, we not only honour a cultural figure of national significance, but also recognise the remarkable journey of a St Catherine’s alumna whose bold strokes continue to inspire designers and audiences alike.
Mother Daughter SERIES
Our annual Mother-Daughter Series continues in this Spring Edition featuring past student, past parent, past Council member and current grandparent Mrs Barbara (Barbie) Hammon (Boynton ’73), her four daughters Julia Thomas (Hammon ’00), Xenia Kimpton (Hammon ’01), Phoebe McComas (Hammon ’04) and Cloe Beaumont (Hammon ’07) and four of her grandchildren Camilla Thomas (Year 8), Zoe McComas (Year 3), Cleo McComas (Year 1) and Rob Kimpton (ELC 4). Barbara’s husband, Tim, served on Council in the late 1990s.
BARBIE HAMMON (BOYNTON ’73)
What stands out most when you think back to your student days?
St Catherine’s helped me get the best from myself. I loved the encouragement to try different activities, especially performing in the Scotch/St Catherine’s plays.
How did that foundation shape your life beyond school?
The transition to Melbourne University felt natural. My teachers at St Catherine’s instilled both resilience and a love of learning,
that carried me through Arts/Law (Hons) at Melbourne, life at Janet Clarke Hall, and into my career in legal governance in the financial sector.
What does it mean to see your daughters and now your granddaughters walk the same path?
It’s rewarding. My daughters thrived at St Cathrines’s, all going on to Arts/Law (Hons) degrees at Melbourne and Monash. Now, my granddaughters are fourthgeneration St Catherine’s students, and even my grandsons are in the ELC. To see that continuity, beginning with my mother Jill Boynton (Warnock ‘46), is very special.
JULIA THOMAS (HAMMON ’00) & HER DAUGHTER CAMILLA THOMAS (YEAR 8)
Julia, what did you love most about your own St Catherine’s years?
Julia: Definitely the extra-curriculars, like sport, debating, the play, choir. That joy of variety is something I encourage Camilla to embrace. How does it feel to return as a parent?
Julia: Surreal at first! Camilla started Prep in the very same classroom I did. Some of my teachers are still here. I’ve loved
Camilla Thomas (Year 8) Julia Thomas (Hammon ’00) Xenia Williamson (Boynton ’78)
Susie Ryan (Boynton ’65)
seeing her enjoy both familiar traditions, like the Junior School dress and the Girl statue, and new opportunities, from the Aquatics Centre to amazing camps.
What values do you still see thriving?
Julia: St Catherine’s still encourages girls to step forward, try new things, and take pride in who they are. Strength of character and integrity are just as important today.
Camilla, what do you enjoy most about school right now?
Camilla: Seeing my friends! I love the variety of subjects, especially Sport, Debating, and House Arts.
And what stories do you hear from Mum or Grandma about ‘their St Cath’s’?
Camilla: Mum tells me about rowing, which I can’t wait to try. And Grandma comes to watch me at School events. That means a lot.
XENIA KIMPTON (HAMMON ’01)
Looking back, what mattered most during your time at St Catherine’s?
The friendships and the sheer range of opportunities available. That’s exactly what I want my children to experience now.
How does it feel to return as a parent?
Wonderful. I have such fond memories myself, and it’s incredible to see how much the School has grown and changed since my own days here.
PHOEBE MCCOMAS (HAMMON ’04)
How did your own St Catherine’s experience influence the way you guide your daughters?
I know how welcoming Barbreck is, so I always encourage my daughters to join in, have a go, and make the most of it.
What’s it like to return as a parent?
Honestly, a joy. My daughters are both so happy here.
Do you still see the same traditions alive today?
Absolutely. The inclusiveness, the encouragement to support each other, and the ‘have a go’ spirit, are still central.
CLOE BEAUMONT (HAMMON ’07)
How has your own school experience shaped the way you support your children?
Being part of the St Catherine’s community for almost all of my schooling life gave me a very strong sense of comfort, confidence, and joy. The relationships I formed continue today, and I hope my boys will find that same sense of belonging and lifelong connection at their own school.
RUTH LANGLEY LUN
Friday 16 May, 2025, was a standout date on the St Catherine’s Calendar, a moment on the School’s social calendar, and for good reason. This year’s Ruth Langley Luncheon had it all: a fresh new venue, record attendance, amazing food, plenty of bubbles, and a whole lot of laughter and good vibes.
For the first time, the lunch was held at the stunning Quat Quatta in Ripponlea. A grand old mansion, with its gorgeous architecture and beautiful gardens a resemblance to Sherran House, making it feel both exciting and familiar at the same time. And clearly, the change of scenery was a hit. We had over 250 guests, including a handful of brave VIP men sprinkled among the crowd.
The venue looked stunning, styled with floral arrangements by Salon Aux Fleur and gift bags from Koko Black, which added a pop of bright teal to the room. Guests were welcomed with a glass of champagne and the sounds of our student string quartet playing in the courtyard.
Once everyone found their seats, it was time to enjoy a three-course meal that tasted as good as it looked. As always, there was lots of chatting, laughing, and reconnecting. This event is as much about catching up with old friends and making new ones as it is about fundraising.
Our new Principal, Ms Natalie Charles, reflected on the afternoon’s theme, Empowering Women: How a shared foundational experience shaped two fearless future leaders, and the powerful legacy of sisterhood, courage, and resilience it invoked. She spoke of the values instilled at St Catherine’s and how the stories shared at this year’s luncheon, particularly those of the guest speakers, captured the essence of an education not just for School, but for Life.
The afternoon was expertly guided by our MC, Mrs Catherine Roosenburg, who kept everything running smoothly amidst all the chatter in the room, no mean feat, to say the least! The entertainment kicked off with a beautiful performance by the Senior School choir, Viva Voci, who wowed us all with their talent.
Then came the highlight of the day: our guest speakers, Her Honour Judge Anna Robertson (Lally ’88), County Court of Victoria and Genevieve Brammall (Lally ’89), National Head of PR & Talent Relations at News Corp Australia.
These two sisters, former boarders and proud St Catherine’s Old Girls, were equal parts hilarious and heartfelt. They had everyone in stitches sharing cheeky stories from their time in the boarding house and then brought a few tears as they spoke about how their time at the school helped shape their careers and lifelong friendships. Their talk was a beautiful reminder of just how special the St Catherine’s experience really is.
Of course, while the lunch is a major social event, it also plays a big role in raising funds for the School. This year, we introduced ‘mystery envelopes’, each one containing a surprise prize, and they were a massive hit. Thanks to our generous community who donated gifts, products, and services, we raised an amazing $15,000 from that activity alone. And then came the live auction, hosted by the incredibly entertaining duo of Nick Books and Ella Atkins, Marshall
CHEON
White Stonnington. They had the whole room buzzing as they auctioned off some fabulous prizes, a private dinner, a winery experience, a beautiful piece of art, and the hot-ticket item, ‘Head of Junior School for a Day’. That one stole the show, and Dr Brendan Kean was more than a little surprised to find out just how popular he is!
By the end of the afternoon, we had raised a total of $34,000, all of which will go towards supporting programs and experiences that benefit our girls. A big thank you to the incredible Ruth Langley Committee for their time, energy, and attention to every detail, from décor to guest lists to fundraising. Their hard work made the day such a success.
We are also so grateful to our generous sponsors and supporters whose contributions helped this event thrive and directly benefit the girls of St Catherine’s.
The 2025 Ruth Langley Luncheon was a timely reminder of what happens when we come together for fun, friendship, and meaningful impact.
We cannot wait to do it all again next year on Friday 29 May 2026. Please Save The Date!
BARBRECK EVENT DOLLS
Amanda Thompson’s (past parent of Emma (’15), Chloe (’17) & Julia (’20)) outstanding contribution to the Creative Art Auxiliary (CAA) has significantly enhanced both the cultural and community dimensions of Barbreck’s School productions, through her creation of original event dolls. For each of the six productions held in the past and most recent, Amanda has designed a unique doll that served not only as a tangible symbol of the event but also as a creative focal point that captured the imagination of students, families, and staff. These bespoke creations brought a distinctive and memorable element to each production, enriching St Catherine’s cultural life and reinforcing a sense of occasion and celebration.
Beyond their aesthetic and symbolic value, the event dolls have played a pivotal role in advancing the Creative Art Auxiliary’s fundraising efforts. Raffles featuring the doll have attracted widespread enthusiasm, transforming them into a highly sought-after prize. The allure of winning a one-of-a-kind creation stimulated strong community engagement, leading to increased ticket sales, greater event attendance, and heightened participation in fundraising activities. As such, Amanda’s initiative has directly contributed a significant boost in the financial position for the CAA.
Moreover, these event dolls have fostered a deeper sense of community and shared purpose. Their presence helped galvanise support around each production, encouraging intergenerational involvement and promoting school spirit. By serving as both a collectible centrepiece and a catalyst for engagement, the dolls enhanced not only the emotional and cultural experience of the productions but also the social
cohesion and collective generosity of the School community. Amanda’s work stands as a testament to the impact of creativity, innovation, and collaboration in educational and community settings. The auxiliary members commend Amanda for her inspiring creativity and for the lasting impact she continues to foster for the auxiliary and St Catherine’s community.
BARBRECK PRODUCTIONS:
2020: St Catherine’s Doll (raised $760)
2021: Wizard of Oz production, Dorothy Doll (raised $650)
2022: Travel Week, Jessica the Travel Doll (raised $470)
2023: Seussical Jr the Musical production, Seussical Doll (raised $1200)
2024: Art Week, Merindah-Gunya Doll (raised $980)
2025: The Little Mermaid Jr. production, Mermaid Doll (raised $2200)
Mrs Irene Karas
President Creative Arts Auxiliary
Music Matters
ST CATHERINE’S MUSIC SCHOOL
The Music Matters campaign exemplifies how thoughtful, visionary leadership can turn aspiration into action.
It harnesses the power of community, philanthropy and purpose to create lasting change. The capital building work projects are more than construction, they are a statement of belief in the potential of every St Catherine’s girl, and an investment in the quality of her educational journey.
At St Catherine’s, we believe our School is shaped not only by our history, but by the vision to imagine what comes next. Today, our campus is alive with that vision, as we embark on a bold chapter of growth that will benefit every student for years to come.
With the support of our community, we are creating spaces that spark creativity, curiosity, and connection across all areas of learning. While music is the heartbeat of the Music Matters campaign, the project goes beyond the arts to provide inspiring spaces where every girl can thrive, whether she is performing on stage, collaborating in a classroom, or quietly reflecting in a space designed just for her.
At the centre of this transformation is the new purpose-built Music School, a vibrant home for creativity that will elevate both learning and performance. Alongside this, is the restoration of the much loved Wintergarden bringing new life to one of the School’s most iconic spaces linking generations past, present, and future.
We are also reimagining the Frank Osborn building to create modern,
Inspiring Learning at St Catherine’s
flexible learning and collaborative spaces tailored to the needs of 21st-century learners. Together, these reflect St Catherine’s commitment to nurturing the whole student: academically, artistically, and personally.
This exciting chapter is made possible by the thoughtful leadership and generosity of our community. Parents, alumnae, and
friends who share in our vision are helping to ensure that St Catherine’s continues to offer not only an exceptional education, to be a place where our students’ passions and possibilities come to life.
Mrs Sally Joubert Foundation Chair
As the School continues to shape the future of learning, the impact of the Music Matters campaign will resonate far beyond the present moment, creating a legacy of creativity, excellence and opportunity for generations to come.
As our campaign gathers momentum, I warmly encourage those who have not yet had the opportunity to contribute to consider supporting the campaign now. Every gift, no matter the size, plays a vital role in helping us reach our goal and make a lasting impact.
I would be delighted to connect with you to explore how you might become involved.
Thank you for all very much for your generous contributions to date. Please contact Kathy Hines if you would like to find out more about how you can contribute.
Ms Kathy Hines Advancement Manager
e: kahines@stcatherines.net.au p: +61 3 9828 3032
Connecting our Community
To stay up to date with SCOGA events, mentor programs, Fellowship and other opportunities you can find us at:
Facebook Page scoga.au
Facebook Group SCOGA
Instagram @scoga.au
LinkedIn st-catherine's-school
If you have any delightful stories to share about your friends from St Catherine’s, we would love to hear from you! Feel free to reach out at socga@stcatherines.net.au.
Bringing Old Girls Together
The SCOGA committee has been active over the past two terms, and whilst the bonanza reunion was in Term 1, the SCOGA Committee preparations are already in progress for the 2026 reunion weekend.
The women behind the SCOGA Committee are many and varied and this year we have seen members departing and making way for new arrivals to imprint their contribution. The success of SCOGA is made up of the collective of women over decades, giving their time, service and commitment to building many successful programs. We are grateful for those members who have given so fully to our Association and wish them well. We welcome the new members, who will continue to further develop SCOGA, its community and endeavours. Whether it be births, marriages, deaths and so many touch points in between, the SCOGA Committee has been part of these moments with our community and are working together to support and honour these chapters in the life of our community. Please get in contact with our Secretary, Sarah Carlile, if you are interested in joining the committee.
This year saw the graduation of recent SCOGA Fellow Recipient, Serena Mathews (Graham ’92) with her Doctorate in Social Work from Charles Sturt University.
Serena was a boarder at St Catherine's, from Deniliquin and was encouraged to apply for the Fellowship by former teacher Vicki Moore. Serena's research was on social focussed work practices in regional and remote Australia, particularly in trauma services. The purpose of her research was to explore the lived experiences of regional and remote Australian social workers who provide trauma services to individuals exposed to interpersonal trauma.
We also look forward to welcoming Ruby King, 2024 SCOGA Fellowship recipient, who studied her Masters in Economic Policy at Utrecht University in the Netherlands during 2024-2025. Her study focussed on ways governments can create a more sustainable and fair society. Her thesis titled Oh to be young again? was focussed on understanding the decline in wellbeing among young Australians.
Both Serena and Ruby’s stories celebrate the intention behind the SCOGA Fellowship, encouraging and supporting Old Girls to continue their educational pursuits and come back and share them with our community.
Thanks to the hard work and dedication of our Committee and our Old Girl Community, we look forward to continued engagement in the months to come.
Ms Anna Foley (’92) SCOGA President
To celebrate 100 Days of Prep, SCOGA President Anna Foley (’92) told a story that explained the connection of all of our St Catherine’s community.
Surrounding St Catherine's many years ago, were paddocks with homes dotted around the suburbs. Young girls would walk from their homes to school. Each home had citrus and other fruit trees and vegetables to feed the household. The trees made easy picking for the children, and they each selected an orange for morning tea, then swiftly walked to school ready for the day ahead.
In honour of those students who came here long ago, Anna was given a bag
100 Days of Prep
and over 100 years of oranges at St Catherine’s
The celebration of the 100 days of Prep is a highlight for the SCOGA calendar. It is the opportunity for us to celebrate the milestones of the Preps and welcome them into our broader school community.
of oranges from a very special Old Girl near us in Toorak, from her tree, to give to the Preps on their 100 Days of being at Barbreck, to celebrate being part of our community.
Putting the bag of oranges on the floor, Anna said ‘dive in and pick your special oranges’. Seeing the Preps literally dive in to choose their orange, just as St Catherine's girls before them, was a sight to see. It was like they had won the best prize of the day. An orange had somehow been transformed into their symbol of belonging.
SCOGA Committee
ANNUAL GENERAL MEETING and St Catherine's Day Celebration
Join SCOGA for drinks at Sherren House Thu 27th Nov 6.00pm
The evening will accommodate the SCOGA AGM. All Old Girls are welcome to attend. Any changes to AGM arrangements will be emailed to those registered to attend or available to view on the school website. Any member who would like to bring business before the AGM is required to give notice in writing to the Secretary no later than Saturday 25 October 2025.
RSVP by Friday 7 November 2025, to SCOGA Secretary Sarah Carlile (’96) and Meredith Taylor (’79) MTaylor@stcatherines.net.au
SCOGA COMMITTEE
President
Anna Foley (’92)
Honorary Secretary
Sarah Carlile (’96)
Honorary Treasurer
Lisa Hinirchsen (’83) School Council
Anne Court (Lowry ’58)
General Committee
Anna Abbott (Nieuwenhuysen ’91) Grëtel Cannon (’12)
Suzie Esposito (Davies ’91)
Lauren Fox (Hewitt ’96)
Emma Green (’91)
Marigold Hayward (’15)
Amy Hessel (Lawford ’01)
Persephone Holdenson (’16)
Sophie Mirabella (Panopoulos ’86)
Julia Thomas (Hammond ’00)
Jennifer Wang (’15)
19 96 OF Class
As St Catherine’s approaches its 130th anniversary, another significant milestone draws near, the 30-year reunion of the Class of 1996.
When I joined St Catherine’s in Semester 2, 1994, I could never have imagined the extraordinary talents and passions of the girls in my year level, both then and now.
To mark the School’s Centenary in 1996, two students from our cohort, Emmeline Ng and Bianca Valmorbida, worked alongside Director Of Music Helen Lovass to create the Ode to St Catherine’s.
The Ode opens and closes with the lines:
We celebrate our golden past and our future just beginning […]
Our future’s bright, we’ll reach new heights with St Catherine’s as our guide.
These words continue to ring true for the Class of 1996.
Our classmates have excelled in many arenas – from sport (Olympians Lauren Hewitt, Olivia Skellern (Bunn), and Kristy Oatley-Nist), to the arts (photographer Chloe Paul) and music (violinist Rebecca Chan and singer Marcelle Knapp), as well as in countless other fields where they continue to make a difference every day. Whether in the public eye or behind the scenes, the Class of 1996 continues to shape the world with creativity, compassion, and courage.
Two women I would like to spotlight are Cate Melville and Victoria Mar (Pearce). Affectionately known as Melv and Tors, their leadership was evident early on. In Year 12 Cate served as Boarding House Captain and Victoria as a Prefect. Both have gone on to make significant contributions in the medical field.
Cate Melville is a dedicated podiatrist at Albury Wodonga Aboriginal Health Service (AWAHS) and a Clinical Educator at Charles Sturt University (CSU). She was awarded CSU’s Change One Thing award for her pioneering work in student learning around First Nations healthcare models and culturally safe practice.
Through Cate’s leadership, students in CSU’s Bachelor of Podiatric Medicine program gain invaluable insight into the barriers Aboriginal clients may face when accessing healthcare. This helps shape a future generation of respectful, confident, and culturally aware practitioners.
Cate’s work is paving the way for a more inclusive and equitable healthcare system.
Professor Victoria Mar is a leading figure in melanoma research and treatment in Australia. She is the Director of the Victorian Melanoma Service at The Alfred and an Adjunct Associate Professor at Monash University’s School of Public Health and Preventive Medicine. Victoria completed her PhD at Monash University/VMS
and Peter MacCallum, titled Clinical and Molecular Characteristics of aggressive Melanoma (2014), and now supervises doctoral candidates working on clinical and translational research.
Victoria is also a board member of the Melanoma and Skin Cancer Trials Group. She has co-authored chapters for the Cancer Council Australia Melanoma Guidelines and serves as Clinical Lead for the Melanoma Clinical Outcomes Registry. Victoria is also the Victorian Lead for the Australian Centre of Excellence for Melanoma Imaging and Diagnosis.
We are incredibly proud of Cate and Victoria’s contributions.
These are just two of many remarkable journeys. Over the next 12 months, I will share more stories from our cohort that reflect the enduring impact of a St Catherine’s education.
Sarah Carlile
(’96)
SCOGA Honorary Secretary
2026 EVENTS & REUNIONS
Leavers’ Panel
Monday 23 February 2026
9.00am-10.00am
Sherren House Ballroom
Connecting Old Girls with recent Year 12 graduates to provide career, and education support.
Pre 1971 Luncheon
FRIDAY 28 FEBRUARY
Tour 11.00am – Luncheon 12.00pm-2.00pm
Sherren House Ballroom
Reunion Day
Born from the rescheduled reunions of 2020 and 2021, which received overwhelming praise, the SCOGA 2025 Reunion Weekend will bring together different Year Groups of Old Girls. Each Year level will have their own designated areas to reconnect. But the magic doesn't stop there, if you want to mingle across Year level groups, we have created common spaces. We are looking forward to another year of strengthening the bonds that tie us to 17 Heyington Place.
SATURDAY 28 FEBRUARY
Class of 2021 – 5 Years
Class of 2016 – 10 Years
Class of 2011 – 15 Years
Class of 2006 – 20 Years
Class of 2001 – 25 Years
Class of 1996 – 30 Years
Class of 1991 – 35 Years
Class of 1986 – 40 Years
Class of 1981 – 45 Years
Class of 1976 – 50 Years
Class of 1971 – 55 Years
Tour 4.00pm – Reunion 5.00pm-7.00pm
Fountain (weather permitting)
Alternative indoor option available
School Captains & Vices Reunion
Tour 11.00am – Reunion 12.00pm-2.00pm
Sherren House Ballroom
Vale
RICHARD RANDALL GREEN 1939-2025
St Catherine's School Chair 1988-1999, and School Council member from 1983.
Richard Green became one of only two Chairmen brave enough to stand alongside the formidable educator and School Principal, Ms Dorothy Pizzey AM. Richard admired strong women. He grew up with an independent mother and married the equally matched and grounded Isabella (Stokes ’58).
Dorothy and Richard’s leadership went onto champion those qualities in the next generation of girls at St Catherine’s.
This leadership inspired students and united parents and the wider St Catherine’s community to showcase the potential of girls’ education. In turn this ignited a legacy of capable, strong St Catherine’s women, who are scattered all over the globe today.
We could list off countless successes during Richard’s time as Chairman of Council, however this would miss the very essence of his legacy: love.
His approach to life, family, business and service is epitomised in the St Catherine’s School Anthem, Corinthians 13. Whilst
St Catherine’s was a family and community he married into, he went on to lead and celebrate the very essence of St Catherine’s during the 1980s and 1990s. With Richard’s entrepreneurial spirit, grounded in business acumen, a no-nonsense approach, and with Dorothy's blazing educational trail, together they bult the next chapter of a thriving and dynamic School community.
We presented in honour of Richard’s service to St Catherine’s, a single yellow rose gifted to Isabella, Richard and wife Emma (’91), Sophie (’88), Emma (’91), Louisa (’95) and husband James. The St Catherine’s yellow rose ceremony was led by current Council Members, former Chairs of Council and past Council and Old Girls; Anne Court AM (’58), Clare Cannon (’77), Meg Begg (’61) and Nikhi Cox (’07).
We celebrate Richard Green, his life, his family, and the service he gave St Catherine’s School, in the pursuit of excellence in girls’ education, for not only the past, for its present and future.
FULL CIRCLE
Old Girl Julia Elstoft (’01), has returned to her alma mater as a student teacher, embracing the full circle of her journey. Her return celebrates the enduring connection and the warm, purposeful welcome back into the school community.
What inspired you to return to St Catherine’s for your teaching placement?
I returned to St Catherine’s for my teaching placement because of the fond memories and strong sense of belonging I developed here. Arriving as ‘the new girl’ in Year 8, I was warmly welcomed by Lily and Charlotte, who are still close friends today. That small, meaningful act of inclusivity shaped my understanding of kindness, values I now strive to instill in my students. The culture at St Catherine’s remains remarkably welcoming and supportive. From the moment you step inside the gates, there is a strong sense of community and unity. Placing inclusivity and safety at the centre of School life ensures students feel secure, supported, and ready to learn. Without a calm, respectful environment, young people find it difficult to focus, grow, and realise their potential.
What motivated you to pursue a career in education?
My motivation to pursue teaching grew after having children. With my husband’s career as a pilot, I needed flexibility. I transitioned from LVMH’s Private Client Relations and Event Manager role to part-time retail, which offered balance but not the career fulfilment I sought. During COVID, home-schooling my children highlighted how rewarding teaching could be. Witnessing how much a stable, supportive environment influenced my son’s confidence and learning was transformative. Teaching allowed me to see the immediate impact of guidance and encouragement, something sales and events never provided.
I am also deeply committed to supporting youth mental health. Growing up in the 1980s, I cannot imagine navigating adolescence amid today’s pressures of constant online access and social media.
This journey has offered invaluable insight into the challenges students face, helping me strengthen my awareness and develop strategies to support both my own children and students in maintaining wellbeing online. It is a personal goal to continue advocating for youth mental health, and teaching offers many opportunities to guide young people as they navigate a complex digital world.
Looking back, how has your experience as a St Catherine’s student shaped the kind of teacher you aspire to be?
Reflecting on my experience as a St Catherine’s student, I recognise how it shaped the teacher I aspire to be. Transferring from Firbank in Year 8, I encountered higher academic expectations. My literacy and numeracy skills needed attention, and I had to close significant gaps. With encouragement from dedicated teachers, particularly Mrs Moore (Psychology & Humanities), Mr Bond (Drama & Theatre Studies), and Mr Darby (Art History & Studio Arts), I learned to be a resilient learner. Their belief in my potential allowed me to try, fail, and try again, instilling confidence and perseverance. This experience reinforced my commitment to understanding each student’s individual learning journey, identifying their strengths and gaps, and supporting them to achieve both competence and confidence.
What has been the most rewarding part of working alongside current students and seeing the School from a teacher’s perspective?
Working alongside current students has been immensely rewarding. In many ways, I still feel like a learner, guided by some of the state’s most creative and effective educators. Today’s classrooms are collaborative and technology-rich, often arranged in a
boardroom style to encourage discussion and engagement. The teachers’ dedication, their careful planning, engaging delivery, and genuine care for student wellbeing, is remarkable. My placement has taught me far more than a year of study at my Master’s program, validating my decision to re-educate myself despite the demands of single parenting, work, and study. I am incredibly grateful to have had this opportunity and the unwavering support of my children and parents.
What advice would you give to today’s St Catherine’s girls who may be considering a future career in teaching or education?
For students considering a career in teaching, I would say it is a deeply rewarding vocation. Mature-age students bring valuable life experience, allowing them to connect learning outcomes to real-world examples, a strength I have applied in my Year 10 Economics class when explaining abstract concepts such as inflation or CPI. Age should never be a barrier to investing in your education or pursuing new goals.
