Verse Magazine Edition #17 | August 2017

FREE Edition 17 | August 2017 Your Student Mag

This Edition The Magic of Muggle Quidditch Sensory Overload Ramadan New Month New Me Edition 17 2017

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emerging artists ’s A iS n U f o y it v ati Celebrate the cre exhibition!

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Edition 17 | August 2017 Head Editor Caitlin Tait Editor Rubina Chitrakar Communications Editor Bridget Kerry Graphic Designer Rachael Sharman Contributors Madison Kennewell, Sebastian Moore, Elise Prestia, Samantha Dawes, Lucas Shaw, Nikki-Lee Lucas, Gabriel Olaer, Connor Reidy, Laura Grace Park, Kayla Bentley, Madison Griffiths, Isabella Fornarino, Emma Lucy Cuppleditch, Bridgette Minuzzo, Sash Corowa, Arnis Silvia, Lisa Vuong, Janine Mohamed, Judah Cricelli, Sarah Sturm, Georgia Lawrie, Jordan Maywald, Nicole Faiello, Mikele Prestia, Joshua Olavesen, S. Z. Telford, Jessica-May Mason, Kristin Vaiciulis, Sam Richards, Patrick M. Cover Image Nicole Faiello Printer Newstyle Design & Production Consultants Georgie Smith & Aaron Harvey The views expressed in this magazine are not necessarily representative of the views of USASA or the editors.

We apologise for publishing the poem 'Jealousy' alongside the incorrect name in edition 16. It was written by Frank D. French.

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Editor’s Letter Head Editor | Caitlin Tait

The last couple of months have been beautiful for the world.

Pride Month and Ramadan, for example, celebrated togetherness, peace, and love. It allowed the world to come together and for people in these communities to regain their strength and find rest in each other.

There have been dark days, as there often are, but the idea that love and goodness will conquer all is not naïve, but brave. To spend time resting to come out fighting for equality and peace is brave. The world is a good place, and you’ll find confirmation in this edition.

Our interview with Janine Mohamed will inspire you, Arnis Silvia’s poem about Ramadan will leave you peaceful, Kayla Bentley’s journey with identity will uplift you, and Connor Reidy’s devotion to musicians and the arts will warm you.

It might sound overdone, but it’s true: you help make the world better.

Keep fighting the good fight –

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Contents Edition 17 | August 2017

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02 Editor’s Letter 04 The Magic of Muggle Quidditch 09 A Poem about Writing 10 Angel 13 Sensory Overload 14 A Mix For: Pride 16 On the Record: Songs for the Departed 18 Identity

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20 Success Through The Seasons 23 In Bed With 24 Ramadan 26 In[ter]view: Janine Mohamed 31 A Bunch of Words 32 Common Thoughts 34 Imag[in]e: Nicole Faiello 44 New Month New Me

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45 Palestine 46 VOX: Student Voice 49 USASA Student President 50 August Calendar 52 Vans The Omega: Colouring the City 57 Seasons 58 The Black Ball 60 Gorgeous Garlic Bread Reviews 62 Horoscopes 64 Cruel Act of Neptune’s Art

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T he Magic o f Mugg le Q u iddi t ch Words by Madison Ke

nnewell | Images by

Rachael Sharman

With the first Harry Potter book having just hit it’s 20th birthday, what better time to scrub up on your Quidditch knowledge… and take to the field. If you’re game.

When J.K Rowling penned Harry Potter, she created a cultural phenomenon that influenced a generation. Since the first book was published on the 26th of June 1997 and children started reading under their covers at night, to the last on the 21st of June 2007 when those now grown fans waited in line at midnight to get their hands on the final book, the zeal of Harry Potter fans has been felt.

It is this zeal that spawned an international sport played in 26 countries with over 500 teams.

Adelaide is home to five teams: The Adelaide Abraxans, The Adelaide Augureys, The Adelaide University Hippogriffs, Flinders University Fantastic Beasts, and the Glenelg Gargoyles. (There is also certainly room for another team if UniSA decides to join the club and broomstick-up to crush the Flinders University and Adelaide University teams.) These teams hold regular matches organised by the South Australian Quidditch Association, and is a thrilling mix of one-handed Basketball, Rugby, Dodgeball, and Tag. Muggle Quidditch is here to stay, it’s no quickly departing trend. Huge sponsorship deals, international and continent-wide competitions bind together the International Quidditch Community.

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In Australia, the largest annual Australian tournament is the QUAFL Cup held in November/December, which crowns the national champion for that year. The Midwinter cup is held annually in Newcastle with teams from around the country, and the Melbourne Mudbash kicks off annually Melbourne with local teams, interstate teams, and teams composed of mercenary players.

The Australian Quidditch Association also has a set of rules for wheelchair Quidditch, with the 2016 Wheelchair Quidditch Australian Championships featuring five teams, and snitch runners on skates. While under 18’s leagues, called ‘Kidditch’, spread the love of the game to a new generation.

The Australian National Quidditch Team ‘The Australian Drop Bears’ competed at the International Quidditch Association Global Games in 2012 and 2014, coming third and second respectively. In 2016 The Australian Drop Bears won the World Cup in Germany, beating America 150-130.

EQUIPMENT each part: two teams face n its magical counter tha g sin nfu co se s the les of end. Each The game is also far ee goal hoops either 55m by 33m, with thr ld fie al ov broomsticks apart. an o on tw er oth and 1.83m, placed 7m 1.3 , 1m 0.9 t: igh he op, stop each other hoops has a different ing a ball through a ho ow thr by s int po re sco golden snitch.

Six players per team and catch the elusive rs, ye pla g rin sco at ll nt ba by throwing a differe pipes of about but not always, PVC lly, ua us are ich wh ’, broom nt positions in Quidditch is played ‘on ball, and four differe ee different types of thr are only one ere Th . wi y gth all players pla th a metre in len nd on their broom, so ha e on ve ha st mu play. All players and throw. available hand to catch r fans. familiar to Harry Potte es of balls in play are typ nt ere diff ee thr The epers. Regardless ched by chasers or ke tou be ly on n ca t tha yball her side of the The quaffle is a volle gh the hoop, from eit quaffle to pass throu the ed team. A us ca m ho tea of which owner of the op’s is scored against the al go a y, pla in is it if hoops and int s. s quaffle is worth 10 po aters. There are alway only be touched by be n ca t tha is all ere eb Th dg ld. do player on the fie The bludger is a used to hit any other are d an ir ld, the fie off s the ir teammate three bludgers on beaters can’t knock the by n ow p thr dro , ers dg om unt their bro no friendly fire, so blu that player must dismo r, ye pla s m’ to tea er urn oth hoops and ret brooms. If they hit an d touch their team's ve been carrying, an ha y ma y the t tha ll any ba uming play. back of their broom before res ich is attached to the a yellow long sock wh ide ins ll ba usually n, nis rso ten a pe l The snitch is r is an impartia tail. The snitch runne a like s and ort rs; sh ke r's see ne snitch from the snitch run ible for protecting the ns po res is rd o ha wh no e, r with absolutely an assistant refere h or the snitch runne itc sn the h nning ac wi h, pro itc ap grabs the sn only seekers may ends when a seeker me ga e Th r. ne run h contact with the snitc ir team. awarding 30 point s the

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PLAYER R Each team has

O LE S

four different po sitions for their players.

The Chasers ca n be identified by a white headba on the field, an nd. There are th d are responsib ree chasers per le for passing th team this ball throug e quaffle, and sc h one of the op or in g points by thro ponent ’s hoops they are ‘knock wing for 10 points. If ed off their broo a bludger hits a m’ and they mus ch as and run back to er t remove the br touch their own oom between th hoops to ‘re-m ei holding the quaffl r legs ou nt ’ their brooms. If e, they must dr this chaser is al op the quaffle be into physical co so fo re dismounting. ntact with oppo Chasers can ge sing chasers or t ke ep ers.

The Beaters ca n be identified by a black head the field, and th ba nd. There are tw eir job is to hit o beaters per te the opposing te am on team against bl am with bludge udgers. Beater rs , and protect thei s can also be knoc r own unlike chasers, ked off their br have a chance ooms by bludge to catch the blud rs are three bludge but ger to avoid be rs on the field fo ing knocked ou r a total of four t.

As for pressuring th th ere beaters, the four e team with bo th beater is resp th bludgers. Be with other beat on sib le at er s ca n only get into ers. physical contac t The Keepers ca n be identified by a green head per team, and ac band. There is on t as goalies to bl e keeper on the ock attempt s to field can’t be knocke score by the op d off their broo posing team. A m by a bludger, and Keeper quaffle in their has indisputab team's keeper zo le possession of ne: an area arou keeper zone, th the nd the team's ho e keeper can ac ops. Out side of t as a four th ch th with opposing e aser. Keepers m keepers or chas ay enter physica ers. l contact The Seekers ca n be identified by a gold head team, and they band. There is on can only enter e seeker on the th e field af ter 18 m field per catch the snitch, inutes has elap however can no sed. They attem t ph ys ically contact th pt to contact with th e snitch, and ca e other seeker. n have physica The game ends points to the w l w he n the snitch is ca inning seeker ’s ught, awarding team. However by the snitch ca 30 , th e winning team tch, but by the is not determin number of poin ed wide margin m ts earned. Team ust tr y to delay s th at are losing by a snitch catch so opponent ’s lead a that their team , while the winni mates can narro ng team tr y to w th e extend their lead and catch the sn itch.

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Quidditch is not only a co-ed sport that welcomes and celebrates gender diversity, but one that has almost universally implemented the ‘four maximum rule’, where a quidditch game allows each team to have a maximum of four players (not including the seeker) who identify as the same gender in active play on the field at the same time.

J.K Rowling may not have intentionally created cultural sporting phenomenon, but it is a long-lasting one that that has bound dozens of countries together in literary and sporting love, with progressive rules and physically demanding gameplay, that certainly puts the magic back into ‘muggle’ quidditch.

GAME PLAY

ditch is simple: The basic game play of Muggle Quid e chasers) who (one keeper, two beaters and thre Each match star ts with six players on the ground and the Keeper Zone with their brooms stand along a star ting line within ‘Brooms up!’ and re of the field. The head referee calls the four balls lined up on the cent the balls. the players can then run to grab e a point is scored, the d movements of the quaffle. Onc The game is fast-paced with rapi their keeper zone. to 's keeper, while chasers return quaffle is given to the other team the opposing team's e to their side of the pitch or leav Beaters are not required to return keeper zone. seekers are deployed. utes, when the snitch runner and Games last a minimum of 18 min e length in a players have a huge impact of gam The skill level and endurance of the rules limiting the m game length, and there are few game with technically no maximu t play only on the field rule book, the snitch runner mus snitch runner. Under the current dings. In previous buil or players and not climb trees in the same fashion of the other lakes and weave ugh to leave the pitch, to swim thro years, the snitch runner was free now removing offcalled ‘off-pitching’ but leagues are through playground equipment, eplay. pitch seeking from their official gam a few rules on fouls of Muggle Quidditch, give or take That is essentially the very basis ly entertaining and n as you watch one of the endless and illegal plays that you can lear hugely thrilling games.

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A Poem about Writing Words by Sebastian Moore | Images by Elise Prestia

Searching, looking Trying to find the words For a person/experience/feeling The right combination And even then It's the earth-bound describing the transcendent The imbalance frustrating and unbridgeable Why do we want to log these energies, textures, sensations Into words Isn't the thing itself satisfaction enough Isn't the writing of it a purely selfserving action Or is it a way of relating to others with more than just a look, a slight smile, a nod of acknowledgment I write this with both thumbs navigating my iPhone's keypad It scratches an insatiable itch And so I keep scratching

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The dim light from the pendant lamp trembles incessantly but inconsistently. Its flickering yellow glow is scarcely enough to stave off the darkness in the cramped bedroom.

She stands under the lamp in front of a body length mirror. The shadows accentuate the contours of her body: her sharp collar bones, hollowed cheeks and sunken eye sockets appear skeletal. She examines herself carefully, smoothing the lines of a short, black dress that clings to her pointy hips. She spots two small holes in the upper thigh of her stockings and pulls them underneath her hemline.

She picks up a tattered bag and wobbles on heeled boots towards the open window. The mechanical hubbub of the city street is mellowed by soft music coming from a small CD player sitting on the window sill. The careful strumming of an acoustic guitar is met with lyrics sung delicately by a pop star.

“…Stuck in her daydream Been this way since eighteen…”

She puts her bag next to the CD player and produces a small glass pipe, a lighter, and a bag filled with off-white powder. She pours half of the powder into the bottom of the pipe. It begins to bubble above the flame and then evaporates into ghostly fog that seeps into her mouth. She closes her eyes as she tilts her head back. A croaky sigh escapes her throat.

A thudding knock at the door pulls her away from the window. She sways across the room, clumsily picks her coat off the floor, and fumbles to unlatch the door.

“Open it, you stupid girl,” a voice growls.

The door swings open and she staggers out. An older

Words by Samantha Dawes | Images Lucas Shaw

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woman, dressed in a red, ankle-length coat and fur scarf, peers down on her with cold, blue eyes.

“The little whore finally emerges,” the older woman laughs bitterly.

“Not going,” quips one of the younger girls.

The older woman bends down and pulls her up sharply, making sure to dig sharp nails into her arm.

“How’s the dress?” she slurs in reply.

“You’ll be seeing men at The House,” hisses the older woman.

“You look cheap. Fuck-able and cheap.”

“That’s where cheap whores belong.”

“Oh, that’s funny,” she drunkenly retorts. “I was dressed for Sunday Mass.”

The older woman lifts her palm up high and wide and swings it back down to land a sharp blow on her cheek. She buckles under the shock and pain and lands heavily on the cold, passageway floor.

“…Cause she's just under the upper hand And go mad for a couple of grams…”

She hears stifled laughter to her left. Two younger women stand a few metres away from the older one. They both smirk as she looks at them through droopy eyes. They are wearing full-length dresses, and their necks are bedecked with necklaces.

“Where’d you get that?” she mumbles.

*** She opens the door to a dark, quiet room and slowly makes her way over to the bed. It’s dressed in white, lacy sheets. She sits, slumped, at one corner.

“So, you weren’t invited to Abington then.”

Her eyes widen and she stumbles onto her feet in shock.

“You can sit back down darling, it’s only me.”

She remains standing, but sways slightly and laughs.

“Checking up on me, then?” Her laugh catches in her throat. “That’s thoughtful.”

The figure moves slowly towards her. The light from the window falls on the face of a m`an in his early thirties.

He wears a white shirt underneath a dark grey coat. His

The older woman answers for them.

“They’ve become very popular with a few bankers along Abington so they’ll be escorting them to parties this weekend.”

“Okay, am I — “

Want a different spin on Cinderella by the Brothers Grimm?

Samantha Dawes has provided just that.

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hair is black and slicked and shiny with modelling clay.

“I bought you something,” the man coos.

“A winning lottery ticket would be nice,” she replies coyly.

He holds a pair of gold high heels to the light as way of reply.

Her eyes flicker with excitement for a few, fleeting moments but they soon glaze over again.

“I can’t give that bitch one shoe.”

“Oh,” says the man, feigning hurt. “So, you won’t see me tonight then?”

She looks away from him, still dazed.

He moves closer to her until they stand chest to chest. He touches the tip of his bottom lip to her ear and runs his fingers gently down her forearm to uncoil her clenched fist.

In one palm, he places two one hundred dollar notes and a little bag of white powder.

“Now,” he chuckles quietly, “give your love bird a kiss.”

“…And in a pipe she flies to the Motherland Or sells love to another man…”

She slumps to the bed and lights the pipe while the man squats at her knees and unzips her boots. He presses his hands up her thighs, finds the seams to her stockings and peels them from her skin. He then straps the gold heels on her feet before rising over her and planting his wet mouth on her neck. She breathes in more and more of the white fog until her world is hazy and she feels delightfully numb.

“…Closed eyes and hoping for a better life…”

She returns to her favourite dream. She is in a huge yellow room that is lit brightly with shimmering chandeliers hanging from a ceiling that is as high as heaven. Everyone is taller than her too. She is wearing a white, silk dress with a pink bow. There’s a man next to her that smiles down at her, and pats her crown affectionately. Music starts and

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everyone begins to dance. The women’s colourful gowns swing and sway in rhythm to the bouncing jazz trumpets and drums. She smiles up at the man as he lifts her up onto the tips of his toes. He holds her steadily in his hands as he dances her around the room. She shrieks with laughter.

“Daddy, daddy! One more dance!”

“Of course, my angel, we will dance together all night.”

“What did you call me?” whispers a voice in her left ear.

But she ignores the voice and loses herself in the rise and fall of the laughter and music.

“Darling, darling,” coos the voice. “Answer me now.”

But his voice gets softer and softer and she cannot feel him on her neck anymore. She feels light, free, and the shimmers from the chandeliers become brighter and brighter as the music rises into a crashing crescendo.

“…Fly, fly For angels to fly To fly, to fly...”

“For angels to die.”

Switch the lights off and let me lie in the quiet Build a silhouette wall and I’ll hide behind it Every fragment of light moving until it combines The colour of things piercing my brain through my eyes Too many voices drifting fiercely in the air The sounds of their words are far too much to bear But when the lights are turned all the way down Space is infinite and there is nothing around

Sensory Overload Words by Nikki-Lee Lucas | Images by Gabriel Olaer

Cotton cushion, wooden table, vinyl stickers on the wall Touching the skin on my fingers, I can’t stand it at all Tensions in me rise and they vibrate through my bones But then I switch the lights off and I am safe and alone I can’t stop noticing the edges of everything I see Wondering what edges other people notice in me I have just one request if you’ll choose to abide by it Switch the lights off and let me lie in the quiet

A MIX FOR: PRIDE Words and illustration by Caitlin Tait

Living life peacefully, proudly, with love, and being yourself unashamedly.

Don’t Look Back in Anger – Oasis Rise – Solange HEAVEN – Troye Sivan ft. Betty Who All You Need Is Love – The Beatles Wild Roads – Ella Grace Loving Someone – The 1975 Third Eye – Florence + The Machine INTERMISSION: fLoWer – ZAYN Green & Gold – Lianne La Havas Overcome – Laura Mvula ft. Nile Rodgers Don’t Stop Me Now – Queen Don’t Throw Your Hands Up – The Cat Empire Imaginary Parties – Superfruit Born This Way – Lady Gaga Heroes – David Bowie

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Search @VerseMag on Spotify to find yourself

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Having just directed the latest UniSA production and smash Cabaret Festival show, Connor Reidy explores his commitment to George Michael and paying homage to idols.

Words by Connor Reidy | Images by Laura Grace Park George Michael is one of my many childhood heroes.

He’s alongside the likes of Debbie Reynolds, Little Edie and Montgomery Clift.

When I signed up for Live Performance Production and our tutors announced a show about the lives of passed musicians, I leapt with joy. I quickly considered Freddie Mercury, Judy Garland – my dedication to Kylie Minogue even caused me to consider her assassination just to have her included. Once I returned to reality, and realised the show could not solely focus on my favourite gay icons, I wondered who had the biggest impact on my life.

‘The enthusiasm fuelled the production we wanted to make… we were able to provide our performances with truth and truly honour each of them.’

George Michael was a constant staple in our household.

My mother has been one of his biggest fans since the 1980s Wham! days and owns possibly every concert tour of his on DVD. I can remember as a child secretly playing each of these DVDs whenever I was home alone.

Between the hit songs and screaming fans was footage of Michael celebrating with his gay friends, provocative clips of boys making out and men dancing in outfits of leather from head to toe. To 12 year old me this was terrifying – but it was the first time in my life I had ever seen homosexuality normalised.

I was determined to pay tribute to my hero, so I wrote scenes exploring the peaks and troughs of his career.

Moreover, I felt equally honoured and intimidated when I was given the role of director. As we brought the show together I was able to see the same levels of devotion other students had to their icons: Whitney Houston, Kurt Cobain, even our tutor’s love for Johnny Cash. These were all larger than life characters which each of us identified with in some way. This enthusiasm fuelled the production we wanted to make. Using verbatim theatre, we were able to provide our performances with truth and truly honour each of them.

Our season was a hit. While our previews were a little rocky, the final nights were a struggle to find empty seats. We explored the trials of Cobain, the identity of Bowie, the addictions of Winehouse, the abuse of Whitney, the icon of Cash, and the identity struggles of Michael. Every student was included in the process– whether it be onstage or off–in every aspect of the production. We had students control marketing, dressing sets and designing costumes, all to create an industry standard performance.

On closing night a sense of sadness arose. It was time to put the characters to rest and end our tributes. We had achieved more than we thought we ever could and all of us were satisfied with the homage we paid to the stars. When we see our icons suffering the same trials as us, experiencing the same tragedies, it gives us hope.

We hope this was shown to our audiences. These heroes face the same human conflicts we do on an everyday basis. It’s inspiring for a 12 year old child questioning his sexuality to see a superstar use his fame to celebrate his.

Words by Kayla Bentley | Image Madison Griffiths

Identity Circumference of ideas Splash of colours

Same in some ways

Little quirks

Different in others

The things that make me

Goals and dreams

That hold me steady

Screams

Smudge the words on that letter

Smiles for another

Can not marry

Bumping elbows

Achy war wound

Learning ways

Identity

Rainbow heartstrings

Faded lover

Left brained displayed

Brand new lines

Minority contemplating

Bright blue eyes

Still refuse

Got that hair

To hide identity

Jealousy miles

We didn’t choose

Twitchy fingers

Acceptance

Scratchy mind

In a piece by piece review

Seen by some

Impatient others

Harder to find

No time to enjoy the view

Identity

Self-love chosen freely

Mirror image of softer spoken words

Hold the hand closest to your heart

Entwined slowly in verses Queer Still here

Identity accepted by me Tough beginning New start

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Success Through The Seasons Words by Isabella Fornarino | Images by Emma Lucy Cuppleditch

Silvia Hart, the owner of the Seasonal Garden Café, tells us of her intimacy with food and how it is entwined with her upbringing and passion.

Food and family go hand-in-hand for Seasonal Garden Café owner and South Australian Entrepreneur, Silvia Hart. Growing up in a Hungarian/Italian family, food has always been the focal point of family gatherings and activities. Her parents came to Australia following the 1956 Hungarian Uprising without a penny to their name and settled in the Adelaide hills to start a self-sufficient lifestyle. Hart says her relationship with food began during her childhood on the family’s 6ha property in Basket Range.

“We grew all our own food—we had chickens, cows, sheep, veggie gardens and Italian aunts and uncles who were growing food on the plains.... When I think of my upbringing a lot of it is around food and it wasn’t a question that you wouldn’t cook—it’s just what you do,” she says. The tradition has passed down the generations, and Hart spends quality time in the garden and kitchen with her four children, aged 18, 15, 10 and 7.

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“Cooking is what you do with family, gardening and being around food is part and parcel of it...All of my kids can cook; even my youngest can make hollandaise sauce,” she beams.

Hart’s eye for great produce developed at an early age having free reign of the family property. “We foraged before foraging was a thing—I grew up knowing all of the wild edibles in the area, and all of the mushrooms and rosehips... All my kids know how to forage, they’ll go without me because that’s what they do,” she says.

Her resourcefulness has seen Seasonal Garden Café grow from humble beginnings in a cellar door on Main St, Hahndorf to its current premises further down the street with almost tenfold trade. The café serves sumptuous fare sourced fresh from the garden and local region, with wholesome options for vegetarians and vegans alike.

For the first 18 months, Hart worked with almost no kitchen gear, using camp equipment to heat meals and working late-nights alongside WWOOF-ers (volunteers from World Wide Opportunities on Organic Farms organisation). “We got up early, put the food in the car we’d cooked the night before, drop the kids off to care, open the café to do the day’s trade, then go home to start all over again... Little by little it grew and I was able to buy equipment and hire more people, eventually moving to the building next door to double the seating...

We moved to our current location in February 2016; I bet everything on it being a success, and it’s beyond success,” Hart proudly admits.

The café was the springboard to expand the Seasonal brand, opening Seasonal at its Hahndorf and Stirling locations in 2017, selling ready-made grab-and-go meals and coffee. “Seasonal is an extrapolated version of the café, it’s not fancy pants, it’s just good old fashioned

Silvia’s food philosophy prides the importance of ‘whole foods, season and definitely wild edibles.’ She says it’s simple… “eat corn, not corn chips. home food that’s not going to break your budget—and it’s going to be really good for you as well,” she says.

Silvia’s food philosophy prides the importance of “whole food, seasonal and definitely wild edibles”, she says it’s simple… “eat corn, not corn chips... Every time you can eat the whole food, do it; every time you can eat an heirloom variety, do it; every time you can eat a wild variety, do it,” Hart says.

Before her Seasonal ventures, Hart began in the food industry with business The Honey Lady. The concept developed during her three year stint on a permaculture property in Flaxley, where her self-sufficiency was put to

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test. “I lived without electricity so I had water that came from the dam, down into my rainwater tank which I hand pumped to the top of my building for gravity fed water...

I had a wood jacket on my stove and little solar panels that would heat water if I didn’t have a fire going, and a south facing cellar that allowed me to keep my goat milk,” she explains.

At the time she learnt the art of beekeeping from a previous partner, and her honey surplus stirred her to set up shop at the local Aldinga Farmer’s Market. “Before Honey Lady, quality wasn’t even a thing, it was who could do honey the cheapest...I talked about unheated, unfiltered honey and blending organic whole spices and herbs that you could use medicinally or in culinary ways,” Hart says. Using quality produce and creating a family of local suppliers has been the key to her success.

“I’m passionate about keeping our farmers on their land, this can’t happen without businesses like mine that support smaller growers and have seasonal menus.”

The fresh, hearty meals served in her cafes use greens from Salad Greens & Kitchen Herbs in Chapel Hill; cheese from Udder Delights, Hahndorf; Ashbourne Orchards for apple cider vinegar; Adelaide Hills Pasta Eggs for eggs; and bread from Rustico Bakery. “We use a couple of

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growers at the Adelaide Showgrounds Farmer’s Markets, Patland Gardens and Aldner Farms.”

The Seasonal Garden Café has an abundant orchard and meandering gardens that yield seasonal produce year round. “We’ve got squillions of pumpkins that have just been harvested; we had tomatoes coming out our ears in summer and loads of herbs like sage, thyme, parsley and rosemary,” she says.

Hart’s team of just under 45 staff are her very own work family, including a childhood friend Kelly, who is the Manager at Seasonal Garden Café. Food flair runs in the family, and the decadent display of cakes, slices and raw treats are lovingly made by head Patisserie Chef, Silvia’s daughter Magdalena, who joined the family business after working at Maximillian’s and an apprenticeship at Africola.

Hart says the success of the Seasonal brand is a testament to the amazing people she works with.

“When you have a great team you can do anything and I’d like to think that our workplace is kind of unique— we’re not just deep frying schnittys and throwing chips on a plate, we’re doing something pretty amazing and everyone’s excited to be a part of that,” Hart says.

Words by Bridgette Minuzzo | Images by Sash Corowa

IN BED WITH...

Days, oh days in bed Feeling out of my head

Hardly sleeping Drinking anything

Tossing about In a hot sweat

Can’t stop moaning Here we go again!

Feeling sexy?

You misread me.

Hot and steamy?

Yes that’s me

But my bedfellow Is a dreaded lurgy.

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Ramadan Ramadan Ramadan Ramadan Ramadan

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Words by Arnis Silvia | Images by Lisa Vuong

The sunset melts above the Torrens, The ode of Kookaburras resume the day

In the dark early morning I awake,

A veiled lady searches for her Qurans,

Before the first B10 bus passes

Dusted at the corner of book display.

Suhoor meal and warm honey I make

The hilal spells a new moon,

Preparing the entire cells to fast

the holy month of Ramadan

Fasting for a one day journey

at the gate of winter in June,

From the sunrise to the sunset

brekkies held at the dawn.

My soul is not always ready Yet it’s longing for a mental reset

Athan is sounded from minarets, A call for a maghrib prayer

In the land of mosque scarce,

Beneath the sky the sun sets,

My Ramadan of silence

comes the eleventh month of the year.

Friends were worried that I’m too harsh

Men in white caps; ladies in white veils

Emptying tummy for twelve hours.

Reset the routines of evenings

Body resists from any pleasure

Cold wind streams down the steep dale

Food, lust, greed, enjoyment, abundance

The fasting month is beginning.

Fasting is a soul training I assure Emptiness teaches noneness and patience

My dilapidated soul ashamed Yet excited to see holy nights

By hunger I feel the famine of my brothers

Like a bastard longing for an innocent beloved

In far far away lands of pittance

restoring intention to do rights.

Mine is only a day withers,

My sinful hands were shaking

Theirs is gluttony of constant.

Holding anger, jealousy and greed

By thirst I am longing for clean water

My days were ambition, my nights were dreams

abundance for me, luxury for them

O..Ramadan, my sinful heart bleed.

their thirst is eternal, mine is shorter O gratitude, you are a gem.

As the sunset melts above the Torrens, And Kookaburras resume the day maghrib athan is my sirens hunger and thirst met their gourmet.

The day of ambition has conquered The night of dreams melted My dilapidated soul needs a long run O, the month of Ramadan.

In[ter]view Verse Mag’s Regular Graduate Interview As told by Janine Mohamed | Images courtesy of Janine Mohamed

Current CEO of Congress of Aboriginal and Torres Strait Islander Nurses and Midwives (CATSINaM) and recipient of UniSA Alumni Award, Janine Mohamed provides an insightful overview of how her work, culture and identity go hand in hand.

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Starting as a student at UniSA to the CEO of CATSINaM, how has your journey been? Could you tell us more about it?

I am a Nurrunga Kaurna woman, which means I am from the Adelaide area, but I grew up at Point Pearce mission in South Australia. I realised I wanted to become a nurse at quite a young age, after I witnessed the traumatic experiences my family members endured at the hands of the health system.

After graduating, I worked clinically in hospital-based paediatrics, and medical, surgical, and cardiac care, as well as in Aboriginal aged care programs. Along with that, I coordinated care and hearing programs and also contributed to a national Aboriginal palliative care project, and conducted research into birthing on country.

I moved to Canberra in 2007 to work in senior positions for National Aboriginal Community Controlled Health Organisation (NACCHO), as coordinator for a range of programs in hearing, governance, medicines and national tobacco control. I also helped to establish the Close the Gap campaign and was part of an Indigenous peoples’ delegation that participated in the United Nations Permanent Forum on Indigenous Issues in 2011 and 2012.

Underpinning my work in all of these roles is my passion for self-determination and the community controlled health sector. Since taking up my current role at CATSINaM in 2013, I have focused on growing the organisation and its relationship with members. I am

In Aboriginal and Torres Strait Islander paradigms, health is not perceived narrowly as “the absence of disease”… we centre the importance of selfdetermination and connection to country and culture. proud to be an advocate for the unique and powerful roles that Aboriginal and Torres Strait Islander nurses have in the health system and their communities, as agents of change.

What were some of the significant struggles that you’d faced and how did you overcome them?

When I first went into nursing, it was something of a shock. The culture of nursing stands in stark contrast to my culture. Nursing history has a strong emphasis on hierarchy and being regimented. Your importance—and therefore your power—is based on where you are, in both the nursing, and the health system structure.

In contrast, my culture, or our ‘Indigenous knowledges’, places value on what I can achieve—as a connected individual within a family and community. I am respected for how I contribute to the family and community, not just my position in it.

But like many Aboriginal people, I am very well versed in moving between two worlds.

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I am also very familiar with the ongoing nature of colonisation; how it continues to have a devastating and ongoing impact upon the cultural, spiritual and emotional and social wellbeing and health of Aboriginal and Torres Strait Islander people. Over many years, I have learnt ways to avoid and manage the racial profiling and microaggressions that are part and parcel of everyday life for Aboriginal and Torres Strait Islander people.

The questions that we get asked and the comments we hear usually say FAR MORE about the person asking them than about us.

I’m thinking about comments like these: - ‘You’ve done well for yourself’ - ‘Aboriginal people get so much given to them’ - ‘You’re too pretty to be Aboriginal’ - ‘Yes, but you’re not like the rest of them, you’re different’

Image: Wirrim Media 2016

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These sorts of comments reveal just how deeply the deficit view of Aboriginal and Torres Strait Islander people is embedded into the psyche of mainstream Australia.

What and who has been your greatest support or an inspiration?

When you ask this question, I think of all the Aboriginal and Torres Strait Islander nurses and midwives who have come before me. Aboriginal and Torres Strait Islander people undertook the roles of nursing and midwifery for tens of thousands of years before the first Western nursing and midwifery school was set up.

I might also add that effective systems of regulation have been embedded in our cultural knowledges and practices over many tens of thousands of years.

Importantly, these systems have supported and sustained our holistic world-views of health and social, emotional, spiritual and cultural wellbeing.

In Aboriginal and Torres Strait Islander paradigms, health is not perceived narrowly as “the absence of disease” or as an outcome of healthcare. Instead, we centre the importance of self-determination and connection to country and culture.

We recognise that the social, emotional, spiritual and cultural wellbeing of the whole community is paramount in determining the health and wellbeing of individual members. The holistic nature of our knowledges and cultures locates health in culture, community and kinship networks.

This cultural knowledge and connection to culture sustains me in my work, as does the knowledge that I am walking in the footsteps of so many others who have come before me.

I pay my respects to our Elders, past and present, whose wisdom inspires and informs my work. I also acknowledge Elders from other cultures - about two years ago I had the privilege of meeting Professor Moana Jackson, from Aeoteroa. He is truly an inspirational Maori leader. He challenged us at CATSINaM to ‘see beyond the mountain’, to envision our future at all costs, and to be brave because that is the way of our people.

He also reminded us that we are storytellers – Moana inspires me in my work, as I am often telling stories with the aim of achieving change.

Could you also let us know a little more about CATSINaM and how it has been helping Indigenous nurses and midwives?

We are the peak body representing Aboriginal and Torres Strait Islander nurses and midwives across Australia, but we are also Aboriginal and Torres Strait Islander Peoples before we are nurses. This means we are on a lifelong journey together to fulfil our cultural

obligations and commitments to our communities, families and ourselves.

We now have over 3,000 Aboriginal and Torres Strait Islander nurses and midwives. We are only about one percent of the nursing and midwifery workforce -- although we punch weight far above our numbers in terms of our impact at all levels of the health system, from service delivery to research, education and policy-making.

The holistic nature of our knowledges and cultures locates health in culture, community and kinship networks.

Would you say that empowerment one of the key aims of CATSINaM? I’d prefer to put it slightly differently. One of our key aims is to promote and embed a framework of cultural safety in health care. This will improve the recruitment, retention, and wellbeing of Aboriginal and Torres Strait Islander students, nurses and midwives, as well as improving access and quality of care for Aboriginal and Torres Strait Islander patients.

Cultural safety is as important to quality care as clinical safety. It includes regard for the physical, mental, social, spiritual and cultural components of the patient and the community. Cultural safety represents a key philosophical shift from providing care regardless of difference, to care that takes account of peoples’ unique needs.

Culturally safe and respectful practice requires having knowledge of how one’s own culture, values, attitudes, assumptions and beliefs influence interactions with patients or clients, their families and the community.

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It is very difficult to empower people if they are working in, or seeking treatment from systems that are culturally unsafe.

This cultural knowledge and connection to culture sustains me in my work, as does the knowledge that I am walking in the footsteps of so many others who have come before me.

What are some projects you’re involved in currently?

Much of the work that I do is around advocating for cultural safety to be embedded into our systems and services. For example, at CATSINaM, we are campaigning to have the Health Practitioner Regulation National Law Act 2009 amended so that it clearly identifies cultural safety as a priority.

Other issues that I am advocating on include: 1. I want to see the nursing and midwifery professions make a formal apology to Aboriginal and Torres Strait Islander people, following the example recently set by the Australian Psychological Society.

2. Establishment of a National Aboriginal and Torres Strait Islander Health Authority to lead development of national Aboriginal health policy and be “the watchdog for all expenditure on Aboriginal health and matters impacting on Aboriginal health”.

3. A properly funded Leaders in Indigenous Nursing and Midwifery Education Network, through which universities and health services can develop and share good practice in culturally safe health care.

4. A dedicated National Aboriginal and Torres Strait Islander Nursing Workforce Strategy to fast track workforce increases.

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AND 5. Continued funding for CATSINaM past June 30, 2018.

Any messages to aspiring nurses and midwives?

Yes!! We need you. We are working hard to increase the number of Aboriginal and Torres Strait Islander Nurses and Midwives. To do this, we need the support of ALL members of the nursing and midwifery workforces.

If you are an Aboriginal and/or Torres Strait Islander nursing or midwifery student -- please consider joining us at CATSINaM. Your membership will be free, and it will be a great opportunity for you to develop networks, to participate in our events, to access our resources and to inform our work going forward.

If you are a non-Indigenous nursing or midwifery student, we also welcome you to join us as an affiliate member. It’s a great way for you to learn, develop networks and to support your Aboriginal and Torres Strait Islander colleagues.

Lastly, where do you see yourself in five years’ time?

Never mind five years! I’ve put some thought into where I’d like to be in 20 years’ time. You might like to read my vision for Australia in 2037, which I presented in a keynote address to the National Rural Health Conference in Cairns recently. You can read the full speech at croakey.org.

That speech reflects my dream for Australia in the future – it is a place where my descendants never experience racism, where all Australians are proud of the world’s oldest living culture and have a shared understanding of history, and where there are many Aboriginal and Torres Strait Islander Members of Parliament in all jurisdictions.

Words by Judah Cricelli | Images by Sarah Sturm

A Bunch of Words Green cotton caught on clasping hands, Red silk in strands, elastic bands, Sewn ruffs soon wreathed in whists and bells, And longed-for smells, wet sand and shells, A trickling bead of trickster's trim And corrugated sheets for him, It's nonsense for the plist and plim And grizzly grim when lights are dim, But thinking now (beyond my brow, With raising highbrow black eyebrows) I somehow wonder: "wow, but how?"

A nonsense vow I sometimes spurt From raisin lips and quilted skirt, Cause snow can show and so can sew, But not the cow (coh) or squealing sow (soh).

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common thoughts

Words by Georgia Lawrie | Images Jordan Maywald

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Forgive me friend, if sometimes you can’t pull my mind to earth, I’m irresolute star substance; finding my feet from the minute of birth, Till the day humanity falls from me, and I rise up; gliding the universe, My time on this soil is meant for justice, for understanding, To give myself a common thought for eternal grounding.

So on Earth I strive to do everything passionately; Jump right in, or be like, “Imma be disagreeing, actually,” And make a stand, from the point of view of heart to hand, From spirit to physical, anyway enough about that miracle,

To fail to see someone’s thoughts, their inner, magical force, And instead look at their humanly path and course; To focus on who they love, their job, their genetic make-up, You know exactly what those terms are getting at – Equality is the basis of our existence,

Fighting that is ignorant, it’s futile resistance, Let’s talk about us, about the fact that if we desire to stand for existence’s beliefs, Do you want to pass to the vastness of time and space, That means we can be standing by equality, through every bare branch turned emerging leaf.

And wonder why spent your human time as a waste?

Beginning again, the end, the start, Follow the immortality of the metaphorical heart, Cleansing hands; Pure ablution of my human flaws, Like the ocean’s constant renewal of shores.

So as I try and fill the journal of my Earthly spirit, There’s something I need to make clear, for you to hear it, It’s something we all know, but so raw we fear it, but here it is;

Cause you fought someone else’s identity, Like it was someone you owned, your personal entity?

That notion never made sense to me.

Beginning again, the end, the start, Follow the immortality of the metaphorical heart, Cleansing hands; Pure ablution of my human flaws, Like the ocean’s constant renewal of shores.

It’s surprisingly easy to ignore the idea of honest love, no doubt,

In this world now, equality and humanity aren’t consistently placed together, To simply see someone’s physical and not the essence of what they’re ‘bout.

But just remember, one human life isn’t the only forever.

The occurrence of change is steadfast and standard, So maybe in this moment, the ignorant, the un-founded, The ones who are consistently dumb-founded, By equality and love, don’t see the eternal understanding; That every damn life is a life of unchangeable mattering.

The artwork of Nicole Faiello

Imag[in]e Verse Mag’s Regular Student Art & Design feature

Design encourages the concept of imagination and to produce what’s not necessarily inside the box. 3rd year visual communications Graphic Design student Nicole Faiello throws odd limbs and things into a creation that not only tricks the eye but also come together for a pop art-y, mellow design.

Interview by Rachael Sharman | Graphics by Nicole Faiello

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What sparks your interest in combining an element people would eat, with a physical part of someone or objectified object?

Ooooh, well I’ve always kind of been captivated with the way in which the human body can be symbolised.

I feel that when connecting an object or element that isn’t commonly juxtaposed against a physical part of the body gives audiences a chance to figure out and create their own meanings which I think is a great thing and kind of allows the viewer to be connected to the design as well as yourself.

I also feel as though some fruits such as cherries, peaches and other objects are quite sexualised and have the ability to represent countless meanings so I tried to show that through some of my designs.

To me design and art has the ability to leave people with numerous impressions and notions of what a piece of work could mean and I think the idea of it being a bit twisted and confusing leaves people wanting to know more about it. I also enjoy the idea that items such as food or even every day objects can symbolise and project a meaning greater than when it's shown on its own.

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I see the recurrence of a dripping elements, repetition and fading of objects, are your designs, in a sense, a representation of your experiences or persona?

'I try to show through colour and imagery that I don’t have much angst left in me.'

I guess you could say it is, most of the designs I create are from my own experiences and what I take from them, which is then twisted in my own way and put into a design that probably doesn’t make sense to some people but shows how I felt and saw the situation. Then again some designs are basically just stuff I see everyday which are then connected together to represent a certain emotion or scenario.

With strong Graphic elements, where do you envision your work?

In a sense the designs fading out and dripping are a way to communicate my persona as I am pretty extroverted and unflustered (what a word) about most things so nothing I create is really serious and dark, but yeah hahah, sorry for the little dramatic bio about myself but I try to show through colour and imagery that I don’t have much angst left in me.

Your work highlights strong, distinctive lines and solid contrasting colours- what message do you intend to send through these elements?

I think the message for each design kind of varies depending on what they represent. The warm and pastel colours are a way in which I show that situations or scenarios don’t have to be bad and just highlights the quirkiness and peculiarity that is rarely captured but I kind of enjoy.

Ahhh well to be honest seeing as I haven’t really expanded beyond doing a couple of Instagram posts and a few interviews I would say anywhere hahah! Just teasing, but not really, probably in magazines and on posters. Although, I would love to have an art exhibition, even see it up on a wall, as tattoo designs, but really, anything which isn't on the computer screen, would be so bizarre to see! I’m pretty much up for any kind of way it could be used, not very fussed. As I shouldn’t be hahaha. Hopefully soon my close friend and I will be setting up a market stall and I will be selling some designs so hopefully that goes well.

Say, your graphics grooved to the backing track of some musical genius …. Who would it be? And what correlation do you draw between them?

Oh wowza what a good question, music is a big part of my process and influences my designs quite a lot so I don’t think I can pick one really. Oh no don’t want to be one of those people who adds on haha but I would say either Client Liaison, Sui Zen, Palms or Alpine.

Three bands I know, but I find them to have songs or some songs which fit well with the quirky and chilled ambience that is expressed through my designs.

What future plans do you have for your designs?

I kind of want to expand and improve on designing and see what I like the most, there is always room for improvement! I’m planning on maybe pinning a style down so there is consistency but I don’t know, I quite like how my designs have different visuals but the rhythm and repetition of characteristics are the same.

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'Design and art has the ability to leave people with numerous impressions and notions of what a piece of work could mean.'

Is there a space or environment you commonly find yourself creating designs in?

Sounds so boring but I’m usually creating designs in my bedroom because no one really bugs me when I’m in there hahah, also because I can put on music and other sounds are kind of mute. As my memory is a bit photographic I like to see stuff in everyday life and then go and draw it later as my perception of it is a bit warped and I can really think about the designs meaning and what I envision it to turn out like.

Okay, so what fruit are you going to mix in next, because personally I think you could work a pineapple or avocado kinda fresh summer salad?

Hahahah I love it. What a great choice of fruits, although every time I think of avocado drawings I think of those terrible greeting cards or tumblr designs saying “lets avocuddle” with the two sides of avocado’s trying to cuddle hahaha and that is not happening so I’d say probably a peach, cherry, or orange again or berries.

Check out Nicole on Instagram @nicolefaidesign

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new month new me

Words and Images by Caitlin Tait

I’ve never been one for New Years Resolutions. I’ve always believed if you want to make a change, there is no reason to wait. However, there is something refreshing about starting on a Monday, or the first day of Spring, for example. On the first day of February I started dancing every day. And I’ve kept that deal, bar a handful of days.

August has been my favourite month for as long as I can think. I have no real reason aside from it making me think of an old friend and the way it looks when it’s written in cursive. But this year I’m celebrating in a different way.

Mid-year resolutions.

- Start assignments early.

- Don’t be afraid to ask for help from teachers, friends, mentors.

- Only buy second-hand clothes.

- Use less plastic.

- Stop biting my nails.

- Try new recipes. Mushroom risotto and dal can only be cooked so many times.

- Go for daily walks.

- Knit a scarf for my best friend.

- Write gratitude letters.

They may be small things, and I may not keep any of them.

But if something is important, it’ll happen regardless of when you start, whether it be August 9th or a Thursday in September.

It’s important to make time for things you love, and realistically? What I love most is art and kindness, so it will never be a hassle to knit a scarf for Sarah, or try to reduce my waste. This being said, it’s important to recognise that habits take time (or unlearning something, like biting your nails), and that if you forget to dance tomorrow or start an essay three days before it’s due – it’s okay.

We’re all just trying to find our way and make small changes. There is power in trying, and lessons in falling short. You and I will both grow regardless if we keep our midyear resolutions or not.

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palestine The makeshift coffins of boys and girls A blindfold over the entire world

Children raised to the sound of drones, and murdered as they pick up stones

I ask, what would you do?

When your pulse is their reason to shoot you

Stolen land, false plans criminals in suits, claiming your land

no words the tragedy I see When will Palestine be free?

Words by Mikele Prestia | Images by Joshua Olavesen

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V

X: Student Voice

We caught up with students mid semester break to hear their feelings around what's happening in the world right now.

Words & Photos by Rubina Chitrakar

Nishara Perera Bachelor of Law In light of what’s happening in the world right now, what makes you feel safe?

Home would be the place where I’d feel the safest, with whatever is happening around.

How have world events impacted your outlook?

To be honest, I was raised in Sri Lanka and there had been a civil war going on at the time when I was born. There had been constant bombings and attacks.

I think I had gotten accustomed to that kind of an adverse environment since the beginning so what is happening now does not surprise me. It is all the same for me but I do feel terrible for what’s happening. And I am so glad that our civil war is over.

On a lighter note, do you have any mid-year resolutions?

To get a better GPA. I’m more concentrated on my studies right now so that’s about it.

Ruthy Barauvula Bachelor of Psychological Science In light of what’s happening in the world right now, what makes you feel safe?

Staying at home and going back home would make me feel safe.

How have world events impacted your outlook?

It has not really affected my outlook. According to my religion this is what I am expected to see in the world. Despite what happens, the world will continue and move on. When things happen, all I do is try and see the positive side of things and move forward rather than pondering on the negatives because at the end of the day, this won’t stop. We don’t know what really goes on in the mind of people who cause all these events. As a person who lives and shares this world with these people, I need to move on.

On a lighter note, do you have any mid-year resolutions?

My first priority is to stay focused and achieve what I am here for. Also make my sponsors proud, my family and finally my country proud of me.

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Chirath Peiris Bachelor of logistics and supply management In light of what’s happening in the world right now, what makes you feel safe?

Being close to my family and friends keeps me safe. I guess being more open with them, keeping touch with friends and socialising more is an assurance that they have always got your back.

How have world events impacted your outlook?

Oh, absolutely! Recent events, especially these bomb explosions and attacks.

Seeing families and children suffering and separated, you feel sorry and sad but being here and not being able to do anything for them makes me feel really sad. Doing what I can from here, like donations and charity is one way of helping so that at least I’m doing something good. I try to help as much as I can.

On a lighter note, do you have any mid-year resolutions?

Since I am done with my degree now, I will be looking for jobs and any opportunity I get in my area. And I have not gone home in the last two years so I plan to visit my family and friends and of course, I am looking forward to my graduation (laughs).

Karthika Nair Bachelor of Finance In light of what’s happening in the world right now, what makes you feel safe?

Knowing that there are people who are doing something about it makes me feel safe. But then, some politicians (I shouldn’t take names) seeing them and those incidents set it back.

How have world events impacted your outlook?

Life is too short, you never know what is happening and what will happen.

I had a few friends in London when the attacks happened there, and they weren’t directly affected but seeing something like that happen is certainly a harsh reminder of uncertainty of life. If you have something to say to someone, just say it, don’t wait for things.

On a lighter note, do you have any mid-year resolutions?

I think I’m definitely going to be volunteering more. I like the concept of giving back to the community so I am volunteering in a community home and at the university. And also keeping fit I guess!

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Emma Faggotter Bachelor of Tourism and Event Management In light of what’s happening in the world right now, what makes you feel safe?

Educating myself about the situation because I feel like media is always blowing things out of proportion. That would be the main one I think. All the these going around, it really starts riling people up but it is important to remember that hate is never the answer.

How have world events impacted your outlook?

Immediately after a horrible incident or a terrorist attack, it is really harsh on your mental health and your ability to go about your normal day. Like most things, it takes time to heal. And I feel like if you manage to see that people are making changes for these things to not happen again, it is easier to move on from terrible things. So just like acknowledging that things are changing for the better helps you move on.

On a lighter note, do you have any mid-year resolutions?

I’m still in my first year, so I guess I am still trying to find my footing. But now that I know a little about what it is like studying and managing things, I guess trying to get my grades up would be one.

Aman Syed Bachelor of Commerce and Accounting In light of what’s happening in the world right now, what makes you feel safe?

I just carry on trying not to let it affect me. You can’t stop doing what you have to. Obviously, you acknowledge what is going on but you can’t stop doing what you are doing.

How have world events impacted your outlook?

In terms of travelling I guess. Before you just picked a spot to go but now you have to think about where you’re going and how your trip might be affected by the things happening around. It never used to be safe but now it just needs more vigilance.

On a lighter note, do you have any mid-year resolutions?

Trying to live as full as I can without letting any incident come in my way.

And travel more (laughs).

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A Word from your

USASA Student President Welcome back to uni everyone! Your USASA representatives will be out and about for SP5 O’Week. Make sure you’re taking advantage of all of the services that USASA has to offer. Visit our USASA counters to pick up second-hand textbooks at a discounted price, and freebies. Get involved and join a student club, or come see your student representatives for a chat!

At USASA we have just established an Education Committee, in which we are seeking student representation from each school in the University to gain a broader and diverse range of student voices engaging with USASA. We are offering training and support for student representation across the University. We are also building a student representative framework, and in the second semester I will be seeking more student voices to build into the framework. Please let me know if you’d like to be interested.

Across July 17 th to August 5th , the University and USASA will be running the Student Service Amenities Fee (SSAF) survey. We will be roaming across campuses over the week of the 24th July asking students what they want their SSAF to be spent on, across the following dates:

City West campus Monday 24th July City East campus Tuesday 25th July Magill and Whyalla Wednesday 26th July Mawson Lakes & Mount Gambier Thursday 27th July

On the 1st of August the Human Rights Commission will be releasing the results of their sexual assault and harassment survey, which surveyed 39,000 students across the country about their experiences on campus. UniSA will be releasing the individual results of their campus. Currently USASA is working with the University to ensure that we have strong survivor-centric policies that support students and staff experiencing sexual assault and harassment.

Please let us know if you would like to bring anything forward to the process.

On the 8th of June, the USASA Board provided a submission to the Senate Committee on the Higher Education Support Legislation Amendment (A More Sustainable, Responsive and Transparent Higher Education System) Bill 2017, in response to the Federal Government’s proposed higher education reforms. The USASA Board submitted a paper opposing the proposed raising of fees, lowering of the HECS repayment threshold and $2.8 billion cuts.

Furthermore, the USASA Board is opposed to the proposed removal of the Commonwealth-supported postgraduate study and the shift towards the scholarship model. We believe that such measures will have devastating effects on students, and lock students out of higher education. We are also deeply concerned about the Federal Government’s proposals to shift the fee-free enabling program in UniSA College, to a HECS-contributed program for foundation studies programs. Such programs are vital for equity and accessibility to higher education.

As always, ask me if you have any questions Kayla Dickeson USASA Student President Kayla.Dickeson@unisa.edu.au

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August

What the heck is there to do around here? These things.

USASA SALA Exhibition 3rd: USASA SALA Exhibition Celebrate the creativity of UniSA’s emerging artists and designers at USASA’s SALA showcase! 4-31 August at Upper Fenn Place, Kaurna Building façade, UniSA City West Campus.

4th: Slip, Slurp, Slide Pub Crawl 5th: Physiotherapy Ball

Opening Night Exhibition: 3 August 5:30pm-8:30pm Join the exhibiting artists for a celebration of their artwork with food, drinks, live art & live music!

10th: Art After Dark West End

11th: Occupational Therapy Ball 11th: Don’t Drink & Draft Pub Crawl 11th: SP5 Enrol by Date

14th: Verse Edition 18 Submission Deadline

Free Money!

19th-20th: Whyalla Show

Apply for a Student Leadership or Club Grant before the August 25 deadline. Grants for between $500 and $2500 are available every month! Visit USASA.sa.edu.au/grants to find out how to apply.

25th: Club & Leadership Grant Application Deadline 25th - September 24th: Fran Fest

31st: SP5 Census Date

If you’d like to organise an event, join or start a club! Visit USASA.sa.edu.au/clubs

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Background Images by Josephine Ainscough

Sexuality, sexual experience, dating or lack there of? Let’s talk about it!

Send your sex-themed artwork or article submissions before August 14 to contact@versemag.com.au Edition 17 2017

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Y T I C E H T G N I R U O L O C

Words by Jessica-May Mason

Joel Van Moore, most commonly known as Vans the Omega, has been painting friends and familiar faces all over Adelaide’s walls for more than twenty years.

When you ask Joel about his creative incentives and style, he says, "It is never 'why,' but 'why not' for me. Expression is what we all feel compelled to output." Amen! The experienced painter draws inspiration from nature and hasn’t stopped painting since he stepped in his nanna’s art studio.

No doubt, you will be spotting many more colourful canvases painted along the city’s streets in the near future, but for now here is a little about what the mural artist most likes to paint, some challenges he overcomes, plus more.

When did you begin painting or become interested in painting?

I was painting from the age of three and didn’t ever stop. I was exposed to my nanna’s art studio from day one and got to play with a lot of materials as a very young kid and just didn’t stop. Graffiti became an obsession in the mid-80s and I was scribbling around my school and neighbourhood from 1985, before I finally did an all aerosol piece in 1990. I always felt such an attraction to colour and letters, and graffiti filled this void for me. It had a lot of culture behind it too, which I loved. left: Vans the Omega Mural amongst Adelaide Streets. (photography

by Jessica May-Mason)

Why did you start painting on such a large scale?

Initially, it started off with graffiti. If it was bigger you could see it from further away and it gave the piece more impact. Later, when I started doing exterior large-scale works, it had to fit the architecture and scale of the building being painted, so the scale of the art just increased with the available walls given over to paint.

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above: @telmomiel was one of many artists who helped transform Port Adelaide's walls to 'Wonderwalls'. (photography by Jessica May-Mason)

How many murals have you done around Adelaide & what is your favourite part about painting in Adelaide?

If you count graffiti pieces its way over 1000 in Adelaide.

Mural wise I have painted around 100 odd pieces over 24 years since I painted my first commission at age 16 for Unley and Plympton RSL. What is your favourite mural to date? Why? Probably a work I did in Goodwood of a local guy who lived around the corner from me. John always intrigued me and I feel like I really captured him in the painting and spent the time to do it right.

'I think any opportunity to do what you love and be successful in whatever way has been a blessing.'

Is there something you most commonly like to paint?

Do you have a particular style?

My name and pictures of my friends are something I definitely paint most often. My style is really a collision of all my prior bodies of work over a 30-year span. I have heaps of drawings from 20-25 years ago that have all the elements of what I have refined in my work today.

Where do you draw inspiration from?

What are your go to/favourite products to paint with?

I use Ironlak & Sugar as my go to spray paints and Taubmans Endure for exterior works.

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Mainly nature, architecture, my friends and skateboard graphics.

Biggest challenge as a mural artist?

To accurately communicate what you are trying to get produced as an artist and factoring in the elements and time constraints, along with expectations and weather conditions or mechanical failure while painting.

Fatigue and mental strength play an enormous role in large-scale works.

What are some of the opportunities you’ve had that you are most proud of?

I think any opportunity to do what you love and be successful in whatever way has been a blessing. I work very hard and do my very best every time so I can rest on this effort. Like most artists I am never satisfied and will strive to be better and grow with every chance I get.

Do you have any projects coming up? Or any future plans?

So many projects all over the place. As long as I am fit enough, I will paint outdoors.

Joel has taken his craft to many corners of the globe, and was just recently involved in Wonderwalls Festival— helping bring together a collective of like-minded artists to illuminate Port Adelaide’s bare buildings with their brushes and aerosol cans. If you didn’t get the chance to head down to Port Adelaide during the Wonderwalls Festival in April, you can still download a mural map at: wonderwallsfestival.com and take a look for yourself! below: One of many Vans the Omega murals hidden amongst the streets in Glenelg South. (photography by Rachael Sharman)

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Words by Kristin Vaiciulis | Images by Patrick M.

Winter The smell of the cold frost outside your window upon waking up while being wrapped in a blanket The first sip of hot coffee that sends warmth throughout your entire body Soaking under the running water of a hot shower The warmth of a thick sweater and a scarf as the cold air hits your face Spring The smell of fresh grass The blooming of flowers The sun peering through the rain clouds shining a ray of warmth down into your soul Summer Soaking up the heat of the sun as you lay on a towel at the beach The feeling of your feet in the sand Water running up to your ankles as you walk along the shoreline Licking up the dripping ice cream off of your hand Autumn The leaves changing colours Falling gracefully to the ground one by one The smells of moisture on the trees as you walk through nature The smell of the seasons ready to circle again Edition 17 2017

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The

Words and Illustrations by Sam Richards

Victor enters, clicks his fingers and Johnny pours him a beer.

Victor takes a long sip and places his glass down. He snatches over the bar at Johnny’s apron but Johnny sidesteps.

“Ah, don’t be like that,” Victor says. “I wouldn’t hurt you. We share a close friend, after all.”

The entry bell rings. Victor swivels on his stool.

“Wilson, you old dog,” he says.

He pulls a wad of money from the pocket of his jacket and, staring at Johnny, removes a twenty.

“Change for the table. And another beer.”

Johnny opens the till and gives Victor twenty back, part cash, part coins. Victor flips a coin to Wilson: the copper clinks on his fingernail. Wilson catches and slots it instantly, releasing the balls. Johnny slides the full glass across the mat. Victor grabs it and makes for the table, where he raises it at Wilson, now aligning the triangle.

“Yvonne teed off again,” Victor says. “The whole eighteen holes. Says I’m not keeping my promises.”

“Go on then,” Victor says. “Break.”

Wilson breaks. The balls scatter and he sinks a red one.

He misses his next shot.

“What right does she have to get angry over broken promises?” he says. “She promised me she wouldn’t obsess.

What became of that? I can’t do it anymore.” And then, with sudden eye contact: “This is my last night here.”

Victor leans over the table and shoots before his head is still.

The white ball jars to the right, just clipping a yellow ball.

Johnny’s insides churn with acid, which he tries and fails to ignore. He glances at the photo mounted on the wall 58

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overlooking the table, but quickly looks away.

Now that was a strong man. Look at his grip on the trout. Have you ever seen anything surer?

Johnny lugs the spin rod and reel uphill towards Charles’ house.

Dad must be jealous, he thinks, if he claps me out of the house like that. But his resentment does not linger, not with the path warm underfoot at just 10 in the morning and Charles opening the door with a laugh and the words ‘we’re fly fishing, son.’

They walk through the golden fields of wheat to the stream.

Johnny tangles the line and blushes, but Charles is patient, guiding him with a warm hand on the shoulder.

Soon enough they are fishing freely and Charles yanks a ten pounder out and onto the bank. It thrashes, a glimmering bar of gold in the trodden weeds.

They walk home along the stream. Charles speaks of the inn and how he’s inherited it from his father, about how we inherit the earth from our fathers. Johnny jumps when he sees Yvonne: how can one swim so silently? Yet there she is, treading water.

Charles keeps his hand on Johnny’s shoulder. You’re his son now, she says. He always wanted a son.

But life is like pool. You can sink the eight ball at any moment, early or late, and then the game is over. All Charles can do now is watch from the wall. I wish he wasn’t smiling, thinks Johnny. It doesn’t seem right. He wouldn’t be smiling.

The phone rings.

“Hello?” Johnny answers.

“Hello Johnny, it’s me,” Yvonne says, “Is Vic still there?”

“Yes, he is.”

“Has he got the money on him?”

“It’s in his jacket on the coatrack.”

“Please get it for me, will you?”

“Of course.”

“I’ll see you soon. Be out the front?”

“Okay.”

Johnny scrubs a table near the coatrack and watches for the right moment. Victor weaves along the narrow end of the table, lowering to its level, tossing the upright pool cue from hand to hand. Wilson whistles to imply that the shot is too far-fetched.

“I’m going to do it,” Victor says. “For you all, as a parting gift.”

Johnny’s moment is now. He slips the bundle of money out from the hanging jacket with ease.

Victor jams the tip of the cue into the point where the ball meets the table. The ball soars over the others and continues to rise. It clears the edge, bounces on the slate, and springs into the picture of Charles. The glass shatters to the floor and the close spectators flinch. Only a few fragments of glass hang together at the top of the frame. Victor picks the ball from the rubble.

“Two shots!” he says.

Johnny catches a final glance of the table as he rushes outside.

He spots Yvonne standing on the outskirts of the light cast by the solitary lamp above the entry. She runs at him, her feet churning the gravel, and grabs him for a hug. His arms stiffen up, ready for her to suddenly let go, but she holds on and he lowers his chin onto the scratchy weave of her sweater, warm from her skin.

“Are you okay?” he asks.

“I’m just glad he’s still here,” she says.

“He was never going to leave,” he says.

He lets go and gives the money to her. She flicks through the edges of the notes and mumbles figures under her breath.

Once she gets to the end, she starts again.

“Your makeup doesn’t hide it,” he says.

She looks at him and then away, tucking the money into her pockets.

“It’s nothing.”

“Nothing?”

“You don’t need to worry.”

“But how can I not worry?”

“Honestly, Johnny, you’ll be fine.”

“I know I’ll be fine. It’s you I’m worried about.”

“I know how to take care of myself.”

“This pain will go on forever if you let it.”

“Cut it. I’m fine.”

“Forget about yourself then. How do you think –” “Look. Spare me today, please.”

“I –” “My Daddy wasn’t the perfect man you think he was.”

“Charles loved you.”

“He loved you more.”

Johnny looks down at the pavement.

“Victor took a shot tonight and it leaped off the table and broke the frame,” he says. “The one of Charles with the trout.

And all Charles did was … smile.”

“Look, I’m sorry,” she says reaching for the money. “Let me pay for that.”

“No. That’s not what I meant.”

“Go on. Just take something, please.”

He shakes his head.

“I can’t.”

“Fine.”

She stares at the road. Nothing moves.

“I –” he says.

“I better go. Goodbye.”

“Okay.”

He waves to her, one solitary swipe of his hand from left to right.

She walks down the abandoned street towards her house.

She exits the glow of the lamp. The darkness claims her: no more witnesses. She is finally free to endure Victor’s violence in peace.

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Pizza Shop Garlic Bread

Garlic Naan Bread

Frozen Garlic Bread

The booty call of garlic breads. It’s thick, it’s sexy and it’s lathered in grease and ready for your late night garlic cravings. But that’s just it, it’s a booty call. You ain’t there for commitment and frankly you know you can do better. But it satisfies.

And when you’re lost in the passion of the moment, wellllllll what can you do?

When I think of garlic bread, garlic naan does not come to mind. They are two separate identities in my mind. Distant cousins, maybe.

Twice removed. But oh BOY is it something magical. Garlic naan has altered the versatility of garlic bread forever. No longer do we have to forgo our lust for garlic bread when we run out pasta and pizza and must broaden our diet a little. We suffer no more.

Frozen food is never going win over a date. But really who are we kidding, an endless supply of garlic bread at your disposal is waaaaay better than any date anyway.

Emergency garlic bread should be mandatory in every freezer because who knows when you won’t be able to scrounge enough change together for a delivery fee? Plus there are some goddamn good frozen garlic breads on the market if you’re willing to spend a little more for some pizazz. Don’t forget the crunch factor you just never get with a takeout bread. #drools

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Words by Bridget Kerry | Images by Rachael Sharman

There’s a reason as to why garlic bread has built a cult-like following.

Restaurant Style Garlic Bread

Cheesy Garlic Bread

Homemade Garlic Bread

Ah, the high maintenance aunt of garlic breads. You’d think since you’re spending twice the cash for half the bread it better be damn tasty and I mean it is… But is it worth it? That is debatable. Okay I’m lying, garlic bread is ALWAYS worth it but the problem with the restaurant environment is that chefs sometimes become consumed with how the bread must look. It must look fancy and well that leads to less carbohydrate goodness. I love a good crunchy outer layer but, restaurants sometimes sacrifice the thick bready middle that all carb lovers adore.

It’s very rare to see someone mess with tradition and succeed but holy mother of cow I am so glad they did. How do you make anything better? You add flippin cheesy goodness that’s how. Garlic bread and cheese are like a match made in heaven. It’s like they’re constantly in the honeymoon stage of their relationship. There’s no bickering, only love.

Homemade garlic bread is what you make of it. It could be gods greatest gift or a burnt brick. But the best thing about homemade garlic bread is that you are in control. You get to lather garlic butter in the bread until it’s exploding the seams. You get to lightly toast or crisp that bread right to its core. And damn it can be glorious. With that being said if you struggle to cook two minute noodles then do yourself a favour and just call the pizza shop.

You’re welcome.

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You've been given a free pass to sleep for 6 weeks - I hope you relished every moment, because it's time to kick into gear for round 2.

March 21 - April 20

April 21 - May 21

May 22 - June 21

Everything is in question. *spend a day in bed* #REAL

Recognise your power. *tune into 00's hits* #CONTROL

Change is progress. *walk in the park* #MOVEMENT

September 24 - October 23

October 24 - November 22

November 23 - December 22

Evolve your identity. *lemon, honey tea* #PURPOSE

Represent your better self. *leave your phone @home* #VIBRANCE

Question those in authority. *Google isn't your friend* #SUPERSTITION

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Words and Images by Rachael Sharman

June 22 - July 23

July 24 - August 23

August 24 - September 23

Set your own agenda. *paper over plastic* #RECOGNISE

happiness beautifies the complexion. #REMEDY

Add your secret ingredient. *elixir of life* #RISE

December 23 - January 20

January 21 - February 19

February 20 - March 20

Illuminate yourself. *go baked not fried* #REWARD

Build loyalty from within. *turn on the lights* #TRUST

Find the joy of living. *cashout* #UPLIFTING

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Words by S. Z. Telford | Images by Laura Park

Cruel Act of Neptune’s Art

Paused on knife’s edge of razor mountain sides, Toes curled on snow which feeds into the soul.

Precipice…

Harked by false fire in the gut, Stumbling forward, sheer ignorance of a sheer fall.

Drops of rain, drops from eyes, drops of sweat on the brow, And waking like breath from the deep waters, Waters rising sick and sour.

No sword nor wing, naught but crumbling dust.

Dusted from existence.

Envy of the slimed prisoners rakes at sides of mine neck, Hands tremble as heart.

Cruel act of Neptune’s art.

Nothing comes of nothing, or so I hear.

The blue, the clear, the crushing, the fear.