art, Forgotten Australians, painting

Depression

by Mim Willson-Dekker (guest author) on 31 March, 2010

The painting ‘Depression: Abuse in Children’s Home and at Work as an Adult’ by artist Mim Willson-Dekker, depicts the events that triggered her suicide attempt in 1971.

Mim Willson-Dekker was born in 1929 in Toowoomba, Queensland. At the age of nine, her mother was widowed and went to work. As a result, Mim was placed in Dr Dill Mackay Home in Auburn, New South Wales. The abusive episodes in her painting took place at Dr Dill Mackay Home, her foster home and thoughout her work as a lab attendant in the Chemistry Department at the University of Queensland.

Depression: Abuse in Children’s Home and at Work as an Adult
Copyright Mim Willson-Dekker 2002
art, Forgotten Australians, memories, poetry

Finding the answer

by Leigh Westin (guest author) on 25 March, 2010

Mummy passed away when I was four
Sent to Scarba where they closed the door.
My family was taken
My heart is breaking
Too young to know WHY!!!
Mummy is in heaven, so high in the sky.
Not given a chance to say good-bye.
Through a thick glass wall,
I could see my sisters.
I try to reach them, my hands have blisters.
Daddy brought my brothers to see us,
Then they were gone
Blown away like dust.
No-one to talk to about my pain,
wanting my family back to-gether again.
Little birds flying high in the sky,
‘Send Mummy back, I don’t want her to die’
The birds flew up and flew so high,
Mummy didn’t come back
I don’t know why!!

I’m older now and understand,
why god took my mum to live in the sky.
She’s an angel and watching over me
easing the pain so I can get by.

art, Forgotten Australians, poetry

Coming together

by Leigh Westin (guest author) on 2 March, 2010

We are “The Forgotten Australians”,
Whose childhood was taken from us.
Put in homes and orphanages
for doing “NO” wrong.
Some of us became state wards,
The welfare and the government
treated us like scum.
A lot were abused in all shapes &
forms & could tell no-one.

We are worthy we are strong
coming together, we are “ONE”.

We were called “liars and thieves”.
government authorities we could never
please.
Our minds & bodies were broken,
by people who didn’t care.
No play! No love! To us it wasn’t fair.
We had NO voice, we had NO choice!
& nothing to rejoice.
No birthdays! No christmas! No toys!
we were lost little girls and boys.
Who were our families?
We were left with horrendous memories.
We prayed to god to help us,
but his followers let us down.
On our own, abandoned and put down.

We are worthy, we are strong
coming together, we are “ONE”.

We are troubled & tormented
our lives forever changed.
We are proud & free to agree.
Childhood memories are forever
tattooed in our hearts.
With our strength & friendship the
tattoos will hopefully fade from our
pasts.

We are worthy, we are strong
coming together we are “ONE”.

We are “The Forgotten Australians”
& together we will sing out loud.
Now we hold our heads up high
& together we are proud.
People will remember “us” & all that we
have been through.
We could be your neighbours or even
your best friend.
So remember us until we reach the end.

We are worthy, we are strong
coming together we are “ONE”.

art, Forgotten Australians, memories, painting

Bonney’s paintings

by Bonney Djuric (guest author) on 20 January, 2010

Bonney Djuric  is the Founder of Parragirls – Parramatta Female Factory Precinct Inc. Parragirls is a contact register and support group for Forgotten Australians committed to State Welfare Institutions.

Born in Victoria, Bonney spent her childhood years in rural Gippsland. She is the second eldest of six siblings and divorced mother/foster mother of five children.

By the time she was 9 her father had deserted the family leaving them in poverty and driven by shame and desperation her mother relocated the family in Sydney. In those days women’s wages were low and government benefits were well below the poverty line. Evicted from their home help came in the form of public housing in Sydney’s far western suburbs. Bonney continued at school until 14 leaving to take work as a junior office assistant. Again tragedy struck when she was picked up on her way to work one morning and raped. A court hearing ensued and the offenders were exonerated. For months following the case Bonney and her family were harassed by the offenders and others and in desperation she ran away trying to make her way back to her grandmother in Victoria. Eventually picked up by the welfare she was charged with Exposed to Moral Danger and committed to Parramatta Girls Home by the time she was 15.

Married at 20, her life settled and she became a mother of two, however the legacy of her childhood remained unresolved and her marriage broke down in her mid thirties. A decade later she lost two sisters, one of whom was a single parent of three. Taking the children, Bonney once again became involved with the welfare system. Facing an uncertain future Bonney was determined to make changes and it was from this that her engagement with other Forgotten Australians began.

Bonney’s reflections on the federal apology to the Forgotten Australians and Lost Innocents

What does it mean to be a Forgotten Australian?

Firstly, it gives me a sense of belonging – this may seem rather strange – but for me like so many others we’ve had to grapple with a sense of being invisible and also a sense of powerlessness. In practical terms this affects all aspects of our lives and presents difficulties in expressing our needs to authority figures such as doctors, Centrelink, legal people, police etc.. for instance when my sister died back in 2000 I took care of her 3 young children, twins aged 9 and elder boy 10 years. This brought me in contact with the “WELFARE” department for the first time since 1970 when I left Parramatta Girls Home where I had been thoroughly convinced that I was worthless – and worse that I had a criminal record which of course I didn’t.

As I had always worked I had no experience in dealing with Centrelink and after 18 months of supporting the children I was informed by a Children’s Court solicitor that from the outset I was entitled to a foster carer’s allowance.

Irrational as it seems,  I also feared that the welfare would take the kids if they knew who I really was and as a result I was reluctant to ask DoCs for the help and support needed. This fear is shared by many Forgotten Australians who learnt at a young age that there were always consequences if you dared to ask. Rather like Oliver Twist’s request for more porridge!

With my new circumstances came a resolve that I would do everything I could to break the cycle that had been my experience, my mother’s and those of my sister and her children. I began to examine my past, ask questions and confront my fears. My first point of call was Parramatta Girls Home – now the Norma Parker Detention centre for Women. Now many years later I no longer have a sense of fear and apprehension when visiting the site and through personal experience have learnt a way to dispel the ghosts of the past.

Throughout the years I’ve engaged with the issues facing many Forgotten Australians and in 2006 formalised my activities in forming Parragirls.

What does the apology mean to me?

Really there’s no easy answer but I can say that for some it has brought a sense of closure and increased awareness of a ‘hidden’ history in Australia. It’s one step in what I feel will be a long journey to an unknown destination. On a personal level I was touched by Kevin Rudd’s acknowledgment  that many Forgotten Australians did not survive to see this day – those who had died ‘forgotten’ or by their own hand like my sister.

The apology brought together so many people in one place, yet each of us was in that very ‘alone’ place – the place of a child’s nightmare with our memories and those of all who we remember. I recall Kevin Rudd saying “today you are no longer the forgotten Australians but rather the remembered Australians”,  and perhaps just for that moment we were.

But what of the future?

However well intentioned or well received the apology may be it does not equate to forgiveness – that is a side of the equation which each of us must find alone.

I’ve learnt that I have to be the change I want and will continue to lobby for the preservation and dedication of Parramatta Girls Home and the adjacent Female Factory as a Living Memorial to the Forgotten Australians and others who have been marginalised by society.

Bonney Djuric
November 2009

art, Forgotten Australians, music

Will Carroll’s song

by Will Carroll (guest author) on 21 December, 2009

Will Carroll is a folk singer–song writer from Texas who wrote and recorded the following song, ‘Magpies’, to honour Forgotten Australians.

Magpies

Lyrics for ‘Magpies’

Out of sight out of mind,
forget about them, we don’t want you here…
We are one… but we are many…
and from all the states in Oz we come…
I am, I am. You are the magpies that fly above it all…
Fly to show us all you fly on, you fly on…

Bad motivation to solve the situation,
it was manipulation to hide you away…
To send you down under to save us the shame,
of our failures, just shift the blame.
I am, I am. You are the magpies that fly above it all…
Fly to show us all you fly on, you fly on…

And now to say you’re sorry, only says you waited too long,
hoping no one would remember.
But from all the states in Oz we come,
we share a dream, and sing with one voice…
I am, I am. You are the magpies that fly above it all…
Fly to show us all you fly on,you fly on…
Fly to show us all you fly on, you fly on…
Fly to show us all you fly on, you fly on…

art, Forgotten Australians, poetry

A neglected child

by Bob McGuire (guest author) on 21 December, 2009

At age ten Bob was taken from his mother as a neglected child and placed in Parkerville Children’s Home. Below is his poem.

‘Wearne Centre’ at Parkerville Children’s Home
Dining room at Parkerville Children’s Home

to be taken as a neglected child
to be told you were going to be put some where safe
to always remember the evil man with the cane and all ways wild
this is the darkness in my dreams, the horror in my life
this place was not safe but a place of horror for this waif

art, Forgotten Australians, Stolen Generations, theatre

The Fence – a portrait of love, belonging and dispossession

by Adele on 15 December, 2009

Coming up in January in Sydney – live theatre performance of The Fence, a story close to the hearts of Forgotten Australians and Stolen Generations. Here’s the announcement from Urban Theatre Projects:

Urban Theatre Projects and Sydney Festival 2010 present

THE FENCE

A portrait of love, belonging and dispossession.

The story takes place in the family home of Mel and Joy in Sydney’s western suburbs. It investigates the resilience and wisdom of five middle-aged Australians, four of whom grew up in care as part of the Forgotten Australians and Stolen Generations.

The audience will be seated in the backyard of a purpose-built house on-site in Parramatta, The Fence is the latest site-specific work from Urban Theatre Projects created in public dialogue with communities.

In developing The Fence, Urban Theatre Projects Artistic Director Alicia Talbot and cast spent have been working with 25 Indigenous and non-Indigenous Australian men and women who, like the characters, have had experiences of growing up in orphanages, foster homes and welfare institutions. Alicia acknowledges the community consultants as experts and together they have engaged in open dialogue that has informed the development of The Fence.

Community partners include Alliance Forgotten Australians, Stolen Generations Alliance, Origins HARP, Mens Shed – Emerton, Parra Girls, CLAN & Link-Up.

The Fence season runs from 14 to 30 January 2010 at 8.30pm as part of the Sydney Festival.

For more information, see the Urban Theatre Projects page about The Fence.

art, Forgotten Australians, poetry

Born

by Nicole Troccoli-Dennis (guest author) on 14 December, 2009

Nicole Troccoli-Dennis wrote the following poem in 1988, at Winlaton Detention Centre, Victoria.

Born

The petals of my roses are merely wiltering away,

Dreams forever becoming destroyed right here in my face.

Freedom flew away without a thought for me,

My confidence now my enemy.

Love is too much of a burden,

Happiness merely a verb.

Psychotic thoughts come as freely as taking a breath “Aaahhh!!!”

I thought it was all around me,

Surprise, Surprise, I found it.

Way down inside of me,

Within the deepest realms of my soul.

Yep! Rage, Hatred, Mania and compulsive anxiety,

Let me out of this cold wet cage-like existence.

Disease and scars my proof,

Rejected from day one.

Some call this survival,

I say it’s a battle never won.

Agony, fright and all things nice,

That’s what I ended up made of.

Nicole Troccoli-Dennis at the National Apology to Forgotten Australians
Nicole Troccoli-Dennis at the National Apology to Forgotten Australians
Nicole Troccoli-Dennis at the National Apology to Forgotten Australians
art, Forgotten Australians, painting

Wilma’s painting

by Wilma Robb (guest author) on 9 December, 2009

Wilma Robb was incarcerated in Parramatta Girls Home and Hay Institution for Girls. One way she tells her story is through painting.

Wilma with her painting
Black, Blue and Raw

Black, Blue and Raw
Wilma Robb (Cassidy) 2005
This hung in an exhibition “Forgotten Australians” at NSW Parliament house from 11 April-28 April 2005. Supported and Arranged by Forgotten Australians Jools Graeme, Melody Mandena, John Murray

Black, Blue and Raw depicts my time in Parramatta and Hay.

At Hay, I experienced a sadistic, martial discipline the (Silent Treatment outlawed in the late 1800s) designed to break the human spirit. These days we would describe it as a form of ‘programming’. At Parramatta, I experienced psychological abuse, rape, neglect and other forms of violent torture at the hands of state employees.

My torso
No-one sees what is hidden inside me. Here are the memories I have tried to suppress. Here is the sub-conscious record of life-destroying events, festering.
The little girl at the centre is me. The eyes overseeing the evil are those of one of my abusers, captured by camera from a television screen.

My baby
When I was 18, my baby was taken from me by Welfare, within minutes of his birth.

The colours
To me, yellow and purple signalled hope. At Hay, we experienced regular solitary confinement, enforced silence and regimentation. Also, they took our eyes.

The mask
At Hay, they tried to turn us into unthinking robots by brainwashing and deprivation. The Hay mask has a robotic expression and a head that has been messed with severely. My memory of Parramatta is dominated by the violence of the staff – I lost my teeth and had my face smashed. The mask has had its features flattened and is flesh softened by fists.