November 25, 2025 • 28 mins
This week on In Plain Sight join Simon as he chats to the ever enthusiastic Tara Le Flohic, a creative film maker using the medium to shine a light on homelessness, especially in women. Tara is now living her best life but it hasn't always been that way. She uses her creative skills and film making to explore and illustrate important and neglected aspects of society. She uses her experience of homelessness to share emotion and stories that are marginalised or unheard.
Tara's film project "Just Three Things" discusses the phenomena of what happens to people experiencing homelessness, focusing on female perspectives. It delves into keepsakes or possessions that are held on to and keep one going through hard times.
What things could you not bear to live without?
Support Vision Australia Radio: https://www.visionaustralia.org/donate
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
S1 (00:16):
Hello, I'm Simon Chong and welcome to In Plain Sight,
a programme where we highlight people who are making a
difference and impact within the disability sector and their community.
We shine a light on those who otherwise would be
hidden in plain sight, and it's a pleasure to bring
you these programmes on a weekly basis here on Vision
Australia Radio. This week I've been left to my own
(00:37):
devices and I'm here in the studio by myself with
a guest producer and panel operator, Dylan. Hi, Dylan. So
thanks for joining us. I'd like to take this opportunity
to thank and acknowledge the people who follow and listen
to this program on a regular basis, and without you,
there'd be no show. And I'd like to thank and
(00:59):
acknowledge everyone who's helped and supported and encouraged me throughout
this journey of producing, creating, and putting out this programme
on a weekly basis. It's a pleasure to be here
in the studio and meet all these really interesting people,
and it's a pleasure to bring you these wonderful stories
each week. And it's a great, fun thing to do
(01:20):
if you ever want to contact us. The program in
Plain sight. Our email address is in plain sight at
Vision Australia. That's our email is in plain sight at
Vision Australia. Org. And this program is based in the
Perth studios of Vision Australia Radio. And remember what I'm
(01:41):
about here is trying to create a sense of community
for everybody. And as my catchphrase says, shining a light
on those who otherwise might be hidden in plain sight.
Please get in touch. If you ever have anything that
you want to contribute or you ever want to share.
And we had a really interesting chat with a woman
named Tara LaFleur, and we'll be hearing that interview very shortly.
(02:04):
But the main theme of her conversation revolves around homelessness,
and particularly homelessness for women over 50 years of age,
and it's a really sad indictment of our community and
our society where that is the growing population of homelessness
and obviously women in particular. But women of a certain
(02:27):
age are very vulnerable in that space of homelessness or
insecure housing. And it's also a very sad indictment of
our very wealthy country like Australia, that homelessness is such
a big, um, aspect of our society, and we need
to address that. I am very fortunate in life. I
(02:50):
have lots of great friends, really good supportive friends, and
a lovely, warm and supportive family. However, I've been mostly
unemployed along part of my life and have survived solely
on the disability pension. I have secure housing now and
affordable housing now, but it hasn't always been the case
(03:11):
when you're on such a limited income as a disability pension.
Finding affordable housing is very, very difficult. And again, I'd
like to thank my friends and my family for not
only their support and their encouragement, but their love and understanding,
and helped me get through those difficult times. And possibly
(03:33):
without their help and support, I may be in dire
straits and be one of the many hundreds of thousands
of people who are either homeless or struggling with housing security.
So let's listen to what Tara has to say coming
up very shortly. And keep that in mind that whilst
(03:55):
in this case we are talking about women, especially women
over a certain age who are the most vulnerable, homelessness
can happen to anybody at any time, given the certain
circumstances or in this case, most probably the wrong kind
of situation Occurring. It was a really great conversation I
(04:15):
had with Tara. I hope you enjoy it. And here
it is now. I've got a special guest in who
is a creative person who is a budding film maker.
It's a really great joy and pleasure to have in
the studio. Tara LaFleur, and I'd like to welcome Tara now.
S2 (04:34):
Thank you, Simon. And I would just like to say
congratulations on winning the award for your new community show,
In Plain Sight. Well done.
S1 (04:44):
Thank you very much, Tara. Um, it was a great
honor and a pleasure to win that award. And like
I was just saying, the most important aspect of that
award for me was that it was acknowledgement from the
broader community radio world, because community radio is a really
important and valuable aspect of our society. And for those
who don't know, nearly everyone here at a station like
(05:06):
this is a volunteer, and I am volunteering my time
today to provide this information and this In this program
to you and to help be inclusive to the people
like Tara. Now, Tara, we first met some years ago
where you are like me on the board of the
organization called people with disabilities, Western Australia. And you got
(05:28):
involved with that organization because you are a passionate person
who likes to try to impact society and make changes
within the society, because you see the flaws in society
that you would like to change.
S2 (05:40):
Yes, just like you with your radio and you're using
as a a media vehicle to convey your lived experience,
storytelling and community inclusion. Just like me, my filmmaking is
doing the same. I am very passionate about social justice.
I'm very passionate about inclusion, and I'm very interested in
(06:05):
the flaws in our society, especially towards women and vulnerable women.
And I am a person who has been roaming in
the mental health, disability and homeless lived experience platforms for many,
many years and I am a late diagnosed autistic woman.
(06:26):
So my autism gives me a very unique lens to
hear and see the stories from women whose voices are
lost in patriarchal violence, medical misdiagnosis, and political agendas that obviously, um,
miss the target of providing medical and therapeutic support.
S1 (06:51):
Yeah, that's really well said, Tara. And that sort of
really highlights what I've always known about you since we
met is that you are a very thorough in your
knowledge of your subject matter, and you're very passionate and
really keen to, to make these changes, given everything that
you do and everything that you are. How did you
initially decide somewhere along the line that not only did
(07:12):
you want to make things better for yourself, but make
things better for other people, and to be an advocate
and to be a spokesperson?
S2 (07:20):
Simon, I spent ten months living in my car. I
was so alone. I felt that there was nobody. I
felt worthless, unseen. I was unlovable, disgusting, worthless, and I
just could not see a future for myself. And I
didn't know when this horrible trauma was going to end.
But there were people that ignited. You know, I still
(07:43):
had those glowing little embers of life, of hope. And
they were just I encountered earth angels, that blue, that
blue breath of life and hope on those embers. And
one of those people was the night manager of Hungry Jack's,
where I used near where I used to, um, park
for the night. And if he was on duty, my
(08:04):
nightly routine before I parked and went to sleep is
I would go through, um, Hungry Jack's and buy a
50 cent ice cream. It was $0.50 there. then, and
if he was on duty, he would never let me pay.
And he was that kindness that really held a spark
of hope, that the world wasn't a scary place. And
(08:25):
I've had a very challenging life, and I now know
what it's like to be loved, to be valued, to
be a loving person. I now have a circle of
safety and a community of support, so that includes my
mechanic where I go to get my petrol, my gym,
(08:47):
my place of employment. Shout out to BCC swim and John,
the manager who has just been so incredible, and his
team and my beautiful. I'm a swim teacher, my beautiful
children and their wonderful parents. I love you so much
and my friends from befriend.
S1 (09:07):
Are very good.
S2 (09:08):
So I am missed when I'm not around and I
am valued My community support provides me a safe place
where I can be myself. You know the good, the bad,
the ugly.
S1 (09:19):
Well, I do like about your story right there, Tara is.
And for what I knew of you from before was
that you're one of these people that have seen things,
but also have seen people help other people. And you
have moved into the sphere of being one of the
people helping other people, like a lot of people might
(09:40):
get services from or assistance from something like PWA or shelter,
but not everyone moves into the space of going, well,
that organization helps other people. I want to help them
and that's really great. Now, you just touched on it
earlier that you are now a budding filmmaker and you're studying, um.
S2 (10:02):
Search for in screen and media. I did my my
Cert three last semester and I'll be moving on to
the diploma and hopefully Hollywood.
S1 (10:11):
Yeah. Very good.
S2 (10:13):
And my PhD.
S1 (10:14):
And a PhD. Wow. So, um, as part of your studies,
you were asked to set up a website. Is that right?
And I've looked at your website. It's really, really interesting.
Now the website is called Just Three Things. That's correct. Yeah.
And alongside that you've got a couple of things on
YouTube in your own YouTube channel. Mhm. Uh, for the
(10:35):
young people out there, YouTube was something that happened before TikTok. Um,
I don't think I've got any young people listening. But anyways,
now I love the concept of just three things. Tell
us a little bit about what that means for you
and why you use that title.
S2 (10:50):
Well, when I was homeless, a phenomena that's never discussed
is what you do with your possessions when you go
from being housed to homeless and, you know, over a lifetime,
you collect a lot of things. You know, that was
my antique doll's pram that I got when I was
four years old. My mother's Bakelite doll that's over 70
(11:13):
years old that was gifted to me as a child. My.
It was my daughter's teddy bear she made when she
was nine years old. My father's office chair that he
made when he was a high school boy at at
15 years old. Those things were very memorable to me. And,
you know, your photo albums, your dining table that you've
(11:35):
fed your family on for years. Things go with traditions
and culture and history and identity and family. And when
you become homeless, you know there's no provisions under any
act other than nobody can convert your property for six weeks.
But there's no provisions under any act or legislation that
(11:56):
entitles you to support or money to store your possessions.
So you have to make a choice, because if you know,
I was told when I was homeless, Tara, you're lucky
you have a car, right? So if you were just
had a shopping trolley or a bag, what would you actually.
S1 (12:16):
Put in there.
S2 (12:17):
Put in there.
S1 (12:18):
Mhm. So it's interesting. It reminded me of when you
hear like we're reaching summer here in Australia and there'll
be lots of warnings for the people up north, cyclones
and for everyone else, fires and everything like that. And
people say be fire prepared, you know, have your safety
plans in place. And part of that emergency exit plan
(12:38):
would be to have a bag with, or at least
know where the possessions are that you want to ensure
that you've got and those those important documents and the like.
I've often thought about that, and there are very few
possessions that I am fussed about. And quite the opposite,
when I was in a quite erratic state of mind.
I threw out some very important objects that I decided
(12:59):
I didn't want anymore, and regret that greatly now. But
when you get thrust into a homeless sort of situation
like you explain there, you don't have that time and
availability to choose.
S2 (13:12):
And that's that's the emphasis. That's the impetus Simon choice. Mhm.
And I my passion is women especially women over the
age of 55. They're the fastest growing population to experience
housing insecurity and homelessness. Yeah. After even after a lifetime
(13:33):
of working. Um there's not enough superannuation. Um, women are
still paid 25% less than a man. Mhm. You know,
there's nowhere for them to go. So you know, they,
they might have to live in their car or just
buy a van and become transient. So they have no
permanent place to secure routes. So again they have to
make a decision of after a lifetime of of because
(13:56):
it's women, women throughout history that have been tasked with
making a house a home. Mhm. Right. We polish the furniture,
we fold the sheets, we wash the clothes. You know,
we collect stuff.
S1 (14:07):
We there's a difference between my home which is quite
barren because I live by myself and I'm a bloke
and someone who mostly women like you say. They have
their little possessions and their little trinkets and little decorations
around the place to make it sweet and nice and
something like that. And it's much more important. Yeah.
S2 (14:28):
Well, it's just it's just not that it's about identity
and and history and having your family heirlooms and and
your kids pictures framed on the wall, you know, and
letters and I, you know, like you gave stuff, stuff away.
But but again, it just comes to, you know, like
an expectation that you're going to relinquish that as some,
(14:52):
some sort of punishment for becoming homeless. And homelessness isn't
always a choice, Simon.
S1 (14:58):
No, no, of course not. So tell me, you mentioned
to me on recently that with your diagnosis of autism
and moving into the creative space, you found it quite
a good mix. Because let's face it, a lot of
people who creatives um, were all a bit weird and
and have oddities. So, um, it's, it's kind of welcome
(15:20):
in that space where it's not so welcoming. Another.
S2 (15:23):
Well, you're you're right. I've always been creative from the time,
you know, like, I could walk and talk. Um, I've
always been artistic. I've always been a very lateral thinker,
and I've always had compliments on my unique perspective on
on life. And it's great to be a little bit crazy,
but again, creativity seems to be very gendered. If you're
(15:45):
a man like Tim Burton, you're you're celebrated for your gothic,
your gothic madness. But if you're a woman like me,
you're delusional. You're crazy. There's something wrong with you, you know? And, um,
this is what what I've experienced. But I am in
the creative industry now. And in fact, I have been
(16:06):
told by my lecturers that I have an exceptional talent.
S1 (16:10):
Yeah.
S2 (16:11):
An exceptional Uniqueness for the lens that I see through. And.
But I'm also academically trained. Simon, I have you know,
I've always been challenged because I, you know, I've always
been autistic, but in the 60s and 70s and I'm
also an adoptee. So again, the, um, the lens of
(16:32):
diagnosis was, was very different then. And child psychology didn't
reach our Australian shores until the to the mid 80s.
And I was always blamed for the way I was,
when in fact I couldn't help it. I was born
this way. Um, I was severe. I'm a level two
autistic and that's come with a plethora of, of, um, physical, cognitive,
(16:57):
intellectual and learning learning challenges. But I'm very privileged now,
whether it's universal direction or, or something has been looking
after me. I am where I'm meant to be. And
just three things was a six year planning and development
and an idea. And now I've developed songbirds about the
(17:21):
history of mental health violations of women in Western Australia.
S1 (17:28):
We'll get into that project just in one minute. I
just wanted to finish that little conversation with a question
about was your motivation to move into the media and
screen works filmmaking area, to bring a voice to these
these concerns or these passions of yours? Or was it
more to just to be a creative person?
S2 (17:47):
No, it was just like you found radio. That's your
media of choice. That's your vehicle to get your message across.
And for me, this is this is film. It's a
visual connection with with an audience.
S1 (18:03):
So it was part of your motivation?
S2 (18:05):
Yes.
S1 (18:05):
To to okay. That's great. Our motivations are very similar
and our themes are very similar, like giving a voice
to those who aren't usually heard shining a light on
those who aren't usually seen. Um, and you're doing the same.
Like I put my hand up and say I'm honest.
I try to avoid straight people. One is because of
(18:26):
my own embarrassment, and one is I don't want a
confrontation and I don't want to give them change and
so on and so forth. And there's many of us
that do that. But when I do stop to talk
to somebody, it changes things so much for hopefully for both.
It does for me. It, you know, broadens my perspective
with my vision. I can't read the physical print, but
(18:47):
I often see the people selling the big Issue and
just give them some money because at least to me,
you know, they're trying something. They're contributing. I support that magazine,
by the way, the big issue. It's really great initiative.
So you start talking about this new project that you're
trying to work on, which is a drama piece, a
historic drama piece. What did you call it?
S2 (19:08):
Sorry, it's called songbirds.
S1 (19:10):
Songbirds? Yes. Lovely. So tell us about that. Firstly, what
is the concept and how did you get motivated?
S2 (19:16):
Well, it's a historical drama set around the Fremantle Lunatic Asylum.
It's based on four real women who were locked away
for being inconvenient, outspoken or simply different. It looks at
psychiatric violence and how state power has silenced women for decades.
And while researching the Fremantle Asylum Archives at the State Archives.
(19:41):
Shout out to Damien.
S1 (19:42):
So the State Archives based at the State Library.
S2 (19:44):
Yes, yes. And Damien helped me. I started researching last year.
So I found stories of women who were institutionalised not
for madness, but for grief, poverty or simply being outspoken.
So my aim for songbirds is to give them back
their names and voices, because everyone knew asylum had such
(20:06):
a bad reputation, and a lot of the time it
was used as a form of punishment and constraint. So
as and also as a threat. You know, if you
don't behave or comply, we're going to put you in
the asylum.
S1 (20:19):
Well, it does look like a jail.
S2 (20:21):
Well, it was and they weren't called patients. They were
called inmates. Okay. So I'm going to give them back
their names and voices each. It's going to be a
four season historical drama. Each season centers on a symbolic,
symbolic bird that is native to the Fremantle area. So
I've got the splendid fairywren, dove, raven and cockatoo based
(20:44):
on Carnaby's black cockatoo and their female descendants. Each generation
inherits new euphemisms. Treatment, correction. Rehabilitation. Yet the unyielding violence
remains a systemic policing of emotional sexuality and independence. By
tracing the asylum's evolution from the 20th to the 21st
(21:04):
century because it was closed in 1909. But then they
went on to build Heathcoat and Graylands okay. By tracing
this sizeable evolution, songbirds reveals a disturbing continuity. Now listen
to this, Simon. Though language and architecture change, the logic
of control persisted. So, um, that's that's my motivation because I,
(21:29):
I have been I call myself a psychiatric survivor. You know,
I was diagnosed with all types of horrible chronic psychiatric conditions.
And it was only fortuitously that I came into quite
a bit of money that I was able to afford
a autism assessment because they cost thousands. And when you're
(21:52):
on a pension or on a very limited income, it's
almost impossible to generate or find that money. So until
you have that assessment, something tangible, um, from a professional assessor,
you are excluded from the correct medical and therapeutic supports.
(22:15):
So therefore your quality of life is less than.
S1 (22:19):
Yeah sure is. Now for those who don't know. And
this program goes out nationally across Australia. And we also
have a podcast which can be heard anywhere on the
Vision Australia radio network. The the lunatic asylum that Tara's
talking about is now called the Fremantle Arts Centre. And
when I was a child, it was the Fremantle Museum,
(22:39):
which now most of the stuff that is in that
was in that museum was now gone to Fremantle Maritime Museum,
which I highly recommend checking out. And if we hark
back to a podcast I did of some time ago
called The Perth Tourist, they took a tour there to
the Fremantle Maritime Museum and the other location you mentioned.
(22:59):
Tara was well known to me because I lived in
a similar neighbourhood, was Heathcoat Reserve, and it's interesting how
both of those places that were for people who have
mental health issues are now arts venue. So I think
that's a great.
S2 (23:14):
A great evolution. But again, it really doesn't acknowledge those
women are still buried in history. There's very little information
and the way they've been presented are mad, bad and
quite a bit when they were really quite sad.
S1 (23:31):
Mhm. Now moving on because time runs away with this
quite quickly, quite quickly here because we have such enjoyable
time chatting. Um, now you told me that you want
to share with us, uh, a poem based on one
of your characters from your performance piece that you're creating. And, um,
it's based on one of those women that you were
just telling us about from the lunatic asylum. Is that right?
S2 (23:53):
Yes. I would like to introduce you to Mary Anne Covington.
So Mary Anne was a spinster teacher that came to
the new cop, was invited to the new colony by
her Methodist pastor from Lancashire. She came out and as
a teacher and to start a girls school here on
(24:13):
South Street in Fremantle. But the heat, the isolation and
the religious fervour saw her end up in the asylum.
So I'm going to read it as Maryanne, the wren
in the womb within the crannied stones doth dwell, a
little bird unseen yet well. Her bosom beats. Her spirit
(24:37):
sings the bumper tums, unyielding strings, nor Jud Ketch, nor
gilded air. But woven dart. Her dwell in fair and
still she chants. Though none give heed. A hymn of loss,
a hymn of need. The world proclaims her frail, forlorn,
a creature of sorrow born. Yet through her throat the
(25:00):
heavens call. A song of strength within the wall. Oh,
he that stoops to hear her strain shall nor the
voice of souls in pen. The small smaller the bird.
Her cry is high and broken still. Though doomed to die.
S1 (25:17):
Thank you so much, Tara, and I really commend you
for your skill and your bravery to read such an emotional,
warm poem. And it was beautifully done and beautifully performed,
and I really like the accent. It was lovely.
S2 (25:31):
There's a lot of my heart, my soul and me,
and research has gone into building this character and to
bring her to life is just really overwhelming.
S1 (25:44):
So Tara, really thank you for reading that poem and
bringing these stories alive. And, Tara, I really congratulate you
on everything that you're doing and everything that you've achieved
so far. And, um, it's really amazing and heartwarming story. Um,
we have to finish up now. Time is really quickly gone. Um,
is there anything else you'd like to leave us with
(26:04):
before we have to just quickly say goodbye?
S2 (26:06):
Yes, Simon, thank you so much for for having me.
And if your Our listeners have any information or have
descendants of, um, you know, the people that were incarcerated
at the Fremantle Lunatic Asylum. If you could direct them
to me, I'll give you my email. That would be great,
(26:27):
because I'm as I said, research is a lot of work.
My songbirds is based on historical fact, and a lot
goes into developing, um, the story, the plot line and
the characters. So any help I would greatly appreciate.
S1 (26:43):
What we'll do is send an email to, to this
program and, and or to the station, and I'll put
you in touch with Tara. And if you're listening on podcasts,
we'll have a link to Tara's website. You can find
her contact details there on the description for the podcast.
I know you've got a lot of things coming up
with your future plans, Tara, and I wish you the
best of luck, and I think it's fabulous what you're doing.
(27:05):
And I really love people who not only are fun
and creative and interesting, but are using their talents to
try to address important subjects. And in this day and age,
there is no more important subjects than looking after women
who have been through stuff and, um, lived a life
and found themselves in a situation they didn't expect to
(27:27):
find themselves in. And like you say, it's a growing situation.
That's all we have time for right now, though. And
really thank you, Tara, for joining us in the studio.
And I thank you for listening, and I hope you
can join us again sometime very soon. And until that
time I'll speak to you then. Bye for now.
S3 (27:45):
That concludes in Plain Sight for this week. Join us
at the same time next week on Vision Australia Radio,
VA radio, digital and online at VA Radio.com. You can
also listen on demand by searching for In Plain Sight
by Vision Australia Radio. Wherever you get your podcasts, or
ask your smart device to play in Plain Sight by
(28:06):
Vision Australia Radio. Thanks for listening.
S1 (28:09):
Thank you.
Hello, I'm Simon Chong and welcome to In Plain Sight,
a programme where we highlight people who are making a
difference and impact within the disability sector and their community.
We shine a light on those who otherwise would be
hidden in plain sight, and it's a pleasure to bring
you these programmes on a weekly basis here on Vision
Australia Radio. This week I've been left to my own
(00:37):
devices and I'm here in the studio by myself with
a guest producer and panel operator, Dylan. Hi, Dylan. So
thanks for joining us. I'd like to take this opportunity
to thank and acknowledge the people who follow and listen
to this program on a regular basis, and without you,
there'd be no show. And I'd like to thank and
(00:59):
acknowledge everyone who's helped and supported and encouraged me throughout
this journey of producing, creating, and putting out this programme
on a weekly basis. It's a pleasure to be here
in the studio and meet all these really interesting people,
and it's a pleasure to bring you these wonderful stories
each week. And it's a great, fun thing to do
(01:20):
if you ever want to contact us. The program in
Plain sight. Our email address is in plain sight at
Vision Australia. That's our email is in plain sight at
Vision Australia. Org. And this program is based in the
Perth studios of Vision Australia Radio. And remember what I'm
(01:41):
about here is trying to create a sense of community
for everybody. And as my catchphrase says, shining a light
on those who otherwise might be hidden in plain sight.
Please get in touch. If you ever have anything that
you want to contribute or you ever want to share.
And we had a really interesting chat with a woman
named Tara LaFleur, and we'll be hearing that interview very shortly.
(02:04):
But the main theme of her conversation revolves around homelessness,
and particularly homelessness for women over 50 years of age,
and it's a really sad indictment of our community and
our society where that is the growing population of homelessness
and obviously women in particular. But women of a certain
(02:27):
age are very vulnerable in that space of homelessness or
insecure housing. And it's also a very sad indictment of
our very wealthy country like Australia, that homelessness is such
a big, um, aspect of our society, and we need
to address that. I am very fortunate in life. I
(02:50):
have lots of great friends, really good supportive friends, and
a lovely, warm and supportive family. However, I've been mostly
unemployed along part of my life and have survived solely
on the disability pension. I have secure housing now and
affordable housing now, but it hasn't always been the case
(03:11):
when you're on such a limited income as a disability pension.
Finding affordable housing is very, very difficult. And again, I'd
like to thank my friends and my family for not
only their support and their encouragement, but their love and understanding,
and helped me get through those difficult times. And possibly
(03:33):
without their help and support, I may be in dire
straits and be one of the many hundreds of thousands
of people who are either homeless or struggling with housing security.
So let's listen to what Tara has to say coming
up very shortly. And keep that in mind that whilst
(03:55):
in this case we are talking about women, especially women
over a certain age who are the most vulnerable, homelessness
can happen to anybody at any time, given the certain
circumstances or in this case, most probably the wrong kind
of situation Occurring. It was a really great conversation I
(04:15):
had with Tara. I hope you enjoy it. And here
it is now. I've got a special guest in who
is a creative person who is a budding film maker.
It's a really great joy and pleasure to have in
the studio. Tara LaFleur, and I'd like to welcome Tara now.
S2 (04:34):
Thank you, Simon. And I would just like to say
congratulations on winning the award for your new community show,
In Plain Sight. Well done.
S1 (04:44):
Thank you very much, Tara. Um, it was a great
honor and a pleasure to win that award. And like
I was just saying, the most important aspect of that
award for me was that it was acknowledgement from the
broader community radio world, because community radio is a really
important and valuable aspect of our society. And for those
who don't know, nearly everyone here at a station like
(05:06):
this is a volunteer, and I am volunteering my time
today to provide this information and this In this program
to you and to help be inclusive to the people
like Tara. Now, Tara, we first met some years ago
where you are like me on the board of the
organization called people with disabilities, Western Australia. And you got
(05:28):
involved with that organization because you are a passionate person
who likes to try to impact society and make changes
within the society, because you see the flaws in society
that you would like to change.
S2 (05:40):
Yes, just like you with your radio and you're using
as a a media vehicle to convey your lived experience,
storytelling and community inclusion. Just like me, my filmmaking is
doing the same. I am very passionate about social justice.
I'm very passionate about inclusion, and I'm very interested in
(06:05):
the flaws in our society, especially towards women and vulnerable women.
And I am a person who has been roaming in
the mental health, disability and homeless lived experience platforms for many,
many years and I am a late diagnosed autistic woman.
(06:26):
So my autism gives me a very unique lens to
hear and see the stories from women whose voices are
lost in patriarchal violence, medical misdiagnosis, and political agendas that obviously, um,
miss the target of providing medical and therapeutic support.
S1 (06:51):
Yeah, that's really well said, Tara. And that sort of
really highlights what I've always known about you since we
met is that you are a very thorough in your
knowledge of your subject matter, and you're very passionate and
really keen to, to make these changes, given everything that
you do and everything that you are. How did you
initially decide somewhere along the line that not only did
(07:12):
you want to make things better for yourself, but make
things better for other people, and to be an advocate
and to be a spokesperson?
S2 (07:20):
Simon, I spent ten months living in my car. I
was so alone. I felt that there was nobody. I
felt worthless, unseen. I was unlovable, disgusting, worthless, and I
just could not see a future for myself. And I
didn't know when this horrible trauma was going to end.
But there were people that ignited. You know, I still
(07:43):
had those glowing little embers of life, of hope. And
they were just I encountered earth angels, that blue, that
blue breath of life and hope on those embers. And
one of those people was the night manager of Hungry Jack's,
where I used near where I used to, um, park
for the night. And if he was on duty, my
(08:04):
nightly routine before I parked and went to sleep is
I would go through, um, Hungry Jack's and buy a
50 cent ice cream. It was $0.50 there. then, and
if he was on duty, he would never let me pay.
And he was that kindness that really held a spark
of hope, that the world wasn't a scary place. And
(08:25):
I've had a very challenging life, and I now know
what it's like to be loved, to be valued, to
be a loving person. I now have a circle of
safety and a community of support, so that includes my
mechanic where I go to get my petrol, my gym,
(08:47):
my place of employment. Shout out to BCC swim and John,
the manager who has just been so incredible, and his
team and my beautiful. I'm a swim teacher, my beautiful
children and their wonderful parents. I love you so much
and my friends from befriend.
S1 (09:07):
Are very good.
S2 (09:08):
So I am missed when I'm not around and I
am valued My community support provides me a safe place
where I can be myself. You know the good, the bad,
the ugly.
S1 (09:19):
Well, I do like about your story right there, Tara is.
And for what I knew of you from before was
that you're one of these people that have seen things,
but also have seen people help other people. And you
have moved into the sphere of being one of the
people helping other people, like a lot of people might
(09:40):
get services from or assistance from something like PWA or shelter,
but not everyone moves into the space of going, well,
that organization helps other people. I want to help them
and that's really great. Now, you just touched on it
earlier that you are now a budding filmmaker and you're studying, um.
S2 (10:02):
Search for in screen and media. I did my my
Cert three last semester and I'll be moving on to
the diploma and hopefully Hollywood.
S1 (10:11):
Yeah. Very good.
S2 (10:13):
And my PhD.
S1 (10:14):
And a PhD. Wow. So, um, as part of your studies,
you were asked to set up a website. Is that right?
And I've looked at your website. It's really, really interesting.
Now the website is called Just Three Things. That's correct. Yeah.
And alongside that you've got a couple of things on
YouTube in your own YouTube channel. Mhm. Uh, for the
(10:35):
young people out there, YouTube was something that happened before TikTok. Um,
I don't think I've got any young people listening. But anyways,
now I love the concept of just three things. Tell
us a little bit about what that means for you
and why you use that title.
S2 (10:50):
Well, when I was homeless, a phenomena that's never discussed
is what you do with your possessions when you go
from being housed to homeless and, you know, over a lifetime,
you collect a lot of things. You know, that was
my antique doll's pram that I got when I was
four years old. My mother's Bakelite doll that's over 70
(11:13):
years old that was gifted to me as a child. My.
It was my daughter's teddy bear she made when she
was nine years old. My father's office chair that he
made when he was a high school boy at at
15 years old. Those things were very memorable to me. And,
you know, your photo albums, your dining table that you've
(11:35):
fed your family on for years. Things go with traditions
and culture and history and identity and family. And when
you become homeless, you know there's no provisions under any
act other than nobody can convert your property for six weeks.
But there's no provisions under any act or legislation that
(11:56):
entitles you to support or money to store your possessions.
So you have to make a choice, because if you know,
I was told when I was homeless, Tara, you're lucky
you have a car, right? So if you were just
had a shopping trolley or a bag, what would you actually.
S1 (12:16):
Put in there.
S2 (12:17):
Put in there.
S1 (12:18):
Mhm. So it's interesting. It reminded me of when you
hear like we're reaching summer here in Australia and there'll
be lots of warnings for the people up north, cyclones
and for everyone else, fires and everything like that. And
people say be fire prepared, you know, have your safety
plans in place. And part of that emergency exit plan
(12:38):
would be to have a bag with, or at least
know where the possessions are that you want to ensure
that you've got and those those important documents and the like.
I've often thought about that, and there are very few
possessions that I am fussed about. And quite the opposite,
when I was in a quite erratic state of mind.
I threw out some very important objects that I decided
(12:59):
I didn't want anymore, and regret that greatly now. But
when you get thrust into a homeless sort of situation
like you explain there, you don't have that time and
availability to choose.
S2 (13:12):
And that's that's the emphasis. That's the impetus Simon choice. Mhm.
And I my passion is women especially women over the
age of 55. They're the fastest growing population to experience
housing insecurity and homelessness. Yeah. After even after a lifetime
(13:33):
of working. Um there's not enough superannuation. Um, women are
still paid 25% less than a man. Mhm. You know,
there's nowhere for them to go. So you know, they,
they might have to live in their car or just
buy a van and become transient. So they have no
permanent place to secure routes. So again they have to
make a decision of after a lifetime of of because
(13:56):
it's women, women throughout history that have been tasked with
making a house a home. Mhm. Right. We polish the furniture,
we fold the sheets, we wash the clothes. You know,
we collect stuff.
S1 (14:07):
We there's a difference between my home which is quite
barren because I live by myself and I'm a bloke
and someone who mostly women like you say. They have
their little possessions and their little trinkets and little decorations
around the place to make it sweet and nice and
something like that. And it's much more important. Yeah.
S2 (14:28):
Well, it's just it's just not that it's about identity
and and history and having your family heirlooms and and
your kids pictures framed on the wall, you know, and
letters and I, you know, like you gave stuff, stuff away.
But but again, it just comes to, you know, like
an expectation that you're going to relinquish that as some,
(14:52):
some sort of punishment for becoming homeless. And homelessness isn't
always a choice, Simon.
S1 (14:58):
No, no, of course not. So tell me, you mentioned
to me on recently that with your diagnosis of autism
and moving into the creative space, you found it quite
a good mix. Because let's face it, a lot of
people who creatives um, were all a bit weird and
and have oddities. So, um, it's, it's kind of welcome
(15:20):
in that space where it's not so welcoming. Another.
S2 (15:23):
Well, you're you're right. I've always been creative from the time,
you know, like, I could walk and talk. Um, I've
always been artistic. I've always been a very lateral thinker,
and I've always had compliments on my unique perspective on
on life. And it's great to be a little bit crazy,
but again, creativity seems to be very gendered. If you're
(15:45):
a man like Tim Burton, you're you're celebrated for your gothic,
your gothic madness. But if you're a woman like me,
you're delusional. You're crazy. There's something wrong with you, you know? And, um,
this is what what I've experienced. But I am in
the creative industry now. And in fact, I have been
(16:06):
told by my lecturers that I have an exceptional talent.
S1 (16:10):
Yeah.
S2 (16:11):
An exceptional Uniqueness for the lens that I see through. And.
But I'm also academically trained. Simon, I have you know,
I've always been challenged because I, you know, I've always
been autistic, but in the 60s and 70s and I'm
also an adoptee. So again, the, um, the lens of
(16:32):
diagnosis was, was very different then. And child psychology didn't
reach our Australian shores until the to the mid 80s.
And I was always blamed for the way I was,
when in fact I couldn't help it. I was born
this way. Um, I was severe. I'm a level two
autistic and that's come with a plethora of, of, um, physical, cognitive,
(16:57):
intellectual and learning learning challenges. But I'm very privileged now,
whether it's universal direction or, or something has been looking
after me. I am where I'm meant to be. And
just three things was a six year planning and development
and an idea. And now I've developed songbirds about the
(17:21):
history of mental health violations of women in Western Australia.
S1 (17:28):
We'll get into that project just in one minute. I
just wanted to finish that little conversation with a question
about was your motivation to move into the media and
screen works filmmaking area, to bring a voice to these
these concerns or these passions of yours? Or was it
more to just to be a creative person?
S2 (17:47):
No, it was just like you found radio. That's your
media of choice. That's your vehicle to get your message across.
And for me, this is this is film. It's a
visual connection with with an audience.
S1 (18:03):
So it was part of your motivation?
S2 (18:05):
Yes.
S1 (18:05):
To to okay. That's great. Our motivations are very similar
and our themes are very similar, like giving a voice
to those who aren't usually heard shining a light on
those who aren't usually seen. Um, and you're doing the same.
Like I put my hand up and say I'm honest.
I try to avoid straight people. One is because of
(18:26):
my own embarrassment, and one is I don't want a
confrontation and I don't want to give them change and
so on and so forth. And there's many of us
that do that. But when I do stop to talk
to somebody, it changes things so much for hopefully for both.
It does for me. It, you know, broadens my perspective
with my vision. I can't read the physical print, but
(18:47):
I often see the people selling the big Issue and
just give them some money because at least to me,
you know, they're trying something. They're contributing. I support that magazine,
by the way, the big issue. It's really great initiative.
So you start talking about this new project that you're
trying to work on, which is a drama piece, a
historic drama piece. What did you call it?
S2 (19:08):
Sorry, it's called songbirds.
S1 (19:10):
Songbirds? Yes. Lovely. So tell us about that. Firstly, what
is the concept and how did you get motivated?
S2 (19:16):
Well, it's a historical drama set around the Fremantle Lunatic Asylum.
It's based on four real women who were locked away
for being inconvenient, outspoken or simply different. It looks at
psychiatric violence and how state power has silenced women for decades.
And while researching the Fremantle Asylum Archives at the State Archives.
(19:41):
Shout out to Damien.
S1 (19:42):
So the State Archives based at the State Library.
S2 (19:44):
Yes, yes. And Damien helped me. I started researching last year.
So I found stories of women who were institutionalised not
for madness, but for grief, poverty or simply being outspoken.
So my aim for songbirds is to give them back
their names and voices, because everyone knew asylum had such
(20:06):
a bad reputation, and a lot of the time it
was used as a form of punishment and constraint. So
as and also as a threat. You know, if you
don't behave or comply, we're going to put you in
the asylum.
S1 (20:19):
Well, it does look like a jail.
S2 (20:21):
Well, it was and they weren't called patients. They were
called inmates. Okay. So I'm going to give them back
their names and voices each. It's going to be a
four season historical drama. Each season centers on a symbolic,
symbolic bird that is native to the Fremantle area. So
I've got the splendid fairywren, dove, raven and cockatoo based
(20:44):
on Carnaby's black cockatoo and their female descendants. Each generation
inherits new euphemisms. Treatment, correction. Rehabilitation. Yet the unyielding violence
remains a systemic policing of emotional sexuality and independence. By
tracing the asylum's evolution from the 20th to the 21st
(21:04):
century because it was closed in 1909. But then they
went on to build Heathcoat and Graylands okay. By tracing
this sizeable evolution, songbirds reveals a disturbing continuity. Now listen
to this, Simon. Though language and architecture change, the logic
of control persisted. So, um, that's that's my motivation because I,
(21:29):
I have been I call myself a psychiatric survivor. You know,
I was diagnosed with all types of horrible chronic psychiatric conditions.
And it was only fortuitously that I came into quite
a bit of money that I was able to afford
a autism assessment because they cost thousands. And when you're
(21:52):
on a pension or on a very limited income, it's
almost impossible to generate or find that money. So until
you have that assessment, something tangible, um, from a professional assessor,
you are excluded from the correct medical and therapeutic supports.
(22:15):
So therefore your quality of life is less than.
S1 (22:19):
Yeah sure is. Now for those who don't know. And
this program goes out nationally across Australia. And we also
have a podcast which can be heard anywhere on the
Vision Australia radio network. The the lunatic asylum that Tara's
talking about is now called the Fremantle Arts Centre. And
when I was a child, it was the Fremantle Museum,
(22:39):
which now most of the stuff that is in that
was in that museum was now gone to Fremantle Maritime Museum,
which I highly recommend checking out. And if we hark
back to a podcast I did of some time ago
called The Perth Tourist, they took a tour there to
the Fremantle Maritime Museum and the other location you mentioned.
(22:59):
Tara was well known to me because I lived in
a similar neighbourhood, was Heathcoat Reserve, and it's interesting how
both of those places that were for people who have
mental health issues are now arts venue. So I think
that's a great.
S2 (23:14):
A great evolution. But again, it really doesn't acknowledge those
women are still buried in history. There's very little information
and the way they've been presented are mad, bad and
quite a bit when they were really quite sad.
S1 (23:31):
Mhm. Now moving on because time runs away with this
quite quickly, quite quickly here because we have such enjoyable
time chatting. Um, now you told me that you want
to share with us, uh, a poem based on one
of your characters from your performance piece that you're creating. And, um,
it's based on one of those women that you were
just telling us about from the lunatic asylum. Is that right?
S2 (23:53):
Yes. I would like to introduce you to Mary Anne Covington.
So Mary Anne was a spinster teacher that came to
the new cop, was invited to the new colony by
her Methodist pastor from Lancashire. She came out and as
a teacher and to start a girls school here on
(24:13):
South Street in Fremantle. But the heat, the isolation and
the religious fervour saw her end up in the asylum.
So I'm going to read it as Maryanne, the wren
in the womb within the crannied stones doth dwell, a
little bird unseen yet well. Her bosom beats. Her spirit
(24:37):
sings the bumper tums, unyielding strings, nor Jud Ketch, nor
gilded air. But woven dart. Her dwell in fair and
still she chants. Though none give heed. A hymn of loss,
a hymn of need. The world proclaims her frail, forlorn,
a creature of sorrow born. Yet through her throat the
(25:00):
heavens call. A song of strength within the wall. Oh,
he that stoops to hear her strain shall nor the
voice of souls in pen. The small smaller the bird.
Her cry is high and broken still. Though doomed to die.
S1 (25:17):
Thank you so much, Tara, and I really commend you
for your skill and your bravery to read such an emotional,
warm poem. And it was beautifully done and beautifully performed,
and I really like the accent. It was lovely.
S2 (25:31):
There's a lot of my heart, my soul and me,
and research has gone into building this character and to
bring her to life is just really overwhelming.
S1 (25:44):
So Tara, really thank you for reading that poem and
bringing these stories alive. And, Tara, I really congratulate you
on everything that you're doing and everything that you've achieved
so far. And, um, it's really amazing and heartwarming story. Um,
we have to finish up now. Time is really quickly gone. Um,
is there anything else you'd like to leave us with
(26:04):
before we have to just quickly say goodbye?
S2 (26:06):
Yes, Simon, thank you so much for for having me.
And if your Our listeners have any information or have
descendants of, um, you know, the people that were incarcerated
at the Fremantle Lunatic Asylum. If you could direct them
to me, I'll give you my email. That would be great,
(26:27):
because I'm as I said, research is a lot of work.
My songbirds is based on historical fact, and a lot
goes into developing, um, the story, the plot line and
the characters. So any help I would greatly appreciate.
S1 (26:43):
What we'll do is send an email to, to this
program and, and or to the station, and I'll put
you in touch with Tara. And if you're listening on podcasts,
we'll have a link to Tara's website. You can find
her contact details there on the description for the podcast.
I know you've got a lot of things coming up
with your future plans, Tara, and I wish you the
best of luck, and I think it's fabulous what you're doing.
(27:05):
And I really love people who not only are fun
and creative and interesting, but are using their talents to
try to address important subjects. And in this day and age,
there is no more important subjects than looking after women
who have been through stuff and, um, lived a life
and found themselves in a situation they didn't expect to
(27:27):
find themselves in. And like you say, it's a growing situation.
That's all we have time for right now, though. And
really thank you, Tara, for joining us in the studio.
And I thank you for listening, and I hope you
can join us again sometime very soon. And until that
time I'll speak to you then. Bye for now.
S3 (27:45):
That concludes in Plain Sight for this week. Join us
at the same time next week on Vision Australia Radio,
VA radio, digital and online at VA Radio.com. You can
also listen on demand by searching for In Plain Sight
by Vision Australia Radio. Wherever you get your podcasts, or
ask your smart device to play in Plain Sight by
(28:06):
Vision Australia Radio. Thanks for listening.
S1 (28:09):
Thank you.
Popular Podcasts
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Are You A Charlotte?
In 1997, actress Kristin Davis’ life was forever changed when she took on the role of Charlotte York in Sex and the City. As we watched Carrie, Samantha, Miranda and Charlotte navigate relationships in NYC, the show helped push once unacceptable conversation topics out of the shadows and altered the narrative around women and sex. We all saw ourselves in them as they searched for fulfillment in life, sex and friendships. Now, Kristin Davis wants to connect with you, the fans, and share untold stories and all the behind the scenes. Together, with Kristin and special guests, what will begin with Sex and the City will evolve into talks about themes that are still so relevant today. "Are you a Charlotte?" is much more than just rewatching this beloved show, it brings the past and the present together as we talk with heart, humor and of course some optimism.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.