Reconciliation Week is almost here. This is how you can take part
Every year National Reconciliation Week starts on May 27 and runs until June 3.
"Reconciliation is everyone's business, every day of the year," says Karen Mundine, a Bundjalung woman and the CEO of Reconciliation Australia.
"But [Reconciliation] Week in particular is a chance for all Australians to get involved."
Reconciliation is "about strengthening relationships between Aboriginal and Torres Strait Islander peoples and non-Indigenous peoples," according to Reconciliation Australia.
The theme for 2025 is 'Bridging Now to Next', prompting Australians to look ahead and continue to push forward towards a more united and respectful nation, with past lessons as guidance.
Here's how you can get involved at home, in your community and workplace.
The week begins after National Sorry Day and marks the anniversary of the 1967 referendum, held on May 27, where Australians voted to change how Aboriginal and Torres Strait Islander people were referred to in the constitution.
It concludes with another anniversary, with June 3, 1992 marking the Mabo decision, where a High Court ruling overturned the legal concept of terra nullius — that land was owned by no-one prior to white settlement.
Ms Mundine recommends checking if local First Nations organisations are hosting events, such as open days.
"Cultural tours of your town or city are also a great way to learn more about the Country you're on and its rich history."
Gunditjmara woman Catherine Coysh is the program manager of On-Country Pathways and says "the best way to get to know Aboriginal culture is to seek it from your local Aboriginal community and make genuine relationships."
The National Reconciliation Week calendar can help you find events and activities near you.
For groups, Ms Mundine recommends checking out the Reconciliation Film Club, which helps members of the community screen documentaries by First Nations filmmakers. The club can provide access to a recommended film with a fee going directly to the producers of the documentary.
For smaller groups or going solo, picking up a book from a First Nations author can "broaden perspectives and understanding".
Carly Bush, the CEO of Reconciliation NSW says this also applies to podcasts and social media.
"Doing some of your own personal learning is always the best place to start."
"I look at [Reconciliation Week] as an opportunity to reflect on the history of the country and also around genuine engagement and working and talking to First Nations people," says Christian Lugnan, a Gumbaynggirr and Dhanggati Goori man and deputy CEO of Children's Ground.
From a business or corporate perspective, Mr Lugnan says to consider how you engage with community. For instance, "do you understand the location [and] the history of the location where you're operating from?"
This can also extend to whether you provide employment and training opportunities and if there are First Nations businesses in your supply chains.
Mr Lugnan also encourages businesses to consider developing a Reconciliation Action Plan (RAP) if they haven't got one.
For ones that do, Ms Bush from Reconciliation NSW says it may be an opportunity for the business to review and discuss the commitments made. She says to be mindful of where the cultural load is falling.
Ms Coysh says there "needs to be an ongoing commitment to cultural safety" in workplaces. Cultural safety is something she helps businesses that partner with On-Country Pathways with.
It includes being aware of unconscious bias, and not challenging someone's cultural identity, which can leave them feeling unwelcome or unsafe, she says.
Mr Lugnan says to be mindful that Reconciliation Week can be a difficult time for First Nations people because there can be an increase in negative commentary online.
Mr Lugnan also suggests taking genuine interest in community, elders and learning some local language.
"When you're speaking the language of a particular Country, the Country is listening and … when you're speaking the language you're respecting the ancestors from that Country.
"Local people feel and hear that," he says.
Underlying all the ways to be involved in Reconciliation Week, Ms Mundine says is "knowing where you stand".
"Ask yourself: Whose Country am I on? What's the shared history of this place and what is my community's relationship to Aboriginal and Torres Strait Islander peoples?"
Ms Mundine says you can get involved by speaking up "if you hear something ignorant, hurtful or wrong".
"Commit to being actively anti-racist and ask yourself the hard questions about the role and impact of racism in our society."
For people looking to do or learn more beyond the week, there are a range of resources Reconciliation Australia suggests.
For example, Ms Mundine says to "read, watch or listen to First Nations media" or to refer to the Australian Museum resources to learn more about Australia's frontier wars.#newsletter:abc-life_optin
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

ABC News
an hour ago
- ABC News
'Tough enough, brave enough': What it takes to be a cowboy in the NT's Top End
It's late afternoon at a dusty rodeo arena in rural Darwin, and a growing crowd is watching on as women compete in barrel racing, guiding horses around an obstacle course plotted by 44-gallon drums. A persistent dust cloud hovers at ground level, stirred up by the rhythmic canter of a new horse entering the arena every minute or so. For many spectators who have driven in from Darwin and nearby towns, the Noonamah Rodeo is an exaggerated spectacle of rural life. A road train cab perched above the arena spews flames at various intervals. There's a half-time freestyle motocross show, and the live country music playing will continue until the early hours of the morning. For urban visitors, it's a rare chance to pull on the RMs and a Ringers Western work shirt or to flaunt a slightly more polished cowboy-core 'fit inspired by celebrities like Orville Peck or Beyoncé. But for others, it is serious business. Backstage, dozens of young men in sturdy boots, well-worn jeans and wide-brimmed hats are standing, talking among themselves. It seems most of them know each other from the rodeo circuit, and they aren't afraid to call themselves "cowboys". One of them is UK-born Jack Milsom. Just a year ago, at 25, he left his small home town in the Adelaide Hills seeking a life on a remote Top End cattle station, with no idea what to expect. One year on, he's buckling up a pair of tasselled leather chaps in the shadow of this rodeo arena by a roadside pub. Jack says he's always been drawn to the idea of life on the land, and so one day, with "literally only directions, not knowing how the pay was or what I was doing" he got in the car and drove 3,200 kilometres north. "Looking at stations and what not, I thought 'that lifestyle is for me', and took the jump," he says, in his blended British-Australian accent. "I thought, bugger it, you only live once. "It's just so free. You get to work on the land every day, the boss is cruisy, you get to go back to the workshop at the end of every day. "Everyone has a beer, a yarn, and rinse, wash, repeat." For the men and women who work on remote Top End cattle stations — part of a community of workers often based hundreds of kilometres from each other — events like this one are important. As well as a rare chance to socialise, they are an opportunity to compete in that celebrated event of cowboy culture, the rodeo. Women typically compete in barrel racing, while the men ride bulls. When he's not riding unruly livestock for a crowd of thousands, Jack is driving heavy machinery at Old Mount Bundy Station, near Jabiru, where he lives and works. He is quick to clarify that station life is not easy, but affords an undeniable sense of freedom. "Don't get me wrong, the work's hard and you do long hours, but it's very rewarding work," he says. In a yard behind the arena — a quasi-locker room for competitors, bordered by nothing more than temporary cyclone fencing — a handful of other bull riders are preparing for a night of rural entertainment. The cowboys get changed in full view of thousands of spectators queuing up to enter the venue, pulling gear out of worn duffel bags that litter the ground. Splayed open in the dust, they contain a variety of cattlemen's accoutrements like brushes, bull-ropes, talcum powder and leather-related products. Straddling a saddle in the dirt as he adjusts his stirrups, Jack says that before each rodeo, he applies rosin to the inside of his chaps, in the hopes he'll stick to his saddle as he's being thrown around. Nearby, other competitors are tying and tightening various intricate knots in the bull-ropes which will bind them to the huge animals they'll be riding in just minutes. It's a struggle to spot anyone not wearing a wide-brimmed hat of one variety or another. Not many look like the felt type you might associate with The Man from Snowy River. Instead, most Top End cowboys and cowgirls prefer hats made of thatched straw. "Wide-brimmed hats, they go back a long way for cattlemen. It's what drovers wore," Jack explains. "You see cattlemen with bigger brims and felt hats, that's actually a tool when you're out working with cattle on horseback. "You use the top of your hat. You flip it upside-down and give your horse a drink, and also it keeps you safe from the sun." As well as a good hat, Jack says durable denim is essential for a cowboy, because when "you're playing with cattle in the yard, you get hooked, they [your jeans] get ripped". And while a big belt buckle might seem like a cowboy staple, it's not something just anyone can wear. "You do see a lot of people trying to act like they've got a buckle and stuff but, see, some of the cowboys around here, they've actually earned it, they've done the hard yards," Jack says. Most rodeo spectators from Darwin and surrounds are wearing what New South Wales competitor Dean Wallace sees as a less authentic interpretation of cowboy western wear. While many spectators will stay at the arena into the early hours of the morning for an after-party, Dean says most of his fellow competitors will "go back to their utes for a sleep" or a quiet beer. "I think the ones that highlight a bad view of cowboy culture are the ones that dress up for tonight, get on the piss, try to fight someone and get carried out," he says. "You see some people who dress up just for tonight and they've never actually seen a paddock, stepped in s*** or touched a sheep." Dean isn't keen on the suggestion cowboys are proud of their differences from "city slickers", and says rather than being concerned about their identity, most cowboys just don't care. "There are moral standards for a cowboy, and you shouldn't have to think about what those are," he declares. But he explains that the cowboy identity can't simply be adopted by anyone. "It's just being tough enough to handle whatever gets thrown at you, brave enough to do whatever you have to do and looking after those around you. I guess that's my view of a cowboy," he says. While Dean says the cowboy identity usually comes with growing up in a pastoral family, he believes it is not impossible to become one — but it takes hard work. "I'm all for anyone that wants to get into it," he says. "If you put your hat on, put your boots on and you're willing to work for it, that's all there is to it. "I'm telling you, if you go from a lifestyle where you're not used to it and you try to get into it, you'll quickly figure if you're a cowboy or not." As the final bull is taken back to the yards and the night-time entertainment starts warming up, as if on cue, Dean and his fellow bull riders begin to pack up and head to their utes, leaving the crowd of partygoers behind them in the settling dust.

ABC News
4 hours ago
- ABC News
Beloved Australian actor Claudia Karvan says there's a chilling authenticity to Like, Follow, Die
Like, Follow, Die is a psychological thriller that begins with a knock on the door. Probationary detective Kyle Nazarian wants to speak to Corinne Gray about her son Ben, a sweet-natured child who loved history and dreamed of swimming for Olympic Gold. Ben has done the unthinkable, and his mother pours herself into uncovering the sinister figures and shadowy online communities who prey on vulnerable young people like her son. It's fiction. But beloved Australian actor Claudia Karvan (Bump, Puberty Blues, Secret Life of Us), who stars as Corinne in the multi-cast narration of the audiobook, says there's a very real edge to this story. "I think there's real truth to it," Karvan told ABC News. "There's a very real tussle happening right now in front of us between the old world order and new progressive ways, and we're watching that happen right now. "So, it couldn't be more timely." Karvan, who has a 23-year-old daughter and a 19-year-old son, says she agrees with What About Men author Caitlin Moran, who implores fellow feminists to ponder: Where are the boys, and are we making sure they're keeping up? "It's a conversation that my son and I have to have delicately," Karvan said. She says in Like, Follow, Die, Corinne unpacks the job she did as a parent. "[She's] trying to work out what cultural influences may have derailed her efforts [and] being very honest with her own deficiencies." Like, Follow, Die is written by the bestselling author of Dark Mode, Ashley Kalagian Blunt, who says there's been an overwhelming response to the audiobook since it was released last week. "I've had a bunch of readers get in touch with me to tell me how much they love the twists and just how the story really hits them, especially if they're parents," Kalagian Blunt told ABC News. "The main thing I want to do with Like, Follow, Die is show how in the men's rights activist space, there are groups that are specifically targeting teenage boys through places like YouTube and Instagram, TikTok, the places where teenage kids hang out. "It's not that they're just naturally drawn to that, maybe in some cases, but it's that there's actually people who are investing money and strategy in thinking about how do we draw these boys into our world view? Kalagian Blunt says she wants to contribute to an existing conversation around social media and teenagers, what they're exposed to, and how that's shaping their world view. "The reason I wanted to write from Ben's point of view, from the teenage boy's point of view through his journals, we only see him from age 12 to age 19, is because I wanted to show how he developed this world view, and how he was targeted by groups that very specifically were looking for vulnerable teenage boys. "And I think there is this societal conversation and dialogue right now around men's violence and toxic masculinity and modern feminism, and those are really important conversations and really important topics. Like, Follow, Die is on Audible and features an all-star cast including Claudia Karvan as Corinne Gray, Ryan Corr as Kyle Nazarian and Laurence Boxhall as Benjamin Gray.

ABC News
4 hours ago
- ABC News
Rising festival 'sound experience' Saturate asks audiences to jump in a pool
It's not every performance that requires an audience member to strip down to their togs. So, from the outset, Saturate, an underwater musical "experience" on during this year's Rising festival, establishes that it's little bit different. Picture 60 or so people together in a public pool — the historic City Baths in the centre of Naarm/Melbourne — serenely sharing what is usually a very active space. "Your ears need to be underneath the water to hear the sound composition in its full frequency spectrum, which means that you need to be either diving under the water or floating on your back," the show's creator, sound artist Sara Retallick, says. Retallick, who has produced and performed different underwater listening experiences — including at Rising 2021, and Brunswick Music Festival — says her underwater composition presents a "really different way of listening". "We're geared towards imagining sound [under water] to be quite muffled, [for example] if you were to listen to a radio that was submerged in water or someone singing or talking under water. "But because I'm using underwater speakers that are designed for this process, the clarity of the sound is actually really quite incredible." She's deliberately used instrumentation that couldn't acoustically be performed under water — "air-reliant instruments" like flutes or voice, and electronics — which she presents under water with clarity. Some of the sound is also recordings of water. "It's designed to get people thinking about whether they're hearing the sound composition or hearing the water around them. [It's] sort of playing with reality versus recording. "So it's this very different encounter with sound." Retallick is keen to ease her audiences into the show, which "starts in a fairly gentle way". Front of mind is that she's asking her audiences — disrobed, submerged in water — "to be in quite a vulnerable position". "That's definitely something that has a been a theme through all of these underwater works that I've made, is that that care for the audience is really important and the whole journey becomes part of the work. "So, of course there's the sound work itself, which is the main thing, but then how people move through the venue and through the change rooms and all of that, I also consider a very big part of the work." To refine her compositions, she jumps in a pool herself, to test scaled-down versions of the sound. She's even found an "Airbnb for pools" so she can use a private pool for a few hours at a time to listen as her audiences would. "A lot of my compositional process uses sound and digital processing to create quite unique sounds and I've really thought about — listening under water myself and getting a sense of what sounds work quite well and what sounds don't work as well and what frequencies respond well under water." The process of making the work has presented plenty of things to think about that she wouldn't have had to consider if she'd presented her composition in a concert venue or other "normal music venue". "So there's all of these considerations that come into play." Saturate runs for 24 minutes and 37 seconds, which is a very purposeful duration: it's the same duration as the longest breath held under water. And, for Retallick, seeing bathers-wearing audience members experience it in a state of deep, focused listening is a joy. "[It's] incredible for me as a sound artist because that's what I was hoping to get out of this work; to present something that would encourage audiences to really tune in. "And I guess the gesture of inviting people to actually fully submerge their bodies in water in order to access the sound means that they're committing a lot to the work, to being able to experience that listening." Retallick has discovered, over years of practice, that something very particular occurs in audiences' bodies during her underwater shows. "I came across this realisation that we listen really differently under water. So, when we're submerged in water, in a pool or in the ocean, we listen through bone conduction hearing. [That] means that the sound vibrates through the skull and the bones in our skull, and the jawbone, rather than passing through the ear canal as it would if you're listening above water or through air. "So that gives the sound this very close quality. It almost sounds like it's inside your head and we sort of lose the directionality of the sound, so it's like the sound composition is coming from all directions at once." Saturate is on as part of Rising festival, running June 14-15.