neonchameleon

I don't think many Australians fully understand the importance of China to the ongoing economic development of both countries. Many might be aware that China is Australia's biggest trading partner, both in terms of imports and exports. As far back as 2019-2020, according to the ABS, 27% of all imports came from China and 39% of all exports went to China, and this has been increasing every year. Iron ore, coal, and education are notable exports, but following the China-Australia Free Trade Agreement (ChAFTA), agricultural produce and pharmaceuticals have also become popular. Imports have mainly consisted of telecommunications equipment and household appliances. Whilst imports themselves are likely to flatten (households can only have so many appliances, a person can only have so many mobile phones and computers), China's dedication to transforming their economy means that "green steel" is on the agenda, produced by hydrogen rather than coal furnaces, and produced here in Australia - but only if we develop the renewable energy to power such facilities. Our economic future is closely tied to China's, and there is really no alternative.

I have emphasised this point in my president's report in the October newsletter of the Australia-China Friendship Society - along with writing reviews of two recent and impressive Chinese films: "Caught by the Tides" (2024) and "Resurrection" (2025). The former I saw in Darwin a few months ago, and it weaves a long-spanning and troubled romantic story with over twenty years of footage, making it part fiction, part historical footage. The latter I saw recently at The Astor as part of the Melbourne International Film Festival, and combines several short period films with a time-travelling science fiction thread whilst referencing several other films in content and style. Further, in my role, I have recently had the opportunity to discuss matters with a number of delegations from China.

A little over a week ago, I hosted an arts and culture delegation from the Chaoyang district of Beijing and took them to the National Gallery at Federation Square to give a tour and explanation of the development of Australian art. They are very keen on following up with an exchange programme. Then, a few days ago, representatives of the Jiangsu Friendship Association and I, on behalf of the ACFS, signed a Memorandum of Understanding with great fanfare at the Chinese Museum, as a photo exhibition on Chinese modernisation in Jiangsu was being launched by the Jiangsu Federation of Literary and Art Circles and Creative Victoria. Last night, I enjoyed the company of the Quanzhou Trade Delegation at a wonderful dinner hosted by the Fujian Association of Victoria, and I gave a brief speech on behalf of the ACFS.

It's one thing to be cordial in a transactional business relationship. But, as I said in my speech last night, relations between people are more important than relations in business, and friendship is more important than contracts. Friendship with China means that both parties will engage in respect, understanding, and accepting differences. It means being honest, open, and inviting. The bellicose attitude of some Australians, including Australian politicians, towards China and the Chinese demeans our national character and, really, is quite embarrassing. Fortunately, through its seventy-five-year history, the Australia-China Friendship Society has stood for building relationships, building partnerships, and building friendships. We have our Annual General Meeting at the end of this month, 1-3 pm. Sunday 30 November 2025. Maybe some of you with a similar mind should come along.

Last Friday evening was Halloween and I went out with a couple of friends for a crawl through the city, which was full of people dressed up for an evening of hedonistic entertainment; "you're dressed up like a clown, putting on your act, it's the only time all year you'll ever admit that" (Dead Kennedy's, "Halloween", 1982). I doubt that many have any clue whatsoever about its relationship to the liminal Celtic harvest festival of Samhain, or even the Christian Allhallowtide, where the dead are remembered and respected. The closest that any contemporary culture comes to combining these traditions, in my opinion, is probably the Mexican "el Día de los Muertos", which also incorporates a strong sense of danse macabre and memento mori, along with insightful and socialised humour through mock epitaphs, "calavera literaria".

As a highly secularised pantheist, "now that makes it clear I'm no priest or monk" (Severed Heads, "All Saints Day", 1989), I nevertheless rail against the disenchantment of the world; "Nicht wie die Welt ist, ist das Mystische, sondern dass sie ist" (Wittgenstein, TLP, 1912). The festival of "el Día de los Muertos" at least illustrates that one can hold a non-denominational fiesta that has some depth to it. Alas, it seems that the relatively recent import of Halloween to Australia has been the saccharine version that is utterly trivialised, commodified and commercialised, and stripped of any significance.

In that sense, perhaps it is appropriate that Australia holds the Melbourne Cup in the same week. I don't particularly care for horses as a species; as one writer has quipped, they are "evolution's mistake", and a good argument against Intelligent Design. For our mainstream culture, it's an opportunity to frock up and get themselves so drunk that they can't stand. Scratch the surface and you find that the festival is basically a blood sport with the 2024/25 racing season resulting in the most deaths from racing on record. They shoot horses, don't they?

Certainly, I had a great afternoon out on the day at the Royal Melbourne Hotel with visiting interstate friends from the Northern Territory and South Australia. Great company, great conversation, and even a venue I could reminisce about; the former 19th-century police complex was also a goth club in the 1990s that I used to frequent. But I cannot forget one track from that era; "I dress this way just to keep them at bay because Halloween is every day" (Ministry, "Every Day is Halloween", 1984).