Learning how stories reshape the system

* Content warning: This discussion contains references to sexual assault, domestic and family violence.

Last week, surrounded by palpable energy, profound expertise, and delicious fresh coffee, we attended Documentary Australia’s first Masterclass of the year, Storytelling for Systems Change. It was a morning of warm wisdoms, that brought many of our intrigues and interests into sharp focus.

As the newest cohort of the Impact Producer Program, since mid-March we have been immersed in an ocean of new knowledge, from exploring theories of change, mapping allies, and how to host brains trusts and community screenings, to putting on our big girl pants and having the courage to pick up the phone and call potential partners. Fortunately, due to the infallible structure of the program and incredible generosity of the team, at no point has it felt like being thrown in the deep end. Instead, it’s been a guided swim to see what is possible when you bring the power of good storytelling and the sharp edge of strategic impact campaigning, together, under one roof.

The masterclass with Dr Mitzi Goldman, Documentary Australia’s CEO, Emma Macey-Storch, Director and Producer of the award-winning documentary Geeta, and Dr Allison Henry, Campaign Director of The Hunting Ground Australia Project, was a masterclass in both title and substance. It unpacked the assorted realities of using a film as a tool to usher in new rules, new laws, new ways of doing.

We learned that change takes time. And resources. The Hunting Ground film was released in the United States ten years ago and continues to shape Australian policy today. Allison spoke about the seedlings of The Hunting Ground Australia Project and the ambitious ten-point plan that was drawn up in those early days. A decade later, she thinks they have achieved almost every goal. Over that time their funding has doubled, Allison has completed a PhD on the subject, multiple reports have been published, and The Universities Accord (National Higher Education Code to Prevent and Respond to Gender-based Violence) Bill has been tabled in federal parliament. Still, the work isn’t over.

Emma shared her very honest story of working with a smaller budget on the impact campaign for Geeta, financed by crowdfunding campaigns, art sales, small philanthropic grants, and a significant amount of volunteered time. Things have moved slowly but with fierce intention, maintaining a focus on centering Geeta and her daughter Neetu in all campaign activities.

We also learned the undeniable strength of filling the gaps, by diligently contributing to what is needed, what is missing, and what could move things along. In the case of The Hunting Ground Australia Project, initially what was missing was data. The film’s early university screenings highlighted systemic denialism, and even hostility, among university staff audiences, who could not fathom the American film was relevant to Australia. ‘That doesn’t happen here’ was shorthand for many of the responses. So, The Hunting Ground Australia Project set out to find out. They funded the Australian Human Rights Centre at UNSW to develop best practice policies and procedures. The Centre in turn worked in partnership with the Australian Human Rights Commission to implement the Australian Universities’ Sexual Assault and Harassment Survey, an initiative which eventually gained the backing of Universities Australia. As the statistics and stories rolled in, universities and governments sat up and listened. The realities of sexual violence on campus had been captured in a way that could no longer be ignored, skewed, or squashed.

Bringing Geeta into the Australian context, Emma spoke about the patchwork of policy gaps that needed filling. In Australia, acid is not classified as a dangerous weapon, the Family Violence Multi-Agency Risk Assessment and Management Framework (MARAM) test does not include acid related abuse, and the relevant United Nations (UN) recommendations are yet to be implemented. These gaps span institutional, national, and international systems. Luckily, there are powerful examples of gaps being filled and changes being made globally, including by the film’s own protagonists, Geeta and Neetu. As part of the movement of ‘Sheroes’ the women have significantly impacted India’s approach to acid attacks, including improving laws on punishment for perpetrators, compensation, and treatment for victims.

Lastly, tenacity reverberated throughout the conversation, revealing itself as a key ingredient, traceable in every piece of work, decision, and reflection. We learned that this work takes dedication and heart. We were reminded to always be prepared and to stay organised and be ready for when moments arise. Governments change. Staff move on. New opportunities emerge. The thing that must continue throughout it all is your commitment.

By 2025 Impact Producer Program Participants Jessica Hamilton and Matisse Walkden-Brown. Read more about this year’s program here.

Feature image (L-R): Dr Mitzi Goldman, Emma Macey-Storch, Jessica Hamilton, Dr Allison Henry, Matisse Walkden-Brown, Lisa Kanani

If you or someone you know is affected by these issues, support is available. You can contact 1800RESPECT at 1800 737 732 or www.1800respect.org.au — a national service that provides free and confidential domestic, family and sexual violence counselling, information and support, 24 hours a day, 7 days a week.

If you are in immediate danger or concerned for someone’s safety, please call 000.