User talk:Unisa8/weaving voices: Aboriginal Poetry, Performance and Visual art

weaving voices /Peter Unisa8 (talk) 16:18, 20 March 2011 (UTC) Hi there Janine and Peter. This is new to me and I ain't so sure yet. Can anyone out there edit this page? Chris — Preceding unsigned comment added by ABT21Chris (talk • contribs) 20:49, 20 March 2011 (UTC)

Hi Chris and Janine.. not sure why there is so many cyphers on your last post..however, in regard to editing this is a discussion page. We can create editable submissions on the 'user' page (see top left hand corner above title), including imbedding objects such as film or pictures and linking items to a url so readers can be directed to reference resources..to sign off just write your name plus 4 'squiggly lines'such as ~ which gives time and date. I'm not too familiar with the workings of this wiki except that from a basic standpoint its pretty easy to navigate..I have to check back with Stephen (or either of you may if you are able, Im usually

only able to get into any of this until late at night or on weekends) if this is going to be ok to use, but even if not we can paste from here into a word document for the sake of submitting.. Peter Unisa8 (talk) 04:36, 21 March 2011 (UTC)

Hi Peter and Janine, I'll see how I go this time. As per my post on the UNISA discussion page I suggest we have a look at 'Bran Nue Dae'. There is a lot of info available about this production. Whatever we look at I'm not sure what the next step is!!? I'll read the assignment question again. Have a good day. ABT21Chris (talk) 23:10, 21 March 2011 (UTC)

That a funny truth that has hit home for all of us I think Chris..whats the next step?.. Pete Unisa8 (talk) 12:50, 22 March 2011 (UTC)

I don't know whats happened to Janine. From the assignment question are these 2 points below. Perhaps we can work through one or both of these as a start after we have selected a work to analyze. We can do one film so I'll put in another bid for bran nue dae, if it is possible to get hold of the film easily. It was originally a musical so it would also be possible to do something with the sound track. I remain open to doing other works if there is a preference. Cheers  Chris

i)	Textual Analysis: In reference to a poem or paragraph from a book that you have found particularly well written, interesting or moving discuss how its author uses voice, imagery, symbolism, metaphor, sound, irony or other literary tools to communicate its message? ii)	Reading Positions: With reference to a chosen Indigenous text (book, poem, artwork, song or film), analyse your own response to the work. In what ways has it shifted your thinking about Australian society, Indigenous peoples or histories?ABT21Chris (talk) 08:59, 23 March 2011 (UTC)

Hi Chris, I would think the last few days have been a blur for Janine and I'm sure she will get on track shortly..Im happy to unpack some poetry, perhaps some of Cath walkers, but I will try and find a writer who is also an artist, and perhaps will be able to use that in the essay 'sketch'or notes..how we are to make 'notes' toward an essay that each of us may differ on (topic wise) beats me..This is all up a very untidy piece of assessment lol..Pete 114.77.98.32 (talk) 10:58, 23 March 2011 (UTC)

Hi guys, I have started on a textual analysis of a poem in the 'user page' (top left hand corner of this page). Its terribly difficult to get in the right format and probably will be best for us to definitely paste this in a word document..I also tried to embed a video clip, which I succeded in doing in a sense, but its only a url..It does however take up huge space once connected..it was just an experiment, but check it out and see what goes..It might be that getting the actual 'video screen' embedded may not be possible in this wiki because it is a basic rather than advanced type. However, for the time being this space is pretty good for collating information at the moment and getting the start we need.. eter 114.77.98.32 (talk) 16:49, 24 March 2011 (UTC)

Hi there Peter, Janine? Thanks for getting the ball rolling Peter. I'll see if I can do a 'reading position' to that poem either tonight (Fri.) or Sunday. I'm working today and tomorrow, (Fri, Sat.) Pasting into word before posting to UNISA website sounds like a good idea and straight forward. Chris110.174.17.23 (talk) 20:02, 24 March 2011 (UTC)

good for you Chris, I understand the work committments lol..any idea what essay you might like as a group to notate and research in context with the week eight text?.. The reading 8.02 by Jimmy Chi on the Bran nue dae play will be quite helpful in the performing art/film componant.. Pete 114.77.98.32 (talk) 00:13, 25 March 2011 (UTC)

Thanks Chris for adding some thoughts from a readers perspective and that clip..very informative and poignant coming from Cath walkers own comments.. Peter Unisa8 (talk) 13:13, 27 March 2011 (UTC)

Hi Pete and Chris - I know I am late, but is there anything that you want me to start looking at. As mentioned in the discussion page I have only read two books one is a fictional account of a woman's journey to find her family and heritage and the other book is a biography of Rita Huggins, written by historian Jackie Huggins in collaboration with her mother Rita. I am a little confused as to how we go about this but I suppose it will become clearer as we go... Janine 58.106.30.240 (talk) 06:42, 28 March 2011 (UTC)

Hi Janine, Peter, Here is an interview (3 clips) with Jimmy Chi of bran nue dae all very relevant to this subject. http://aso.gov.au/titles/documentaries/bran-nue-dae/clip1/   Have a good day. ABT21Chris (talk) 21:49, 28 March 2011 (UTC)

Hi Chris and Janine, The video clips were great Chris, ta. I posted something on Bran Nue Dae with references, plus put up references for the poem..take a look and see what you think..somewhere along the way we have to edit this and get it into a proper format, but first things first. By the way feel free to add to it, fill in blanks or make suggestions..Im just firing from the hip at the moment and like you Janine, its all a bit 'out there' still, and am just muddling through it at the moment..

On Janines question, what we need next is to work on a 'preparation for the major essay'..( see part iii of assignment 2 in unit outline)..I was thinking of doing the first essay which is about the representation of Australian history ( or mis-representation lol)..but you may differ..for this exercise we have to write notes on how to research the essay in light of week 8 texts such as for example Bran Nue Dae..this is a good example text that fits with the first essay because the play is all about challenging aspects of history wrtten 'out' of the history books and re-representing it from an Indigenous perspective. Within this exercise however, we have to come up with three other references to share..so thats one topic..

The fourth exercise is to engage with the themes of the course..any thoughts on that guys..its no iv in the unit outline and im not sure if its something we are already doing or a seperate exercise??..

Pete Unisa8 (talk) 18:00, 29 March 2011 (UTC)

Hi Pete, Janine, I got hold of a Bran Nue Dae DVD yesterday, bought it from JB HiFi for $18. I watched it last night and will watch it again and take notes, which I will post. Well done with your last post Peter. I can't match your writing, I'm not as prolific and tend towards a plain, non academic English. However I have got to the last 2 subjects of my degree so bear with me please!!:) I will look at the movie with Assignment 2, exercise 4 in mind, engaging with the themes of the course. I think that is something we are doing already with whatever we look at. I might pay particular attention to identity. I will also view the movie with Assignment 3 in mind, see below.

Regarding the major essay, I will be doing question 2. the impact of protection and welfare legislation. The book I reviewed for Assignment 1, Under the Wintamarra Tree by Doris Pilkington was full of relevant information. Next I will read Shadow Lines by Stephen Kinnane and see what can be gleaned from it. I see it is also a recommended text for the history question. Both these books are based in Western Australia as is Bran Nue Dae which might also give some relevant ideas and be a suitable text if I confine my research to that state! As you say Peter we need to write notes in light of week 8 texts. I will also be keeping the Moore River Settlement in mind as I read and research. Doris Pilkington spent time there as did her mother, Molly, who escaped from there in Follow the Rabbit Proof Fence. The place seems to have a particularly unsavory reputation.

Should the above paragraph, burble, be included as part of 'preparation for the major essay' component? I don't think this assignment has to be too formal. It says it is to 'keep us on track', 'an opportunity to display knowledge and a space where questions regarding texts can be raised and discussed'. The above paragraph is the beginnings of my approach to assignment 3 as I think is your paragraph above Peter. I could well make a few twists and turns along the way! And yes, I too am still very much trying to get my head around this assignment. It's a new one for me. I think it might originally have been designed to present in front of a group of people. Have a good day. ChrisABT21Chris (talk) 07:03, 30 March 2011 (UTC)

You write superb Chris and I think you are on the money with your approach to assignment 3..Definitely sounds like a plan! Im sure Janine wants to sink her teeth into this as well,.. so to clarify, do you know whether we are supposed to map out our own seperate approaches to the third assignment, or simply go with one?..it makes no sense to go with just one if students are opting to take on different assignments..does it?..hmmmmmm Pete Unisa8 (talk) 12:05, 30 March 2011 (UTC)

Hi Peter, Janine, There was a similar question asked in the forum. See the post called Assignment 2, Margita Jeanne Doyle. They weren't sure whether to study one book or three. Stephen's reply is there. He suggests if they read different books there will be points of connection between them and to begin by sharing and discussing these. We could do something similar in our approaches to the assignment(s). Chris ABT21Chris (talk) 22:39, 30 March 2011 (UTC)

Hi guys I had a look at those posts Chris, and gauged that perhaps we could combine efforts in different reading perspectives and their subjective emotive content for each of us, (as relating to the poem and play)...So are you saying that with the essay approach we might each be able to each find different references, journals, articles or books from which we can diverge and merge? Wouldnt this apply only if we were all discussing one particular essay question?..it still doesnt answer the quandery of different essay topics..Gee, I've been all the way through this course practically, and another degree at Swinburne, but have never had such a disoriented feeling mid way through an assignment... regardless of that, we'll make a real fist of it and Im sure we'll turn it into a real positive..I might post something for Stephen to clarify this essay approach componant..good luck..Pete Unisa8 (talk) 08:17, 31 March 2011 (UTC)

Hi Peter, Janine, I've posted some of my thoughts on Bran Nue Dae. Next I might look more closely at one of the songs, how it's written, etc. Just winging it here. Shall we look at another Kath Walker poem? We can collate, edit, merge later. Have a good day. ChrisABT21Chris (talk) 05:04, 4 April 2011 (UTC)

Hi Peter, Janine if you are still around. Things have gone very quiet here. I will be emailing Stephen today asking for suggestions. I have also been making a few enquiries about group assignments in general. Both my children and some of their friends have been through uni so have experience with them. It seems like they are not so popular and we are pretty much right on track! However this needn't degenerate into buck passing and personalities. If we are keeping up with the readings this assignment should be a breeze. I suggest we three make a phone hookup with 3 way calling or skype and discuss things. We can start by organizing a suitable time. Any time Monday to Wednesday is suitable for me, otherwise any evening. What about you guys? ChrisABT21Chris (talk) 22:02, 10 April 2011 (UTC)

Hi Chris, soz about the dissapearance.. been away for a couple of weeks on personal issues..I noticed that an administrator deleted all our info on the user page, but I have backups of mine..do you have backups of what you did?..a phone call is good, but not monday through to wednesday as I work..evenings too....however thursday evening after 7.00 is fine.. What i might do is re-hash what I had on the user page here so we can at least have it in front of us to look at..what we need to do is format this into a final draft so it comes up to par..whatever par is in an assignment of this type! Pete 114.77.98.32 (talk) 16:29, 25 April 2011 (UTC)

Hi Chris and Janine. I did some further editing since mailing out the first draft and included a conclusion now. Just need your approach to the third assignment Janine so I can put it all on a powerpoint..have either of you any pics or other comments or editing ideas for the final presentation?..if you do shoot me an email. I know Chris has my contact details, so if you need to check back with me Janine im contactable on petertaylor089@optusnet.com or 0387113969/0425864363.. hopefully we can connect on a conference call this weekend..Thing is I have heaps on after this weekend so wouyld like to wrap it up if possible..ta Peter114.77.126.24 (talk) 03:17, 20 May 2011 (UTC)

next discussion >

Assignment contribution

We Are Going : A textual analysis by peter

by Oodgeroo Noonuccal

They came in to the little town

A semi-naked band subdued and silent

All that remained of their tribe.

They came here to the place of their old bora ground

Where now the many white men hurry about like ants.

Notice of the estate agent reads: 'Rubbish May Be Tipped Here'.

Now it half covers the traces of the old bora ring.

They sit and are confused, they cannot say why.

We are as strangers here now, but the white tribe are the strangers.

We belong here, we are of the old ways.

We are the corroboree and the bora ground,

We are the old ceremonies, the laws of the elders.

We are the wonder tales of Dream Time, the tribal legends told.

We are the past, the hunts and the laughing games, the wandering camp fires.

We are the lightening bolt over Gaphembah Hill

Quick and terrible,

And the Thunderer after him, that loud fellow.

We are the quiet daybreak paling the dark lagoon.

We are the shadow-ghosts creeping back as the camp fires burn low.

We are nature and the past, all the old ways

Gone now and scattered.

The scrubs are gone, the hunting and the laughter.

The eagle is gone, the emu and the kangaroo are gone from this place.

The bora ring is gone.

The corroboree is gone.

And we are going.'

Oodgeroo Noonuccal authors a significant socio-political poem that paints an Aboriginal perspective of colonisation in Australia. Message is central over aesthetics in ‘We are going’ and narrates the emotional and spiritual pain experienced through dispossession and de-culturation. ‘We are going’ both laments the loss of traditional Aboriginal life, and affirms the continuity and future of Aboriginality within its message. While the context of the title ‘we are going’ calls for political action and mobilisation, its use in the last line of the poem encapsulates a context of despair and mourning. This poem evokes a call for collective unity despite a loss of cultural relevance through the impact of colonisation, and a political challenge to not simply fade away in the face of injustice and dispossession. In unpacking this poem, Oodgeroo uses voice, imagery and symbolism as she pens the ‘silent and subdued’ nature of an Aboriginal remnant as they return to their ancestral home displaced and oppressed. They find their traditional land overrun by ‘many white men’..who. ..‘hurry about like ants’ in exploiting the land and desecrating their values and sacred sites by viewing them as irrelevant and treating them as ‘rubbish’.

Oodgeroo describes further how numb confusion takes holds because the ‘white tribe’ has displaced Aboriginals as ‘strangers’ in their own land. Oodgeroo however asserts continuity and belonging to the land saying..’ We belong here..we are of the old ways’.. Oodgeroo uses time and place, and a collective Aboriginal identity when expressing aspects of spiritual and natural life that embodies the past and future of the Dreaming within the spirit of her people. The descriptive component of this poem gives way to a nostalgic reflection and utilises repetition to assert, reinforce and focus the reader’s attention by saying.. ‘We are’, as a possessive embodiment of nature, the past, and the old ways. The use of metaphors such as ‘daybreak paling’ and ‘shadow ghosts creeping’ symbolises the passing of the old ways, while the collective Aboriginal representation within natures ‘lightning bolt’ emphasises empowerment, hope and cultural continuity. The length of lines within the poetic form differ between short and definitive to long and timeless, which are expressed rhythmically to provide an emotive and assertive message encapsulated in the last three lines ‘The bora ring is gone’...‘The corroboree is gone’…‘And we are going.' Engaging in this poem draws an emotive component of both guilt and anger for past colonial injustices and the resultant disenfranchisement of Indigenous people within a political and social centre. The embodiment of the cultural past within a collective people speaks of an ageless purpose and cultural tradition that provides meaningful perspective and authenticity, while searching for new expressions of identity and cultural empowerment (Breen 1989, p. xii, Nayar 2010, pp.1-4, Oodgeroo 1964, p.32).

References

Breen, M 1989, Our place, our music: Aboriginal music, Aboriginal Studies Press, Canberra.

Nayar, A.K 2010, Native Voices from Terra Nullius: A heading of Kath Walkers 'We Are Going', IRWLE, Vol. 6, No. ii, pp. 1-4, Viewed 22nd March 2011 at: http://worldlitonline.net/native-voices.pdf

Oodgeroo Noonuccal 1964, We are Going: Poems by Kath Walker, Jacaranda, Brisbane.

Peter 114.77.98.32 (talk) 16:40, 25 April 2011 (UTC)

We are going : A reading position by Chris

First a confession. I have not read any of Oodgeroo Noonuccal’s work before. After reading the poem and learning a little about the poet I am wondering why not, perhaps it is my upbringing. There is an interesting brief interview with her at this website: http://aso.gov.au/titles/documentaries/dreamtime-machinetime/clip1/ To me she comes across as a remarkably strong, determined and intelligent woman and this shows in her poetry. As she says in the interview, when she heard stories from Aboriginal people she would go home and write a poem about them. She did not want to become involved in polarized politics but simply wanted people to listen to and hear her people. In this poem We are Going she describes in plain, straight forward language what Aboriginal people have lost and to me it is saying our loss is your loss. She mentions ‘white men hurrying about like ants’ and ‘the white tribe are the strangers’. Poetry such as this confirms to me that in many ways the white tribe still has not learnt much over the past few decades. While Aboriginal people led by people such as Oodgeroo Noonuccal are increasingly finding their voice others are not learning to listen and the frenetic and destructive pace of life in the dominant society continues. Let me off please, I need a campfire! Chris

Bran Nue Dae by peter

A plurality Aboriginal art forms express the possibility of landscape intimacy and makes accessible a moral and ethical relationship between place and landscape ecologies that transcend western perspectives ( Langton cited in Hair 2005). The contemporary with the traditional is combined in this rich visual play through a medium of musical rock opera and Hollywood road-trip genre, which imbues the Western Australian landscape with its history of race relations in an attempt to de-colonise popular perspectives and challenge misrepresentations of race, culture and history (Thomas 2009). The Landscape represented in Bran Nue Dae is one of colonised space that has located Indigenous people within the liminal cracks of a named and foot-printed land, and a mapped spatial zone of imperial expansion ( Hair 2005). This ‘in-between’ space is a quasi-invisible ‘country’ where Aboriginal people have been stranded without the legitimacy to respond as its traditional owners ( Hair 2005). Makeham ( 1996, p. 1) states that Aboriginal people have been… ‘objectified and misrepresented within an essentialist white discourse of Aboriginalism’… and emphasises that Aboriginal people are neither static or homogenous, but culturally diverse and adaptable within a deep sense of racial solidarity that characterises contemporary Aboriginality.

Bran Nue Dae celebrates this cultural diversity and Aboriginal resistance in the face of oppressive state institutions and colonial representations (Makeham 1996, p.1). The play is set within a musical framework and dialogue, and is a theatrical expression of renewal and discovery as Willie and his uncle Tadpole travel from Perth to the Lombadine mission at Djaringjin on the remote northern coast of Western Australia. Willie finds himself on a journey not only to adult hood, but one that metaphorically traces the history of black and white contact, and enacts the character of Aboriginality within landscape and place through the response of ‘movement’ into a different social and physical landscape (Hair 2005, Makeham 1996). The journey structure is a re-enactment of ritual in the form of a song-cycle where landscapes are ‘sung’ through words, music and images that portray the heart of Aboriginal philosophy (Makeham 1996, p.4). Along the way the journey incorporates character such as ‘Slippery’ and ‘Marijuana’ Annie who represent the ‘half-caste’ Aboriginal, and a discovery of long lost and hidden cultural and family ties portraying the ‘stolen generations’ era. This is further acknowledged when Theresa shares her story of a ‘lost’ love child in a relationship with a German missionary, and ‘Slippery’s’ subsequent reconciliation that exemplified the diverse experience of being Aboriginal in saying..‘Ich bin ine Aborigine!’(Makeham 1996, p.13).

Bran Nue Dae captures the collective consciousness of a political, social and cultural struggle that confronts modern Aboriginal people while retaining their traditional culture and spiritual values (Makeham 1996, p.3). The play alludes to the long history of colonial dispossession and displacement through symbolic and direct overtures, while evoking an activism for political and economic self-determination (Makeham 1996, p.3). Aboriginal self-representation incorporates a dominant white cultural form to assert Indigenous identity, while simultaneously conveying traditional culture and history to non-Aboriginal people (Makeham 1996, p.4).In this way, Aboriginal administration maintains discursive control over representations of story and image within Bran Nue Dae in a rare glimpse of traditional cultural ownership. Cleverly though, the play subverts dominant discursive constructions through humour and derision, as exampled with Benedictus stating that his greatest desire is…”to see der native people be edercated und trained in der skills ov der modern vorld”…Here however, the mission institution is complicit with dispossession and assimilation and the ‘church’ is implicitly linked to the prison system as an instrument of colonial dispossession, as exampled in the confinement of willie at Roebourne gaol. This metaphoric and symbolic attribution of ‘incarceration’ reveals not only the social structures imposed on Aboriginals, but highlights the ‘Aboriginal deaths in custody’ issue that is central to contemporary Aboriginal politics (Makeham 1996, p. 2).

some thoughts about identity: Bran Neu Dae by Chris

Jimmy Chi makes several comments about his work Bran Nue Dae on the trailer to the film. He says it is autobiographical in a way and that he wanted to bring about change through his music. (Chi 2009) In another interview he said about the musical Bran Nue Dae on which the movie is based “This is our truth to you for you guys to look at.” (Bran Nue Dae 1991) Here music and the musical / play and movie genres are being used to talk back. They are being used by Jimmy Chi to say something about Aboriginal identity, to express the diversity of identities within contemporary Aboriginal culture and to reject an identity that is imposed by the dominant culture. (Voices and Identity)

The rejection of an imposed identity is made emphatically early in the film with the singing of the song There is nothing I would rather be. This is in direct response to the values of Father Benedictus and the assimilationist policy under which he operated. For example when Father Benedictus welcomes Willy to Perth he says “How was your holiday, did you catch any fish?” implying that Willy’s time in Broome was just a brief interlude away from the serious business of life, of being assimilated. Later he asks Willie “Do you want to waste your life like all those useless blackfellas up in Broome? No Willie, you are much better than that.” The line by Father Benedictus “I should have known one of your Aborigine kind would be worth nothing,” is followed by the song which speaks back very powerfully and unambiguously. (Chi 2009)

There are many situations, signs, events, ideas throughout the movie which can be understood by the audience as expressions of either traditional or contemporary Aboriginal culture and symbols of identity. However there is no attempt made to define an Aboriginal identity other than Uncle Tadpole’s statement towards the end, after the various characters have revealed hidden aspects of their lives, that today “everybody is an Aborigine.” (Chi 2009) This scene is making a statement about and is a rejection of the race and blood-based classification of Aborigines and its associated divisiveness. The behaviour and circumstances of the characters throughout the film can be seen as a result of the application of policies based on these classifications and I think the movie is saying this is us, we have survived and we are proud of it.

References

Bran Nue Dae 1991, at australianscreen, National Film and Sound Archive 2011, http://aso.gov.au/titles/documentaries/bran-nue-dae/clip1/ accessed 02/04/2011

Chi, Jimmy, 2009, Bran Nue Dae (video recording) Roadshow Entertainment, Pyrmont, NSW. Voices and Identity, 2008, Australian Society, Aboriginal Voices, Wk3, Chris

Hair, M 2005, Invisible Country, Journal of Media and Culture, Vol. 8, issue 6, viewed 26th March, 2011 at http://journal.media-culture.org.au/0512/09-hair.php

Makeham, P 1996, Singing the landscape: Bran Nue Dae, Australasian Drama Studies, vol. 28, pp. 117-132, Viewed 27th March 2011 at http://eprints.qut.edu.au/7198/1/7198.pdf

Thomas, J 2009, UniSA, ABT21, Indigenous Artist: ‘Traditional and contemporary’ in Weaving voices, Poetry, Performance and Visual Art, week 8

Peter and Chris 114.77.98.32 (talk) 16:40, 25 April 2011 (UTC)

Preparing for the main essay peter

I have chosen essay topic six in discussing texts that dramatize and explore different themes such as identity, history and Indigenous struggles to confront racism, prejudice and discrimination. Autobiographies are my favourite research material and for this I will definitely be looking at Isabelle Flick’s autobiography which takes us back to the early 1930s era of protectionism policies in New South Wales and Isabelle’s life struggle in confronting the many injustices that these and other policies inflamed within Aboriginal communities - from constant police harassment, to poor access to education, employment, community and medical services. The historical accounts of Aboriginal politics are fascinating as white people and government policies were confronted and stood up to by a few Aboriginal activists who would not lead a passive existence. This is a story where rights were fought for and won inch by inch. Another great book is Ronnie Summer’s autobiography as a survivor among Aboriginal Tasmania and his struggle for a place in his own country. Ronnie is a ‘songman’, storyteller and performer who emphasises his peoples historical continuity and Aboriginal identity against a backdrop of racism, and who shares a cultural ‘rediscovery’ in his performances through song and story. Larissa Behrendts' book 'Home' is excellent reading relating to the lives of two Aboriginal women, Garibooli and Candice, and their search for belonging and identity in the midst of oppression and descrimination in the history of Australian race relations.

Another book of interest is Glenyse Wards biopic ' Wandering girl' which highlights her pathway through life as one of the 'stolen generation', and chronicles her time at St Josephs orphange,Wandering mission and later as a servant girl in a white home who stands up and contests the status quo of passivity in a white dominated racist world. The Macquarie Pen Anthology of Aboriginal literature is a great reference for this assignment- for example the Politically inspiring event with Vincent Lingiari who led his people off the Wave Hill cattle station not just because wages and living conditions were appalling, but also to protect their women and tribe from exploitation. In Vincent’s own words ‘to try and stand on our own feet’, which was eventually outworked through the successful land rights claim by the Gurindji people in 1975 (Lingiari cited in Heiss, Minter & Jose 2008, pp.52-53). The context of the essay will be to incorporate these themes through Indigenous voices in a weave of narratives supported by critical writings by Indigenous Australians compiled in other texts such as University readings, Blacklines and perhaps Dhuuluu-Yala: to talk straight..

Some references

Heiss, A 2003, Dhuuluu-Yala to talk straight: Publishing Indigenous literature, Aboriginal Studies Press, Canberra, ACT.

Grossman, M 2003, (ed) Black lines: Contemporary critical writing by Indigenous Australians, Melbourne University Press, Carlton, Vic.

Flick, I & Goodall, H 2004, Isabelle Flick: The many lives of an extraordinary Aboriginal woman, Allen & Unwin, NSW.

Heiss, A, Minter, P & Jose, N 2008, (eds) Macquarie pen anthology of Aboriginal literature, Allen & Unwin, NSW.

Summers, R and Gee, H 2009, Tasmanian Songman Ronnie, Magabala books Aboriginal corporation, Broome, W.A.

Peter 114.77.98.32 (talk) 16:40, 25 April 2011 (UTC)

Regarding the major essay by Chris

I will be doing question 2. the impact of protection and welfare legislation. The book I reviewed for Assignment 1, Under the Wintamarra Tree by Doris Pilkington was full of relevant information. Next I will read Shadow Lines by Stephen Kinnane and see what can be gleaned from it. I see it is also a recommended text for the history question. Both these books are based in Western Australia as is Bran Nue Dae which might also give some relevant ideas and be a suitable text if I confine my research to that state! As you say Peter we need to write notes in light of week 8 texts. I will also be keeping the Moore River Settlement in mind as I read and research. Doris Pilkington spent time there as did her mother, Molly, who escaped from there in 'Follow the Rabbit Proof Fence'. The place seems to have a particularly unsavory reputation.

Following are references for my additional readings to date. 'Take This Child' is about events based in the Northern Territory and gives good detail on the various government Acts, policies, etc. It then follows them up with personal accounts from Aboriginal people and the way they were affected by them. 'Born a half-caste' and 'Wandering Girl' are both autobiographical but the different mood of the writings is quite striking. Kennedy sometimes expresses anger and frustration in 'Born a half-caste' while in 'Wandering Girl' Ward often describes her situation with a detached, wry sense of humour. Kurtzer in her essay (Kurtzer 2003)raises some questions about whether this book has been written in a way that is non-threatening and non-confronting to white audiences and so possibly lacks authenticity for Indigenous people. She mentions the 'contested arena of Aboriginal literature' where Aboriginal writers might not feel free to express themselves as they wish. 'Wandering Girl' covers only a brief period in Ward's life after she leaves the mission to work for her first employer. Her mission and the one Jimmy Chi went to are run by the same German church so perhaps her outlook / attitude also have something in common with Chi's.

references

Cummings, B. 1990, Take This Child…, Aboriginal Studies Press, Canberra, ACT.

Kurtzer, S. 2003, Wandering Girl: who defines authenticity in Aboriginal literature, in Grossman, M, (ed.) 2003, Blacklines: contemporary critical writing of Indigenous Australians, Melbourne University Press, Melbourne, Vic., Chapter 14.

Kennedy, M. 1990, Born a half-caste, Aboriginal Studies Press, Canberra, ACT.

Ward, G. 1991, Wandering Girl, Magabala Books, Broome, WA.

ChrisABT21Chris (talk) 23:59, 27 April 2011 (UTC)ABT21Chris (talk) 22:14, 14 May 2011 (UTC)

Story about Feeling

by Jenine

Readings from the book ‘Story About Feeling’ by Bill Neidjie, edited by Keith Taylor – published 1989. pp 112-115, from Chapter 7 Titled – Spirit ‘You listen my story and you will feel im Because spirit e‘ll be with you You cannot see, but e’ll be with you e’ll be with me This story just listen careful’

Page 112 - “Ahh...bush-honey there.” You cannot see. I cannot see but you feel it. I feel it. E can feeling. I feeling.

Spirit longside with you. You sit...e sit. Telling you. You think... “I want to go over there.”

E tell im you...before! Anything you want to look.... “Ahh...go tree.”

But e say... “Hey! You go look that tree. Something e got there.”

You look...well you look straight away. You might look snake, you might look bush-honey. E telling you to have a look... “Look up!” “Ahh...bush-honey there.”

Page 112 – 113 Paintings Alright, you say... “I go somewhere else. I go look painting.”

All that painting, small mark... they put cross, cross and over again. White, yellow and little bit charcoal, little bit red clay... that’s the one small meaning there. They put it meaning. They painting fish...little mark they make im, you know. That’s the one same as this you look newspaper. Big mob you read it all that story, e telling you all that meaning. All that painting now, small, e tell im you that story.

That meaning that you look...you feel im now. You might say... “Hey! That painting good one! I take im more picture.”

That spirit e telling you... “Go on...you look.”

Taking picture.

Well all that meaning there. E say mother, granny, grandpa, grass, fire, bird, tree. All that small thing, little thing, all that mark they make it, when you go sleep you dream... going through your feeling. You might sleep. Well you feel... “Hey, I bin dream good dream!”

Page 114 – That lovely painting White paint might be big hawk...before. Yellow clay where sunset...e tell im you that secret. You got to put im on yellow clay because all that dream, all that story is there. You got to put charcoal because e got “business” there, what we call Dhuwa. Yellow clay...Yirridtja. Well all that piece, piece they im all that story secret, grandpa, granny, back, chest, head... e coming through your feeling. That painting you say... “That lovely painting.”

Page 115 – Finger Prints Finger prints... E put finger prints because hand e put it. Where you grab it thing, you know. Fruit or cutting it anykind...with your fingers! They put it finger prints. They said... “They can look.”

Some foot prints... That’s the one they feel it. They used to feel it turtle there it might be water-python, snake. They feel... “Hey! Snake!”

That way all that painting they left it behind, dead...on the rock.

No matter who is. E can feel it way I feel it in my feeling. You’ll be same too. You listen my story and you will feel im because spirit e’ll be with you. You cannot see but e’ll be with you and e’ll be with me. This story just listen careful.

Spirit must stay with us. E longside us. E can feel it spirit e’s there. That way all that dreaming they left...to see. The readings I have referred to are from the chapter titled ‘Spirit’ and the themes titled, “Ahh…bush-honey there”, That lovely painting and Finger prints, pages 112 – 115.

These stories or messages are not told by direct reference but are more alike interpretations through a connection with the symbol and colours in the paintings. This way all recorded painting, whatever age can be read through feeling and interpreted or understood by the viewer who can spiritually connect with its symbolism and meaning. The author explains that a spiritual presence / guide (the same spirit that is with us and all the artists of the painting) will help convey the paintings meanings. If you can connect with the spirituality of the people then you can connect/feel/understand the story or message in the painting. This way time or age of the painting is not a barrier to understanding the ancient stories or messages, which can be felt, interpreted, read and understood.

My interpretation of each is below.

Page 112 - “Ahh…bush-honey there” In this story the author refers to ‘e’, which is a god like being, a spirit who is influencing his, (the author’s) actions within his environment. ‘E’ is a metaphysical being, a spirit who is guiding the author to a food source.

The story is conveying a message of being at one with nature and how that influence, understanding or unity guided him to a food source in this instance it is bush honey, but it could be any food.

Page 113 – 114 Painting The same spiritual guidance influences the author’s interpretation of an Indigenous painting. He compares the painting to reading a newspaper; all the small parts make up a story. The images in the painting are the story, conveyed through reading all the small individual dots, crosses, colours and materials. Each element of the painting conveys meaning through its imagery – a language of the soul.

It is a story that connects to reader/viewer through feelings or connection with the painting rather than direct dialogue. It carries a strong, important or meaningful message that is understood and appreciated. Again there is a spiritual guidance and connection through art to convey a story, message or record of events to communicate, educate, and inform others. This is just as meaningful/important as Western writing.

The author goes on to discuss the meaning of the symbolism and how each element of the painting in relation to colour/form/design has a special meaning that can be read/understood/interpreted. He gives examples of family representation, animal, environment and customs to convey a feeling of appreciation of the painting rather than just a visual pleasure. The painting conveys the same message and emotion that is received or felt when dreaming while asleep. It is a connection to the soul through the senses.

Page 115 – Finger Prints The author explains, giving examples of finger and footprints in the painting, the symbolic meaning and how this is experienced or felt by the viewer and used to interpret the meaning or story in the painting.

Bill Neidjie was born ‘sometime between 1911 and 1913’ (Keith Taylor 1989) at Alawanydajawany, Northern Territory. He spent a couple of years attending school at Oenpelli Mission around 1927. Until his death in 2002, Bill was the last known member of the Gaagudju speaking Bunitj clan of Northern Kakadu.

Bill had a very traditional life, being taught by his father and grandfather how to hunt and look after the land. Handed down to Bill, was ancient knowledge about culture and tradition as well as the profound love, respect and deep feelings for his people, the country and the natural environment.

The book, Story About Feeling is a compilation of Bill’s stories told orally and recorded, then transcribed and edited by Keith Taylor. Being the keeper of ancient knowledge that has been handed down from generation to generation and knowing that he is the last speaker of his language, the telling of these sacred stories became Bill’s passion. Bill’s desire was that the thousands of years of knowledge his people have learnt, not be lost when he dies, rather it be retained so it can continue to be handed down to generations to come.

The book captures not only Bill’s passion for land, traditional ways and culture, but also that of his ancestors. The title of the book is the name Bill gave to the talks he had with Keith Taylor during the recording sessions in October and November 1982. When editing Bill’s stories, Keith arranged them into themes under chapter headings. This book is profoundly insightful and although for me was difficult to read, upon understanding the words, has left me with a sense of loss, knowing that this wisdom and knowledge is being wiped out.

Story About Feeling takes the reader on a journey through traditional culture and landscape into a deeper understanding about the land and traditional law. It entwines the landscape, culture, spirituality and people. Bill tells the stories using gentle tones and poetic language, using both singular and collective voice, for example ‘they put it meaning, they painting fish…’ While there is no sophisticated use of literary tools, imagery, interpretation and symbolism are used extensively.

“Our story is in the land…it is written in those sacred places. My children will look after those places, that’s the law. Dreaming place, you cant change it, no matter who you are. No matter you rich man, no matter you King. You can’t change it.” (Bill Neidjie 1983).

When I first read this story, I found it really difficult to read and interpret. Coming from a family with no spiritual knowledge, no connection to god or any other spiritual being, I did not connect with it at first. After discussing the reading with my husband and gaining more insight on what it actually meant, I was able to relate to these stories knowing how important this aspect of Indigenous spiritual life is. I felt utter sadness that this knowledge, was not only disregarded but intentionally removed through governmental policies which saw Indigenous people removed from their home lands onto reserves and missions, where children were forcibly taught western religions and ways. I cannot understand why we are not trying desperately to preserve this valuable life knowledge.

Reference

Neidjie B 1989, edited Taylor K 1989, Spirit in Story About Feeling, Magbala Books, Broome Western Australia Janine Jensen 58.106.24.86 (talk) 22:29, 7 May 2011 (UTC)

Bran Nue Dae : Some thoughts by Chris

Willy’s description of heaven as being at home with his family and girl, near the ocean, fishing etc implies that the Western view of progress at all cost such as moving away from family to get more education, better job etc are not necessarily what is best.

The need for what Europeans sees as a good job, building a career and acquiring personal wealth through fiscal or material belongings and possessions is at odds with the story. Europeans measure their success in society this way and also apply this as a measure of success to other people.

The thought that going to a good school to become a priest appears to be as a result of the mission days and is probably due to a lack of knowledge about what other opportunities may be available to Willy if he gains a solid education. Again a very western view. Willy does not want to go away from his family and home but that is viewed by western standards as not acceptable. Janine Jensen 58.106.24.86 (talk) 22:46, 7 May 2011 (UTC)

The titles of the two poems We Are Going and Bran nue dae draw attention to the political and social environment at the time they were written. We Are Going which was published in 1964 has a pessimistic title for a poem which is referring to the end of traditional ways of life. On the other hand Bran nue dae, the musical, was first performed in 1990 and has a much more optimistic title for a defiantly optimistic musical! The political environment changed considerably over the nearly three decades between the writing of the two poems and a brief timeline shows the positive changes. As Ian Anderson says in his introduction to Blacklines: Contemporary Critical Writing by Indigenous Australians (Grossman 2003 p. 18) “Political historians generally locate the emergence of the contemporary Aboriginal movement in the decade of the 1960’s.” This puts Oodgeroo Noonuccal’s We Are Going at the beginning of the movement. Preceding its writing was the assimilationist 1953 Welfare Act (Cummings 1990 p.105). However by 1967 there was the referendum on racial discrimination with a positive result for Aborigines. Other events include the setting up of the Aboriginal Tent Embassy on the lawns of Parliament House in 1972, moves towards self-determination and land rights under the Whitlam government, the passing of the Aboriginal Land Rights (Northern Territory) Act in 1976 and the handing back to its traditional owners of land title to Uluru in 1983. The Mabo decision was made in 1992 after Bran nue dae was written (Foley 2011; Grossman 2003 p. 18). References Cummings, B. 1990, Take This Child…, Aboriginal Studies Press, Canberra, ACT. Grossman, M, ed. 2003, Blacklines: contemporary critical writing of Indigenous Australians, Melbourne University Press, Melbourne, Vic. Foley, G. 2011, The Koorie History Website, Victoria University, Melbourne. http://www.kooriweb.org/foley/timeline/histimeline.html accessed 15-0502011 ABT21Chris (talk) 00:17, 15 May 2011 (UTC)