© ATOM 2015 A STUDY GUIDE BY KATY MARRINER

http://www.metromagazine.com.au

ISBN: 978-1-74295-581-0 http://www.theeducationshop.com.au CONTENTS 3 Curriculum links 12 ‘8MMM Aboriginal 8MMM Aboriginal Radio Radio’ – Country 4 Series Synopsis 8MMM Aboriginal Radio in Alice Springs runs on the smell 13 Episodes of an oily rag, the enthusiasm of its motley Indigenous 5 Introducing the 13 1: “Home is where crew and the misguided intentions of the whitefellas in 8MMM team the heart is” charge. For the 3Ms of Alice Springs – the missionaries, mercenaries and misfits – saving Aboriginal people from 7 The 3Ms 16 2: “It’s what you don’t know” themselves is hard work. Especially Aboriginal people 7 Aboriginal Australia who expect to be heard on the radio and in the office. 19 3: “Keep your cake 7 Closing the Gap and eat it too” 8MMM Aboriginal Radio (2015) is a six-part narrative 21 4: Down the plug 8 Mbantua – Alice comedy series about tolerance, self-determination and hole Springs cultural understanding and why, when all else fails – 23 5: Founders Day 8 Episode Guide which it usually does – it’s good to laugh. Produced by 25 6: “It’s a RAP” Brindle Films and Princess Pictures, 8MMM Aboriginal 10 Using ‘8MMM 27 ‘8MMM Aboriginal Radio is the brainchild of Indigenous actor, writer and Aboriginal Radio’ in director, Trisha Morton-Thomas and her colleagues at the classroom Radio’ – a narrative comedy Brindle Films. SCREEN EDUCATION © ATOM 2015 10 Viewing notes 10 Making a start 27 Reviewing ‘8MMM Aboriginal Radio’ Each episode of 8MMM Aboriginal Radio has a running 12 The 8MMM Aboriginal time of approximately 25 minutes. Radio team 28 Websites of interest *Aboriginal and Torres Strait Islander viewers are advised 29 Key Creatives 12 ‘8MMM Aboriginal that the program contains images and voices of people Radio’ – narrative 29 References structure who have passed away. 2 English http://www.australiancurriculum. edu.au/english/content-structure http://www.australiancur- riculum.edu.au/english/ curriculum/f-10?layout=1#level9 http://www.australiancur- riculum.edu.au/english/ curriculum/f-10?layout=1#level10 History http://www.australiancur- riculum.edu.au/humanities- and-social-sciences/history/ content-structure http://www.australiancur- riculum.edu.au/humanities- and-social-sciences/history/ curriculum/f-10?layout=1#level10 Media Arts http://www.australiancurriculum. edu.au/the-arts/media-arts/ learning-in-media-arts http://www.australiancurriculum. edu.au/the-arts/media-arts/ curriculum/f-10?layout=1#level9-10 Culture and Place, as well as the Curriculum impact of government policies and the For students in Years 11 and 12, work of non-government organisations 8MMM Aboriginal Radio has rel- links in Indigenous communities. Details evance to units of work in Aboriginal ‘8MMM is not trying to “educate” about integrating this cross curriculum and Torres Strait Islander Studies, anybody. It is an ”FYI” and only a snap priority can be accessed at http:// Australian History, Cultural Studies, peek into the absurd world of Central www.australiancurriculum.edu.au/ English, Media and Sociology. Australia, the organisations, govern- crosscurriculumpriorities/Aboriginal- Teachers should consult the study ment policies, race relations and and-Torres-Strait-Islander-histories- designs for these subjects relevant unlikely friendships of this part of the and-cultures. to their state or territory and consult world. My hope is that people might the Australian Curriculum: Senior be inclined to educate themselves 8MMM Aboriginal Radio can also Secondary Curriculum advice at: after viewing 8MMM.’ – Trisha Morton- be used as a resource in Civics and http://www.australiancurriculum.edu. Thomas 8MMM Aboriginal Radio is Citizenship, English, History, Media au/seniorsecondary/overview. suitable viewing for students in Years Arts and cross-curriculum projects at 9 – 12. Years 9 and 10. Teachers are advised In completing the tasks, students will to consult the Australian Curriculum have demonstrated the ability to: The Australian Curriculum acknowl- documentation for these subjects via edges Aboriginal and Torres Strait the links listed below, as well as cur- • analyse the construction of 8MMM Islander histories and cultures as a riculum documents for these subjects Aboriginal Radio and comment on cross curriculum priority in all learn- endorsed by their state or territory. the ways it represents an interpre- ing areas. 8MMM Aboriginal Radio tation of ideas and experiences; provides a resource for students to Civics and Citizenship • respond to 8MMM Aboriginal learn about: http://www.australiancurriculum. Radio both personally and in de- edu.au/humanities-and-social- tached and critical ways; • The lives of Indigenous Australians sciences/civics-and-citizenship/ • discuss the historical, social, cul- • Contemporary Indigenous content-structure tural and political values embodied

Australian society http://www.australiancurriculum. in 8MMM Aboriginal Radio; SCREEN EDUCATION © ATOM 2015 • Relationships between Indigenous edu.au/humanities-and-social- • draw on appropriate metalanguage and non-Indigenous Australians sciences/civics-and-citizenship/ to discuss the structures and fea- curriculum/f-10?layout=1#level9 tures of 8MMM Aboriginal Radio; Each episode engages students http://www.australiancurriculum. • use their own written and spoken in discussions about Indigenous edu.au/humanities-and-social- texts to explore concepts and Australian identity and allows students sciences/civics-and-citizenship/ ideas and to clarify their own and to examine the influences of Country, curriculum/f-10?layout=1#level10 others’ understanding. 3 Series As the 8MMM team airs the day-to- day preoccupations of Alice Springs Synopsis and its surrounds: At the arse-end of the world, in the middle of nowhere, is housing, education, culture, money, Alice Springs. It’s a sacred place for dressed in red, black and yellow, and alcohol and Reconciliation, they find local Aboriginal people, the home looks like a walking these themes echoing uncomfortably of 8MMM Aboriginal Radio and a in their personal lives. In fact, with so magnet for three \kinds of whitefellas: Aboriginal flag. Adopted and raised in much going on, it’s lucky that 8MMM missionaries, mercenaries and misfits. the privileged Sydney burbs by a white has Lola. Traditional Owner, elder and family, unpaid tea lady, Lola watches over 8MMM Aboriginal Radio is the voice the running of the station, the running of Aboriginal people in Central Jampajinpa wants nothing more than to of Alice Springs and the running of Australia but like most Indigenous explore his Aboriginality. He is a vocal everyone’s lives. organisations, it’s run by whitefellas. advocate for any Aboriginal cause and General Manager and missionary, fights for the rights of his people – even With meager funding and serious Jake Hansen is cheerful, optimistic when they don’t want him to. 8MMM social and political issues to bring and ready to change the world. Jake receptionist, Milly, is far more interested to light, 8MMM’s staff encounters works tirelessly to ensure that the in manicures, makeup and partying misunderstandings and ignorance at modern message stick that is 8MMM than doing any actual work. In con- every turn. And that’s just within the is always on air. His commitment to trast, 8MMM volunteer and in-house building. But if 8MMM can close the 8MMM is matched by uber-competent misfit, Koala, thrusts herself into every gap between Indigenous and non- single mum, Jessie Garner. Jessie is Aboriginal activity, whether she is wel- Indigenous Australians, perhaps the training to be the General Manager at come or not. And she is frequently not. rest of the country might just stand a 8MMM. She has been there for five chance of closing it too. years and has all the qualities needed to be in charge. Jessie’s nemesis is the recently arrived training officer and mercenary, Dave Cross. Even though Dave loathes Alice Springs, Aboriginal culture and trainees, he isn’t going SCREEN EDUCATION © ATOM 2015 anywhere till his CV is puffed up with enough “community outreach” to look good to major recruiters in Sydney.

It might not look like it, but 8MMM’s DJ, Jampajinpa, is black and proud of it. He’s so proud; he is permanently 4 JESSIE GARNER

8MMM TRAINEE GENERAL MANAGER

Jessie is a strong, independent woman who is not afraid to stand up for what she believes in. She is a single mum who lives in a town camp with her eight-year-old son Thomas and her mother Joy. Her unwavering determination to build a better life for DAVE CROSS her family is admirable. JAKE HANSEN Jessie has been working at 8MMM since its inception five years ago. DAVE CROSS Through hard work she has finally reached a position where she is being 8MMM TRAINING MANAGER Introducing trained to take over the running of the (AND MERCENARY) entire station. It will be the first time the 8MMM team an Indigenous woman has held such a Dave is a plainspoken, cringe-funny, male-dominated position. forty-something, closet-alcoholic, JAKE HANSEN passive-aggressive racist. He has no Jessie’s ambition and commitment understanding of Aboriginal culture nor 8MMM GENERAL MANAGER stems from her passion for what she does he think he needs to, especially (AND MISSIONARY) does but she does struggle when in the workplace. Dave doesn’t care her work goes unacknowledged. She about cultural protocol; he only cares Optimistic and enthusiastic, and has a strong vision for 8MMM, what about his pay packet. He is charming believing that good old-fashioned hard it could and should be, if only the when he needs to be but usually to work is a catalyst for change, Jake is powers-that-be would have a little further his own agenda. intent on changing the world. He is more faith and entrust the station to especially passionate about the rights her. Dave promotes himself as more of Aboriginal Australians. successful and important than he really is. Having been made In his excitement to make a differ- redundant, landing the job at 8MMM ence, Jake applied to be the General was a lifeline. Dave sees his position Manager of struggling radio sta- as Training Manager, as an opportunity tion 8MMM. Despite the challeng- to (on paper) increase his skills and ing demands of the position, Jake become a shoe-in to win the last is still confident of making change. remaining secure position at the He believes in self-determination for ABC in Sydney when it becomes Aboriginal people and his dream is to available. Mercenaries always portray hand the reins of 8MMM to Jessie. themselves as missionaries, and while Jake is attracted to Jessie, however Jessie and Lola see through Dave he is uncertain about acting on his immediately, Jake doesn’t. When feelings. Dave’s contract is extended, Jessie is furious. Jake is easily influenced by his team which can cause a lot of problems. Dave believes that the workplace is Persistently positive, he tries to see no place for personal lives or cultural only the best in others which makes it practices. It drives him crazy that SCREEN EDUCATION © ATOM 2015 hard for him to reprimand or discipline staff members are always out or anyone. He also goes to ridiculous away attending to cultural or personal lengths to ensure cultural protocol is matters. He doesn’t understand how followed. After hours he can usually Jake thinks he can run a radio station be found chained to his desk as he when there is no one around and why compensates for his inability to man- he doesn’t pull the Aboriginal staff into age effectively. JESSIE GARNER line. 5 Lola’s home is an outstation close to Alice Springs, where she lives a traditional cultural life. She is able to survive because of her wily and resourceful nature.

MILLY WILKINSON

8MMM RECEPTIONIST.

JAMPAJINPA KWERLE BARTON Milly, 8MMM’s receptionist, is not an ambitious woman. She does not like working hard, JAMPAJINPA (AKA DJ-Jinpa) Studies at university, Koala is happy. Always asking questions and guar- and becomes angry when she is ex- 8MMM BROADCASTER anteed to be in attendance at every pected to do anything that she feels is Indigenous event whether invited or beneath her, like collecting the mail, or Jampajinpa is Indigenous. It might not not, Koala’s quest to find out what answering the phone. As the recep- look like it, but he’s black and proud being Aboriginal means irritates some. tionist, she is the face of 8MMM and of it. He wears his Aboriginality on Koala’s willingness to do the jobs no takes that responsibility very seriously. the outside, and looks like a walking one else in the community is prepared She cares a great deal about her ap- Aboriginal flag. Jampajinpa is a very to do, has earned her a multitude of pearance and feels that looking good likable young man, but his ‘wigga’ skin names and granted her the sense is a full time job in itself. Why must so voice can be confusing to an untrained of belonging she craves. ear. He is enthusiastic and hard work- ing but often misguided and naive in his dealings with others. Most people LOLA in town, look at Jampajinpa and see a white man playing at being black. 8MMM BLOW-IN

Jampajinpa is actually Benjamin While Lola doesn’t ‘work’ at 8MMM, Whiteman. With the full support of she is always around, usually in the his adoptive parents, Benjamin has tea-room. The invisible glue that holds changed his name to Jampajinpa 8MMM together, Lola knows every- and moved from Sydney’s north thing that goes on and is very clever shore to live with his biological family. in how she uses this information. As a

Determined to assert his Aboriginality, Traditional Owner, Lola is an invaluable MILLY WILKINSON Jampajinpa will go out of his way resource. Even Dave knows that he to fight for his people’s rights, even must show Lola a begrudging respect. if it means compromising 8MMM’s Lola has seen mercenaries like Dave much more be expected of her? reputation. before and is watchful that he doesn’t destroy all that the 8MMM team has Like Lola, Milly has connections that worked hard (Milly aside) to achieve. 8MMM can depend on. A proud KWERLE BARTON (AKA Koala) Arrernte woman, she has little re- spect for the non-Indigenous crew at 8MMM VOLUNTEER BROAD- 8MMM, and she includes Jampajinpa CASTER (AND MISFIT) as non-Indigenous. She has a soft spot for Lola and a begrudging re- Koala is a hippie. She believes in spect for Jessie. equality for all and doesn’t see any differences in colour, race, culture or • Student activity: Use poster paper

people in general. Koala is the misfit of and the class noticeboard to con- SCREEN EDUCATION © ATOM 2015 the 3Ms. She was a misfit in her own struct a class map of the charac- culture and has now moved to Alice ters and their relationships. Use Springs to find out if this is where she the content of Episode 1 to begin fits. the map. After you have watched each episode, discuss the char- Having secured a volunteer position acters and their relationships, and at 8MMM after studying Aboriginal LOLA then add to the map. 6 The 3Ms When non-Indigenous people come to Central Australia to work in Aboriginal organisations, they are often categorised according to the 3Ms – missionaries, mercenar- ies or misfits. While the origins of these stereotypes are unclear, they have currency in Indigenous com- munities and provide a starting point by the community in which he or for the exploration of relationships be- she lives. The traditional lands of tween developmental workers and the Aboriginal Australians are mainland people they are seeking to support. Australia and most of the islands, in- make the slideshow more engag- cluding Tasmania, Fraser Island, Palm ing. Why must racist stereotypes The call sign 8MMM is a nod to the Island, Mornington Island, Groote of Aboriginal Australians be three stereotypes of the developmental Eylandt, Bathurst and Melville Islands. challenged? worker: missionary, mercenary and misfit.8MMM Aboriginal Radio draws • According to Reconciliation on these stereotypes to create the non- Australian, six out of ten people Indigenous members of the 8MMM have had little or no contact with team, Jake Hansen, Dave Cross and Indigenous Australians. Closing the Gap Kwerle Barton. Jake is a missionary. Are you one of the six? Closing the gap in Indigenous disad- Dave is a mercenary. Koala is a misfit. Is Aboriginal Australia invisible to vantage is a long-term campaign. It the vast majority of Australians? acknowledges that improving op- • Student activity: Drawing on the Think about your life. Is Aboriginal portunities for Indigenous Australians characters of Jake, Dave and Australia invisible to you? requires intensive and sustained effort Koala, write an identity profile for a • Working as a class, ask students from all levels of government, as well missionary, mercenary and misfit. to identify stereotypes about as the private and not-for-profit sec- Aboriginal Australia and Aboriginal tors, communities and individuals. Australians. Ask each student to choose one of the stereotypes In 2008, The Council of Australian

from the class list, and then to use Governments (COAG) agreed to SCREEN EDUCATION © ATOM 2015 Aboriginal online resources to determine the address the disadvantage faced by validity of the stereotype. Prepare Indigenous Australians in life expec- Australia a class PowerPoint. Each student tancy, child mortality, education and An Aboriginal Australian is someone is responsible for 2 slides. Slide 1 employment. who is of Aboriginal descent, who should name the stereotype. Slide identifies as an Aboriginal, and is 2 should ‘bust’ the stereotype. The six targets of the campaign are to: accepted as an Aboriginal Australian Add images and a soundtrack to 7 • close the gap in life expectancy gov.au/indigenous-affairs/about/ within a generation (by 2031); closing-gap-2015. • halve the gap in mortality rates for surrounding Aboriginal communities Indigenous children under five by The Prime Minister’s Closing the Gap and outstations, Alice Springs at- 2018; Report 2015 can be accessed at tracts visitors from around the world • ensure access to early childhood http://www.dpmc.gov.au/pmc-indige- seeking the romance of an outback education for all Indigenous four nous-affairs/publication/closing-gap- experience. year olds in remote communities prime-ministers-report-2015. by 2013; 8MMM Aboriginal Radio is set in Alice • halve the gap in reading, writing • Key question: Is Australia doing all Springs and the town camps and out- and numeracy achievements for it can to close the gap? stations surrounding Alice Springs. children by 2018; Hold a class forum to discuss the • halve the gap for Indigenous progress and priorities of the Close • Teachers are advised to ask stu- students in Year 12 (or equivalent) the Gap campaign. dents to share their experience of attainment rates by 2020; and living in and visiting Alice Springs. • halve the gap in employment outcomes between Indigenous and other Australians by 2018. Mbantua – Close the Gap: Progress and priori- Episode Guide ties report 2015 can be accessed at Alice Springs Episode 1: “Home is where the https://www.humanrights.gov.au/sites/ Mbantua is the phonetic spelling of the heart is” default/files/document/publication/ Arrernte word Mparntwe or Mparnte. CTG_progress_and_priorities_re- It means ‹this place›. Mbantua lies on Writer: Trisha Morton-Thomas port_2015.pdf. Arrernte land and is generally known Director: Dena Curtis as Alice Springs. Alice Springs is a *The Close the Gap: Progress and regional Northern Territory town, in the After the untimely death of 8MMM’s priorities report 2015 is extensive. centre of Australia. Aboriginal people training manager, 8MMM General SCREEN EDUCATION © ATOM 2015 Teachers are advised to provided a regard Alice Springs as sacred coun- Manager Jake Hansen hires Dave guided reading and/or appropriate try. It is a crossroads for numerous Cross as his replacement. Dave is a excerpts for students to read. Dreaming lines that overlap and link Sydney redneck whose mercenary at- the continent. titude does not impress the other staff. ‘A Closing the Gap 2015: Progress against the Targets’ fact sheet can With a fluctuating population between In an effort to lift the rumoured curse be accessed at http://www.dpmc. 28,000 and 29,000, not including on the training manager’s office, 8 8MMM DJ Jampajinpa performs a smoking ceremony, but he acciden- tally sets off the smoke alarm and drenches the broadcast studio with water.

Meanwhile, 8MMM Trainee General Manager Jessie Garner discovers that the government renovations to her town camp house are less than perfect, and that the work out in the communities is equally appalling. Jessie is tested by the expectation Furious, Jessie marches into a press that everything can be ‘shared’. conference and abuses the Housing Minister. As punishment, Jake length- Jampajinpa suspects that the Expo ens Jessie’s training period, much to knowledge is great on paper but a bit cares more about profits than actual Dave’s delight. shaky in practice. Aboriginal culture, and challenges the local police for putting Expo’s needs Episode 2: “It’s what you don’t Jessie tries in vain to get her eight- first. He applies a bright orange fake know” year-old son Thomas to go to school, tan to be as black as possible, encour- but when Jake is desperate to secure ages others to maintain his rage and Writers: Trisha Morton-Thomas & a language preservation grant, she stages a protest at the Expo Gala Sonja Dare allows him to record Thomas singing Dinner. The Expo boss demands that Director: Dena Curtis in language with Lola and Jessie’s either Jake fire him or risk losing their mother, Joy. partnership. Jake sacrifices the money Two senior Aboriginal men, Jetro and to stick by his staff. Gideon, are on a mission to pass on Episode 3: “Keep your cake and their knowledge to the younger gen- eat it too” Episode 4: “Down the plug hole” eration. They ask Jake to video record a ceremony for them. Jampajinpa is Writer: Trisha Morton-Thomas Writer: Danielle MacLean SCREEN EDUCATION © ATOM 2015 desperate to do it but they don’t con- Director: Adrian Russell Wills Director: Adrian Russell Wills sider him to be a man. The Northern Territory Aboriginal 8MMM is flat broke and has to im- A self-interested and money hun- Tourism Expo is in town, and 8MMM mediately freeze wages. Jessie’s gry Dave tests his colleagues with a is their prestigious media partner. Alice response is to turn off all the lights and cultural knowledge audit in a bid to Springs is flooded with tourists, as the air conditioning. Jampajinpa starts lower their wages. Koala’s cultural well as Aboriginals from out of town. a crowd funding campaign. Koala 9 after an altercation with a racist local, and Koala has her mind on different racial relations, asking Lola to work love magic on her and a young rapper.

When all other plans for the RAP launch fail, Jake agrees to a cer- emonial mock spearing to symbolise payback. In a momentary blackout, Jake gets speared for real, and Jessie admits that maybe some forgiveness is possible.

does all she can to help; while Milly are hung over. When it becomes unwilling to work in the heat walks out. evident that Jampajinpa has been Using ‘8MMM Dave, who has scant interest in the arrested and mistakenly locked up in future of 8MMM, is adamant that he rehab, Jake and Lola declare war on Aboriginal Radio’ should still be paid, and his car lease alcohol abuse in the town. in the classroom renewed as well. Dave has been busy planning a day to Teachers may select from the follow- Lola’s problems are closer to home. celebrate the white founders of Alice ing activities to support students’ Her water pump is broken, and her Springs, in which Dave himself will viewing and close analysis of 8MMM outstation has no water. She goes play the starring role. Jake is deter- Aboriginal Radio. from agency to agency but no one can mined that the event be alcohol-free, help her. When Koala is worried that and Dave, along with the other com- she will lose her media training grant, munity stakeholders reluctantly agree Viewing notes Lola seizes the opportunity to trade to a partial ban on grog. some of her knowledge for most of Use the chart on the following Koala’s cash. Lola uses the money to Episode 6: “It’s a RAP” page to make notes about each epi- buy basic cards to pay for a new tank. sode of 8MMM Aboriginal Radio. Writer: Danielle MacLean Episode 5: “Founders Day” Director: Dena Curtis. Making a start Writer: Danielle MacLean Upset by the state of black and white SCREEN EDUCATION © ATOM 2015 Director: Dena Curtis relations, Jake decides that 8MMM • Did you enjoy 8MMM Aboriginal should create a Radio? Was it what you expected? Following some after-work drinks, the Would you recommend 8MMM 8MMM crew is the worse for wear: Reconciliation Action Plan. He sets Aboriginal Radio to others? Jampajinpa is missing; Dave is dealing the staff to work planning the launch, • 8MMM Aboriginal Radio is about with the fall-out from being caught though none of them are particularly Aboriginal Australia, and in particu- drink-driving; and the rest of the staff inspired. Jessie is bent on revenge lar the relationship 10 EPISODE NUMBER AND TITLE:

KEY SCENES: Make a list CHARACTERS: Name the SETTINGS: Identify the THEMES: Use a word to of key scenes. Write a characters that appear settings and write a brief identify the most important brief synopsis for each key in each key scene. description of the setting theme of each key scene. scene that you have listed. for each key scene. illustration) of each member of the team. Provide a (humorous) one- sentence profile identifying each team member. Then use words, arrows and symbols to indicate the dynamics of the relationships between members of the team.

‘8MMM Aboriginal Radio’ – narrative structure Most stories have a three-act struc- ture: the set-up, the play-out and the wrap-up. A key feature of both the set- up and the wrap-up in each of episode is Lola’s voice over narration. between Indigenous and non- Should we take 8MMM Aboriginal Indigenous Australia. As part of Radio seriously? • Apply this theory to your favour- the process of viewing, analysing • At the end of the opening scene of ite episode of 8MMM Aboriginal and discussing 8MMM Aboriginal each episode, just prior to the title Radio. Write an analysis of the set- Radio, it is important to determine sequence, Lola tells the audience, up, the play-out and the wrap-up. students’ knowledge of the follow- ‘Stick around! You might learn ing terms. something.’ What is racism? Use Think-Pair-Share to list what What is prejudice? you have learnt from watching What is discrimination? 8MMM Aboriginal Radio. ‘8MMM What is ignorance? • Do you think 8MMM Aboriginal What is tolerance? Radio can help close the gap Aboriginal Radio’ What is self-determination? between Indigenous and non- – Country • ‘I’d say 70% of the scenes in Indigenous Australians? 8MMM are based on the real life *Teachers may choose to revisit Aboriginal and Torres Strait Islander experiences of Central Australians this question after students have people have a deep understanding and though 8MMM is a fictional spent time making a close analysis and connection to the Australian en- world and we have taken crea- of one or more episodes of 8MMM vironment. The term Country is based tive liberty of the circumstances, Aboriginal Radio. on an individual’s sense of belonging it is definitely an amalgamation to a particular place. The relationship of many true stories.’ – Trisha with this place is based on traditional Morton-Thomas ancestral knowledge and practices Use this claim as a starting point that has been passed down through to discuss the world of 8MMM The 8MMM the generations. Aboriginal Radio. Is it a believ- able world? Is it a world that you Aboriginal • Student activity: At the end of eve- recognise? Is it a world that you Radio team ry episode Lola signs off, as if she have experienced? What state- was speaking over the airwaves, ment does 8MMM Aboriginal • Who is your favourite character? ‘This is 8-triple-M FM. Aboriginal Radio make about contemporary Why? Endorse your choice with Radio in Aboriginal Country.’ Australian society? specific evidence from the series. Explain the significance of Lola’s SCREEN EDUCATION © ATOM 2015 • Do you think non-Indigenous • Using words and images, con- sign off. Australians understand Indigenous struct a chart that introduces the • Visit ABC Indigenous: http://www. issues? 8MMM Aboriginal Radio team. abc.net.au/indigenous/map/. This Spend time as a class listing, Think of it terms of a document map provides an overview and discussing and exemplifying that might be pinned to a staff visual idea of the distribution of the issues portrayed in 8MMM noticeboard at 8MMM Aboriginal hundreds of different Aboriginal Aboriginal Radio. Radio. Incorporate an image (or groups in Australia. 12 been dance today. We been have a footage of the repatriation cer- ceremony. Repatriation. We’ve been emony, notably Clem’s mishap, has Episodes bring our old person home. It was gone viral. gone longest time. It be make me How does this scene shape the 1: “Home is where thinking now. Land is family and my audience’s understanding of the the heart is” ancestor, is home. No matter what, character of Jake and his commit- they got different idea again. But ment to 8MMM Aboriginal Radio? The episode begins at a repatriation footprints and fences, mmm, they ceremony. Clem the General Manager don’t matter ‘cause when we finish 8MMM General Manager Jake Hanson of 8MMM Aboriginal Radio meets an we all end up in the ground. has to quickly fill Clem’s position. Dave unexpected end when he tumbles into Given all that happens in Episode Cross is a cynical Sydney radio techni- an open grave. 1, explain the significance of Lola’s cian looking to secure a coveted posi- opening monologue. tion at the ABC. Jake gives him the job. • What is a repatriation ceremony? The action shifts to the home of Why kill Clem? 8MMM Aboriginal Radio, where Milly • Jampajinpa: What’s up with you and Jampajinpa watch the replay of OBPs? Not happy takin’ a brother’s Lola, 8MMM Aboriginal Radio blow Clem falling into a grave. land, you gotta take his desk too? in, narrates the opening and closing • Milly: Convenient way to die, falling Jampajinpa calls Jake an OBP. What scenes of each episode of 8MMM into a grave. is an OBP? How does Jake react to SCREEN EDUCATION © ATOM 2013 Aboriginal Radio. Her voiceover mono- How does this scene shape the the acronym? logue contextualises and comments on audience’s understanding of the How does this scene shape the the action of each episode, guiding the character of Milly and her commit- audience’s understanding of the audience to see the comedy and also ment to 8MMM Aboriginal Radio? character of Jampajinpa and his beyond the comedy. • Jampajinpa: I don’t reckon Jake commitment to 8MMM Aboriginal gonna be down with this. Radio? • Read Lola’s opening monologue: As Jampajinpa guesses, Jake is Hello. Hello, this thing on? We unimpressed by the news that video Dave’s major project is to train Jessie 13 to take over Jake’s job in three months’ time. When Dave is introduced to the staff, they are less than thrilled. Dave believes that ‘Aborigines can’t be trained’. The 8MMM team gather in the meeting room to be introduced to the new training manager and listen to his rather lengthy introduction of himself.

• Dave: Ah well, where do I begin? Well firstly, I probably know more about radio broadcasting than you lot will ever learn in your careers. How does this scene shape the audience’s understanding of the character of Dave and his likely commitment to 8MMM Aboriginal Radio? What other scenes in this epi- transfer you to the Canberra office. Why is Jessie interested? Is she mo- sode reveal Dave as racist and Jessie: Uh, no, I’m in Alice tivated by self-interest or the needs mercenary? Springs. Why do I have to speak to of the station? Canberra? Hello? Hello? • Jessie: What about the government Jessie is yet to arrive at 8MMM for her Is Jessie satisfied with the as- renovations scheme? Haven’t they shift. She is still at home, surrounded sistance that she receives? What fixed their houses? by half-empty removal boxes. Her son, comment is this scene making Ezekiel: These look renovated to Thomas, is yelling from the bathroom as about negotiating with government you? Them government workers live the water from the shower fails to drain bureaucracy? in the new houses. away. Jessie lives with her mother Joy What happens when Jessie tries to Gideon: This rubbish place. They and her son Thomas in the town camp. deal with her complaint in person? never fix anything. It is a move that Jessie is still objecting • Jessie: Well good on you, Jake, Petunia: We got no water and all the to. Town camps are small, housed com- you’ve found us another redneck. pipes are broken. And Gideon been munities that were originally created as So, who’s going to be teaching who fighting the government for a couple accommodation for Aboriginal people here, eh? of years. They built me longer drive- visiting from outside of Alice Springs. Why is Jessie disgruntled by Dave’s way so I can come next door to use While Joy thinks of the town camp as arrival? the garden tap. ‘home’, Jessie would prefer to live in Jessie calls Jampajinpa ‘a six- Having made the trip to Tjetye town and avoid the ‘humbug’ that is month-old blackfella’. Is her anger Alpurle community, Jessie and part and parcel of life in an Indigenous justified? Is she guilty of ‘reverse Koala begin to organise interviews community. discrimination’ as Jampajinpa calls with residents who have benefited it? from FISHS. * Humbug is a slang term applied to • Jessie: CSAs? When were you go- What do their exchanges with various forms of begging in Indigenous ing to tell me about this? Ezekiel, Gideon and Petunia expose communities. The term refers primar- Jake: Well you weren’t here. about the shortcomings of the gov- ily to the practice of asking family and Jessie: Well, how much does it pay? ernment renovations scheme? friends for money. Jake: It’s dirty money, Jessie. You know how I feel about this Jessie interrupts the Federal Minister’s A disgruntled Jessie calls FISHS. FISHS Intervention propaganda. press conference and gives the Minister is the Federal Indigenous Safe Houses When Jessie spots the letter from a piece of her mind, finally demanding, Scheme to complain about the lack of a FISHS in Jake’s waste paper ‘Which department fixes the fucking drain hole. The Australian Government bin, she is suddenly less con- drain holes?’. Jake reluctantly gives rather than individual State govern- cerned about Dave’s arrival and Jessie three more months of training as ments largely have responsibility for Jampajinpa’s Indigenous heritage, a punishment for her tantrum. Indigenous affairs. 8MMM Aboriginal and open to the idea of reading SCREEN EDUCATION © ATOM 2013 Radio provides a critique of government Community Service Announcements • Minister: I acknowledge and pay the policies and projects in this and subse- (CSAs) for FISHS. deepest respect to the traditional quent episodes. The Intervention is referred to in owners past and present. As the this and subsequent episodes of Federal Minister, I am proud of the • Call Centre: What’s the problem? 8MMM Aboriginal Radio. What is the Federal Indigenous Safe Houses Jessie: There’s no drain hole in my Intervention? Scheme, and the five new homes bathroom. Why is Jake resistant to taking my government has provided for Call Centre: One moment, I’ll money from FISHS? this community. 14 dream of owning a home. They want to create a secure and stable environ- ment to raise their families. They want to avoid the uncertainties of renting. They want to create a source of finan- cial security and independence for current and future generations. For many Indigenous Australians owning a home is beyond their financial reach. The 2011 Census data indicated that Aboriginal and Torres Strait Islander households were more likely to rent their home (59%) than own their home with a mortgage (25%) or own their home outright (11%). Jessie: Well, what you mob looking narrative is presented at? You got eyes. Gideon’s house • the function of setting in the Indigenous households are also more is falling down. Point your cameras narrative likely to be living in overcrowded condi- over there, not at her big fat head. • the relationship between multiple tions compared to non-Indigenous Gideon and Petunia have no water storylines households. The 2011 Census data and you build a driveway. Babies are • the structuring of time and its im- indicated that Indigenous households getting sliced up on broken pipes pact on narrative progression were more than three times as likely as and you’ll probably just blame it Production elements refer to ele- other households to be overcrowded. on child abuse. You’ve renovated ments that you can see on screen in my house and I have no drain hole. a narrative. The rate of homelessness for Aboriginal Which department fixes the fucking Production elements include: and Torres Strait Islander people is drain holes? • camera techniques greater than that of non-Indigenous Why does Jessie choose to lose it • lighting Australians. About 1 in 20 Indigenous at the Minister’s Press Conference? • mise-en-scene people were experiencing homeless- How does Dave react? Why does • acting ness on Census night in 2011. This is Jake defend Jessie’s actions? • sound 14 times the rate for non-Indigenous • editing of vision and sound people. Among Indigenous people who Jampajinpa believes Clem’s office is The episode ends with Jake and Jessie were homeless, the majority (75%) cursed, as does Lola. Koala also feels faking the CSAs and Lola performing a were living in severely crowded dwell- what she calls ‘the negative energy. sweeping ceremony in Clem’s old office. ings, 6% were sleeping rough, while the Lola is prepared to ‘sweep the bad remainder (19%) were in other types spirits away’ but for a price that Jake • Explain the significance of Lola’s of homelessness situations such as believes is ‘pretty steep’. Jampajinpa’s closing monologue: in supported accommodation for the offer to perform a smoking ceremony is Lola: Like I was telling you mob early homeless. discouraged. part, this my home. My spirit am belong here. Another mob Kwenye The housing issues facing Indigenous • Having collected gum leaves and … they lost ones. They don’t know Australians living in remote communities certain that he is the only person where they come from but they been include: at the station, Jampajinpa forges claiming this place for home. And ahead with a smoking ceremony. cheeky ones, they come and take • Overcrowding Determined to prove that he is over like, they own it every place. • Homelessness ‘blacker’ than Jessie. They got no respect too. Another • Poor housing condition Explain how story and production ones, they got too much respect. • Severe housing shortage elements are used in this scene to Drive you mad looking to fix it eve- create comedy. rything but Kwenye. Lovely way. But Housing investment for Indigenous Story elements refer to the aspects like I always reckon, no matter what, Australians living in remote communi- of a narrative that relate to the we got plenty room for everybody. ties is one way of ‘closing the gap’ on storyline. • Why is the final shot, one of Jessie Indigenous disadvantage. This can be SCREEN EDUCATION © ATOM 2013 Story elements include: chiseling a drain hole in the shower achieved by: • the opening, development and reso- recess? lution of the narrative • Reducing severe overcrowding in • cause and effect remote Indigenous communities • establishment and development Think about it: • Increasing the supply of new houses of and relationships between Indigenous housing and improving the condition of exist- characters ing houses in remote Indigenous • point/s of view from which the Many Indigenous Australians share the communities 15 • Ensuring that rental houses are well 2: “It’s what you Given all that happens in Episode maintained and managed in remote don’t know” 2, explain the significance of Lola’s Indigenous communities. opening monologue. Like Episode 1, Episode 2 begins with • Jetro: What you two was hunting It is important that as a society we another mishap. Thankfully this time anyway? find ways to close the gap between there is no fatality. Two senior Aboriginal Reg: Not hunting. Tracking endan- Indigenous and non-Indigenous men, Jetro and Gideon, are out hunting gered species to save them from ex- housing. emus when they (literally) collide with tinction. See? See? Native Species Jampajinpa and a white ranger, tracking Bureau have been working on this • What comment does “Home is endangered animals with an expen- app for years. Once tagged, we can where the heart is?” make about the sive iPad program. Jetro and Gideon track anything, anywhere. provision of housing for Aboriginal explain that the two of them are hunting What do Jetro and Gideon think Australians? because no young fellas are interested about Reg’s modern approach to • How does the Federal Government in ceremony anymore. tracking? Do they change their opin- support the provision of Indigenous ion about the iPad app? housing in urban, rural and remote • Read Lola’s opening monologue: Later in the episode, Jake ventures communities? Hello, you mob. Them Buddhist out into the bush with Jetro and • How is your home state or territory mob, they reckon if we face it right Gideon. government resourcing housing for direction, we just gotta keep on What does Jake learn about the SCREEN EDUCATION © ATOM 2013 Indigenous Australians? walking, indit? But what if we got it place of cultural traditions in a con- • Whose responsibility is it to im- two ways? Blackfella learning one temporary society? prove the provision of housing for way. And that another way ... that • Jampajinpa: Pretty small ceremony, Indigenous Australians? whitefella schooling. They’re really eh? Where is everybody? • Is Australia closing the gap in regard different ways, them two. So which Jetro: Ah, just us two poor thing. No to Indigenous housing? way is right way? Which way we one ever come for ceremony. gotta keep on walking? Well I can’t Gideon: Young mob chasing rap know it everything for you mob. song, Soup Dog. They ceremony 16 disco now. Everyone fails the Job Placement Skills Jetro and Gideon are dismayed by Audit, except Koala, who aces it. It is the younger generation’s lack of later revealed that the cultural knowl- interest in traditional knowledge. edge was for Torres Strait Islanders, As a member of the younger gen- not Central Desert Aboriginals and that eration, are you interested in cultural Koala’s practical knowledge of culture traditions? Is it important for cultural leaves a lot to be desired. traditions to be passed from one generation to the next? • Koala: Why do we have to hide? In a subsequent scene, When Gideon and Jetro arrive at Jampajinpa’s peers, Marley and 8MMM, Milly, Jessie and Lola hide. Ezekiel, encourage Jampajinpa to Why? How do the actions of the act like a man. Aboriginal women highlight their What comment does the scene set knowledge of culture? How does in Jampajinpa’s backyard make this scene comment on Koala’s about the younger generation? What knowledge of Aboriginal culture? happens when Jampajinpa’s Nan • Jessie: Sshhh. Those men are arrives? painted up. • Gideon: You making recording for Koala: Oh, I see. Hey, what do you us? Ceremony? think their skin names are? Jake: Recording? Ceremony? In Jessie: They’re married. Aboriginal language? Koala: No, that’s not why I’m asking. Jetro: Might be we make it in I just want to make sure if they’re Chinese, eh. my family or not. Jetro and Gideon want Jake to re- Jessie: Well, they’re my family and cord their ceremony. Jetro tells Jake What comment does this scene last time I checked, you weren’t. that they might be ‘kwementyeye make about generational views of Koala: No, I’m Nuparrulla. soon’. education? Jessie: What? What is the meaning of ‘kwementy- Koala: Which, according to your eye’? Why do Jetro and Gideon re- The station’s financial situation remains culture, means I’m your sister. fuse Jampajinpa’s offer to record the dire. Jake is endeavouring to make Jessie: I thought you were ceremony? Why does Jampanjinpa sense of 8MMM’s quarterly finances Nampajinpa? insist he is more suited to record when Dave accuses Jake of being un- Koala: Yeah, that too. Which means the ceremony than Jake? Why is derpaid. Dave’s solution is to siphon off I’m also your mother-in-law. Jake more than willing to record the his colleague’s wages to give himself a Jessie: How many skin names do ceremony? How does Dave view the pay rise. He hands out a Job Placement you have? recording? Skills Audit that he has downloaded Koala: Seven. from the internet to determine what Jessie: You’re only supposed to Jessie’s son Thomas is pretending to be wage they deserve. have one skin name, so people sick to avoid attending school. He is be- know what family connection you ing aided and abetted by his Nanna Joy. • Dave: Right, this is skills audit. are to them. Right, it’s a management tool to Koala: Yeah, I’m not gammon. I’m • Joy: Oh he can’t go to school, poor assess how suitable you all are for not rude, like some people. fella. He real sick, that boy. the jobs you’re in. There are three * gammon: pretending Jessie: Sick of school, more like it. sections. Skills, qualifications and Explain how this conversation con- Jessie: Stay out of this, Joy Bells. I cultural knowledge. firms Koala’s status as a misfit. need my son to have a future. How do Milly, Lola, Koala and Jessie Joy: Future? Look at me. I got no react to Dave’s Job Placement Skills Jessie struggles to get Thomas to go to schooling. I got house, money, car. Audit? school. Her mother Joy wants to take Everything. • Koala: You do know that you’re the him out bush to teach him blackfella Jessie: Everything? You got most studied race on the planet, way, but Jessie wants him to learn Centrelink money, government right? whitefella subjects so he can get a job. housing and the car is mine. Lola: Yeah, white fella been study us SCREEN EDUCATION © ATOM 2013 Thomas: You got any more bright long time. When they gonna learn it • Jessie: Thomas! I thought I told you ideas, Nanna Joy? You promised I something? to go to school? Get an education ... can learn blackfella way today. Milly: How come there’s no white you know, reading, writing, history? Joy: Not my fault you was lousy cultural knowledge test? Oh yeah, Joy: Don’t pick on my grandson. actor. that’s right, you need to have a That school give him larrikin book Explain how story and production culture in the first place. - Moby’s ... you know ... this one. elements are used in this scene to Why are Lola and Milly so cynical? They been teach him rude way. create comedy. Thomas: Nanna Joy, Moby Dick is 17 materials • Parental support • Visit the websites of Australia’s daily newspapers, and also radio and television news and current affairs programs to find media reports about the provision and standard of education for Indigenous Australian children. Spend time reading, viewing and listening to these reports online. Drawing on your research, write a 10-point report that describes what constitutes ‘a good education’ for Indigenous Australian children. about a whale. It’s not rude. • Lola: Like I was telling you mob Joy: You seen whale in the desert? early part, we gotta choose black- Why white people force you learn fella way or whitefella way. All us Think about it: Culture whale dreaming? You gotta learn people ... we want to share em all and Language your own culture. our culture and all our stories with Jessie: Mum, he has to learn white our kids and grannies, hey. Black Aboriginal and Torres Strait Islander fella ways too. He’s got to survive or white, we’re the same. We all got peoples have lived in Australia for tens when he grows up. ‘em red blood. I reckon we all gotta of thousands of years. Their culture is Joy: My grandson gonna learn learn to walk in two worlds ... yep, the oldest living culture in existence. surviving real way. We wait here. You that’s what I reckon. Colonisation and past policies of assim- find us driver. In the closing scene of the epi- ilation have severely affected the con- Why does Joy object to what sode, Jampajinpa brings the iPad tinuation of Aboriginal and Torres Strait Thomas is learning at school? Are to Gideon and Jetro to help them Islander cultures. Today, Aboriginal and her objections valid? find ceremony feathers. Jake and Torres Strait Islander communities keep Jessie record Lola, Joy and the culture alive by passing their knowl- When Dave finds Thomas and his friend boys singing. Milly puts the cultural edge, beliefs, arts, rituals and practices Roddy playing in the 8MMM 4WD he tests through the shredder. Koala from one generation to the next, and by questions why they aren’t in school. checks from her hiding spot under speaking and teaching languages. When Dave suggests the boys need to the cupboard to see if it is culturally improve their knowledge of English, the appropriate for her to return to work. • Why is it important that Indigenous boys challenge him. Drawing on all that you see and cultural traditions and languages Lola’s voiceover monologue explain are preserved and passed on? • Thomas: We speak English and the significance of the episode’s Your answer should acknowledge Arrernte, and Anmatjere and Walpiri conclusion. the importance of keeping cultural and Luritja. traditions alive for both Indigenous Roddy and Thomas: That’s five Australians and the broader languages. Think about it: Australian community. Dave: No, no, no, they’re not lan- Indigenous education guages. English, English ... that’s a Aboriginal and Torres Strait Islander language. That’s bloody gibberish all Education is central to Indigenous eco- societies have many Language Groups. that stuff. nomic, social and cultural development. Before colonisation, there were more What languages can you speak? A good education determines Indigenous than 250 different languages and more Do you speak a language other than children’s health, literacy and numeracy than 500 dialects throughout Australia. English when you are at home? standards, social status and future Many Aboriginal and Torres Strait Why? employment prospects. A good educa- Islander communities are actively reviv- Why is it important for Aboriginal tion will help close the gap between the ing and maintaining their languages. Australians to be taught and educational outcomes of Indigenous and Aboriginal and Torres Strait Islander given opportunities to speak their non-Indigenous students. languages are important as they rein- language? force culture, identity and connection to SCREEN EDUCATION © ATOM 2013 This episode explores aspects of the ancestors. When Jake returns from his bush out- issue of Indigenous education: ing without a video recording of the • Access Aboriginal Language Maps ceremony, the possibility of acquitting • School attendance online at: http://www.ourlanguages. the Cultural Preservation Grant seems • The teaching of Culture net.au/languages/language-maps. unlikely. That is until, Jake and Jessie • Literacy outcomes html. discover Lola, Joy, Thomas and Roddy • The teaching of Language in the carpark singing language songs. • The use of inappropriate teaching 18 3: “Keep your cake and Indigenous tourism? naked in the dust for thirty thousand and eat it too” years’ but is certainly happy to take While Milly is busy letting tourists take advantage of a free meal and rent his • Lola: Hey, you mob been see that her photograph for cash, Jampajinpa place to NTAT Expo visitors at top big tourist expo in town? Well is suspicious about whether the NTAT dollar. them tourists, whitefella mob and Expo is promoting real Aboriginal cul- Chinamans, they dream all about ture when he sees groups of blackfellas Jake meets with Wayne, the head coming for this desert ... for real being crowded into paddy wagons. honcho of the NTAT Expo, to smooth Aboriginal culture. From us mob, over the ruckus that Jampajinpa caused real blackfella. And when they come • Jampajinpa: Got no shame. Got no with the police. Wayne warns Jake that they get a cultural shock, true. shame, locking up the blackfellas. he needs to get his Aborigines under Kwenye’ us mob life not roman- Why is Jampajinpa opposed to the control, or he can kiss 8MMM’s NTAT tic not like tourist dreaming. Our NTAT Expo? Is Milly wrong to exploit Expo funding goodbye. art, him welcome anywhere in this the tourist dollar? Why do the police world, true. But not us blackfella. justify putting the ‘mob’ in protective • Wayne: Your man Dave mentioned Kwenye’ mob. We not even wel- custody? you were a bleeding heart. Your come for our own country. Aborigines are running rings around * Kwenye’: Poor thing 8MMM is an NTAT Expo’s media part- you. What are you going to do about The episode begins at the NTAT ner. The partnership will bring 8MMM a it? SCREEN EDUCATION © ATOM 2013 Expo in Alice Springs. Jampajinpa high profile and money for new equip- Jake: I don’t own any Aboriginals, wanders around watching the police ment. As Jake explains, ‘8-triple-M Wayne. move on the Aboriginal people. needs funding to promote Aboriginal Wayne: Yeah, but you do employ NTAT stands for Northern Territory culture and the Expo has extremely some and they’re not doing you, or Aboriginal Tourism. deep pockets’. Like Milly, Dave’s inter- me, any favours. What is the purpose of the NTAT est in the NTAT Expo is motivated by Jake: My colleagues didn’t intend Expo? How does this scene position financial gain. He thinks it is a lot of to – the audience to view the NTAT Expo ‘hooha over a bunch of blacks dancing Wayne: Now look, Jake, visitors 19 to the Northern Territory want the despite his upbringing on Sydney’s Aboriginal experience without all the north shore by non-Indigenous ... emotion. That’s what they want, adoptive parents. that’s what I’m paying you hand- Explain the significance of Dave’s somely to deliver. statement. How do the other char- Drawing on this and subsequent acters view Jampajinpa’s claim that scenes, describe Wayne’s views he is Aboriginal? and values in regard to Aboriginal What nationalities make up your Australia. racial identity? What nationality do • Lady in market stall: Come on, you tell people you are? Why? Like Mate. No humbug. Jampajinpa, are you proud of your Branson: Excuse me. Wine? I gotta racial heritage? find wine. Who is Branson Herbert? How is The 8MMM crew arrive at the NTAT the character of Branson used to Expo Gala Dinner with VIP tickets, only create comedy? How is the char- to find the venue swarming with angry acter of Branson used to make a mob, led by the orange Jaffa-jinpa. statement about the stereotyping of Wayne is angry about the Aboriginal Indigenous people? protestors chanting ‘Hell no Expo, we won’t go‘ outside the party venue. He Jessie is still struggling to come to demands that Jumpajinpa is sacked. terms with life in a town camp. Just like previous episodes, Jessie is yet to make Jake: It’s not stealing. Things come • Jampajinpa: Come on, Peeps, don’t it to work. Her car battery has been back when you ask for them, usu- be sheep, let’s stick it to them Expo ‘borrowed’ by some of the relatives that ally. It’s just the way things work creeps. The Expo rolls into town need a place to stay during Expo. Some here. You know that. and every blackfella goes down. of Jessie’s relatives intend to sell paint- Jessie: No. When you need some- Let’s show our mate Wayne, we ain’t ings to Expo visitors, while others have thing it’s never here ‘cause every- playing their game. Hell no Expo, we been displaced by the influx of Expo one’s using it for personal stuff. won’t go. visitors. While Joy argues it is only for Lola: Hey you gotta learn for shar- Is Jampajinpa’s protest a success? a couple of days, past experience has ing, blackfella way. taught Jessie that they will stay longer. Conversation 3 Joy: I been already give my bed for Think about it: Dave’s alcohol is missing. Lola’s cup your nephew and his little fam- Indigenous tourism has disappeared and someone is eating ily. And Auntie Ethole sleeping in the biscuits. The brand new recording Thomas’ bed. Cultural tourism is concerned with a kit has been taken from Jessie’s desk. Jessie: What? No, they all live country or region’s culture. Cultural The culture of ‘borrowing’ is alive and in town. What’s wrong with their tourism includes tourism in urban well at 8MMM. places? areas, particularly historic or large cit- Joy: They house full up too. ies and their cultural facilities. It can Later in the episode, when Jessie Everybody travel long way, and also include tourism in rural areas by returns from work, there is no food even ‘nother mob hiding from police man. showcasing the traditions of indigenous though she has just been shopping. She Family gotta stay somewhere, hey? cultural communities, their values and also learns that Joy has given Thomas Jessie: Well the Expo’s only one lifestyle. This form of tourism is becom- and her beds to relatives. week long, Mum. What’s their ing more popular throughout the world. excuse • Conversation 1 for the rest of the year? Indigenous Tourism is a growing phe- Jessie: This is why, Mum. This is Is Jessie’s frustration understand- nomenon in Australia. Many tourist bro- why they can’t stay, because noth- able? Are Joy and Lola right, should chures entice national and international ing is sacred. Jessie be more tolerant? visitors to experience the uniqueness of Joy: Where they gotta go? Indigenous Australian culture. Jessie: I don’t know. They can go Jampajinpa turns up at 8MMM sport- to a hotel, caravan park, blackfella ing a bright orange fake tan. Believing • Would any of your adventures as a SCREEN EDUCATION © ATOM 2013 hostels. You know, anywhere, like his skin is now as black as his blood, tourist in Australia be regarded as normal people. Jampajinpa intends to rally the mob to Indigenous Tourism experiences? Joy: We not normal people, we protest at the NTAT Expo Gala Dinner. • Do you think Indigenous Australians blackfella. are given opportunities to be Conversation 2 • Dave: In this country, mate, I can’t involved in the tourist industry and Jessie: I mean it, Jake. I’m sick of think of anything worse than being in particular in Indigenous Tourism people borrowing our shit. It’s the treated like a blackfella. ventures? Do Indigenous Australians same as stealing. Jampajinpa identifies as Aboriginal have the right to generate income 20 from their culture? 4: Down the trade us freedom for ration. Now we • What are the likely benefits of plug hole got to wait till government mob tell Indigenous Tourism? Can you think us what to do. But which govern- of any negatives? Some Indigenous Australians like Lola ment mob we got to ask? choose to live in Indigenous communi- Given all that happens in Episode ties. The communities are located on 4, explain the significance of Lola’s Think about it: Sharing Country. Country is the geographic opening monologue. region with which an Indigenous • At the Central Australian Royalties Indigenous Australians are part of a Australian has the earliest known his- Office, Lola talks to an employee much larger kinship network than most torical connection. about getting a new pump and tank. non-Indigenous Australians. Kinship Lola: We got no water for our structures have bearing on all aspects Episode 4 begins in the outstation com- outstation. Water pump been break of relationships. Sharing is one way that munity, where Lola lives. Lola discovers it down. We got no water for our Indigenous people display and confirm that her water tanks are dry and she has outstation. Water pump been break their kinship with each other. In this epi- no water. it down. sode of 8MMM Aboriginal Radio, Jessie Government employee: What? and her son Thomas, object to the • Lola: Hey, you mob. I’ve been sitting Lola: You know, water? For drink- extent that they are expected to share. down on my country and I’ve been ing? Make you lively one? You got

thinking about it now. You know to give it royalty. I got buy it water SCREEN EDUCATION © ATOM 2013 • Do you think that as a society, olden time, our land it been give us pump. regardless of racial background, food, water and shelter. And if we Government employee: The Royalty we have lost the inclination to never had them, we would trade it fund has been allocated. All gone share? Is sharing part of your family with another tribe. Our way, it been this year. structure? Do you think sharing is work for longest time, true? Might Lola: No, I got Royalty. I got lot of a cultural practice worth keeping or be there was couple of fights, but it gas. Mereeni field that my country. I perhaps one worth adopting in your been work pretty good. Then them never been touch my money. Should family? whitefella been come and they been be full up there. 21 Government employee: Since the intervention royalties have been ad- ministered differently. The Minister has decided that royalties no longer go to individuals. Lola: What you mob going to steal it my money too now? Government employee: The money is still being spent in Aboriginal communities. Lola: Which one? You tell me which community. I’m gotta go and get it my money back. In a subsequent scene, Lola visits Social Security, where she appeals to Daryl for help: Lola: Listen Daryl, I gotta use it my basics card to buy it water tank and pump. Daryl: You get two hundred and fifty create comedy. Governments are failing Aboriginal dollars a fortnight on your card and How does this scene position the people in remote communities? you can only use that for essential audience to view the work of gov- • Who should be responsible for household needs and expenses. ernment organisations in Indigenous the provision of resources for You know, the basic stuff. communities? Indigenous people? Lola: Kwe? Water is a basic one, • Despite her inefficiency, Milly does • Working as a class, compile a list isn’t it? not lose her job. of non-government organisations *Kwe: Hey Why is Milly the 8MMM that work for and with Indigenous Explain the significance of these receptionist? Australians. Choose one of the scenes. What does the audience • Jake tells the 8MMM staff that the organisations from the list. Prepare see, hear and understand about the station is broke. a multimedia presentation about provision of resources to remote How do Jessie, Koala, Jampajinpa the organisation. Make sure that Indigenous communities? and Dave respond? your presentation states the mis- Your analysis should explain Jessie’s sion of the organisation, describes Lola appeals to Aunty Patty and Uncle ‘power trip’; Koala’s attempt at the organisation’s projects and Jack to put their basic cards towards media training; Jampajinpa’s crowd- acknowledges the organisation’s the cost of the pump and tank. Uncle funding campaign; Milly’s tantrum; achievements. Jack and Aunty Patty refuse to think be- and Dave’s disinterest. yond their immediate needs. They offer • Lola: Hey, like I was telling you mob to sell their basic cards but Lola doesn’t early part, now we got to ask it Think about it: have the money to make the deal. government mob for everything. And Financial assistance a lot of time .... us blackfella, we • What is a basic card? Do Indigenous been miss out. But I’ve been learn If Australia is serious about closing the Australians approve of the provision it something from that government gap between Indigenous and non-Indig- of basic cards? humbug. Sometimes we just got to enous Australians a lot more money is How does this scene position the bend ‘em all the rule and do it our needed. audience to view Aunty Patty and way. Yep, that’s what I been learn. Uncle Jack? In her closing monologue, Lola sug- • Is welfare dependency a signifi- What comment is this scene mak- gests that the ends sometimes do cant problem in Indigenous com- ing about welfare dependency in justify the means. munities? Why? Is it possible to Indigenous communities? How does Lola solve not only restore financial independence to • Jake: Um, Lola would like to apply 8MMM’s problem but her own? Indigenous people? How? for some funding through the Water • ‘There is no such thing as too much

for Communities Scheme for a water financial assistance for Indigenous SCREEN EDUCATION © ATOM 2013 pump and tank for her husband’s Think about it: Access people.’ outstation. to resources Can money close the gap between Jake and Lola visit the Department Indigenous and non-Indigenous of Royalties. • In what ways is the Australian Australians? Why does Lola ask Jake to help her Government working to im- • Why is it important to restore finan- sort out her water dilemma? prove conditions in Aboriginal cial independence to Indigenous Explain how story and production communities? people? elements are used in this scene to • Do you think Australian 22 5: Founders Day provided he walks the rest of the Marley: Oh yeah, it’s all right for you way home. just ‘cause you hide inside and drink • Lola: Hey you mob, this Central • Jessie’s neighbours drink and party like a Australia is a beautiful country. Real on the street outside her home. whitefella? pretty one. That’s why all the mad • A drunken Milly falls asleep under Jessie: Well I can handle my grog. people, they can go walkabout here. the 8MMM reception desk. It’s fellas like you who make the rest But us blackfella mob, we not mad Is Lola right when she claims ‘peo- of us look bad. one. We know how to sit down in ple is too greedy for grog’? As an Does Jessie have any right to chal- the shade and find water. But these audience, are we just encouraged to lenge Marley’s alcohol consump- days, the problem is not from per- laugh at these examples of drinking tion? Why does she think she does? ishing from no water. No. Trouble is, to excess? Explain how story and production people is too greedy for grog. • When Jessie arrives home, Thomas elements are used in this scene to The consumption of alcohol, often is glad to see his mum but is dis- create meaning. to excess, is the subject of this pleased that she has been delayed • Police officer: ell,W you can under- episode. because she was drinking. He calls stand how bad habits would have • An inebriated Dave is lost in the her a ‘grog face’. rubbed off on him, working in an bush until Alfie tracks and rescues Why do you think the filmmakers Aboriginal organisation. him. decided to have Thomas chal- Jake: Excuse me?

• The 8MMM crew enjoys an after- lenge his mother’s behaviour? How Police officer: These people can’t SCREEN EDUCATION © ATOM 2013 work drink in the car park, which does Jessie respond to Thomas’ handle their grog. turns into a quite a few drinks as the complaint? How does this scene set in the night wears on. In a subsequent scene, Jessie 8MMM office comment on percep- • Jampajinpa walks home drunk, is criticises Marley and his mates for tions of alcohol consumption in picked up by the police and taken to drinking on the streets. Indigenous communities? a mandatory rehabilitation facility. Jessie: You’re not supposed to bring • Dave drives home drunk, but the grog into town camps in the first Marley and his mates have been using police let him get away with it, place. Jampajinpa’s name when they have 23 been picked up by the police. Jessie is can’ts. Grog is not racists fun. It can angry at their betrayal. For Jampajinpa grab on blackfella and whitefellas. being detained in mandatory rehabilita- Given all that happens in Episode tion is a sobering experience. 5, explain the significance of Lola’s closing monologue. • Jessie: You’ve been telling the cops your name’s Benjamin Weetman when you been getting picked up Think about it: horrors, haven’t you? Alcohol consumption • Jessie: How was rehab? Jampajinpa: Saddest crib ... full of and Indigenous blackfellas. Australians Explain the significance of this exchange between Jessie and Alcohol was introduced to Aboriginal Jampajinpa. Australian society with the arrival of the first European settlers. Lola is disheartened by the black and white fellas with ‘grog sickness’. She does Dave see Australian history? • Why is alcohol misused in some wants something to change and looks • Dave: I reckon we should get a Indigenous communities? Think of to Jake for a solution. Jake is doubtful petition going to have Alice Springs historical and current factors con- that he can stop the drinking at 8MMM, re-named. tributing to alcohol misuse, as well let alone control the drinking of alcohol Jake: I think you’re right, Dave. I as social, economic and political in town. think a little acknowledgment would factors in shaping your response. go a long way . • Do you know of any other govern- • Jake: As the Founders Day advisors Dave believes that Alice Springs ment and community initiated pro- on cultural practice, we at 8-triple-M should be re-named. For a moment grams that have been put in place would like to suggest that maybe we Jake believes that Dave wants Alice to reduce alcohol consumption in make Founders Day a dry event. Springs to acknowledge the origi- Indigenous communities and sup- Jake decides that Founders Day nal inhabitants of the land. Jessie port Indigenous people who have a should be a dry event. How do the suggests the name was changed drinking problem? Founders Day committee respond because no one would have been • Investigate the media’s portrayal of to the suggestion? How does this able to pronounce Mparntwe. alcohol consumption by Indigenous scene position the audience to What do the others think of Dave’s Australians and in Indigenous com- view the relationship between the idea to call Alice Springs ‘Stuart’? munities. Does it reflect the reality Indigenous and non-Indigenous of the situation or do you think the members of the community? Are Founders Day arrives, and though the media exaggerate alcohol misuse there any humorous moments in crowd is sparse, Dave is ready in his in Indigenous communities? Does it the scenes set at the Founders Day colonial regalia to do the reenactment, perpetuate myths and stereotypes? meeting? Is the solution, a dry area but Jampajinpa has other plans. • Class forum: ‘Alcohol is a prob- and an area for drinkers, a good lem across Australia, not just in idea? • The re-enactment of Stuart’s arrival Indigenous communities.’ proceeds. What goes wrong (or Research the ways in which alco- In between drinks, Dave is busy plan- right)? hol can have a negative impact on ning the inaugural Founders Day event Draw an annotated timeline that all Australians regardless of their to celebrate John McDouall Stuart’s depicts the history of Alice Springs racial identity. Use your findings to colonisation of Alice Springs. from an Aboriginal perspective. discuss how as a society, Australia can tackle alcoholism and alcohol • Dave: You know, out there in the de- Lola and Jake put a notice on the notice related issues. sert, I had an epiphany. Now we are board. It reads – 8MMM is an Alcohol Do you think it is more difficult to going to bring Stuart and his party FREE Zone. address the problem of alcohol mis- through the gap to kick off Founders use amongst Indigenous Australians Day celebrations. Jampajinpa • Lola: Hey, like I was telling you mob than non-Indigenous Australians?

will lead the welcoming party of early part, people they’re too greedy SCREEN EDUCATION © ATOM 2013 Aboriginal warriors who Dave be- for grog. True, mmm? Us mob, lieves ‘greeted’ Stuart on what Dave we’ve got hard history that Captain Think about it: Should describes as ‘his triumphant arrival Crook and all his mates, they been original Indigenous into town.’ making lot of trouble for us. Now What is Founders Day? Why is Dave is up to everybody to stop going place names be keen to celebrate? How do the wrong way. We got to make them restored? others feel about Dave’s idea and right track for our kids and gran- Jampajinpa’s involvement? How nies. I don’t want to hear it any more • Working as a class, make a list of 24 significant places with Indigenous 6: “It’s a RAP” You know, things 8-triple-M can do names. to build relationships and respect When you have finished, compare • The episode begins outside the between Aboriginal and non-Aborig- your list to online lists. A useful town’s fish and chip shop. inal people. starting point is: http://en.wikipedia. Lola: Hey, you mob. This country Jake believes that the ‘RAP will be org/wiki/List_of_Australian_place_ ... it’s got a lot of problem, lot of a public declaration of 8-triple-M’s names_of_Aboriginal_origin things to work it out, true. I’m tired commitment to unity’. Do you think the original Indigenous for all this fight, fight, fight. When Does Jessie really think the RAP names for places and geographic we gonna stop at this carry on over ‘won’t change anything’ or is she features should be restored? everything and anything? just trying to avoid Jake? How do What are the likely problems of Thomas is at the receiving end of the other characters respond to reverting to the original Indigenous a racist slur from a local kid. Jake Jake’s suggestion? names? asks Tyson to apologise to Thomas. • Jake: Now first of all I would like What should happen if the existing Tyson’s father defends his son’s to by acknowledge the traditional names have historical significance? behaviour. Jessie retaliates and owners of the land on which we For example the geographic feature ends up being insulted as well but it meet, past and present. The Central may be named after an early is Jake who really gets hurt. Arrernte people. explorer or settler or historical event. Drawing on Lola’s monologue, ex- An Acknowledgement of Country is Is a dual naming system a sensible plain the purpose of this scene. a way of showing awareness of and compromise? If so, should one respect for the traditional Aboriginal SCREEN EDUCATION © ATOM 2013 name be regarded as the dominant Jake’s missionary zeal is in full swing – or Torres Strait Islander owners name and take priority? For he is determined to do something about of the land on which a meeting or example, Uluru is the primary name black and white relations in the town. event is being held, and of recog- and Ayers Rock is the secondary nising the continuing connection of name. • Jake: I think we need to develop a Aboriginal and Torres Strait Islander RAP. peoples to their Country. At a meet- Jessie: What? ing, speech or formal occasion the Jake: A Reconciliation Action Plan. speaker can begin their proceedings 25 by offering an Acknowledgement want to listen to culture. They live it Indigenous and other Australians. of Country. Unlike a Welcome to 24/7’. Achieving reconciliation involves rais- Country, it can be performed by a Does Budda Boy’s rap make any ing awareness, changing attitudes and non-Indigenous person. sense? encouraging action. All Australians must Are Welcome to Country ceremonies Jake asks that Jampajinpa play play a part their part in Reconciliation if and Acknowledgement of Country traditional music to raise cultural as a society we are to close the gap be- important? Or, do you think they are awareness. Jampajinpa does as Jake tween Indigenous and non-Indigenous pointless? requests. What goes wrong and why? Australians. Who are the local Aboriginal or Torres • Lola: Why everyone reckon I gotta Strait Islander groups that have cus- know it every ceremony for every- • Is Reconciliation just a buzz word? todianship of the land occupied by thing? I’m not the only blackfella for • Find out what people who you know your school? Does your school give this town, you know. think of Reconciliation. Ask some- an Acknowledgement of Country? Why is Lola an important character? one your age, ask an adult rela- • Jake wants 8MMM to be ‘the pin-up tive or family friend and an elderly organisation for black and white Dave’s refusal to participate in the crea- relative or family friend. Share the relations’. tion of the RAP means that he is forced responses that you have collected Is Jampajinpa correct when he to attend Cultural Awareness Training. with a small group of your peers. questions the integrity of 8MMM What observations can you make as given Jake and Dave are in charge • Dave: Can you believe we’re being a group about the responses? Do and Jessie’s traineeship continues forced to sit through two days of different generations differ in their to be extended? this shit? Surely there’s not that view of Reconciliation? • Jessie: Jake, he punched you in the much to know. • How can you play a part in face. Don’t you want to make him Does Dave learn anything at Cultural Reconciliation? pay, even a little bit? Awareness Training? • How can your family play a part in Jake: Yeah, of course I did, but Reconciliation? what’s the point in holding a Koala brings in a senior lady to sing a • How can your school play a part in grudge? That’s what reconciliation is healing song for the RAP launch, but Reconciliation? about. Okay, it’s about putting aside when she performs it for Jake, it is less • How can your community play a our differences. than impressive. Jake is crushed – Milly part in Reconciliation? Why does Jessie expect that Jake has organised a guest list of VIPs and will use violence to challenge 8MMM have nothing to show them. No Visit the Reconciliation Australia website racism? one knows what to do, but Dave thinks at https://www.reconciliation.org.au/. Why does Jessie take on Tyson’s he might have an idea. A few days father? later, the RAP launch takes place in the The Reconciliation Action Plans (RAP) • Jake: They’re just suffering the last 8MMM car park. program was launched in 2006. A vestiges of a long history of brutal RAP outlines practical actions that an colonial oppression that them and • Jake: So have I wiped the slate organisation will take to build strong their families’ been dealing with for clean for everything whitefellas ever relationships and enhance respect generations. We should be begging did to blackfellas? between Aboriginal and Torres Strait them for forgiveness. The RAP doesn’t go according to Islander peoples and other Australians. Are Jake’s ‘missionary’ tendencies plan or does it? A RAP is a ‘living’ document and an in need of being checked? Explain how story and production ongoing commitment, which means the • ‘Yeah, check this out. Budda Boy elements are used in this scene to organisation must review it regularly, re- and 8-triple-M you’re up in this bitch; create comedy. port on it annually and closely track its Jake is the man in charge but no-one • Lola: Like I been say, him big job implementation. Reconciliation Australia gives a shit. I got a dog named Boofy to make blackfella and whitefella is proud of having developed the RAP and a cat with no name ... But that friend. Reconciliation ... that not as- program and supporting the hundreds don’t really matter because it’s all similation. We always going to have of organisations that are now part of it. about change. Come on black and our own way. No good that eye for white brothas sisters time to unite. eye. We got to see it eye to eye. • What are the benefits of establishing Let’s reconciliate over some toast Why are Lola’s words an appropriate a RAP? and vegemite. And it’s all about the way to conclude 8MMM Aboriginal • Do you think that a RAP can make a Aboriginal protocol; so need some Radio? difference?

culture aware training, just give me SCREEN EDUCATION © ATOM 2013 a call. When I talk about rap, I talk Reconciliation Australia is an independ- about the Reconciliation Action Plan. Think about it: ent, not-for-profit organisation that So let’s support 8-triple-M cause Reconciliation was established in 2000 by the former Budda Boy is the man.’ Council for Aboriginal Reconciliation. Jampajinpa enlists local rapper • What is the meaning of the word They are the peak national organisation Budda Boy to write a rap to pro- reconciliation? building and promoting reconciliation mote the RAP. When Jake questions between Indigenous and non-Indigenous the appropriateness of the rap, Reconciliation involves building mutu- Australians for the wellbeing of the Jampajinpa tells him,’ Peeps don’t ally respectful relationships between nation. 26 ‘8MMM Aboriginal Radio’ – a narrative comedy Narrative comedy is a genre of come- explain and exemplify why 8MMM dy that features a regular cast of char- Aboriginal Radio is a narrative acters sharing the same environment. comedy. • The main function of comedy is to Use the following step-by-step guide 8MMM Aboriginal Radio is a narra- make the audience laugh. 8MMM to help you write your review. tive comedy series. Its subject is the Aboriginal Radio relies on different circumstance of Aboriginal Australians types of humour to tell the story 1. Begin by grabbing the reader’s in contemporary Australian society, of each episode. The humour in attention. This could be achieved particularly those that live in remote 8MMM Aboriginal Radio is both by recalling a scene from 8MMM communities. As a narrative comedy verbal and visual humour. Aboriginal Radio. It could also be 8MMM Aboriginal Radio draws on a What moments of 8MMM achieved by describing the prem- range of social attitudes and values Aboriginal Radio did you find ise of 8MMM Aboriginal Radio in about Indigenous Australians to make funny? What moments of 8MMM your own words. You might want us laugh, and to encourage us to re- Aboriginal Radio made you laugh to begin with background informa- flect on our own attitudes and values. out loud? Share your list with the tion. You could also begin with class. Spend time discussing what details about the cast and char- • Why do you think Trisha Morton- makes these moments funny. Draw acters of 8MMM Aboriginal Radio. Thomas opted to use comedy on this discussion to create a table It is probably wise to mention the to portray the circumstances of of the types of humour used in genre that best describes 8MMM Aboriginal people and communi- 8MMM Aboriginal Radio. Aboriginal Radio. ties in Central Australia? • What does it mean in comedy 2. Before you move into the body • Everybody has a favourite narrative to ‘cross a line’? Does 8MMM of the review, make sure that you comedy. What’s yours and why? Aboriginal Radio cross lines? have stated the title and named Make a list of the class’ favourite the production company, as well narrative comedies. Spend time as the television network on which discussing what the programs the series is being screened. You have in common. Drawing on the Reviewing ‘8MMM should also mention the classifica- SCREEN EDUCATION © ATOM 2015 discussion, identify the features of tion of the series. the genre and then write a formula Aboriginal Radio’ 3. Write a synopsis that explains that provides a definition of the Is 8MMM Aboriginal Radio your sort of what 8MMM Aboriginal Radio is genre. Which narrative comedies television series? about. Avoid plot spoilers! You on the class list challenge the could also describe and discuss formula? Drawing on the discus- Write a review of either the series or an the characters and their relation- sion about narrative comedy, episode of 8MMM Aboriginal Radio. ships. Try writing about the themes 27 of 8MMM Aboriginal Radio. Discuss how 8MMM Aboriginal Radio conforms to or subverts its genre. You should also mention some of the production elements of 8MMM Aboriginal Radio in this section of your review. Draw on specific evidence from an episode or episodes to endorse all that you aboriginal-affairs-overview state. • Queensland Department of 4. Shift to an evaluation of 8MMM Aboriginal And Torres Strait Aboriginal Radio. Whatever your Islander Policy opinion, you will need to justify it http://www.datsip.qld.gov.au/ with specific evidence. Keep in • Reconciliation Australia mind that your opinion of 8MMM http://www.reconciliation.org.au/ Aboriginal Radio should have been sa.gov.au/aboriginal-affairs/ • Share Our Pride implied by the content and the aboriginal-affairs-and-reconciliation http://shareourpride.reconciliation. tone of all that you have already • Aboriginal Affairs New South Wales org.au/ written. This is also your opportu- http://www.aboriginalaffairs.nsw. • South Australia Department of nity to write in greater detail about gov.au/ premier and Cabinet, Aboriginal who you believe is the audience of • Australian Institute of Aboriginal Affairs and Reconciliation Division 8MMM Aboriginal Radio. and Torres Strait Islanders Studies http://www.premcab.sa.gov.au/ 5. Most reviews offer a rating. Many http://www.aiatsis.gov.au/ dpc/department_aard.html critics use a scale of five stars. If • Australian Bureau of Statistics • Tasmania Office of Aboriginal you prefer you can use a different http://www.abs.gov.au/websit- Affairs symbol; perhaps one that is more edbs/c311215.nsf/web/Aboriginal+ http://www.dpac.tas.gov.au/ in keeping with 8MMM Aboriginal and+Torres+Strait+Islander+Peopl divisions/csrt/oaa Radio. es • The Australian Human Rights Commission • Department of the Prime Minister https://www.humanrights.gov.au/ and Cabinet: Indigenous Affairs our-work/aboriginal-and-torres-

http://www.indigenous.gov.au/ strait-islander-social-justice SCREEN EDUCATION © ATOM 2015 Websites of • Office of Aboriginal and orresT • Western Australia Department of Strait Islander Affairs Indigenous Affairs interest http://www.communityservices. http://www.daa.wa.gov.au/ • Aboriginal Affairs and act.gov.au/atsia • Information about 8MMM Reconciliation (Government of • Office of Aboriginal Affairs Victoria Aboriginal Radio can be accessed South Australia) http://www.dpc.vic.gov.au/ online at: https://www.facebook. http://www.statedevelopment. index.php/aboriginal-affairs/ com/8MMMradio?fref=ts. 28 Key Creatives TRISHA MORTON-THOMAS Cast PRODUCER-CREATOR Jake ������������������������Ian Meadows Trisha Morton-Thomas is an Australian Jessie ��������������������� Shari Sebbens actor/writer/producer who has worked Lola �������� Trisha Morton-Thomas in the media, arts and entertain- Dave ���������������������� Geoff Morrell ment industry for over twenty years. Morton-Thomas started working at the Koala ���������������������Laura Hughes Brindle Films in 2010 to create and pro- Central Australian Aboriginal Media Jampajinpa ������������������Zac James duce 8MMM Aboriginal Radio. Association (CAAMA) as a volun- Milly ������������������ Elaine Crombie tary radio announcer in 1983 and lat- er moved into journalism, working at LAURA WATERS ABC Radio in Darwin in 1990. a Master of Arts in Producing. Since In 1991, Morton-Thomas relocated to then, Clements has produced short EXECUTIVE PRODUCER Sydney and began training with the drama films, television drama series Bangarra Dance Theatre as a sound and documentaries. In 2014, Clements Laura Waters established Princess technician. She enrolled at the Eora produced Blown Away, a documentary Pictures in 2003, driven by a vision Centre for performing arts the follow- for the ABC on the 40th anniversary of to support unique creative ideas and ing year and discovered a love and tal- Cyclone Tracy and 8MMM Aboriginal people, pushing audiences to see the ent for acting. The role of Mae in the Radio, the first Aboriginal comedy nar- world in new ways. In the past dec- Australian feature film Radiance was the rative series, also for the ABC. ade she has produced all five of Chris first of her many dramatic roles in thea- Lilley’s ABC/HBO/BBC series, We Can tre, film and television. Morton-Thomas Be Heroes, Summer Heights High, is now regarded as one of Australia’s ANNA CADDEN Angry Boys, Ja’mie: Private School most renowned Aboriginal actors. Girl and Jonah From Tonga as well as In 2004, family commitments brought PRODUCER-CREATOR overseeing the production of a range Morton-Thomas home to Alice Springs. of groundbreaking comedy and docu- Since her return, she has produced and Anna Cadden completed a degree in mentary series. Waters has won two directed documentaries for CAAMA Film and TV Production at QUT in 2000, Australian TV Logie awards, one AFI and wrote and directed the short com- during which she found herself drawn award and been nominated for several edy film Kwadge for the Australian to cinematography and producing. In international television awards for vari- Film Commission Indigenous Unit 2001 she was rewarded when the first ous Princess Pictures productions. and SBS Television. In 2007, Morotn- short drama she produced, Beauty Thomas joined the newly established Queen, won Best Tertiary Drama and National Indigenous Television (NITV) the first short doco she shot, Home, ANDREA DENHOLM service as one of the first Aboriginal won Best Tertiary Documentary at the Commissioning Editors, working her Queensland New Filmmaker Awards. EXECUTIVE PRODUCER way up to Senior Commissioning Editor. Since then, Cadden has working Morton-Thomas co-owns Brindle with Warlpiri Media Association, the Andrea Denholm has produced, exec- Films with friend and filmmaker, Warlpiri Youth Development Aboriginal utive produced and written adult and Rachel Clements. Corporation, Pilbara and Kimberley children’s television for more than fif- Aboriginal Media, Ngaanyatjarra Media, teen years. She has worked as an in- Central Australian Youth Link Up dependent producer and has held RACHEL CLEMENTS Service, Central Land Council, Charles senior roles in major international and Darwin University, Central Australian Australian production companies. She PRODUCER-CREATOR Aboriginal Media Association, the joined Princess Pictures in 2009, at- Central Desert Shire, Ninti Media and tracted by the company’s commitment Rachel Clements wrote and produced Indigenous Community TV. She was to talent, creative ethos and energy. SCREEN EDUCATION © ATOM 2015 her first short drama film, Flasher, in the cinematographer for Queen of 1996. After completing post-gradu- the Desert, a documentary produc- ate film studies at QUT, Rachel left tion for ABC2’s Opening Shot initia- Queensland for London where she tive in 2012, and numerous indigenous worked for Miramax Films and MTV health films for Tropic Productions in far References Europe. She returned to Australia to north Queensland. Now based in Alice 8MMM Aboriginal Radio attend AFTRS; graduating in 2001 with Springs, Cadden joined forces with press kit, 2015. 29 This study guide was produced by ATOM. (© ATOM 2015) ISBN: 978-1-74295-581-0 [email protected] For information on SCREEN EDUCATION magazine, or to download other study guides for assessment, visit . Join ATOM’s email broadcast list for invitations to free screenings, conferences, seminars, etc. Sign up now at . For hundreds of articles on Film as Text, SCREEN EDUCATION © ATOM 2015 Screen Literacy, Multiliteracy and Media Studies, visit .

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