© ATOM 2015 A STUDY GUIDE BY PAULETTE GITTINS
http://www.metromagazine.com.au
ISBN: 978-1-74295-595-7 http://www.theeducationshop.com.au »»INTRODUCTION Light
The natural agent that stimulates sight and makes things visible.
An expression in someone’s eyes indi- cating a particular emotion or mood.
Equated with sight, illumination, knowledge, understanding, good- ness, welcome, relief. As an adjective it means sunny, un-dimmed, brilliant. Light is at once physical and spiritual. We cannot live without it, yet some of us fear it. We live b.y it, we utilise it, we worship its mysterious qualties, we experiment with it. Its opposite -equated with blindness, ignorance, evil, foreboding, rejection.
Our world is filled with light and its affect on us is constant and unyield- stories about how Light effects - CONTENTS ing, but how do we, as individuals, changes, moves, improves, inspires or experience this most extraordinary defines - their world. 3 Aims of this Study Guide phenomenon? Light in its many forms 3 Pre-viewing information - mythic, life-giving, threatening, eerie, New and emerging Indigenous intimidating, beautiful – is now the Australian filmmakers were eligible to 4 Synopses focus of the documentary film series apply for this funding and develop- ‘Light,’ five short films by Indigenous ment opportunity by submitting a story 14 Light: Production Personnel Australian cinematic artists. concept around the theme Light. 17 Curriculum Relevance
In November, 2014, ScreenWest and Series Producer Renee Kennedy was 22 Supplementary Resources the ABC issued a ‘call out’ for Western appointed and commissioned by Australian Indigenous creatives to ScreenWest and ABC to work with the 25 Activities make thought-provoking mini docu- filmmakers during the development mentaries for a new initiative around phase and to produce the documenta- 31 Endnotes the theme Light. The series of five, ries. Production by Renee’s company, five-minute contemporary documenta- Metamorflix, began in early 2015, and Click ry films are intended for screening on completed by late May, 2015. on arrows ABC2. ABC2 is the network’s digital to jump to channel that talks to a younger de- The four of the five short films sections mographic. Its ambition is to surprise, in this series were filmed in enthuse and challenge. Western Australia, with Shadows SCREEN EDUCATION © ATOM 2015 of Displacement being filmed in Light is the United Nations Sydney. All five films utilise both the autobiography, memoir and flashback. Educational, Scientific and Cultural natural light of the environment and All directors are Indigenous Australians Organisation (UNESCO) 2015 theme. experimental light – infrared, ultra- with varying degrees of filmmaking violet, near-infrared - and a number of experience,. All present us with a ScreenWest and ABC looked for unique ways of telling a story: through fascinating interpretation of the power stand-out, unique, cutting-edge shadow puppets, interpretive dance, and meaning of this vital life-source. 2 »»AIMS OF THIS STUDY GUIDE
This Study Guide aims to • To introduce us to the world of Indigenous Australian film art and artists; • To consider and comprehend Indigenous Australian film as a means of political, social, artistic and cultural expression; • To showcase Light as curriculum support in various subjects and subject levels; • To link this text to the National Curriculum criteria; • To provide a range of activities and tasks which are a ‘springboard’ rel- who don’t wish to look at images of evant to classroom use in a variety deceased Aboriginal persons or hear of subjects. their names, so that they may choose to look away or leave the room or look This Guide therefore provides the at another channel. Further, permis- following: sion has to be gained from family or • Synopses of each short film »»PRE-VIEWING tribal group before these images can • Supplementary historical referenc- INFORMATION be shown on television or photo- es, vocabulary and miscellaneous graphed. It is a matter of respecting information relevant to each film the dead and respecting ancestors. • Biographies of significant produc- 1. Disclaimer tion personnel • Curriculum Relevance Before we view these five short films, 2. An important • Links to the National Curriculum we need to understand the reasons question: What is life • Classroom activities and allied behind the Disclaimer voiced before like for contemporary material each of them: Indigenous Australians?
While Indigenous film is a small part, it Aboriginal and Torres Strait Islander Many of us will have an image of is a highly significant part of Australia’s viewers are advised that the following Indigenous Australians living in ‘the culture. The portrayal of Aboriginal program contains images and voices outback,’ in, say, Arnhem Land or the Australian issues, people and ideas of people who have died. Western Desert in a ‘tribal’ society; we in film provides a unique insight may also have read or seen texts in into Australia’s relationship with its What we are seeing here is an which Indigenous people are consist- Indigenous peoples and heritage. Indigenous Cultural Protocol which ently portrayed in negative circum- calls upon both the Indigenous and stances - victims of alcoholism, drug non-Indigenous community to respect dependence, homelessness and the the traditions related to mourning like. Such stereotyping is common and Pushing the boundaries, exploring and grieving customs. Indigenous deeply offensive to many Indigenous realities, telling ancient stories,Five Australians have certain beliefs about Australians. What is most important film-makers see the light... seeing, or allowing other to view imag- to the vast majority of Indigenous SCREENWEST & LOTTERYWEST es of their deceased family members. Australians is that their connection to SCREEN EDUCATION © ATOM 2015 AND THE AUSTRALIAN They believe that once the spirit of ‘country’ is not in any way diminished BROADCASTING CORPORATION IN the deceased family member returns simply because they live in city areas. ASSOCIATION WITH METAMORFLIX to the Dreaming it is disrespectful to present LIGHT show images of them. In 2006 about 31% of the Indigenous Five X Five Minute Documentary population was living in ‘major cities’ films. Series Producer Renee Therefore TV stations issue warn- (as defined by the Australian Bureau Kennedy ings as a matter of courtesy to those of Statistics/Australian Standard 3 Geographical Classification) and an- other 45% in ‘regional Australia’, with the remaining 24% in remote areas. The populations in Victoria, South Australia, and New South Wales are more likely to be urbanised
Research informs us that within the socio-cultural environment of ‘white’ Australia, aboriginality is continued in the following areas:
• Life orientation: the focus is often group-centred. Co-operation, rath- er than competition, is important. • Concept of family: family concerns are of primary importance. • Responsibility for children: parents hold responsibility for a child’s behaviour and well-being from babyhood through to mid-to-late teenage years. • Public behaviour: social behaviour is often public; public displays of affection between men and women is usually acceptable. • The use of Aboriginal non-standard English is also a facet of the com- »»SYNOPSES Lady.’ She is one of a handful of munity inhabited by Indigenous Noongar photographers currently Australians. working on Noongar country. She 1. REVEALING THE also happens to be the mother of the While this is an extremely ‘generalist’ HIDDEN WORLD director! analysis, we should be able to see how ‘Light’ illustrates all these indig- Written and directed by Ashley Tash’s photographic career is six enous cultural qualities. Spratt. 4 mins. 53 secs. years old now and she tells us that this is not the glamorous job many ‘Photography makes me happy. It might mistake it to be. As an ‘event 3. Activity (Group/ gives me the opportunity to take photographer,’ waiting for the perfect individual activity) beautiful pictures, to be as creative as shot, standing for hours in the heat, I want....I’m constantly looking for the means that it’s a strenuous, demand- 1- As a group/class discussion, shadows and where my light source ing profession: ‘Event photography is consider the following question: is coming from...light actually defines so reactive, you have to be there or what knowledge do you have of everything I do...’ you miss out.’ Indigenous Australians? Pool your information and present a short Photographer Tash Nannup is the She has developed a quiet, observant written account to the class. subject of this short documentary film. method of work that allows her to cap- 2. Have you read any texts that tell And by the inclusion of some crea- ture intimate and unaffected moments. stories of Indigenous Australians? tive camera-work by the director of A series of her pictures shown to us 3. Have you seen any films/TV pro- Revealing the Hidden World, we are certainly reveals that she has indeed SCREEN EDUCATION © ATOM 2015 grams that tell such stories? able to see exactly what Tash herself been on the spot: a food festival, with 4- Can you name a work of literature is seeing as she goes about her life’s its variety of stalls, vendors and cooks or film written/produced by an work. But exactly what ‘hidden world’ provides a vibrant, colourful and joy- Indigenous Australian? will her photographs reveal to us? ous series of subjects. Tash clearly has 5- Can you name any Indigenous an affinity with people, revealing them, Australian artists/actors/perform- Tash Nannup is known throughout not simply as workers, but as people ing artists? her community as ‘That Photography with a love of life and an enjoyment of 4 Supplementary Information
Vocabulary:
• Stereotype: A widely held but fixed and oversimplified image or idea of a particular type of person or thing. Historical references
Noongar: Noongar people are the Indigenous Australian group who live in the south-west corner of Western Australia, from Geraldton on the west coast to Esperance on the south coast. Traditionally, they inhabited the region from Jurien Bay to the southern coast of Western Australia, and east to what is now Ravensthorpe and Southern Cross. The Noongar people tradition- ally spoke dialects of the Noongar language, but generally today speak Australian Aboriginal English (a dialect of the English language) combined with Noongar words and grammar. what they do. Archaeological evidence from Perth and Albany suggests that the Noongar And these shots are not ‘set up’; a true people have lived in the area for at least event photographer ‘must be paying at- 45,000 years. There are even some tention to what’s going on around (you)’ caves amongst the hills of Margaret River dating back 47,000 years. The From sporting champion Noongar people lived in balance with to photographer the natural environment. Their social structure was focused on the family And now Tash reveals some of her his- Project: ‘I Want to Be.’ with Noongar family groups occupying tory to us, which explains her choice distinct areas of Noongar Country. of career. But it is her affinity with children and her understanding of childhood ambi- For the Noongar People in the Perth At age ten, she was a successful ath- tion that has driven her to pursue a area the main source of food came lete for whom ‘sport was everything’ deeply personal photography project. from the sea, the Swan River and the and with Olympic aspirations. She was She is committed to quashing the extensive system of freshwater lakes forced to re-evaluate her goals after a negative stereotypes of Indigenous that once lay between the coast and congenital heart condition struck her Australians as ‘being lazy and not the Darling Escarpment. Further south down at the age of ten. Very fortu- working.’ and east the Noongar people lived off nately, open-heart surgery followed, the resources of the Karri and Jarrah but two heart attacks and a stroke This Project entitled ‘I Want To Be’ forests. In the southern coastal area ensured that her Olympian dreams captures the career hopes and dreams around Albany the Noongar people simply had to be put aside. of four young Aboriginal children, as built fish traps and hunted turtle. To yet unaffected by the social structures the north and east Noongar people ‘One day, we were walking round the of the wider world. ‘These young kids lived in the semi arid regions of what is shops and my husband suggested I have ambition and drive,’ she declares now the wheat belt. buy a camera...from there I haven’t to us, ‘they want to have careers.’ SCREEN EDUCATION © ATOM 2015 actually put it down...’(Tash) Once again, Tash’s pictures reveal the It is known that the Noongar people inner exuberance and love of life these travelled within their country to trade Tash was encouraged by her husband children possess. This Project, whilst with other families. For more infor- to pursue photography. Her world inspiring the kids, and perhaps the mation on the Noongar people, see suddenly changed; as she looked in wider public, will hopefully see them South West Aboriginal Land and Sea the lens, a world, hidden in plain sight realise their true potential. Council’s website at http://www.noon- was revealed. gar.org.au/noongar-people-history.php 5 upon the natural environment of kangaroos and native wildlife speeds up with cattle herds and their noises filling the landscape. Houses are built, our Indigenous Australian man is now a stockman, herding cattle, riding on horseback through the scene. The country is changing. Dates
Dates are of particular significance in Shadows of Displacement: with every passing year, legislation and govern- ment policy is shown to slowly but surely impact negatively and devas- tatingly on these first peoples. On 2. SHADOWS OF one rare occasion, life seems to be DISPLACEMENT) improving - then circumstances are reversed. Written by Perun Bonzer & Renee Kennedy, directed by Irony Perun Bonser, 4 mins. 55 secs. In every governmental declaration and The meaning of this title will become ruling we are shown, there is a bitter clear as this cleverly told story un- irony demonstrated. Let’s take a look folds. Our film uses the technique of at two of these: shadow puppets to tell the tragic tale of the displacement of the Indigenous by the three- ‘It is expedient to establish a board Peoples of Australia. Through a series mast ship flying the Red Ensign of the for the better protection of the of symbols, sound effects and voice- British Royal Navy (now the British Aborigines...’ overs, we are given a broad history of Merchant Navy) is relayed to the com- the proclamations and observations munity. And here is where the troubles (The Aborigines Protection Act, 1886) of politicians and their consequences: begin, as shown by the life-story of social dislocation, rejection and one particular Indigenous man and ‘The Chief Protector shall be legal discrimination. Inexorably, the fate woman, as they endeavour to live guardian of every Aboriginal and half- of Indigenous Australians has been under the white man’s jurisdiction. caste child... It shall be the duty of sealed by its governments. the Department to exercise a general ‘Now, I, the Governor… do hereby supervision and care over all matters With this film, the director wants proclaim to all His Majesty’s sub- affecting the welfare of the Aborigines, to show the path the Indigenous jects… that every such treaty, bargain and to protect them against injustice...’ Australian people since the time of and contract with the Aboriginal colonization has been forced a journey Natives… is void and of no effect (The Aborigines Protection Act, - a path paved with decisions made against the rights of the Crown.’ (1835) Western Australia, 1905 for and on their behalf by people who know little about their way of life, fam- ...declares Governor Bourke in Each of these announcements uses ily, culture and beliefs. These are deci- voice-over. Our puppeteer shows terms like protection, guardian, welfare sions that they have had to endure. the enforcement of this proclamation or justice, yet, as the shadow pup- with weaponry: a gunshot is heard pets show poignantly, protection is A sun-shaped black silhouette, sus- and a searing yellow and brown demonstrated by scenes of Aboriginal pended, rotates on the white screen starburst appears on-screen. What people in chains, threatened with ri- of a light box. The light from the sun follows is the displacement of the First fles; the Chief Protector takes children pours down on a silhouetted group Australians. Moved off their land to ac- away from their families without their SCREEN EDUCATION © ATOM 2015 of Indigenous Australian people, commodate the introduction of foreign consent, leaving them devastated; engaged in everyday pursuits: con- animals and farm-lands, this means a the symbolic massive arms of the versation round a camp-fire, spearing end to their traditional way of life. The government surround the terrified a kangaroo for food, telling stories. point is clear. child, scooping him out of the picture. Native bird-calls fill the air; life is Protection against injustice is shown clearly tranquil. The arrival of the Time passes, shown by smoky mist by an Indigenous Australian person’s British colonizers, shown symbolically dividing the years; encroachment pair of hands receiving payment for 6 work on a cattle-station in the form omen of doom. The last tiny house, of flour and tobacco, whilst the white situated on the same ancient head- person receives payment in the form land that saw the arrival of the British, of money / wages. crashes to the ground. So many government pronouncements, so There are certainly historical an- much misery, so little done to actually nouncements, which appear to show enact what these declarations have that at last, a degree of fairness will be laid down. What will be the final out- part of the law of the land. ‘There must come for these people - people who be one industrial law applied to all throughout history have been margin- Australians, Aboriginal or not’ declares alised and displaced? the Commonwealth Conciliation and Arbitration Commission Act of 1965. It Supplementary Information goes on to say: Vocabulary ‘The purpose of this Act is to further in a street; life looks like it’s improv- the economic and social development ing; Indigenous Australians are on the • Half-caste: The term ‘half-caste’ of the people of the Aboriginal race, journey to self-management. is used to describe someone of promoting their development, self- mixed-race (mixed-parentage, management and self-sufficiency. This But yet again, not for long... In 2015, mixed-heritage, or whatever other would have the effect of prescribing debate over whether these communi- term is in vogue now). This term higher rates of pay.’ ties are financially viable threatens is rarely, if ever used these days, their existence. Inside their home, our considered as an expression of (Commonwealth Conciliation and couple turn on their radio to be met racism or discrimination. The rea- Arbitration Commission Act of 1965.) with the voice of the Prime Minister, son that it is offensive is because Tony Abbott, who declares that the word itself has nothing to do But does this decree guarantee with ethnicity. equality for ALL Australians? What ‘...what we can’t do is endlessly subsi- • Proclamation: The public or official do our shadow-puppets show us? dize lifestyle choices... if those lifestyle announcement of an important The boss, standing at the door of choices are not conducive to the kind matter; a clear declaration of his house, hearing the news, retreats of full participation in Australian soci- something. behind his door, slamming it on the ety that everybody should have...’ Indigenous stockman and his wife. Arbitration: The submission of a The point is clear. Our Indigenous Symbolically, the images of hope and dispute to an unbiased third person man and his wife, now unemployed enterprise - the school, the clinic, the designated by the parties to the and forced from their traditional lands, shop, the housing - all, one by one, controversy, who agree in advance to retreat to the town camp, where tumble and crash. The Commission’s comply with the award—a decision other Indigenous Australians, similarly funding has been cut. Once more, to be issued after a hearing at which forced from their land, are living rough the terrible irony in the words of the both parties have an opportunity to be and drinking to excess. Sound effects speech hit home: being poor, desti- heard. This was the work of the The - uncouth voices, the splintering of tute, homeless, unemployed is not Commonwealth Conciliation and broken glass, confusion - add to the a ‘lifestyle choice’. Our couple must Arbitration Commission (see below) suggestion of misery and dislocation. once more move on. Historical references However, with the passage of time, The inevitable conclusion a ray of hope appears in the voic- Terra Nullius: a Latin expression de- ing of key words in the Aboriginal Finally, the last announcement, by the riving from ancient Roman law mean- Development Commission Act, 1980: Premier of Western Australia, the Hon. ing ‘nobody’s land’, indicating that a Colin Barnett: piece of land, a territory or a country is ‘The purpose of this Act is to further not owned by anyone. the economic and social development ‘I ask you as Aboriginal people, and of the people of the Aboriginal race, as leaders of your community to work -and the ‘myth of Terra Nullius’ in promoting their development, self- with me and work with the government Australia SCREEN EDUCATION © ATOM 2015 management and self-sufficiency.’ to improve the lifestyle and opportuni- ties of Aboriginal people.’ In 1770, Captain James Cook landed Indigenous Australians now have in Botany Bay, home of the Eora a chance. The advent of the His words are about the closure people, and claimed possession of Commission produces a series of of remote communities in Western the East Coast of Australia for Britain cut-out houses that go up on-screen; Australia - the words are over-ridden under the doctrine of ‘terra nullius. shops, a clinic and a school line up by the wail of a police siren, surely an ‘European settlement of Australia 7 commenced in 1788. Prior to this, proclamation, among others, set down Indigenous Australians had inhabited the view that the Indigenous peoples the continent for some 40,000 years did not own the land they lived on and and had unwritten laws. However, they therefore had no rights to it. did not possess any documentation or political organization that could be The concept of Australia being terra compared to, or understood by the nullius was finally challenged in 1982 British colonizers. by, Eddie Mabo and four other Torres Strait Islanders from Murray Island, According to the international law of who started legal proceedings to Europe in the late 18th century, there establish their traditional land owner- were only three ways that Britain could ship. This led to the famous Mabo take possession of another country: High Court Ruling in 1992, after ten years of hearings. The court found • If the country was uninhabited, that the Murray Island people had Britain could claim and settle that owned their land prior to annexation country. In this case, it could claim by Queensland. The ruling thus had ownership of the land. far-reaching significance for the land • If the country was already inhabited, claims of both Torres Strait Islanders Britain could ask for permission and other Indigenous Australians. from the indigenous people to use some of their land. In this case, (for more information about Governor Britain could purchase land for its Bourke’s Proclamation, see http:// 3. INVISIBLE LIGHT own use but it could not steal the www.migrationheritage.nsw.gov. land of the indigenous people. au/exhibition/objectsthroughtime/ Written and directed by Perun • If the country was inhabited, bourketerra/) Bonser, danced by Larissa Britain could take over the country McGowan, 4 mins. 56 secs. by invasion and conquest- in other The Commonwealth Conciliation words, defeat that country in war. and Arbitration Commission: This This short film is thus far, the most However, even after winning a war, was originally a court which had juris- ‘experimental’ of our five short films, Britain would have to respect the diction to arbitrate interstate industrial using a variety of cinematic technol- rights of indigenous people. disputes. This court was created in ogy – speeded-up filming, the ther- 1904 by an Act of Parliament . Its mographic (heat-sensitive) infrared Strangely Britain did not follow any of functions were the hearing and the ar- camera, ultra-violet light - to create an these rules in Australia. Since there bitration of industrial disputes, and to eerie, challenging world, inhabited by were already people living in Australia, make awards, that is, to decide upon a spirit-like figure. Through interpretive Britain could not take possession wages and working conditions. After dance, a story is told in three self-con- by ‘settling’ this country. However, a series of changes to this process, tained chapters to reveal the secrets from the time of Captain Cook’s ar- by 2006, these disputes were decided hiding amongst our most familiar rival, the British Government acted by The Australian Industrial Relations surroundings. These visually stunning as if Australia were uninhabited. So, Commission. scenes are playful, frightening and instead of admitting that it was invad- at times awe-inspiring. They force us ing land that belonged to Aboriginal The Aboriginal Development to question what we think about our people, Britain acted as it were settling Commission Act 1980: The ADC was environment, to remember our sup- an empty land. This is what is meant governed by a board of Aboriginal peo- pressed fears and to witness events by the myth of terra nullius. ple appointed by the government and beyond our own earthly realm. had the task of administering a range of When John Batman, one of the development-oriented programs. The Chapter One T he Dark pioneers in the founding of Victoria, National Federation of Land Councils first settled at Port Phillip, he made was formed. The organisation LinkUP In the rather forbidding world of late- an attempt to buy the land from the was established to assist the reunion night city-streets, a young man stands Aboriginal people through a ‘treaty’. of Aboriginal parents and children who at a phone booth, inserts a coin and is New South Wales Governor, Sir Richard had been separated by welfare policies. told that the number he wants is una- SCREEN EDUCATION © ATOM 2015 Bourke, effectively quashed the treaty For a further detailing of the history of vailable. What he doesn’t seem to see with his Proclamation issued in 1835. this Commission, see Professor Marcia is a luridly red, gyrating figure behind Its publication in the Colony meant Langton’s Dr. Charles Perkins Oration: him, the features invisible, inposing, that from then, people found in pos- ‘A New Deal? Indigenous Development possibly malevolent. With lightning session of land without the authority and the Politics of Recovery’ at http:// speed, the brilliant but disturbing of the government would be consid- sydney.edu.au/koori/news/langton.pdf colours surrounding the moving figure ered trespassers. Governor Bourke’s switch to a ‘normal’ scene, then again 8 on the sand, moving and contorting to staccato rhythms. This spirit-like figure, unseen by our embracing couple, represents the ultra-violet light radiated by stars at the beginning and the end of their life cycle. As the star dies, she leaves behind a wake of iridescence, disappearing towards the infinite horizon, and the camera takes its gaze up into the massive, glittering void of the night sky. Supplementary Information return to this eerily distorted figure, moving in balletic gestures, at times Vocabulary resembling an animal, a semi-human creature or simply an amorphous blob. Interpretive Dance: Interpretive Ultimately the figure moves towards dance describes a family of modern the camera, enveloping the screen. dance styles commencing in its forma- tive years, around 1900, with Isadora Chapter Two: The Catalyst symbol, perhaps, of this Infrared light, Duncan. It used classical concert performing a solo within the energy- music but marked a departure from The scene teasingly opens in ordi- rich landscape. She moves in power- traditional concert dance. It seeks to nary, everyday sunlight, the camera ful, sweeping gestures, pushing the translate human emotions, conditions, closes in on the colours of a banksia boundaries of her physical capa- situations or fantasies into move- tree, then moves out to show us we bilities, to embody the abundance of ment and dramatic expression, or else are in a botanical gardens. Suddenly energy in the landscape around her. adapts traditional ethnic movements the colours of this familiar world are into more modern expressions. transformed into shades of red - pink, Something we will now recognise: the strawberry, lilac, mauve, indigo, mul- dance-moves, fluid and extraordinary, The effect of interpretive dance can berry - with a gold sky. To the naked remind us of that blurred red figure in be seen in many Broadway musicals eye, parklands, grasses and flowers Chapter One. This presence is intrinsic as well as in other media. While it appear green; however, by utilising to all three Chapters. was—and most often, still is—thought near-spectrum infrared photography of as a performing art, interpretive the landscape becomes a vibrant Chapter Three: The Void dance does not have to be performed SCREEN EDUCATION © ATOM 2015 magenta wonderland. with music. It often includes grandilo- We move into darkness, with the play quent movements of the arms, turns A young woman runs through the of light on the ocean, the sun slipping and drops to the floor. It is frequently scene. Is she being chased by some- inexorably below the horizon. Shot enhanced by lavish costumes, ribbons one? No; she suddenly breaks into a at the western edge of the Australian or spandex body suits. series of lavish, demonstrative dance continent, The Void represents the life moves. She is a representative - a cycle of stars. A purple figure rises 9 4. MIN MIN LIGHTS
Written and directed by Jub Clerc, 4 mins. 54 secs. years, and the camera takes us back seemed to hover on the side and all of in time to when she had an almost a sudden – gone!’ This tale of the passing on of a cultural spiritual experience with the Min Min. and mythical experience from one There is something rather intimidating generation to the next, is related ‘It was a dark, dark night and they in this recollection; Jimmy’s feelings principally by seven-year-old Mahlena- were dancing on the sand dunes, were nervous rather than excited at Mae, as she tells us the story of the dancing, dancing, like they were fol- the oddness and sudden appearance Min Min Light, an eerie but utterly lowing each other. But then they went of these inexplicable, unpredictable magical light that appears ‘out in the whoosh! – like that – and they all dis- lights. ‘I was a little bit scared when I bush,’ only at night and only once to appeared. But I wasn’t scared at all...’ heard that story,’ reflects Mahlena. each member of this little girl’s’ family. Still, this re-telling doesn’t quite make But our scene now shifts to the It is Mahlena-Mae’s connection and the child feel completely safe about extended family, now seated round understanding of her Nyul Nyul/ these mysterious phenomena. She re- a camp-fire on the dunes, happy in Yawuru culture that has made it flects that ‘Nanny was brave (because) each other’s company, and sharing possible for her to be brought out to she had her family with her’. But when the experience. Mahlena’s mother now country and to be told by her people her grandfather (Pop) Gummy Jimmy reveals that she too, saw the Min Min about the phenomena. ‘I know a lot tells of his father’s experience of light - but she was the same age as about country,’ she declares proudly. encountering the Min Min when alone Mahlena is now: seven. She was, she at night on the road, driving a truck recalls According to the ancestors, the Min through the remote Kimberley bush, Min were guardians of the people. his reaction is considerably different. ‘...laying in the backyard on a hot, SCREEN EDUCATION © ATOM 2015 For this knowledge to pass on, three starry night... the lights were so close I generations of the family need to be ‘In the 50s, he used to drive in a road felt I could reach out and touch them... present: grandmother (Nanny Sylvia), train (and) he saw this big light. It they made no sound at all.’ daughter (filmmaker Jub Clerc) and come on from behind; it was bobbing grand-daughter (Mahlena-Mae). through the trees...following me for Our filmmaker has utilised flashes Sitting on the sand-dunes near the about twenty to thirty kilometers, flash- and dashes of colour and white, sea, Nanny Sylvia recalls her teenage ing behind. Then when it stopped, it set against the black of the night to 10 vehicles in the world, with some cases, hundreds of kilometres away configurations topping out at close over the horizon. This interesting to 200 tonnes. The majority are article, Mystery of the Min Min Lights between 80 and 120 tonnes. To Explained, can be found at http:// see one in action in the Australian www.abc.net.au/science/news/stories/ outback see: s818193.htm www.youtube.com/ watch?v=yb5d6ISHoMU ‘Country’: What we, as Australians, must know is the special and particu- Historical references lar meaning of this term to Indigenous Australians. To quote Indigenous Min Min Lights have a history with Australian art curator and cultural non-Indigenous Australians as well. expert Hetti Perkins, Country is Travellers in the outback claim to have seen them and their experience “the unique, intensely special word for doesn’t differ very much from the the people of the oldest living culture stories told by Mahlena-Mae’s family on the planet. (Country is) our flesh - with one glaring exception. The Min and blood. Our culture springs from Min in the recollections of these out- and binds us to our country.... Our art back travellers always engender fear, is a commemoration of our history, but and indeed terror in those who speak is also a celebration of our survival, of them, rather than the fascination and it is the legacy which we will, in recreate the image of the Min Min and excitement of Mahlena’s family. If turn, pass on to our children.” as they typically cavort and ‘dance’ we look at the following YouTube clip: around the scene, no doubt creating wonderment and quite possibly, awe. https://www.youtube.com/ 5. SUMMER BLUES watch?v=njN4zZN3R1w Our little girl reflects on the adults’ ex- Written and directed by Lolly perience and decides that she is now we will hear that the Min Min have Radloff, 4 mins, 56 sesc. actually looking forward to her ultimate been aligned with European ‘demonic’ meeting with these mysterious, colour- forces such as ‘Paddy’s Lantern’, the ‘Each summer I desire one thing: to ful and unpredictable forces. Each of ‘Will o’ the Wisp’, Jack o’ Lantern; escape from the light.’ the stories shared by Mahlena-Mae’s these are some of the names used to family members demonstrates the describe what to Yawuru people are So begins this short film, the entire varying shape, size, colour and move- Min Min lights. storyline carried by the voice-over of ment of the light. She learns that they a young girl as she tells us why the have personalities of their own and is There are also scientific explanations summer disturbs her so much. It is left wondering if she will ever experi- for this phenomena. Australian neu- as much a story of loss and sorrow ence their presence and if so, what will roscientist Professor Jack Pettigrew as one of happy re-connection with her reaction be. She now possesses claims he knows what causes the the spirits of loved ones. This film is a little more of the knowledge of her Min Min Lights. The lights, he says a personal and poetic exploration of ‘country’. are actually an inverted mirage of childhood and the nature of trauma light sources which are, in some drawn from the real-life experience of Supplementary Information
Vocabulary:
• Road-train: road train, road- train or land train is a method of trucking used in remote areas of Argentina, Australia, Mexico, the United States, and Canada to
move freight efficient. The term SCREEN EDUCATION © ATOM 2015 ‘road train’ is most often used in Australia. A road train consists of a relatively conventional tractor unit, but instead of towing one trailer or semi-trailer, a road train pulls two or more of them. Australia has the largest and heaviest road-legal 11 the director.
The omnipresent light of Australian Chinese Nanna’, visited by the family summer: searing, glaring, overpower- in the cooler months in the south- ing. All our young Lilly wants to do west, another lovingly remembered is close the curtains and blot out the family member: heat and the unclouded radiance. ‘She was the best kangaroo-shooter in The myth of Persephone the other side of the world, spending the region, better than the men. When - in reverse Christmas with her Oma, whom she I would visit, she would cook delicious fondly recollects, ‘spoiled me rotten.’ goanna in the fire. She would spoil us Our protagonist feels an affinity with The camera shows us in close-up, an with sweets and treats...’ the ancient Greek mythical character album of snapshots of those happy of young Persephone, a girl kid- times. ‘My fondest memories are of Two unbearable sorrows napped by Hades and taken to the family holidays,’ she tells us; ‘the dap- - and a diagnosis Underworld. After a series of mis- pled light, the softness of falling snow’, haps, she would return to earth each eating a favorite dish of rabbit and And now, the reason for our protago- year, bringing Spring and new life. cream potatoes - very much winter nist’s dislike of the summer months The sense of being confined, shut in ‘comfort food’. ‘What a joy it was to is partially explained. Within a similar against the ‘hell-ish’ light and heat of eat this warming feast after spending time-frame, both beloved grandmoth- summer is, for our Lilly, a parallel with a day in the snow,’ she says; ‘I can still ers passed away. ‘My sorrow in that Persephone’s imprisonment. smell the aroma of it roasting in the penetrating heat was overwhelming,’ oven...’ she declares. These traumatic events It may seem unusual for many of us to and the harsh light of the Australian regard summer with such antipathy; Sensory memories: cold, soft light, summer seem for her inextricably after all, summer to Australians means delicious food, tasty smells, playing inter-twined. And then she lets us holidays, swimming, the beach, walks in the snow: these initiate those other know, ‘I was diagnosed with Seasonal along the sand. Why does this child memories of being loved, ‘spoilt’ and Affective Disorder.’ feel so negatively? content. Seasonal Affective Grandparents and From indoors in a German Christmas Disorder. (SAD) SCREEN EDUCATION © ATOM 2015 happy days scene to outdoors on a West Australian beach in brilliant sunshine ‘The sun’s hot, blinding rays torment The answer lies firstly, on the other with the cries of cockatoos in the me... I run. I hide. I feel worthless. I side of the Equator, in Germany, and trees, we see Lilly stride along the have to sleep al day to get away from with her German grandmother (Oma) sand, still deep in thought about her the sun. I can’t stand the light seeping and grandfather (Opa). When Australia cherished memories. And we learn of into the house. The world becomes a had its summer, Lilly was often on another grandmother, an ‘Indigenous living hell...’ 12 When people talk of having ‘the winter blues’, they may simply not be saying that they don’t like cold weather. They may have SAD, a mood disorder that, for our Lilly, happens in summer time. SAD, according to the experts, is a type of depression that’s related to changes in seasons — SAD begins and ends at about the same times every year. If you’re like most people with SAD, your symptoms start in the fall and continue into the winter months, sapping your energy and making you feel moody. Less often, SAD causes depression in the spring or early summer. Treatment for SAD may include light therapy (photothera- py), psychotherapy and medications. And so our tale ends with the super- her friends in a valley, she beheld the imposed photo-portraits on-screen of most enchanting narcissus she had Over the years, the summer light has these two much-loved women. ‘My ever seen. As she stooped down to become harder to deal with for Lilly. grandmothers are close,’ says our pick the flower, the earth beneath her Repeated shots of her closing curtains little girl as she now looks confidently feet suddenly broke open and through to shield her from the outside world re- through the curtain-free windows. the gap, Hades himself emerged on inforces this. The camera takes up the ‘They are in my heart and I rejoice to his chariot. He grabbed the lovely idea, with powerful, over-riding images feel them with me again.’ maiden before she could scream for of the sun and sea paralleling these help and descended into his under- feelings: the sun’s radiant, white-hot Supplementary information world kingdom. The whole incident, disc glares out at us from an orange- however, had been witnessed by coloured sky. The myth of Persephone: Zeus, father of the maiden and brother of the abductor, as well as by Helios, But, always, and finally, a According to Greek Mythology, god of the Sun. A distraught and respite for our Persephone... Persephone, the queen of the under- heartbroken Demeter wandered the world, was the daughter of Zeus and earth looking for her daughter until she However, the seasons move inexo- Demeter, the goddess of harvest and discovered that Persephone had been rably forward and the winter comes fertility. Demeter had an obsessive kidnapped by Hades. To punish the and for this child, the world becomes love for her only daughter and kept all gods, Demeter decided to take a long a better, beautiful place once more, men away from her. The most persis- and indefinite leave from her duties as connected as the cooler weather tent suitor of Persephone was Hades, the goddess of harvest and fertility, is with her happy memories of her the god of the Underworld. When with devastating consequences. The grandparents. he asked Demeter for permission to earth began to dry up, harvests failed, marry her daughter, Demeter became plants lost their fruitfulness, animals ‘I begin to sense my grandmothers’ furious and refused. Hades, heart- were dying for lack of food and famine presence in the clouds above. Like broken, decided to seize Persephone. spread to the whole earth, resulting in Persephone, I emerge from the dark- One day, while the young girl was untold misery. ness and return to earth.’ playing and picking flowers along with The cries of the people who were suf- fering reached Olympus and the divine ears of Zeus. The mighty god finally realized that if he did not do something about his wife’s wrath, all humanity would disappear. Thus he tried to find another solution to both calm Demeter and please Hades, who had tricked SCREEN EDUCATION © ATOM 2015 his reluctant bride, to eat a few seeds of the pomegranate fruit. This was the food of the Underworld and every time someone ate even a few seeds of this, then, after a while, he would miss life in the Underworld. To put an end on this quarrel, Zeus decided that Persephone 13 »»LIGHT: PRODUCTION PERSONNEL
Some of us may possibly believe that a five-minute-film would be a fairly simple task to undertake. However, when reviewing the work of producers, directors, actors, dancers, script-writers, editors, post-production staff and light- would spend half the year with her hus- • Upset your "biological clock," ing technicians among others whose band in Hades and half with her mother which controls your sleep-wake collaboration resulted in these five films, on Olympus. Thus Demeter would pattern and other circadian an extraordinary breadth of talent and leave the Earth to decline in the months rhythms. creativity is evident. The sheer numbers of autumn and winter, and whenever • Cause problems with serotonin, a of individuals who worked as a team to Persephone went to Olympus to live brain chemical that affects mood. bring these stories to the screen is clear with her mother, Demeter would shine when we look at the credits that roll at from happiness and the land would What are the symptoms? the end of every film. Here is an abbre- become fertile again and fruitful. viated introduction to some of the key These were the months of Spring and If you have SAD, you may: players in this series. (For fully detailed Summer. Therefore, this myth was cre- information, please see the Light Press ated to explain the change of the sea- • Feel sad, grumpy, moody, or Kit, ABC Light EPK Final for email PDF sons, the eternal cycle of the Nature’s anxious. available from Metamorflix) death and rebirth. • Lose interest in your usual activities. The key element in all of these five short What is seasonal affective • Eat more and crave carbohydrates, films is the focus on the many ways in disorder (SAD)? such as bread and pasta. which light - the fundamental resource • Gain weight. of the camera - has been utilised. Seasonal affective disorder, or SAD, is • Sleep more but still feel tired. a type of depression that occurs dur- • Have trouble concentrating. ing the same season each year. You Series Producer: may have SAD if you felt depressed Symptoms come and go at about the Renee Kennedy during the last two winters but felt same time each year. Most people much better in spring and summer. with SAD start to have symptoms in Renee Kennedy is an award-winning September or October and feel better producer of factual /documentary Anyone can get SAD, but it’s more by April or May. television. In 2013 Renee established common in: the independent production company How is SAD diagnosed? Metamorflix, specialising in programs • Women. that entertain and inspire audiences • People who live far from the equa- It can sometimes be hard to tell the across all media platforms. Renee has tor, where winter daylight hours are difference between SAD and other an extensive background as a producer, very short. types of depression because many of line producer and production manager • People between the ages of 15 the symptoms are the same. To diag- in both factual and drama production. and 55. The risk of getting SAD for nose SAD, your doctor will ask if: the first time goes down as you age. • You have been depressed during Revealing the Hidden World: • People who have a close relative the same season and have gotten Director Ashley Spratt with SAD. better when the seasons changed for at least 2 years in a row. ‘We tried to incorporate light in as many
SAD is sometimes called winter de- • You have symptoms that often oc- visually interesting ways as possible, so SCREEN EDUCATION © ATOM 2015 pression or seasonal depression. cur with SAD, such as being very if you look closely you’ll see us using hungry (especially craving car- sunlight, glare, fire, lens flare, artificial What causes SAD? bohydrates), gaining weight, and light, reflection and also a lot of shadow sleeping more than usual. and negative space.’ Experts aren’t sure what causes SAD. • A close relative—a parent, brother, But they think it may be caused by a or sister—has had SAD. Ashley Spratt is a 21-year-old man from lack of sunlight. Lack of light may: Perth, Western Australia. Ashley has 14 been involved in performance and film Unspoken for the ABC ‘Seasons’ since he was nine years old. Ashley’s documentary series in 2013. acting debut was in a commercial for the Education Department followed Perun’s film is clearly political, about by several roles in educational training the discussions that have been had videos. His performance in a feature surrounding the closure of remote film was as a featured dancer in Bran communities in Western Australia. Nu Dae, followed by a small role in the The argument being that Western ABC documentary Yagan. The biggest Australia no longer has the funds to challenge for Ashley as writer/ direc- supply these communities with basic tor, he says,was writing the story. His utilities. Whether or not these remote mother, Tash Nannup, the subject of Indigenous communities should the film, far prefers to be behind the continue to be funded by the govern- camera rather than in front of it. It was ment is a fair question, and one that necessary for Ashely to step out of is followed up with descriptions of the the role of being Tash’s son, and to try decrepit, third-worldlike conditions and see Tash as the audience would that a lot of these communities are in. see her. Concerns over the welfare of thechil- dren who deserve access to the op- portunities that the rest of Australia’s Shadows of Displacement: children enjoy, seem to be justification Director Perun Bonser enough to close these communi- ties. Many seemingly fair questions, ‘Having never worked with shadow all of them, with good intentions for Puppeteer: puppets before, I went into the studio Aboriginal people are at the heart of Richard Bradshaw OAM with the intention of shooting every their arguments. scene in a wide shot and then chang- Richard Bradshaw OAM was ing lenses for close ups. This resulted born in Sydney in 1938. He has in poor time management, spending Invisible Light: a B.Sc. in mathematics and quite a bit of time shooting just the Director Perun Bonser Geology (1959) and for ten years first scene (family around the camp- was a secondary school teacher fire). Another speed bump was simply ‘As a dancer, our body is our tool. It for whom puppetry was a hobby. the setting up the shadow puppets is capable of some amazing feats, He has been a full-time puppet- and the appropriate scenery...’ but there is only so much that can be eer since 1969. Richard has per- achieved... Invisible Light provided formed with his shadow-puppets Perun Bonser is from Broome, in the me with the opportunity to explore a for audiences of children and Northwest of Australia. Perun be- reality outside of my own. What better adults in Europe, North America gan his career as a dancer, working experiment than to shoot a dance film and Asia, making some fifty over- with Leigh Warren and Dancers and almost entirely outside the spectrum of seas tours. His puppets appeared Bangarra Dance Theatre in Sydney as the human eye?’ on the ABC’s Play School for over well as many independent choreog- thirty years [from1967] and were raphers throughout Australia. Perun Perun, as an ex-professional the subject of an ABC docu- wrote, directed and choreographed dancer and choreographer, has a mentary, Me and My Shadows, his first short documentary entitled broad knowledge of the medium of broadcast in November, 2003.
interpretive dance that utilises the human anatomy in experimental ways and shooting a film using dance and Infrared and Ultraviolet light was an in- teresting challenge. ‘It would push my boundaries as a filmmaker and visually SCREEN EDUCATION © ATOM 2015 the results could be spectacular,’ he reflects. Getting hold of the special- ised camera equipment was the first hurdle, apparently. The Thermal vision (Infrared) camera used, the FLiR E60, is made for industrial applications, and it doesn’t have the ergonomic focus, 15 aperture, shutter speed, high definition people who are affected by it.’ and other controls normally used in broadcast productions. Near-spectrum Lilly Radloff is a first-time director (magenta) Infrared was easier to deal and found the experience of working with so the camera would capture closelywith a professional team excit- Infrared light waves. In Chapter Three, ing and rewarding. ‘Making sure all the Ultraviolet light was generated by cogs in the wheel connected up in a battery-powered ‘black lights’set up timely manner was the biggest chal- on the beach, and reflected back with lenge,’ she reflects. UV paint on the Dancer’s body - a complex and intensive production. From the beginning, Summer Blues was conceived as a visual poem. The filmmaker wanted to visually convey Min Min Lights: The Dancer: her own unique perspective and the Director Jub Clerc Larissa McGowan harrowing experience of Seasonal Affective Disorder (SAD) in a way that ‘I have always wanted to tell the story Born in Brisbane, Larissa trained was dramatically arresting and visually of the Min Min. It has swirled around at the Queensland Dance School beautiful. As the style of the film is in my mind for many years and played of Excellence (QDSE), where very much an‘image poem’, carefully out as a supernatural thriller in my she won the Queensland Ballet composed visuals were of paramount writing. It was only when I first heard Scholarship to the Victorian importance. Director of Photography of the Light Initiative that I realised that College of the Arts (VCA), as well Mick McDermott chose the Arri I could bring to life the story of the as the prize for ‘Most Outstanding Alexa camera, in order to achieve the Min Min in a factual documentary and Dancer’. Larissa joined Australian desired look. This camera delivers fan- not disguise an important part of our Dance Theatre (ADT), Australia’s tastically sharp, colourful pictures with culture in the folds of drama.’ pre-eminent contemporary dance the ability to capture the huge contrast company based in Adelaide, in between the harsh light of summer, Jub Clerc is a Nyul Nyul/Yawuru 2000. She has toured extensively and Lilly’s dark indoor retreat. woman from the Beagle Bay and throughout Europe, Canada, Broome regions of the Kimberley in America, Asia and Australia. As part of the Light series, this film WA. Jub has spent manyyears travel- takes a look at the harsher, punishing ling across Australia preforming for nu- aspects of light. During filming, the merous theatre companies. In film and hard, overexposed, glaring qualities television, Jub has worked as Director, Summer Blues: of the Australian summer light are a Writer, Casting Director, Extras Writer/Director Lilly Radloff key element. However, in symbolic Casting Coordinator, Dramaturge and contrast, light in Summer Blues repre- Associate Producer on award winning ‘I made this film because I wanted to sents for the director the idea that her productions. share with audiences my experience of grandmothers were the ‘lights’ of her Seasonal Affective Disorder (SAD). It life. At the end of the film the director can be a very isolating experience, so changed the colour palette, and made my hope is that it also reaches other the light soft, blue and gentle.
Actress Namiah McDonald
Namiah McDonald is a ten-year-old actress from Perth, who plays the young Lilly Radloff in Summer Blues. She has family connections to the South-West of WA and Shark Bay on her mother’s side and to the Winton/ Boulia areas in Queensland on her
father’s. She enjoys going to school, SCREEN EDUCATION © ATOM 2015 hanging out with her friends, playing piano games on her iPad and watch- ing Adventure Time. Namiah’s first ex- perience onscreen was as an extra for the SBS documentary Yagan (2013). Summer Blues is her first lead role.
16 »»CURRICULUM RELEVANCE
Light is a valuable resource for teach- ers and students of:
• Years 7 - 10 Australian History • Aboriginal Studies (stand-alone subject) • Aboriginal Studies (Elective) not familiar with a specific historical to make informed decisions about an • Civics and Citizenship reference, they should be able to inquiry question. Appropriate historical • Years 8 - 10 English (Creative locate it in place and time, know how inquiry questions can be framed Writing) to find sources of information about for students at different stages of • Year 10 Media and Film Studies it and to evaluate them, familiarise development. • VCE Media themselves with context and grasp the • VCE Studio Arts significance of the reference. (For further details on the National Curriculum History outline, see Links to the Australian Curriculum focus in general will cover National Curriculum such elements as:
• Aboriginal and Torres Strait Links to the National Analyse how point of view is generat- Islander histories and cultures Curriculum in English and ed in visual texts by means of choices, • Asia and Australia’s engagement Literature in Junior Years for example gaze, angle and social with Asia distance (ACELA1764) • Sustainability. The English curriculum is built around the three interrelated strands of Literature Cross-curriculum priorities are embed- Language, Literature and Literacy. ded in all learning areas. They will Teaching and learning programs Literature and context have a strong but varying presence should balance and integrate all three depending on their relevance to the strands. Together the strands focus Students will: learning areas. on developing students’ knowledge, understanding and skills in listening, - Identify and explore ideas and ‘Light’ is a twenty-first-century ex- reading, viewing, speaking, writing and viewpoints about events, issues pression of a number of embedded creating. Learning in English builds on and characters Indigenous cultural themes and issues concepts, skills and processes. - represented in texts drawn from and gives voice to contemporary different historical, social and Indigenous artists; as such it functions Content Descriptions cultural contexts (ACELT1619) as an appropriate text for such cross- Reflect on ideas and opinions cultural priorities. Language about characters, settings and events in literary texts, identifying Civics and Citizenship: link Students should learn: areas of agreement and difference to the National Curriculum with others and justifying a point of Language variation and change view (ACELT1620) While this is part of the National
Curriculum from primary levels to Year Understand the way language evolves Compare the ways that language and SCREEN EDUCATION © ATOM 2015 10, Civics and Citizenship at Year 10 to reflect a changing world, particularly images are used to create charac- is the area of applicability for Light. in response to the use of new technol- ter, and to influence emotions and This study focuses on the develop- ogy for presenting texts and commu- opinions in different types of texts ment of skills and behaviors involved nicating (ACELA1528) (ACELT1621) in interactions with the community and in engagement with organizations and Discuss aspects of texts, for example groups. Students think critically about their aesthetic and social value, using 18 relevant and appropriate metalan- meaning (ACELY1804) between various kinds of literary texts, guage (ACELT1803) popular-culture texts, and everyday Plan, rehearse and deliver presen- texts. They continue to apply what Examining literature tations, selecting and sequencing they have learnt about literature when appropriate content and multimodal creating their own texts. Students are Recognise and analyse the ways that elements to promote a point of given opportunities to engage with a characterisation, events and set- view or enable a new way of seeing variety of texts, including texts of their tings are combined in narratives, and (ACELY1720) own choosing, and they explain why discuss the purposes and appeal of they made that choice. The notion different approaches (ACELT1622) Interpreting, analysing, evaluating of valuing’ of certain texts as ‘litera- ture’ is discussed. Students develop Understand, interpret and discuss how Students will: understandings of how such texts can language is compressed to produce a be discussed and analysed in relation dramatic effect in film or drama, and to Analyse and explain the ways text to themes, ideas and historical and create layers of meaning in poetry, for structures and language features cultural contexts. example haiku, tankas, couplets, free shape meaning and vary according to verse and verse novels (ACELT1623) audience and purpose (ACELY1721) In the Literacy Strand, students apply (in this case, film) their emerging understandings of what Use prior knowledge and text pro- makes a text valuable and appropriate Creating literature cessing strategies to interpret a range when they create texts of socio-cultur- of types of texts (ACELY1722) al and personal importance. They re- Create literary texts that adapt stylistic enact, represent and describe texts in features encountered in other texts, for Use comprehension strategies to order to display their understanding of example, narrative viewpoint, structure interpret, analyse and synthesise narrative, theme, purpose, context and of stanzas, contrast and juxtaposition ideas and information, critiquing ideas argument and to defend their ideas (ACELT1625) and issues from a variety of textual in written and oral modes. Students sources (ACELY1723) continue to be given opportunities Experiment with text structures and to create increasingly sophisticated language features and their effects Compare the text structures and and multi-modal texts in groups and in creating literary texts, for exam- language features of multimodal texts, individually. ple, using rhythm, sound effects, explaining how they combine to influ- monologue,layout, navigation and ence audiences (ACELY1724) The Arts – Media, Film, colour (ACELT1805) Drama: Links to the Creating texts National Curriculum Literacy Students will: The scope and sequence of the Texts in context Australian Arts Curriculum embodies: Plan, draft and publish imaginative, Students will: informative and persuasive texts, se- - Dance lecting aspects of subject matter and - Drama Analyse and explain the effect of particular language, visual, and audio - Media Arts technological innovations on texts, features to convey information and - Music particularly media texts (ACELY1765) ideas (ACELY1725) - Visual Art
Interacting with others Edit for meaning by removing repeti- Through Media Arts, individuals and tion, refining ideas, reordering sen- groups participate in, experiment with Students will: tences and adding or substituting and interpret the rich culture and com- words for impact (ACELY1726) munications practices that surround Identify and discuss main ideas, them. In media arts, students develop concepts and points of view in spoken Use a range of software, including knowledge and understanding of five texts to evaluate qualities, for exam- word processing programs, to confi- key concepts: the media languages ple the strength of an argument or dently create, edit and publish written used to tell stories; the technologies the lyrical power of a poetic rendition and multimodal texts (ACELY1728) which are essential for producing, SCREEN EDUCATION © ATOM 2015 (ACELY1719) accessing and distributing media; the English 7 -10 in the National various institutions that enable and Use interaction skills when discussing Curriculum: summary constrain media production and use; and presenting ideas and information, the audiences for whom media arts selecting body language, voice quali- In broad terms, students in Years 7 products are made and who respond ties and other elements, (for example - 10 are introduced to increasingly so- as consumers, citizens and crea- music and sound) to add interest and phisticated analysis of the differences tive individuals; and the constructed 19 representations of the world, which Aboriginal people to the expansion of K - 12. rely on shared social valued and Europeans in Australia. beliefs. Selection Criteria for resources in this As a resource to complement this subject involve questions of up-to- ‘Light’makes frequent use of a variety area of the ‘Depth Study’, Light is date materials, accuracy, ‘positive of media and film techniques: graphic an excellent resource, in particular and accurate portrayals of Aboriginal design, inter-cutting between maps ‘Shadows of Displacement’which tells people and Torres Strait Islander and real-life sequences, cinematic the story of the progress of colonial people’, the ‘balanced nature’ of the devices, documentary film modes, Australia parallel with the regression of material and an acknowledgment of rendering the series an excellent text Indigenous culture and heritage. Aboriginal and Torres Strait Islander to study for Media, Years 10 - 12 and people in the creation of the resource. in accordance with ACARA guidelines. Aboriginal Studies - Elective/ In all these areas, Light is an impec- stand-alone subject cable resource. ‘Light’ as a classroom resource In the NSW secondary curriculum, In Victorian schools, Aboriginal Aboriginal Studies is a subject in its Studies is an elective choice within the Year 9 Australian History own right and focuses on Aboriginal HSIE learning area. content, achievement and issues. Colonisation and conflict, learning how Civics and Citizenship Australia developed as a nation, the The NSW Department of Education colonial experience in convict settle- and Training has supported an Civics and citizenship education ment, relations with the Indigenous Aboriginal Education K–12 Resource promotes students’ participation peoples, are the broad common Guide titled: ‘Aboriginal Education in Australia’s democracy by equip- focus of the junior secondary history K – 12’ which has been developed to ping them with the knowledge, skills, syllabus. According to the National facilitate the ongoing commitment of values and dispositions of active and Curriculum structure, the Year 9 schools and Aboriginal communities informed citizenship. It entails knowl- Australian History course nation-wide to the teaching of Aboriginal studies edge and understanding of Australia’s focuses on ideas related to ‘Making across all curriculum areas in NSW. democratic heritage and traditions, its the Modern World’, from 1750 - 1918, The intention is that political and legal institutions and the with ‘Depth Studies’ involving: shared values of freedom, tolerance, all students can learn about Aboriginal respect, responsibility and inclusion. • The Industrial Revolution Australia and gain a proper under- • Australia and Asia – Making a standing of Aboriginal cultures, Civics and Citizenship’s Rationale sets nation communities and histories. In this out various expectations of citizens • World War I way cross-cultural understanding of Australia with a key to appreciating is improved and the processes of Australia’s cultural, linguistic and reli- In the early stages of the Depth Study: Reconciliation are strengthened. gious diversity. ‘Light’ is an excellent Making a Nation, the focus will be visual resource which clearly express- ...Teaching Aboriginal studies will es issues of Indigenous culture, family The extension of settlement, includ- strengthen the cultural identity of structure, and heritage. ing the effects of contact (intended Aboriginal students in NSW schools, and unintended) between European enhance Aboriginal community (For further detail, see this subject’s settlers in Australia and Aboriginal and involvement,and promote under- links to the National Curriculum.) Torres Strait Islander peoples.’ standing by all students of Aboriginal culture, history andcurrent issues. Years 8 - 10 English The Learning Intention of this Study is to understand the landscape in The two Aboriginal Studies syllabuses The Core Key Learning Area of English terms of the Aboriginal population in in the NSW curriculum are: may be utilised in a variety of techni- Australia before 1788. cal and creative approaches. English • Aboriginal Studies 7–10 is underpinned by the study of a - and a major resource should be de- • Aboriginal Studies: Stage 6 wide variety of texts including novels, rived from stories of first contact from syllabus. non-fiction texts, multi-media texts, both white settlers and Aboriginals films, poetry, media texts, persua- SCREEN EDUCATION © ATOM 2015 The Resource Guide links resourc- sive texts and others. Students can Further, this Study focuses on es with the NSW Department of also extend their study of English Resistance and Response to European Education and Training Curriculum Key through Literature, English Skills and settlement. Learning Areas, from Early Stage 1 Creative Writing electives from Years through to Stage 6. These curriculum 7-10 where available. Learning in the The Learning Intention here is to ex- links are vital as there is a continuum English classroom is diverse and stu- amine an experience of resistance by of learning for Aboriginal Studies from dents explore concepts using a range 20 of thinking strategies and learning Year 12, the study of narrative struc- Area of Study 3: styles. tures and social values demonstrated through a variety of texts – including Focus: Media influence; students ‘Light’ as a visual/media text presents film – are explored. Story elements explore the complexity of the relation- a highly creative approach to story- working with production elements ship between the media, its audiences telling which can be utilised broadly in include: and wider community in terms of a number of ways: the nature and extent of the media’s • the point of view from which the influence. • How stories can be told without narrative is presented; words or formal language • camera/film/techniques and VCE Studio Arts • How culture can be transmitted qualities including shot selection, through cinematic imagery movement and focus; Rationale • How the landscape can be in- • lighting; terpreted differently by different • acting; The creative nature of visual art pro- artists • visual composition and mise en vides individuals with the opportunity • How the power of childhood expe- scène; for personal growth, the expression riences can impact on the psyche. • sound, including dialogue, music of ideas and a process for examining and sound effects. identity. The exhibition of visual art of- Year 10 Media and fers an insight into the diverse inter- Film Studies The content and focus of the four pretations of life and its experience Units of the VCE Media Studies by artists. Engagement with visual art In general, Media Studies at Year 10 course are: facilitates creative thinking and the level involves studying aspects of both development of new ideas, it also sup- film and television, with a series of Unit 1: Representation and technolo- ports connection and exchange within projected Outcomes: gies of representation; communities and beyond. Unit 2: Media production and the • students develop the ability to media industry; VCE Studio Arts encourages and critically analyse film and television Unit 3: Narrative and media production supports students to recognise their texts in a range of ways; design; individual potential as art makers and • they work towards understanding Unit 4: Media: process, influence and presents a guided process to assist the aesthetics, styles and formats society’s values. their understanding and development of film and television texts; of artmaking. The study establishes ef- • they develop the ability and knowl- Unit 1 Area of Study 1: fective art practices through the appli- edge to explain ways in which cation of an individual design process media texts reinforce or challenge Focus: An analysis of media represen- to assist the student’s production of a social, cultural and artistic values; tations and how such representations folio of artworks. • they learn to use appropriate depict, for example, events, people, media terminology and personal places, organisations and ideas. The theoretical component of this interpretations to describe the study is an important basis for studio structure, content and aesthetic Area of Study 2: practice as it offers students a model qualities of film and television for inquiry that can support their art- texts; Focus: Technologies of representa- making practices. Students’ research • they study critical approaches to tion; different media forms and their focuses on the visual analysis of analyse and interpret media texts; features and practices. artworks and investigates how artists • the language of film and television; have interpreted sources of inspira- cinematography, sounds and mise- Unit 3 Area of Study 1: tion and influences in their artmaking. en- scene are studied. Students examine how artists have Focus: The narrative construction of used materials, techniques and pro- In all these areas of study, ‘Light’ is an film, television or drama texts; stu- cesses to create aesthetic qualities. excellent text for study. Each of our dents learn that narrative is a fun- They study how artists have devel- five short films is clearly demonstra- damental element of construction of oped styles and explored their cultural tive of an individual’s style and input meaning in media products. identity in their artwork. Students use behind the camera; artistic values are this knowledge to inform their own SCREEN EDUCATION © ATOM 2015 experimented with, and aspects of Unit 4 Area of Study 2: processes to support their artmaking. Indigenous culture portrayed. Focus: Media texts and society’s val- The foundation for the individual VCE Media Studies ues; students undertake the study of design process is established in Units Units 1, 3 & 4 an identified significant idea, social at- 1 and 2 where students develop an titude or discourse … to critically ana- understanding of how to source artis- In this subject, at both Year 11 and lyse its representation in the media. tic inspiration related to their individual 21 Students develop and use an explo- ration proposal to define an area of creative exploration. They plan and apply a design process to explore and develop their individual ideas. Analysis of these explorations and the develop- ment of the potential directions is an intrinsic part of the design process to support the making of finished artworks in Unit 4. interests. Through the study of artists Unit 1: Artistic inspiration For this study, the exploration pro- from different cultures, students and techniques posal supports the student to identify recognise the diversity of aesthetic a direction for their design process. qualities and examine a range of This unit focuses on using sources of The design process is individually interpretations of ideas and themes. In inspiration and individual ideas as the determined by the student. It records practical application students identify basis for developing artworks and ex- trialling, experimenting, analysing and elements of inspiration for the devel- ploring a wide range of materials and evaluating the extent to which their opment of their own creative artworks techniques as tools for communicating art practices successfully communi- and explore a wide variety of materials ideas, observations and experiences cate their aims and ideas. From this and techniques. through artmaking. process students can develop direc- tions for the development of finished In Unit 3 the student uses an explora- Students also explore and research artworks in Unit 4. tion proposal to define an area for the the ways in which artists from different development of a visual design pro- times and cultures have interpreted The study of artists and their work cess that is based on their individual and expressed ideas, sourced inspi- practices and processes may pro- concepts and ideas. The exploration ration and used materials and tech- vide inspiration for students’ own proposal underpins the student’s niques in the production of artworks. approaches to artmaking. Students working process and is used as a investigate and analyse the response reference for the development and Unit 2: Design exploration of artists to a wide range of stimuli, reflection of the design process. This and concepts and examine their use of materials and enables the student to establish an techniques. They explore professional understanding about how to generate This unit focuses on students estab- art practices of artists in relation to a range of potential directions for the lishing and using a design process to particular artworks and art form/s and production of possible future artworks. produce artworks. The design process identify the development of styles in includes the formulation and use of artworks. Throughout their study of In Unit 4 students develop a creative an individual approach to locating art processes, students also consider folio of finished artworks based on sources of inspiration, experimentation the issues that may arise from the use selected potential directions. Students with materials and techniques, and of other artists’ work in the making of evaluate the use of materials, tech- the development of aesthetic qualities, new artworks. Students are expected niques and aesthetics in relation to directions and solutions prior to the to visit at least two different exhibition the successful communication of their production of artworks. spaces in their current year of study. ideas in their finished artworks. Students also develop skills in the Structure visual analysis of artworks. Artworks »»SUPPLEMENTARY made by artists from different times RESOURCES The study is made up of four units: and cultures are analysed to under- stand the artists’ ideas and how they Unit 1: Artistic inspiration and have created aesthetic qualities and Of course, Indigenous film-makers techniques identifiable styles. have consistently provided audiences
Unit 2: Design exploration and with unique and powerful cinema. So SCREEN EDUCATION © ATOM 2015 concepts Unit 3: Studio production and while we’re on the subject... Unit 3: Studio production and profes- professional art practices sional art practices Indigenous Australian Unit 4: Studio production and art This unit focuses on the implementa- films and film-makers industry contexts tion of an individual design process leading to the production of a range The Australian government website: of potential directions and solutions. http://australia.gov.au/about-australia/ 22 australian-story/indigenous-film as an Aboriginal woman as well as considered ‘gods’ as they do not provides an excellent background her views of the past and future. control the material world and are not history to the cinematic portrayal of The film provides an intimate worshipped. Indigenous Australians, by both non- induction into Coffey’s community Indigenous and Indigenous directors. and its message calling for the Here is how an Indigenous Australian Here is a sample, highly recommend- preservation of Indigenous culture writer Mudrooroo sees the definition: ed for viewing, of films from Australia’s is still current today. cinematic history: • Lousy Little Sixpence (Morgan ‘The Dreaming’ or ‘the Dreamtime’ 1982) indicates a psychic state in which or • Jedda (1953) Charles Chauvel • Yolngu Boy (Johnson 2000), during which contact is made with the (Director) : - the first film about • Australian Rules (Goldman 2002), ancestral spirits, or the Law, or that Indigenous Australians to take • The Tracker (de Heer 2002) and special period of the beginning. seriously experiences and feelings • Beneath Clouds (Sen 2002). of the title character Jedda (Ngarla The creation process Kunoth), an Aboriginal girl raised Indigenous film directors include: by a white family. It is arguably the The Dreaming also explains the crea- first film that does so, yet it is an • Wayne Blair (The Sapphires, The tion process. Ancestor beings rose ambivalent portrayal. The audience Circuit) and roamed the initially barren land, is led to identify with Jedda and • Steve McGregor (Cold Turkey, fought and loved, and created the her perspective, rather than the 2002, In a League of their Own, land’s features as we see them today. racist views of the white charac- 2009) After creating the ‘sacred world’ the ters. Yet the tragic ending sug- • Catriona McKenzie ( Satellite Boy, spiritual beings ‘turned into rocks or gests that Aboriginal people and 2012, Mr. Patterns, 2004) trees or a part of the landscape. These society are unable to be ‘civilised’ • Tracey Moffatt (Bedevil, 1993, became sacred places, to be seen (in the context of European society Night Cries, 1990) only by initiated men.’ at the time). • Rachel Perkins (Bran Nue Dae, • Walkabout (Nicholas Roeg) and 2010, One Night The Moon, 2001, The spirits of the ancestor beings are Stormboy ( Safran,1976) As the Mabo, 2012) passed on to their descendants, for Australian film industry blos- • Leah Purcell (Redfern Now, epi- example, the shark, kangaroo, honey somed in the 1970’s, Indigenous sode: Sweet spot, 2012, She Say, ant, snake and so on and hundreds characters played a greater role 2012) of others which have become totems in Australian cinema. In films such • Warwick Thornton within the diverse Indigenous groups as Walkabout (Roeg 1971) and • Beck Cole across the continent. Stormboy (Safran 1976) Aboriginal • Pauline Clague characters are presented as • Rima Tamou Dreaming gives identity helpful, kind and much more • Dena Curtis knowledgeable about the land Each Aboriginal person identifies with than white characters. However, Indigenous Mythology: a specific Dreaming. It gives them they are removed from the audi- The Dreamtime identity, dictates how they express ence, presented as mysterious and their spirituality and tells them which misunderstood. We are all familiar with this term, but other Aboriginal people are related to • Backroads (Noyce 1977) coin- its exact meaning - and therefore a them in a close family, because those cided with social developments of full understanding of it - is challeng- share the same Dreaming One person 1970’s Australia. ing. ‘Dreamtime’ or ‘Dreaming’ has can have multiple Dreamings. • My Survival as an Aboriginal (1979) never been a direct translation of an is a documentary directed by Essie Aboriginal word. The English language Each form shares the spirituality from Coffey and made in collaboration does not know an equivalent to ex- the ‘Dreaming’. It is during ceremonies with non-Indigenous filmmaker press the complex Aboriginal spiritual that the trance-like dreaming state Martha Ansara. The film was the concepts to white people. seizes the Aboriginal people and they first documentary directed by an connect with the ancestral beings. Indigenous woman and one of the Dreamtime is a term for the animist first films where Indigenous people framework and symbol system of Dreamtime stories had a determining role in how Australian Aboriginal mythology, SCREEN EDUCATION © ATOM 2015 they and their community were introduced by A. P. Elkin in 1938 and On the Creative Spirits website, you represented. popularized by William Edward Hanley can watch three Aboriginal men ex- My Survival as an Aboriginal is a Stanner and others from the 1970s plaining what the Dreaming (tjukurrpa) powerful film. Coffey has a com- for a concept of ‘time out of time’, or means for them and how Dreaming manding presence and speaks ‘everywhen’, inhabited by ancestral stories encode information. See: with authority about traditional figures, often of heroic proportions skills and culture, her experiences or with supernatural abilities, but not http://www.creativespirits. 23 info/aboriginalculture/spiritual- ity/what-is-the-dreamtime-or-the- dreaming#ixzz3ezm3hHtZ Greek Mythology
The protagonist of Summer Blues feels a kinship with Persephone, the young girl kidnapped by Hades and taken down to the Underworld.
Myths had important purposes for the ancient Greeks and formed a part of their belief system. Most myths explain or justify things insome way, whether this is the creation of the radiation with longer wavelengths with infrared-sensitive film or sensors, world, the cycle of seasons, the role than those of visible light. Much of ‘in-camera effects’ can be obtained; of women in society or the origins of the energy from the Sun arrives on false-color or black-and-white im- a city. We should not assume that all Earth in the form of infrared radiation. ages with a dreamlike or sometimes Greeks believed them in a straight- Sunlight at zenith provides an irradi- lurid appearance known as the ‘Wood forward way or that there was a fixed ance of just over 1 kilowatt per square Effect,’ an effect mainly caused by version for every story. Greek writ- meter at sea level. Of this energy, 527 foliage (such as tree leaves and grass) ers felt at liberty to make up their watts is infrared radiation, 445 watts is strongly reflecting in the same way vis- own versions of stories or to poke visible light, and 32 watts is ultraviolet ible light is reflected from snow. There fun at mythical characters - espe- radiation. is a small contribution from chlorophyll cially Herakles. There is evidence from fluorescence, but this is marginal and Greek pottery painting that there were Infrared light is used in industrial, is not the real cause of the bright- several variants of a myth in circulation scientific, and medical applications as ness seen in infrared photographs. at any one time. well as in consumer devices. Night- The effect is named after the infrared vision devices using infrared illumina- photography pioneer Robert W. Wood, Modern experts on ancient Greece no tion allow people or animals to be and not after the material wood, which longer distinguish between myths and observed without the observer being does not strongly reflect infrared. legends as they have so many features detected, in thermographic cameras in common - they prefer to think in that produce images from heat radia- The other attributes of infrared pho- terms of a whole set of mythical stories. tion, in remote controls and eye track- tographs include very dark skies and These mythical stories cluster around ing systems using LED, and more. penetration of atmospheric haze; the a number of focuses. Some of them dark skies, in turn, result in less infrared involve just gods and goddesses and Read more about IR at http:// light in shadows and dark reflections of focus on the creation of the world and en.m.wikipedia.org/wiki/Infrared those skies from water, and clouds will of humans and the rule of the gods; stand out strongly. These wavelengths some deal with a specific hero such as Creative uses of infrared also penetrate a few millimeters into Theseus or Herakles; some focus on a light: photography skin and give a milky look to portraits, place, for example Thebes or Athens, although eyes often look black. or an event, for example the Trojan War. In infrared photography, the film or image sensor used is sensitive to Color infrared transparency films have What other Greek-Roman myths do infrared light. The part of the spectrum three sensitized layers that, because you know? Here is a selection of sites used is referred to as near-infrared to of the way the dyes are coupled to for you to expand your knowledge: distinguish it from far-infrared, which these layers, reproduce infrared as is the domain of thermal imaging. Film red, red as green, and green as blue. http://www.greekmythology.com/ is usually sensitive to visible light too, All three layers are sensitive to blue and so an infrared-passing filter is used; so the film must be used with a yellow http://obinfonet.ro/docs/relig/greek/ this lets infrared (IR) light pass through filter, since this will block blue light but greekmyths1.pdf to the camera, but blocks all or most allow the remaining colors to reach SCREEN EDUCATION © ATOM 2015 of the visible light spectrum (the the film. The health of foliage can be Technical Information filter thus looks black or deep red). determined from the relative strengths (‘Infrared filter’ may refer either to this of green and infrared light reflected; What is infrared light and type of filter or to one that blocks in- this shows in color infrared as a shift how is it normally used? frared but passes other wavelengths.) from red (healthy) towards magenta (unhealthy). Infrared (IR) light is electromagnetic When these filters are used together 24 »»ACTIVITIES Years 9 – 10 Australian History/Aboriginal Studies: Reading Tasks/ document Study
TASK 1. ACCESS THE TIMELINE BELOW
Indigenous Australia Timeline – 1901 to 1969 : A timeline of events relating to Indigenous Australians from the time of Federation in 1901 until 1969 Timbery Beller) dispersed about the woods at: near the water, 2, 3, 4 together; some It would not be an exaggeration to Oyster, Cockle and Muscle (sic) Shells http://australianmuseum.net.au/ claim that the Island continent was lie about the Entrance of them, but not Indigenous-Australia-Timeline-1901- owned by over 400 different nations in any Quantity to indicate they make to-1969 at the time of this claim by Cook. these huts their constant Habitation. When the First Fleet arrived in Sydney We met with some that seemed entirely 2- Now examine the perspective of Cove it is said that Captain Philip was deserted indeed it seems pretty evident the following document: astounded with the theory of Cook’s that their Habitation, whether Caverns terra nullius, saying ‘Sailing up into or Wigwams, are common to all, and Since the European invasion of Sydney cove we could see natives Alternatively inhabited by different Australia in 1788, the Aboriginal people lining the shore shaking spears and Tribes. have been oppressed into a world un- yelling.’ natural to their existence for thousands Questions: of years. First came the influx of the Questions strangers who carried with them dis- 1- What features of Indigenous soci- eases, which decimated the immediate 1- How does the writer view the im- ety is Tench observing? population of the Sydney tribes. It is pact of colonization? 2- In what ways do they clash with his estimated that over 750,000 Aboriginal 2- How did this clash with the view of view of how a community should people inhabited the island continent in white settlers? be inhabited? 1788. The colonists were led to believe that the land was terra nullius (‘no one’s TASK 2. land’), which Lt James Cook declared TASK 3 Australia to be in 1770 during his voy- The early Europeans took a dim view age around the coast of Australia. of the Aboriginal way of life when first The colonists had destroyed within six they encountered it. months a way of life that had outlasted ‘… they were so ignorant they thought British history by tens of thousands of there was only one race on the earth This excerpt is taken from the diary years, and the people soon realised and that was the white race. So of Watkin Tench, an officer in the First that the trespassers were committed when Captain Cook first came, when Fleet: to nothing less than total occupation Lieutenant James Cook first set foot on of the land. Wangal land over at Kundul which is It does not appear that these poor now called Kurnell, he said oh lets put creatures have any fixed Habitation; To most settlers, the Aboriginal people a flag up somewhere, because these sometimes sleeping in a Cavern of were considered akin to kangaroos, people are illiterate, they’ve got no Rock, which they make as warm as dingoes and emus, strange fauna to fences. They didn’t understand that we a Oven by lighting a Fire in the mid- be eradicated to make way for the SCREEN EDUCATION © ATOM 2015 didn’t need fences … that we stayed dle of it, they will take up their abode development of farming and grazing. here for six to eight weeks, then moved here, for one Night perhaps, then in somewhere else where there was another the next Night. At other times Read the following document: plenty of tucker and bush medicine and (and we believe mostly in Summer) they we kept moving and then come back in take up their lodgings for a Day or two I have myself heard a man, educated, twelve months’ time when the food was in a Miserable Wigwam, which they and a large proprietor of sheep and all refreshed …’ (the late Aunty Beryl made from Bark of a Tree. There are cattle, maintain that there was no 25 more harm in shooting a native, than 2- What organizations and groups happens next in shooting a wild dog. I have heard do you engage with? What is their it maintained by others that it is the focus? By ABC News political reporter Anna course of Providence, that blacks 3- What is the importance of family Henderson should disappear before the white, and and traditional culture in Australian the sooner the process was carried out society? A referendum to recognise Aboriginal the better, for all parties. I fear such 4- Would you consider yourself part and Torres Strait Islander people in opinions prevail to a great extent. Very of a newer Australian community? Australia’s constitution will be dis- recently in the presence of two clergy- 5- What are the only two require- cussed at an unprecedented summit in men, a man of education narrated, as ments of Australian citizenship? Sydney on Monday. a good thing, that he had been one of 6- How do your peers see the a party who had pursued the blacks, broader, multicultural school Leaders from the Indigenous com- in consequence of cattle being rushed community? munity and both sides of the nation’s by them, and that he was sure that 7- What does the term ‘democratic politics will attempt to find common they shot upwards of a hundred. When values’ mean to you? ground on the details of the proposal. expostulated with, he maintained that 8- What do you know about the The referendum has been debated for there was nothing wrong in it, that it Constitution of Australia? many years, but there is still a lack of was preposterous to suppose they had agreement on the best way to achieve souls. In this opinion he was joined recognition in the nation’s founding by another educated person present. TASK 2: RESEARCH/CLASS document. (Bishop Polding, 1845) DISCUSSION ACTIVITY Here is an explanation of the options Question: As Australian citizens, we need to and the likely way forward. know something of the founding docu- What assumptions are being made ment of our nation. It is likely that a Why hold a referendum? about the Indigenous Australians referendum may be held soon to ask here? the Australian people to vote for a The founding legal document for the significant alteration to this document: nation is the constitution, which came recognition of Aboriginal and Torres into effect on January 1, 1901. Civics and Citizenship Strait Islanders in the Constitution as our ‘first peoples.’ The only way to change the constitu- tion is through a referendum. TASK 1: GROUP/CLASS The following article from the ABC DISCUSSION News service sets out the structure A referendum needs a double ma- and workings of a referendum. This jority - support from the majority of After viewing ‘Light’, ideas to be in- should form the basis of a class states and an overall national majority. cluded in this discussion can take the discussion. There have been forty-four referendum form of the following questions: proposals in Australia. Only eight have Referendum explained: How the been successful. Only four of those 1- Who do you regard as your ‘com- constitution could recognise were held separate to an election. munity?’ Why? Indigenous people and what In 1967, a successful referendum was held to include Aboriginal and Torres Strait Islander people in the official population count for the country and to allow the Federal Government to make specific laws for Indigenous people. More than 90 per cent of Australians voted Yes.
Why change?
There is no specific reference to SCREEN EDUCATION © ATOM 2015 Aboriginal and Torres Strait Islander people in Australia’s Constitution.
Advocates argue recognition of Indigenous Australians in the founding document is vital, both symbolically and practically. 26 would form a declaration outside of the constitution with no legal status or it could be achieved via legislation. It could still be put to voters at a referendum. Advocates for this option have suggested a national competition be held to decide on a declaration of 300 words or less and suggest it could be used at ‘all national civic and religious occasions’
What next?
Successful Australian referendums:
• 1977 - To ensure Federal Court the Constitutional change did not judges retire at age 70 There are also a number of references give any guidance as to whether • 1977 - To allow territory, as well to race in the document that allow those laws could be good laws as state, residents to vote in governments to discriminate against or negative laws that discriminate referendums Indigenous Australians. adversely. The High Court has said • 1977 - To ensure a casual Senate the power could be used for laws vacancy is filled by a person from What are the options? detrimental to Indigenous peoples. the same political party as that For that reason, a change to this elected There are now a significant number of power may include wording that • 1967 - To enable the options and combinations that have indicates laws must be beneficial. Commonwealth to enact laws for been put forward including: • Separate ban on race discrimina- Aboriginal people and to include tion - this could be a new section Indigenous people in the popula- • A symbolic statement of recogni- in the Constitution prohibiting dis- tion count tion - a new section to recognise crimination on the basis of ‘race, • 1946 - To give the Commonwealth Australia was first occupied colour or ethnic or national origin’. the power to legislate social by Aboriginal and Torres Strait Alternatively it could be a specific services Islander people, acknowledge the statement that bans governments • 1928 - To end per capita payments relationship with traditional lands from making laws that discriminate to Commonwealth from states and and waters, and with references to against ‘Aboriginal and Torres restrict rights of states to borrow continuing cultures, languages and Strait Islander Peoples.’ for development heritage • Preamble - this would involve • 1910 - To give Commonwealth un- • Repeal racist reference - Section recognition in an introduction to restricted power to take over state 25 contemplates banning people the Constitution rather than in the debts from voting on the basis of race. body of the document. An attempt • 1906 - To enable elections for both There is wide consensus that to add a preamble was included as Houses of Parliament to be held this is outdated and should be part of the failed 1999 referendum concurrently. removed to become a republic. There are • Change to so-called ‘race power’ legal questions about whether this (Source: Australian Electoral - Section 51(XXVI) allows the option is legally possible and some Commission) Government to make ‘special advocates argue it risks being only laws’ for people of any race ‘for a tokenistic change The push for the referendum dates the peace, order and good govern- • Indigenous Parliamentary Advisory back decades and has bipartisan sup- ment’ of the nation. Changes to the Body - this option could include port from Prime Minister Tony Abbott ‘race power’ could include a direct a new section in the constitution and Opposition Leader Bill Shorten. reference to the Parliament mak- to establish an Indigenous body
ing laws for Aboriginal and Torres ‘to advise Parliament on matters A parliamentary committee tabled SCREEN EDUCATION © ATOM 2015 Strait Islander people and could go relating to Indigenous peoples’. a report with recommendations for further, stating laws should be for Proponents of this case argue this change. Its work follows on from an the ‘advancement’ of Indigenous would ensure recognition has prac- expert panel that provided the former people, or to ‘overcome disadvan- tical application and oversight of Gillard government with a report in tage’ or ‘ameliorate the effects of laws by Indigenous people rather 2012 laying out options for a vote. past discrimination’. The race pow- than through High Court action . er was gained in 1967. However • Declaration of Recognition - this There is still a widely held view that 27 more consultation is needed with the Parliament, a committee would be • Wayembeh the turtle htt- community. formed in favour of the No campaign. ps://www.youtube.com/ watch?v=DpzDvpZ0hMg The Government has not settled on a There is also disagreement among • Why koala has a stumpy tail model for change or the wording of a Indigenous proponents of change https://www.youtube.com/ question that would be put to voters. about the proposal that should be watch?v=itszep0duwI considered. Some are not prepared to When will this referendum be held? back changes that are purely ‘sym- Discussion question: bolic’ and others have raised concerns The Prime Minister endorsed the idea about proposals that are too ‘radical’. What common features do you notice of holding the vote on the 50th an- in these stories? niversary of the successful May 1967 There are also fears about the flow-on referendum that granted increased legal effects. Research a few more of these stories, rights to Indigenous Australians. and decide which one you enjoy most. The principal function of the High Prepare a written report for the class. The vote could also be held at the Court is to interpret and settle disputes next election likely in 2016. But there about the meaning of the Constitution, are concerns that could politicise the some proposals are being criticised as TASK 2. CONTEMPORARY referendum if it became tangled in a a potential ‘lawyers’ picnic’, whereas INDIGENOUS POETRY partisan election campaign. symbolic changes are unlikely to have any practical impact on Indigenous Look at the following poems: A bill to hold the referendum first people’s lives. needs to be passed by Parliament. 1.
Is there support for change? Junior English Activity Calling Me Home by Lyndon Lane, Goodooga, NSW A number of opinion polls were conducted this year to gauge public TASK 1. UTLISING YOUTUBE I can feel the souls of my ancestors support. calling me back home Watch the re-telling of the following To all the familiar places and tracks I Each of them measured a national Indigenous Dreamtime stories: once did roam. majority and some also conducted I can see my Grandmother’s house at state-by-state surveys. • The rainbow serpent htt- the end of Adams Street, ps://www.youtube.com/ Where all the Aunties, Uncles and Critics said it was easier for voters to watch?v=pCuuRRrfOXo Cousins I did meet. provide support for the general idea and To the banks of the Bokhara River run- of recognition, but warn the detailed https://www.youtube.com/ ning under the Richmond Bridge, wording and model may change the watch?v=cLktDAY-bz0 You can hear the waters flow to the level of support. • Biladurang the platypus sound of an Elder’s didge. https://www.youtube.com/ I can smell the boogalies cooking in a The taxpayer-funded campaign watch?v=lDl5QwAR8DI camp oven at my Aunty’s place, Recognise has been tasked to foster public support for recognition in the constitution.
Is there resistance to change?
The Federal Parliament votes on the bill to hold a referendum.
A formal No case against the refer- endum is triggered on the floor of
Parliament when MPs or senators SCREEN EDUCATION © ATOM 2015 vote against it. Liberal senator Cory Bernardi and Liberal Democrats senator David Leyonhjelm have both publicly criticised some proposals for the referendum.
If they vote against a proposal in 28 I can see the sun arising on the wrin- kles of my Pop’s face, I can recall how my uncle taught me how to ride In a paddock near their place with Robbo by my side. But I know I must stay here to get a good education, For I want to go back home after my graduation. To see the many family, friends and familiar faces I have known I can feel the souls of my ancestors calling me back home. They’re calling me back, my ancestors in Mother Earth I want to go back home, to the country of my birth. Year 10 Film and Source: http://www.creativespir- Media Studies its.info/aboriginalculture/arts/ calling-me-home#ixzz3f0MZlRDd WRITTEN TASKS. 2. WORKING IN PAIRS
We Are Going by Oodgeroo 1. Compare and evaluate a range of Noonuccal representations of individuals and groups in different historical, social They came in to the little town We are the shadow-ghosts creeping and cultural contexts. – (National A semi-naked band subdued and back as the camp fires burn low. Curriculum) silent We are nature and the past, all the old All that remained of their tribe. ways How are Indigenous Australians repre- They came here to the place of their Gone now and scattered. sented in ‘Light’? Describe two scenes old bora ground The scrubs are gone, the hunting and from two different films in which this Where now the many white men hurry the laughter. representation is provided. about like ants. The eagle is gone, the emu and the Notice of the estate agent reads: kangaroo are gone from this place. 2. What aspects of Indigenous ‘Rubbish May Be Tipped Here’. The bora ring is gone. Australian culture are shown in these Now it half covers the traces of the old The corroboree is gone. films? Provide two examples. bora ring. And we are going.’ ‘We are as strangers here now, but the 3. What cinematic techniques are white tribe are the strangers. Questions: used in this series? Consider carefully We belong here, we are of the old ways. 1- What elements of traditional • Interiors We are the corroboree and the bora Indigenous culture are contained • Close-ups ground, within these two poems? • Voice-over We are the old ceremonies, the laws of 2- Describe the mood of the two • Graphic elements the elders. poems. We are the wonder tales of Dream 3- In both poems, there is a sense of 4. Representing people, cultures, Time, the tribal legends told. longing expressed by the poets. places, events, objects and concepts We are the past, the hunts and the What do they long for? … through language, structural and/or laughing games, the wandering 4- What is a coroboree? A visual choices.’( National Curriculum) camp fires. bora-ground? SCREEN EDUCATION © ATOM 2015 We are the lightening bolt over 5- How does ‘Light’ deal with issues What visual choices do the directors Gaphembah Hill of dislocation and separation? make to show us the environment in Quick and terrible, Can you find similarities between which the series is set? What point is And the Thunderer after him, that loud the films and these poems? What being made here? fellow. would they be? We are the quiet daybreak paling the 5. Text structures, language features dark lagoon. and visual features of texts and the 29 context in which texts are experienced TASKS and influence upon audience response …’ (National Curriculum) • What values are held by the Indigenous Australians in this text? What are the structural features of • Explain the effect of these values these texts? What is the intention on selected characters. behind this structure? • Describe a social issue or dis- course evident in this example of 6. Select ONE of these short films. media. What is the most striking visual feature • What is a dominant and emerging of this film and what impact does in value evident in this text? have on the audience? Section C: Media Influence 7. Evaluating the social, moral and ethical positions represented in texts …’ (National Curriculum) TASKS
8. What are the ‘social, moral and Section A: Narrative • Compare two communication ethical positions’ represented in this theories or models. text? • Compare two theories of audience. TASKS Compare and evaluate a range of rep- VCE Studio Arts Activity resentations of individuals and groups • Identify production elements. in different historical, social and cul- • How are they used to communi- Exam questions from a selection of tural contexts …’ (National Curriculum) cate ideas? past Examination papers include:
9. How are we positioned to evaluate Story elements: • Discuss the aesthetic qualities in the following: the artwork and explain how art el- • Cause and effect ements have been used to achieve • The past • Setting these qualities. • The environment • Point of view of the director/ • Discuss how an artwork that you • Sustainability producer/characters have studied this year reflects the • Human relations • Editing techniques and how they artist’s interpretation of a historical contribute to how audiences may or cultural context. Activity for VCE Media read and understand the narrative • Analyse two artworks by two of the • Relationships between characters artists you have studied this year ‘Light’is a text which corresponds / multiple storylines / structuring of to show how they used materials to the Study Design requirements in time and techniques to develop indi- structure, social context and pertinent vidual styles. (Indigenous artworks issues. For example: Section B: Media Texts and society’s have been the subject of these values questions.) • Analyse two artworks by different artists that you have studied this year, with reference to influences, ideas and meanings. • Identify an art gallery or other art space where you viewed an art exhibition this year and discuss the following: the role of the art gallery or art space; the intention of the curator; the presentation of the artwork.
• Analyse one artwork you have SCREEN EDUCATION © ATOM 2015 studied this year to show how it reflect the artist’s 1.historical and cultural context; 2.artistic influences; 3.communication of ideas and meaning.
30 »»ENDNOTES news/stories/s818193.htm> 32