Billy Pogo's Fire: a Creative Arts Project in Drama, Poetry and Visual Arts on the Theme of an Aboriginal Wiringin Or Clever Man
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University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 1994 Billy Pogo's fire: a creative arts project in drama, poetry and visual arts on the theme of an aboriginal wiringin or clever man Ken Stone University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. 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Recommended Citation Stone, Ken, Billy Pogo's fire: a creative arts project in drama, poetry and visual arts on the theme of an aboriginal wiringin or clever man, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 1994. https://ro.uow.edu.au/theses/917 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] BILLY POGO'S FIRE A CREATIVE ARTS PROJECT IN DRAMA, POETRY AND VISUAL ARTS ON THE THEME OF AN ABORIGINAL WIRINGIN OR CLEVER MAN VOLUME 1 of 2 of a thesis submitted in partial fulfilment of the requirements for the award of the degree DOCTOR_____BJ_4IIVE ARTS luNIVERSITYOFj I WOLLONGONG J | LIBRARY j from the UNIVERSITY OF WOLLONGONG by Ken Stone M.C.A.(W'gong) B.A (New Eng) DIP.ART (ED.) (National Art School) UNIVERSITY OF WOLLONGONG LIBRARY FACULTY OF CREATIVE ARTS 1994 Copyright © Ken Stone 1994 CORRECTION: This thesis takes creative inspiration from a photograph of an Aboriginal man in a top hat, incorrectly identifying him as ‘King Billy Mogo’, which inspired the fictional character, Billy Pogo. This photograph is of the Aboriginal elder known as King Jacky Springheal, of the Barrington NSW, who died in 1909 and has family in the Barrington, Gloucester and Kempsey areas of NSW. CONTENTS. Volume 1 ABSTRACT ACKNOWLEDGEMENTS CHAPTER 1. WIRINGIN: BROTHER OF FIRE (POETRY) TITLE PAGE 4 CONTENTS 5 SYNOPSIS 6 ARCHIVAL PHOTOGRAPH 7 RECOLLECTIONS, 1873 8 BAIAME 9 SEQUENCE 10-61 CHAPTER 2. BILLY POGO'S FIRE (PLAY SCRIPT) TITLE PAGE 62 SYNOPSIS 63 CHARACTERS 64 SCRIPT 65-180 CHAPTER 3. GRAPHICS STATEMENT 181 TITLES AND DIMENSIONS 182 DRAWINGS 183 PHOTOGRAPHS 190 Stone 1 ABSTRACT This thesis researches and then creatively explores the life of a Wiradjuri Wiringin in the fictitious western N.S.W. goldmining town of Bindari. The poetry sequence, WHUNGIN: BROTHER OF FIRE, covers the period 1889- 1908 and deals mainly with Billy Pogo's contact with the mining community, and events leading to his tragic death at the mine edge. The graphic works have derived mainly from ideas generated in the sequence, and in some cases have provided stimulus for further poetry. As much as possible, I have attempted to cross reference common ideas and feelings into each of the three creative disciplines. The stage play is set in contemporary Bindari. The existence of Billy Pogo's skull in the local hotel, and the proposed reopening of the mine on land deemed sacred by the Aborigines, generates dramatic conflict. Volume One contains the poetry sequence WIRINGIN: BROTHER OF FIRE, the stage play, BILLY POGO'S FIRE and a laser printed selection of associated graphics (photography and photomontage drawings). Volume Two includes background research on place, people, and the Wiringin phenomenon, as well as documentation of the creative development of work within each discipline. In the graphics section I closely examine the archival photograph which inspired the creative program, and as a non-Aboriginal I attempt to state my views on the appropriation of Aboriginal material. My awareness of this contentious issue prompted me to offer the work in progress to Aboriginal scrutiny and comment wherever possible. / hereby certify that this work has not been submitted for a degree to any other university or institution. Signed: Date: /f?-?*. Stone 2 ACKNOWLEDGEMENTS A thesis with the scope of BILLY POGO'S FIRE doesn't happen in isolation during the five year period of its inception and completion. In essence, the work is the result of a lifetime's encounter with place and people. I visited Western New South Wales several times during the period of writing and visual image gathering, and each time it was a journey home. Peak Hill stands much as it did during my childhood, although 'Talkie' Chappel's Premier Theatre is missing, and so is the Commercial Hotel. Most of the old identities of my childhood have vanished - Les Stanford, Titch Collison, Steve Leary, Bill Merrilees, Joe Hunt, Jackie Peelar, and many others, including, in recent years, my father Eric, and just lately, his tale spinning brother, Harold. I acknowledge these people for making Peak Hill such a special place for me. In particular, I acknowledge my Aboriginal friend, the late George Robinson, who now exists forever young in a school photograph. I thank Mudrooroo Narogin for his positive reading of the play and poetry, and I greatly appreciated the comments offered by Oodgeroo during our brief meeting shortly before her final illness. I also thank those Aboriginal actors who provided valuable feedback during the play's workshopping at the Stables Theatre. I thank my very special friends, Les and Careen Barnet, for their continuing encouragement. In particular, I thank Les for accompanying me on my many enjoyable treks into Western New South Wales, and for giving me valuable advice with photography. I thank Les Murray for his helpful comments on the Aboriginal theme, and for accepting two of the early poems for publication in Quadrant. This gave me an early morale boost. I thank Peter Skrzynecki for his close reading of the sequence and his supportive comments. I also thank John Scott and Ron Pretty for their valuable comments during the development of the text. Stone 3 For the stage play, I acknowledge the insightful comments from the National Playwright's Centre. I also thank David Allen and Don Reid for their valuable comments. Special thanks also to the Griffin Theatre Company, and in particular, Kate Wilson and the talented actors who workshopped the script towards an energetic rehearsed reading as part of that theatre's playreading network. For help in the last stages of the play's development, I thank John Senczuk for his supportive comments and academic guidance. I acknowledge the helpful comments of Bert Flugelmann in the developmental stages of the Visual Arts component, and also the input of Peter Shepherd. I appreciate the support given by my workplace University, specifically the Faculty of Education of the University of Western Sydney, Macarthur. The internal research grant from this University enabled me to frame and exhibit photography and graphics at the Foyer Gallery, Milperra Campus in 1992. Finally, I thank my family, and in particular, Bev and Laura, for their support and patience. Further Acknowledgements 1. Photographs of Peak Hill Proprietary Mine - taken from A History of Peak Hill and District bv C. Chappel (ed). 1988. 2. Aboriginal Song - taken from The Port Stephens Blacks: Recollections of William Scott: p. 15 published by Dungog Chronicle. 1929. 3. Information from Peak Hill Express taken from A History of Peak Hill and District by C. Chappel (ed). 1988. (p. 23 and p.24 of Sequence) « 4. The Billy Mogo Photograph - copied from the original print by courtesy of Stroud Historic Society (Quambi Museum, Stroud). 5. The poems, WAY OF THE POET and STRANGE DOG, were published in the December 1992 issue of Quadrant Magazine. Stone 4 CHAPTER 1 WIRTNGIN BROTHER OF FIRE A POEM SEQUENCE BY KEN STONE Ken Stone, 1994 This collection of poems is copyright. Apart from any fair dealing for the purposes of private study, research, criticism or review as permitted under the copyright act, no part may be reproduced without written permission. Other poetry by Ken Stone Hunter, 1979 Hilltop Journal, 1981 Horizon Change, 1990 Stone 5 WIRINGIN: BROTHER OF FIRE CONTENTS: Page SYNOPSIS 6 RECOLLECTIONS 8 BAIAME 9 SEOUENCE POEM1 RIVER (10) 21 CAGED CROW (34) 2 CLOUD BURST (10) 22 TEST: 1902 (35) 3 HUNTING (11) 23 WAY OF THE POET (37) 4 TRANSCENDENCE (12) 24 GOLD DIVINER (38) 5 CURRAJONG HILL (13) 25 RUBY WINDOW (39) 6 BINDARI (14) 26 CHURCH STREET (41) 7 WILD BEE (15) 27 BLIND WINNIE (42) 8 STRANGE DOG (16) 28 FAILED POSTULANT (44) 9 DROUGHT (17) 29 CROW MORNING (45) 10 EARTH (19) 30 TRANCE (47) 11 CENTr GRADE 1063 (20) 31 LIVE BIRD LEAD (49) 12 SAPAINCA(21) 32 CONFLAGRATION (50) 13 UNGJLDED (22) 33 SCAPEGOAT (51) 14 PRODUCTION (23) 34 JUDGEMENT (52) 15 WARDEN'S COURT (24) 35 SEARCH (53) 16 DANCE (25) 36 RESERVE (54) 17 LETTER TO MOTHER: 1895 (26) 37 COMMOTION (56) 18 OCCURRENCE (27) 38 ESCAPE (57) 19 RESPLENDENCE (31) 39 LAST FIRE (58) 20 PHOTOGRAPH (33) 40 SKULL (61) Stone 6 SYNOPSIS The sequence begins with poems showing a Wiradjuri Wiringin at the height of his spiritual and psychic powers.