A STUDY GUIDE by Marguerite o’hara
http://www.metromagazine.com.au
http://www.theeducationshop.com.au KIDS LOOKING OUT AT ERNABELLA
Ngapartji ple with the decision to risk breaking Introduction traditional law by saying his father’s ngapartji: Nothing Rhymes with Ngapartji follows name, acting the part of him, and the journey of acclaimed Pitjantjatjara showing footage of him as part of the I give you actor Trevor Jamieson, as he returns to show. Is Trevor going to get a knock his traditional country to perform his hit on the head? something, stage show Ngapartji Ngapartji to an all-Indigenous audience in the remote Trevor’s family story is one of struggle you give me Australian Aboriginal community of and survival. From the 1950s, Trevor’s Ernabella, South Australia. grandfather witnessed British atomic something testing spread sickness throughout his Trevor has struggled to hold on to his land; the performance follows three language and culture while living away generations of an Aboriginal family as from his traditional country. Ngapartji they grapple with becoming refugees Ngapartji is a live theatre performance in their own country. in two languages; its audiences are usually fluent in English rather than Elders in Ernabella have their own Pitjantjatjara. 2,500 kilometres from memories of the Maralinga bombs, the recent five-week, sell-out Sydney and Trevor knows that the Ngapartji Festival season, against the magnifi- Ngapartji show will be a potent re- cent backdrop of the Central Australian minder of an issue that people have desert, Trevor is preparing to face his not talked about in a long time. toughest audience yet. As excitement builds in the community The film follows theNgapartji Ngapartji and among the company, which is team’s journey to Ernabella and the thrilled to be performing for an Indig- in situ performance of their acclaimed enous audience in Ernabella, trepida- show. It is terrible timing for Trevor, tion builds in Trevor as he becomes whose father, a central character in the more fearful of the consequences of SCREEN EDUCATION stage show, passed away only weeks telling a story so close to his heart. before. Not only does Trevor have to confront his grief in order to deliver the Will Trevor’s resolve be his own undo- performance, he also has to grap- ing? We find out.
2 CHOIR WOMEN AT REHEARSAL
Curriculum relevance TREVOR Student activities ence able to follow the details of a Nothing Rhymes with Ngapartji is a film story? about performing a multi-faceted drama to audiences who speak different lan- Pre-viewing questions about How do you respond to subtitles if guages, who are of different cultures and theatrical performances • who have varying expectations. It would you are watching a film or perform- be of value to senior and tertiary students ance in a language other than your studying history, Indigenous perspectives, • Why do people attend live theatri- own? drama and multimedia productions. cal performances in the twenty-first In line with the proposed national cur- century? • In what form and through what riculum, this film offers an insight into kinds of media are young people Indigenous perspectives on the conse- • What kind of theatrical shows at- today most likely to get their enter- quences of white settlement for Aboriginal cultures. In presenting the material in tract large audiences today? tainment? both Pitjantjatjara and English, it raises the important issue of stories needing to • What does a ticket to a live show • What are some of the dramatic be told in languages that are central to cost as compared to a movie elements of stage shows put on in different Australians’ understanding of the ticket? schools? Do they often incorporate world. As Makinti, one of the performers in Ngapartji Ngapartji says, ‘our language more than one aspect of perform- is who we are’. Parts of the drama are Why is there such a difference in ticket ance, such as dance, music and spoken and sung in the Pitjantjatjara lan- prices? What are some of the costs spoken word? What connections guage with English subtitles on screen. involved in creating and performing a do the audience often have with The film is part of Big hART’s Ngapartji stage show? the performers or the cast and Ngapartji project, which is a collaborative crew? work in progress between Indigenous and • How many live shows, whether white Australians that pools their skills, experiences and resources to tell an plays or musicals, have you or your • What differences are there be- important story about Indigenous history, family and friends attended in the tween a film and a live theatrical culture, language and the experience of past twelve months? performance? What advantages several generations. (if any) does a film have over a live The documentary makes demands on • What do you think the audience performance? viewers as it deals with several important attending a theatre performance issues. As director Suzy Bates notes, at a capital city arts festival would the most difficult aspect of making a documentary like this is deciding what be like? Would they be young, to include and what to leave out. The old, well-off, representative of the focus is on Trevor Jamieson’s journey, the Australian community? remarkable women from Ernabella and the story of the impact of the Maralinga • In what language are theatrical bombs. However, at its centre this is a performances in Australia usually film about performing a stage show with SCREEN EDUCATION the community that is at the heart of this presented? When they are not story. presented in the language of the dominant culture, how is the audi-
3 AMANYI Snapshots of some of the in Australia. She has made hundreds featured performers of films on culture, ceremony, bush tucker and country. She is a senior Trevor Jamieson is the co-creator inma (song) and culture woman and a of and lead performer in Ngapartji widely renowned ngangkari (traditional Ngapartji. Born in Subiaco, Western healer) and artist. Pantjiti started work- Australia in 1975, Trevor is an experi- ing with Ngapartji Ngapartji in 2005 TREVOR enced theatre and film performer and and was instrumental in forming the a talented didgeridoo player, guitarist, project’s vision and providing guidance About Nothing Rhymes singer, dancer and storyteller. He ap- for the Pitjantjatjara language, culture With Ngapartji peared in Rabbit-Proof Fence (Phillip and community components. Pantjiti is Noyce, 2002) and recently in Bran Nue a key presence on stage and has been Executive Producer Dae (Rachel Perkins, 2009). During present for every season of the touring the past five years, Trevor developed production (2005 to 2008). Pantjiti now BIG hART Inc his own story in collaboration with Big lives in Alice Springs and cares for her Director hART. His performances have won husband, who receives dialysis treat- awards including the 2008 Deadly ment. Suzy Bates Award for Most Outstanding Achieve- Producers ment in Film, Television or Theatre and Cultural protocols the 2008 Sydney Theatre Award for Alex Kelly, Shannon Owen, Michael Watt Best Lead Actor for the Sydney Festi- Australian film, documentary, news and Created with val season of Ngapartji Ngapartji. current affairs television programs are often preceded by advice stating that Scott Rankin Amanyi Dora Haggie was born in 1938 the program about to be shown may Director of Photography and speaks Arrernte as well as her first contain images of deceased people. language, Pitjantjatjara. After moving This issue is central to the laws and Sarah Davies around various stations and communi- customs of many Indigenous com- ties, she settled in Ernabella where she munities and is something that gravely Editor still lives, painting and creating tjanpi concerns Trevor Jamieson. Included in Vanessa Milton baskets. She has been working with this guide (page 11) is information from Ngapartji Ngapartji since 2006 as a choir the ABC’s Indigenous web pages. It Music and Sound Design member and performer, sharing her provides an explanation of the com- Damian Mason experience of the Maralinga bombs with plexities and importance of this issue audiences in Melbourne, Sydney and for many people. Featuring Perth. Despite suffering a severe stroke Trevor Jamieson, Pantjiti McKenzie, in 2008 she still enjoys performing. Amanyi Dora Haggie, Kawaki (Punch) Thompson, Scott Rankin, Gail York- Pantjiti McKenzie is a senior Pitjant- shire-Selby, Tjariya Stanley, Makinti jatjara woman from Ernabella. She Minutjukur, Mel Robertson was instrumental in the establishment SCREEN EDUCATION of EVTV (Ernabella Video Television) in the early 1980s, which was one of the first community television stations
4 LADIES LAUGHING
CHOIR WOMEN PERFORMING
Watching the film • What does Trevor’s mother Gail
think about what her son is doing? TREVOR PERFORMING It may be useful for students, either individually or in groups, to concen- • In what ways is the story of what 2. The Ernabella community trate on one of the strands in this film happened to the people living in as they watch the story unfold. As all the atomic testing area of South Ernabella is at the eastern end of the these strands are visually interwoven Australia in the 1950s so personal Musgrave Ranges in the far north- to construct the story, students could to Trevor Jamieson? west of South Australia. The people share their impressions after watching speak Yankunytjatjara, Pitjantjatjara the film. Strands to focus on include: • How is Trevor’s grandfather, Tjamu and Ngaanyatjarra, all of which are Jack, an important part of this languages from the Western Desert • Trevor Jamieson’s story story? Explain what he did and why language groups of Central Australia. • the Ernabella people his actions are important to the • the impact of the Maralinga atomic story being told in the production. Ernabella (or Pukatja, its Yankuny- tests on communities tjatjara name) is 440 kilometres • the Ngapartji Ngapartji performance • Whose advice does Trevor seek south-west of Alice Springs in South in all its incarnations, especially at when trying to decide whether Australia. It is the oldest permanent Ernabella. he should perform the story in its settlement on the Anangu Pitjantjatjara original form at Ernabella? Yankunytjatjara Lands. The Presby- 1. Trevor Jamieson’s story terian Board of Missions established • What advice is Trevor given by the mission in 1937 as a buffer against • Why is Trevor ‘frightened’ about Kawaki, an Ernabella elder, with increasingly destructive European ex- performing Ngapartji Ngapartji to regard to telling and showing the pansion into Indigenous country, and the Ernabella people? story of his father and grandfather? to offer education and medical help.
• What has happened recently within • How does Amanyi explain how The people were still completely his family that has increased his and why the breaking of traditional nomadic hunter-gatherers, and for anxiety about this proposed per- taboos about deceased people has many their experience at the mission formance? been regarded in the way it has by was their first contact with Europe- some members of the community? ans. Unlike many other settlements, • Where has the show been per- Ernabella mission had a policy of deep formed until now and where were • What does Trevor finally decide to respect for traditional culture. The mis- most of these audiences from? do in relation to his difficulty with sion closed in 1973. The lands were breaking cultural taboos? ‘returned’ to Anangu (the people) by • What do the on-screen excerpts the Pitjantjatjara Land Rights Act 1981 from reviews of the performance • Describe the qualities Trevor brings (South Australia), which granted them in Australian capital cities indicate to his performance. freehold inalienable title to the country SCREEN EDUCATION about the critical reception of the that they had never left. (Information show? • How is his situation (i.e. living in two courtesy of Ernabella Arts Inc.) worlds) represented in the film? • How do the Ernabella people • What is the final triumph Trevor is respond to the opportunity to see able to share with the community? their story performed in their own country and in their own language? 5 Item 1: Map of atomic testing area
• Describe the country around Erna- 3. The Maralinga atomic tests bella. This map shows where the atomic • What do we learn from Amanyi, tests took place and the location of one of the elders and an integral Ernabella (Pukatja) and its proximity to part of the performance, about the Maralinga. TOP: DUST STORM ITJINPIRI history of Ernabella? BELOW: KAWAKI SPEAKING Between 1953 and 1965 the Brit- • What are some of the changes ish government conducted over 600 uninhabited area’ imply? to their traditional life that Pantjiti nuclear tests in the South Australian remembers from the time of the desert, including the testing of nine • What information and warnings were atomic tests when her family came major nuclear bombs. given to the local inhabitants? How to Ernabella? was such information delivered? On the Nullarbor Plains, some 600 • What language were the children miles from Adelaide is the remote and • What does the map of Australia taught in when she was young? lonely village of Maralinga, the site of shown in the film reveal about the How has this situation changed? an experiment with man’s most revolu- movement of the contaminated tionary discovery, the atom bomb. The dust? • What are some things that Mak- tests are the result of close British– inti, another member of the choir, Australian co-operation. Operation • Describe the monitoring of the recalls about her time at school? Buffalo is the test’s code name, an apt movement of the radioactive dust. title in this vast uninhabited area. • Kawaki, another community elder, • Was it possible for the local people wants the traditional laws to be (Contemporary newsreel report from to escape these radioactive dust respected and understood. Why the early 1950s shown in the film) clouds and shelter from the dam- is it difficult for customs, language aging effects of the tests? and laws to be kept strong in many Before … the 1967 referendum, Indig- communities? Who are the cus- enous people were neither counted in • What were some of the physical todians or keepers of this knowl- the Australian census nor accounted consequences of the tests on the edge? for in medical records kept. Thus there local people? is a complete absence of records of • Describe some of the traditional the impact, health effects and deaths • What illnesses were caused by the hunting and food gathering that we that occurred as a result of the tests. poisonous radioactive cloud from see at Ernabella in the film. the testing? The test area remains unsafe for • How are the children shown to be human habitation. • What were some of the psychologi- influenced by outside cultural and cal and emotional consequences of recreational activities? (From the Nothing Rhymes with the tests on the local people? SCREEN EDUCATION Ngapartji press kit notes) • What do you understand of terms • What assumptions were made such as displacement, forcible about who lived in the Maralinga removal, re-location and re-settle- testing area in the 1950s by those ment? Why is removal from country conducting the tests? What do so damaging and destructive for the terms ‘lonely village’ and ‘vast Indigenous people? 6 • Describe some of the other damag- • How do the children respond to the • How is this stage show unlike other ing consequences for the inhabit- preparations for the show in their forms of entertainment, such as ants of this region, such as con- community? programs we watch on television? tamination and degradation of land, water and air. • Why is the change in the weather • Despite the seriousness of the such a potential threat to the stag- story, Trevor is able to engage the • Why is the testimony of people like ing of the show? audience to respond positively. Amanyi and Pantjiti so important in How is humour used to engage the telling this story? • How do Trevor, Amanyi, Pantjiti younger people? and the other performers dramatise 4. Ngapartji Ngapartji at Ernabella what happened around the bomb • In what ways is this show a genu- test sites so that its significance is inely collaborative performance ‘We’re battling your country.’ clear? between cast, crew and audience? – Mel, Production Manager
‘I’m battling enough of my family now.’ – Trevor, performer
• What are some of the challenges involved in staging a multimedia performance in a place as remote from big cities as Ernabella?
• Describe the setting where the performance is to take place.
• What are some of the positive things about staging the show at Ernabella, for both the community SCREEN EDUCATION and the forty-eight visiting theatre and production crew?
TREVOR PERFORMING 7 ALEX, TREVOR AND SUZY
Director’s statement Ngapartji show, I was intrigued to see films and providing language lessons in a how all these big underlying themes mentor capacity with young Pitjantjatjara After working on this unique multilayered clung off him in every way – language, people for local communities and the project for the last five years, I feel like culture, place, loss, family, the Maralinga Ngapartji Ngapartji website. I’ve especial- I know the story of Ngapartji Ngapartji bombs, the collision of cultures (past and ly enjoyed the opportunity to learn some and people behind the show and project present) and rapid generational change. Pitjantjatjara language through working intimately. I also know how many stories with speakers and great teachers. there are. The toughest thing for me The pressure he felt on tour was espe- in directing this doco was letting go of cially intense following the death of his I feel completely awkward about being a the possibilities and working out what father. On top of his terrible grief, Trevor spokesperson on anything, but com- realistically could be told in an hour. The was really frightened about performing pletely passionate about film as a way to strongest elements remained as the the Pitjantjatjara language sections in tell stories, and really importantly to give main through-lines – Trevor Jamieson’s front of a fluent audience, finding a way insight into ‘otherness’ – other lives, other journey, the remarkable women from through cloudy cultural protocol and colours, other people, other worlds, other Ernabella and the story of the impact of risking the consequences of breaking stories in a non-confrontational way. It the Maralinga bombs. traditional law in order to do the show. was very exciting to be asked by Big hART to direct this documentary. I really Trevor is my friend, a colleague of five All that pressure and a doco crew to wanted to let Central Australia speak years and lead man in Nothing Rhymes share it with! Fortunately, he trusted us, for itself and show off the liveliness, the With Ngapartji. I met him in 2005 when and I am humbled by the openness and characters, the languages, the complexi- we ran filmmaking and performance generosity Trevor constantly displayed ties, humour, sadness and colour of life workshops together with young people performing his deeply personal story, here in the region. from town camps in Alice Springs at the which was written and directed by Scott start of Ngapartji Ngapartji’s community Rankin. To those not really close to him, – Suzy Bates engagement process. He struck me as Trevor plays down the immense pressure an engaging and talented performer with that he’s under as a person with different a desire to both make it big in the indus- worlds to walk in and big aspirations. try as well as maintain a strong connec- tion to his culture. I’m originally from Canberra and lived in Newcastle and Wollombi in NSW, making In this way, he’s a man that finds himself documentaries on forestry and social/ living between worlds and cultures. He’s environmental issues in Australia and charismatic, has an incredible stage Papua New Guinea, before moving to presence, a gift for storytelling and is a Alice Springs in 2003. I’ve loved work- SCREEN EDUCATION generally lovable guy with an extraordi- ing with Anangu in Ernabella and other nary story to tell. Following his personal communities in Central Australia with Big journey to Ernabella for the Ngapartji hART and on other projects, mainly short
8 KIDS WALKING ALONG THE PIPELINE
Extension activities nation and his mother is from the Galpu nation, so they are both first 1. Language nations’ people from north-east Arnhem Land. He sings all over the ‘In 1788, there were about 250 sepa- world in Gumatji, Galpu, Djambarr- rate Aboriginal languages spoken in puyngu and English. The sleeve Australia, plus dialects. Today, only two notes of his CD Gurrumul have the ABOVE: CAMERAMAN MATT DAVIS thirds of these languages survive and words of his songs in the languag- BELOW: SANDHILL FILMING only twenty of them (eight per cent of es in which he sings them followed the original 250) are still strong enough by English translations. If possible, to have a chance of surviving well into listen to some of his songs. Do you family life on stage or screen. You are the next century’.1 think it is important that performers able to incorporate many elements and like Geoffrey Gurrumul Yunupingu performance styles into this story. • How often are Indigenous lan- sing in their own languages? If so, guages heard on film, in theatre why does it matter and to whom? Devise an outline for your proposal to or in music as a part of Australian be submitted to organisations that may culture? • Do you think it is important that be able to fund your project. You could languages spoken by different use the following questions as the • The Warlpiri and English lan- groups of people be taught and basis of your planning. guage are spoken by the people kept alive? Whose responsibility is in the recent award-winning 2009 it that languages remain strong? • In what form will you choose to Australian filmSamson and Delilah tell your story so that it is vivid, (Warwick Thornton), while the Investigate bilingual teaching programs engaging and entertaining and so 2006 filmTen Canoes (Rolf de being conducted in some schools, that it will portray something of the Heer and Peter Djigirr) is told in the particularly in the Northern Territory. particular qualities of the lives and Ganalbingu language. Why do you The ABC online Indigenous website stories you have chosen? think the people who made these provides information about this pro- films chose to present them in the gram; go to
9 The internet as a research tool
When entering terms into an internet search engine it is important to be clear about the source and authorship of any information you find. Ask your- self who put the information up and the nature of their interest in the issue. Accounts of what happened at the time and subsequently will vary in their such as a love of music, dancing or • The atomic tests conducted at emphases and interpretation. Some cooking? Maralinga and their effects on com- sites will offer opinions, while on others munities are central to this story. the information presented may not • What will be the dramatic centre of Prepare a report about these tests necessarily be accurate and reliable. your story? Will there be a central and their aftermath to be presented theme about continuity or struggle as either a talk to your classmates This government website at
10 Death in a community Permission If you have been granted permission (in writing), the presenter of The question of how to deal with members of a community that the program or the item’s introduction must state that you were have passed away is a big issue for the media. granted permission to use the person’s name, image, voice and If an individual who died is a significant person in a community or video for the particular segment you are about to produce. in the broader Australian community, the local media group usu- Permission for who and for how long ally issue press releases relating to how you can use the image, It is highly recommended that you also establish whether the voice or video of the deceased person. permission is a blanket rule for perpetuity. This is to establish Consultation whether permission is restricted to the specific segment, state or Each community deals with the death of an individual differently town and whether it includes later segmentation. Written permis- and therefore you must contact someone from the community or sion should include the date in which the mourning period ends to media group and get written permission to use the name, image, assist with archiving and the use of archives. voice or video of that person. In some cases some people will For example, if the ABC Darwin radio and television journalists need to be removed from archived films, radio pieces and web- are given the right to use the name, image, voice and video of sites. Culturally it is difficult for some family members to mention a deceased person, this does not mean that all the other news the deceased person by name. It is best to contact council, media services for ABC are able to. This mistake was made when the groups etc. to make the liaison with a family member, rather than Northern Territory artist Kumantjayi Tjapaltjari died, creating go to them directly while they are grieving. Some family members confusion as to the scope of the permission. in the past have been harassed for interviews while they are in their most important grieving times. It is imperative for you to establish with the family and the com- munity how the material can be used, for what parties and for It is worth mentioning that in some communities, in both Abo- how long. riginal and Torres Strait cultures, the entire community will shut down for ‘sorry business’ whether you are attending or not. Even Warning: if you have gained permission to film, you may find that no one is ABC Television, Radio and Online have a warning that is used in available on arrival. It is advisable to contact communities prior the introduction to most programs. The warning below is copy- to your arrival and check before leaving to make sure that the right of the ABC Indigenous Programs Unit and you are able to community are able to conduct formal business until the ‘sorry seek permission to use this for your own programs. Contact ABC business’ is over with. Indigenous Program Unit at [email protected] Time of Mourning WARNING: “Aboriginal and Torres Strait Islander viewers are Many communities have a mourning period where that person’s warned that the following program may contain images and name and image cannot be used. The time of mourning is different voices of deceased persons.” between communities. It can be for a week, year or for an indefi- http://www.abc.net.au/indigenous/education/cultural_protocol/ nite period of time that you will not be able to use the deceased’s death.htm name, image, voice or video. Some communities offer a mourning name e.g. Kumantjayi in parts of the Northern Territory as in the case of Dr Charles Perkins who was called Kumantjayi Perkins.
References and resources
Official film website: The Ernabella Arts Centre site with
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