A Study Guide by Katy Marriner

A FOOT IN EACH WORLD. A HEART IN NONE

http://www.metromagazine.com.au

ISBN: 978-1-74295-936-8 http://theeducationshop.com.au Spear (2015), a feature film directed by Stephen Page, tells an Indigenous Australian story through movement, dance, sound, visual design and digital Australian Curriculum Learning media. A young Aboriginal man Djali journeys through his community Areas: Year 10 attempting to understand what it means to be a man.

Warning: Aboriginal and Torres Strait Islander viewers English are advised that Spear contains voices and names of http://www.australiancurriculum.edu.au/english/ deceased people. curriculum/f-10?layout=1#level10 Curriculum links Humanities and Social Sciences: History http://www.australiancurriculum.edu.au/ Spear is suitable for secondary students in Years humanities-and-social-sciences/history/curriculum/f- 10 – 12 in the learning areas of Dance, Drama, 10?layout=1#level10 English, History and Media. The Arts: Dance Spear can be used as a resource to address the http://www.australiancurriculum.edu.au/the-arts/ Australian Curriculum: Cross-curriculum priority – dance/curriculum/f-10?layout=1#level9-10 Aboriginal and Torres Strait Islander Histories and Cultures. The film’s depiction of the experiences of Indigenous Australians, particularly of adult males, The Arts: Drama provides opportunities for students to engage in http://www.australiancurriculum.edu.au/the-arts/ discussions about Indigenous Australian identity drama/curriculum/f-10?layout=1#level9-10 and belonging and to examine the influences of traditional Indigenous views and values, as well as the The Arts: Media Arts impact of the views and values of contemporary Australian society. Details about integrating this http://www.australiancurriculum.edu.au/the-arts/ cross curriculum priority can be accessed at http:// drama/curriculum/f-10?layout=1#level9-10 www.australiancurriculum.edu.au/crosscurricu- lumpriorities/Aboriginal-and-Torres-Strait-Islander- histories-and-cultures. Australian Curriculum: Senior SCREEN EDUCATION © ATOM 2016 In addition, teachers of Year 10 are advised to consult the curriculum documents for these subjects Secondary Curriculum endorsed by their state or territory. English Teachers of Years 11 and 12 are advised to consult the curriculum documents for the nominated sub- http://www.australiancurriculum.edu.au/ jects endorsed by their state or territory. seniorsecondary/english/english/curriculum/ seniorsecondary#page=1 The activities within this study guide provide 2 personal interpretations to describe the structure, content and aesthetic qualities of a film; {{ observe, experience and write about dance in an analytical, a critical and a reflective manner; {{ understand influences on the dance works created by choreographers; {{ develop and justify their own and other interpretations of a text; {{ create a wide range of texts, make pres- entations and contribute actively to class and group discussions.

Teachers are advised to direct students to com- plete activities that are subject relevant and age appropriate.

Spear can also be used to support the teaching of pastoral care programs. It is important that students are provided with strategies to support their learning about themselves and others. Students with well-developed social and emotional skills opportunities for students to: find it easier to manage themselves, relate to others, develop resilience and a sense of self-worth, {{ understand the aesthetic, style and format resolve conflict, and feel positive about themselves of a film; and the world around them. {{ analyse, explain and evaluate the structure of a text and how the features of the text influence audience response; {{ understand how ideas and viewpoints Synopsis about events, issues and characters that are expressed in texts are drawn from and Djali (Hunter Page-Lochard) wants to shaped by different historical, social and understand what it means to be a man. cultural contexts; His journey begins in Arnhem Land and {{ use appropriate media terminology and takes him to the city streets of Sydney. Djali’s search for meaning exposes him to the troubled stories of other Indigenous Australian men. He witnesses the indignities and hardships they face as they negotiate life in a contemporary society that ignores their needs. Djali’s challenge is to navigate his way to a state of being that will nourish rather than destroy him. SCREEN EDUCATION © ATOM 2016

3 In addition, Spear provides an opportunity for created on country and stories gathered from Aboriginal and Torres Strait Islander students to Bangarra is widely respected community Elders. It is this inherent con- see themselves, their identities and their cultures acclaimed nationally nection to land and people that makes Bangarra portrayed on screen in a feature film made for a and around the unique and enjoyed by audiences from remote mainstream Australian audience. Australian regional centres to New York. world for their powerful dancing, Spear is an expanded version of a dance work for CLASSIFICATION: M distinctive theatrical stage, also called Spear, which was performed by Bangarra in 2000. It is recommended that teachers preview Spear voice and utterly prior to classroom use given its depiction of adult unique soundscapes, themes, particularly suicide. music and design. USEFUL LINKS:

Led by Artistic http://bangarra.com.au/ RUNNING TIME: 84 MINUTES Director Stephen https://www.facebook.com/Bangarra/ Page, Bangarra Languages: English, Ka La Lagaw Ya and Yolgnu celebrated its 25th https://twitter.com/bangarradance Matha. anniversary in 2014 https://www.instagram.com/ bangarradancetheatre/?hl=en and achieved their Bangarra highest box office https://www.youtube.com/user/ bangarradancetheatre Bangarra is an Aboriginal and Torres Strait Islander results since the organisation and one of Australia’s leading perform- company’s inception ing arts companies. Bangarra is widely acclaimed Before and after viewing nationally and around the world for their powerful dancing, distinctive theatrical voice and utterly activities unique soundscapes, music and design. Led by Artistic Director Stephen Page, Bangarra celebrated its 25th anniversary in 2014 and achieved their highest box office results since the company’s inception. »» BEFORE THE SCREENING

The company’s dance technique is forged from over 40,000 years of culture, infused with contemporary TASK 1 SCREEN EDUCATION © ATOM 2016 movement. The company’s sixteen dancers are professionally trained, dynamic artists who represent Watch the official trailer for Spear. the pinnacle of Australian dance. Each has a proud Aboriginal and/or Torres Strait Islander background, Suggested link: http://www.spear-film.com. from various locations across the country. au/#!trailer/fbevv

Bangarra’s relationships with Indigenous communi- a. What do you think the film will be about? What ties are the heart of the company, with its repertoire questions do you have about the film? 4 b. What does the trailer tell a potential audience about the genre, narrative, characters themes Look at the promotional poster for Spear. What can and setting of the film? you see? Your notes should refer to both the visual and written features of the poster. c. What does the trailer tell a potential audience about the director of the film and the production Use the following questions to guide your note company? What other information is included in taking: the trailer? {{ What is the title of the film? What is the d. How does the trailer begin? How does the trailer tagline of the film? What credits are end? Was the trailer effectively edited? shown on the poster? {{ What is the dominant image of the e. Does the trailer make you want to see the film? poster? What does this dominant image suggest? {{ What is in the foreground of the poster? TASK 2 What is in the background of the poster? {{ What are the dominant colours of the A film’s promotional poster is both art and adver- poster? tising. The poster exists to promote the film for {{ Does the poster draw on the codes and a commercial purpose. The poster also has an conventions of a particular genre? aesthetic value. {{ Does the poster suggest the likely audience of the film? Use Google images to locate a copy of the promotional poster for Spear. Drawing on your notes, write an evaluation of the promotional poster for Spear. SCREEN EDUCATION © ATOM 2016

5 »» AFTER THE SCREENING Analysing key sequences

After the screening of Spear, spend time as a class, – film as text discussing the students’ interest in the film and provide students with the opportunity to ask ques- As you watch Spear, use the following questions to tions about the film. Ask students to review their make notes about the film’s key sequences. responses to Tasks 1 and 2 and where necessary make adjustments that correct and/or clarify their {{ What did you see? analysis of both the trailer and poster. {{ What did you hear? {{ What did you think? {{ What did you feel? The title of the film Use the notes that you have made to write an ex- Construct a class mind map about the film’s title. tended response that addresses the following key Begin the mind map by writing the title of the questions: film – Spear, in the centre of the mind map. In the space around the title, record the reasons why {{ What is the sequence about? the film is titled Spear. {{ Why is the sequence significant? {{ How does the filmmaker use story ele- Drawing on the class mind map, your task is ments to convey meaning? to answer the question – Why do you think the film is titled Spear? – by writing an extended Story elements include: response. Your claims should be endorsed by specific evidence from the film. -- the opening, development and resolution of the narrative SCREEN EDUCATION © ATOM 2016

6 Choreography is the creation and composition of a dance by selecting and arranging movements and patterns of movement to convey expressive intention. Choreographic devices include:

{{ Motif {{ Contrast {{ Accumulation {{ Repetition {{ Reversal -- cause and effect {{ Retrograde -- establishment and development of and {{ Inversion relationship between characters Body actions {{ Fragmentation -- point/s of view from which the narrative are general types {{ Embellishment is presented or categories of -- the function of setting in the narrative Write a simple definition of each choreographic -- the relationship between multiple movement used device listed above. You may add other devices to storylines within motifs, the list. -- the structuring of time and its impact on phrases, sections narrative progression Identify and explain the choreographic devices {{ How does the filmmaker use movement and sequences in used in each key dance work. and dance to convey meaning? choreography. Body {{ How does the filmmaker use production actions can be used Body actions are general types or categories of elements to convey meaning? movement used within motifs, phrases, sections separately and in and sequences in choreography. Body actions Production elements are the techniques filmmakers combination can be used separately and in combination. use to tell stories. {{ Gesture Production elements include: {{ Locomotion {{ Elevation -- camera techniques {{ Falling -- acting {{ Turning -- mise en scene {{ Stillness -- editing -- lighting Write a simple definition of each body action listed -- sound above.

Identify and explain the body actions used in each Analysing key sequences key dance work. – dance works The elements of movement are time, space and energy. Describe the use of the elements of As you watch Spear, use the following questions to movement in each key dance work. make notes about the film’s dance works.

It is intended that you are able to identify and explain the expression intention of each key dance work.

The expressive intention is the central theme or concept of the composition. The intention for a dance might be to fulfil a performance purpose; to explore an idea, observation, emotion or theme; to explore movement possibilities in a particular SCREEN EDUCATION © ATOM 2016 style or fusion of styles; and a response to music or other stimulus such as visual imagery or words either in a literal or abstract manner.

Identify and describe the dance styles evident in each key sequence of Spear.

7 Begin your descriptions of the following characters by drawing on the action of this sequence:

 The characters are listed in order of appearance.

-- Romeo -- Earth Spirit -- Woman of Desire -- Old Lady -- Suicide Man -- Old Man -- Big Man -- Djali 1. CEREMONY -- The group of Indigenous men who stand with Djali The opening sequence of Spear depicts a contemporary traditional cleansing ceremony. Djali, the Describe Djali’s interactions with the other protagonist of Spear, is the subject of the initia- characters. tion. A remote and rocky coastline provides the Why do you think Romeo stands on a rocky backdrop for the ceremony that is the focus of the ledge at a distance from Djali? sequence. What props are used in this scene? Explain the significance of each prop that you have listed. The opening sequence of the film is set in the For example: Old Man’s plastic shopping bag natural world. and Big Man’s clapping sticks are props.

Describe the use of setting in this sequence to The action shifts to an interior space. A dancer falls communicate key ideas. into the shot. He hangs in the shots, slowly twisting and turning his body and tilting his head. This is the How is the setting used as a performance space by wedge-tailed eagle. White dusty ochre falls from the dancers? his body.

Ceremonies play an important part in the lives of Describe the character of the wedge-tailed eagle. Indigenous Australians. In this sequence, Djali’s Explain the symbolism of this character in the body is washed with water and his forehead is story told by Spear. painted with white ochre. Smoke is used to cleanse Write an analysis of the way the camera work in his body and spirit. this scene is used to portray the dance work.

Describe the ceremony that is enacted in this se- The action returns to the natural world. Djali stands quence. What happens and what is its purpose? on the headland looking towards the ocean as waves break on the rocky outcrop. The opening sequence introduces Djali and the characters that he will interact with in subsequent sequences. SCREEN EDUCATION © ATOM 2016

8 Suicide Man: I tried, brother. I tried to live. I tried to live. I tried to live. I tried to live every day. Tried to live every fuckin’ day. Suicide Man: I say to this whitefella, right, ‘Hey you! Yeah I’m speaking to you and you’ and I speak to that whitefella and I say, I say to ‘em, ‘I tried ... real fuckin’ hard.’

How is sound used in this sequence to create Suicide Man: I fuckin’ tried. Yeah, I tried real meaning? Your answer should refer to the use of hard. And I sing at him really loud so he can hear diegetic and non-diegetic music, singing and the me. I say, ‘Listen to me! Listen to me here. Listen noises of the natural world. to me you dirty little Jesus!’ Suicide Man: Hey mate, how much? How much? 2. CITY How much, hey. How much? How much?

This sequence begins with Djali making his way along a dimly lit and narrow tunnel. In the scene that follows he is outside. The built landscape of this sequence is a stark contrast to the setting of I say to this Describe the use and significance of the follow- the opening sequence. Djali walks the streets, busy whitefella, right, ing props: with traffic, initially alone and then shadowed by ‘Hey you! Yeah I’m Romeo. -- The car speaking to you and -- The branches of leaves Describe Djali’s passage through the urban envi- you’ and I speak to -- The ochre dust ronment. How does he move? Is he aware of his that whitefella and surroundings? 3. ‘I TRIED REAL HARD’ How are lighting and sound used in the exterior I say, I say to ‘em, ‘I street scenes to convey meaning? tried ... real fuckin’ Suicide Man is a tragic figure. While the character hard.’ appeared in the opening sequence, it is in this The action shifts to a performance space. The set- scene that he becomes known to the audience. ting is deserted and dangerous. The headlights of a Djali encounters Suicide Man in a railway station parked car suddenly flick on. Djali is caught in the underpass. In this sequence, like others to follow, glare. The men from the parked car are not inter- Suicide Man is drunk and has taken to ranting ested in Djali. It is the man who stands behind him, about his plight. He is ignored by the passers-by, Dingo Man, that they want. most of them white.

Is Djali frightened? Who is Suicide Man? Describe how the dance work is this scene Write a detailed description of the character by conveys the nature of the relationship between drawing on the drama and dance featured in this Dingo Man and his assailants. sequence. How are production elements used in this scene to convey the danger of the situation? Suicide Man has a speaking role in Spear. He is Explain the role that the following characters play unlike most of the other characters in this regard.

in this scene: He raves for all to hear and mumbles to himself SCREEN EDUCATION © ATOM 2016 about life and its disappointments and injustices. -- Big Man -- Romeo What does Suicide Man have to say? -- Prison Man -- Alcohol Man Suicide Man’s relationship with society is repre- sented through the troupe of dancers who make

9 their way back and forth along the underpass and then push and shove him about during the group Man has made his way along the underpass and dance work. now stands at the foot of the station’s steep escala- tors uncertain of how to proceed. This is where Djali Write a detailed analysis of the way movement finds him, a barefoot, stationary and solitary figure, and dance are used to convey Suicide Man’s cautious of the way the modern world works. lack of status in society. How does Djali view Suicide Man? Your answer How does Djali respond to Old Man and his should indicate how Djali’s relationship with predicament? Suicide Man is established through acting and Explain the symbolism of Old Man’s plastic dialogue. shopping bag filled with red dirt. Why is there a hole in the bag? Djali’s dialogue, ‘Abos. Photos. Buy a spear. Buy What does this scene suggest about the relation- a boomerang.’ is taken from Kevin Gilbert’s poem ship between an old and young generation? ‘The Spirit of Progress’. Describe the use of movement and gesture in this scene. Explain the significance of Djali’s dialogue. In Why does this sequence end with the railway particular, comment on how these words make station announcement? a comment about the plight of Suicide Man and How do Suicide Man and Old Man differ? Do the status of Aboriginals in Australian society. they have anything in common? Kevin Gilbert was an Indigenous Australian activ- ist, artist, poet, playwright and printmaker. The sequence is followed by a short scene that tracks Romeo striding through a blackened bush Write a detailed commentary of Gilbert’s poem, landscape. ‘The Spirit of Progress’. Explain the significance of this scene. How Use the following questions to scaffold your analy- does it shape the audience’s understanding of sis of the poem: the character of Romeo and what the character represents? What is the poem about?

Why is the poem important? SCREEN EDUCATION © ATOM 2016

How does the poem use language to create meaning?

Explain the presence of Woman of Desire and Old Man in the railway station underpass.

The action shifts to inside the railway station. Old 10 Suicide Man: Hey, what do you call a blackfella with dandruff, hey? What do you call a… what do you call a... A lamington! Suicide Man: Hey, what do you call a carload of abos going over a cliff? An abolanche! Suicide Man: Hey hey brothers, come here. Come here, come here. Why do they call us boongs? Because that’s the sound we make when we hit their bull bar. Suicide Man: How do a group of Aborigines take a family portrait? They all jump in the back of a stolen Torana and they run a red light camera. Smile, you mob! Why is this sequence intercut with scenes of Suicide Man, drunk and telling racist jokes to a non-existent audience? Why is each joke punctuated by a shot of Old Man?

4. JEDDA SHAKE-A-LOVE. Suicide Man sits on a stone staircase, wrapped in his blanket for warmth and smoking a cigarette, he recalls the In this sequence, Djali becomes the audience as he life he once lived. watches Androgynous Man perform on a stage and Suicide Man: I did well at school. I respected the priest. make preparations backstage at a nightclub. Djali And I went to Uni. I got my degree. I worked for the is mesmerised by Androgynous Man as he dances mongrels. I got my pay, I got my super. I got a wife. Got on a stage. The grace and beauty of his perfor- kids. I bought a home. I did their contracts. I dug up the mance is intercut with scenes of him backstage ap- earth. I was always polite. Never talked politics. Never plying white ochre to his face, as a drag queen sits talked back. Never talked shit. And still, I’m forty years alongside him at the same dressing table applying old. A foot in each world, and a heart in none. I started garish makeup. drinking, started gambling. I lost my wife, I lost my kids. I lost my job. I lost myself. A foot in each world and a Voiceover dialogue is an integral part of this heart in none. sequence. Backstage a ribald and bitchy conversa- tion between one drag queen and another plays out prior to their performance. We also hear the emcee announce Androgynous Man’s imminent {{ Androgynous Man’s group performance in arrival on stage: the bush.

‘And now for something a little bit different, the one How does Djali view Androgynous Man? and only, the fabulous, Jedda Shake-a-Love.’ What comment is this sequence making about Androgynous Man’s way of existing? Who is Androgynous Man? Write a detailed description of the character by The sequence is followed by two short scenes, drawing on the drama and dance featured in this ‘And now for the first tracks Romeo striding through a black- sequence. something a little ened bush landscape and the second depicts the Write a detailed analysis of the following dance bit different, the wedge-tailed eagle. works: one and only, the Why does the narrative return to Romeo and {{ Androgynous Man’s solo performance on fabulous, Jedda then to the wedge-tailed eagled? stage; Shake-a-Love.’ {{ Androgynous Man’s solo performance in the bush; SCREEN EDUCATION © ATOM 2016

11 5. ALCOHOL

The sequence begins with Djali and Old Lady sit- ting atop an upturned car. They can hear a voice speaking in language. The drama shifts abruptly Who is Suicide Man? to Alcohol Man, caught in the glare of oncoming traffic. How does this scene shape the audience’s response to Suicide Man? Your answer should refer Who is Alcohol Man? to Suicide Man’s monologue and the use of production elements. Write a detailed description of the character by drawing on the drama and dance featured in this What comment is this scene making about the sequence. status of Indigenous Australians in contemporary Australian society. How does the filmmaker use production elements to convey the danger of Alcohol Man’s 6. BOWLING situation? Alcohol Man falls to the ground. Write an analysis Djali and Old Man go tenpin bowling. They are at of the dance work that follows the accident. ease in each other’s company. Describe the use and significance of the following props: Describe the relationship between Djali and Old Man. • The upturned car • The smoke Comment on how the acting of Hunter Page- • The bottles of alcohol Lochard and Demela Wunungmurra contributes to the audience’s understanding of the relationship. Alcohol Man tries to stand despite his injuries. He staggers and falls again. Djali approaches and is How are production elements used in this scene to there to catch Alcohol Man when he once again convey their relationship? attempts to stand but fails. Why do Djali and Old Man go tenpin bowling? What role does Romeo play in this sequence? Explain the significance of the setting. What comment is this sequence making about alcohol consumption? A film screens on a large television screen on the wall at the end of the bowling lanes. The men notice it as they are leaving. The film is Charles SCREEN EDUCATION © ATOM 2016

12 Chauvel’s Jedda (1955).

Use the Internet to research Jedda. Drawing on your research, explain why the director of Spear, Stephen Page, decided to use this excerpt from the film.

How do Djali and Old Man react to the scene that they watch? Your commentary should refer to the dance work 7. MY BOOMERANG WON’T COME BACK and the use of the performance space.

Djali and Old Man stand inside the entrance to Recall your thoughts and feelings when you first a community hall. A ‘Welcome to Country’ ban- watched this sequence. Share these thoughts ner hangs on the red stage curtains. A group of and feelings with the class. Aboriginal men and women begin to dance in time with the music. How does Djali react to the performance?

Write a detailed commentary of this sequence. Why does Old Man join the dancers?

Your commentary should refer to relevant story ‘My Boomerang Won’t Come Back’ was written by elements such as the opening, development and Max Diamond and Charlie Drake in 1961. The song resolution of the sequence; characters and the was performed by Charlie Drake, a British come- relationship between characters; the point/s of dian. Despite its explicit racism, the song topped view from which the narrative is presented and the the charts in Britain and reached number one on function of setting in the narrative. the Australian music charts in November 1962.

Your commentary should refer to relevant produc- Read the lyrics of ‘My Boomerang Won’t Come tion elements. Back’. SCREEN EDUCATION © ATOM 2016

13 In the bad, bad lands of Australia many years ago The Aborigine tribes were meeting Having a big pow wow My boomerang And I can pick that one We’ve got a lot of trouble, Chief won’t come back For three long months he sat there On account of your son, Mac My boomerang Or maybe it was four My boy Mac, why, what’s wrong with him? Then an old, old man won’t come back In a kangaroo skin came My boomerang won’t come back I’ve waved the A-knocking at his door Your boomerang won’t come back thing all over the I’m the local witch doctor, son My boomerang won’t come back place They call me George Alfred Black My boomerang won’t come back Practised till I was Now tell me, what’s your trouble, boy? I’ve waved the thing all over the place Practised till I was black in the face black in the face My boomerang won’t come back I’m a big disgrace to the Aborigine race I’m a big disgrace Your boomerang won’t come back My boomerang won’t back to the Aborigine My boomerang won’t come back I can ride a kangaroo (yeah, yeah) race My boomerang won’t come back Make Kinkajou stew (yeah, yeah) My boomerang I’ve waved the thing all over the place But I’m a big disgrace won’t back Practised till I was black in the face To the Aborigine race I’m a big disgrace to the Aborigine race My boomerang won’t come back My boomerang won’t back They banished him Don’t worry, boy, I know the trick From the tribes then And to you, I’m gonna show it And sent him on his way If you want your boomerang to come back He had a backless boomerang Well, first you’ve got to throw it So here he could not stay Oh, yes, never thought of that This is nice, isn’t it Daddy will be pleased Getting banished at my time in life Must have a girl What a way to spend an evening Excuse me, now then, slowly back and throw Sittin’ on a rock in the middle of the desert Oh, my God, I hit a flying doctor With me boomerang in me hand Eee-hee-hee, can you do First Aid? I should very likely get bushwhacked Don’t talk to me about First Aid, boy, you owe me Get out of here, you nasty bushwhackin’ animals fourteen chickens Think I will make a nice cup of tea You know what I mean, learn you to throw the Good gracious! There goes a kangaroo boomerang, you know SCREEN EDUCATION © ATOM 2016 I must practice with me boomerang First things first Hit him right behind the left ear Yeah, I know that, but, yeah I think on this Now then, slowly back occasion, you know, you could be just a little more considerate… “If you throw that thing at me” “I’ll jump right on your head” Isn’t it marvellous, in a land full of kangaroos? 14 Why is the song offensive?

In 2015, ABC Radio banned the song after a lis- tener complaint. Do you think the song should have been banned from radio airplay in 1961?

8. PRISON MAN

Prison Man’s body, covered in dark grey paint, is wiped clean by Old Lady at the beginning of this sequence. The drama then shifts from the stage to the real world. Djali and Old Lady make their way into a prison to visit. Scenes of Djali and Old Lady waiting together, Old Lady being searched, Djali waiting alone and Old Lady preparing a smok- Charles Perkins: Twenty thousand years we’ve ing ceremony in the visitor’s restroom are intercut been inhabiting this continent this great with scenes depicting Prison Man’s experience of country, but the Aboriginal people do not incarceration. The voices of politicians discussing have... government policies regarding the treatment of Charles Perkins: You might think there’s a Aboriginal people feature on the soundtrack for this bright future for Aborigines in Australia today sequence. because society can put me where I am.

Who is Prison Man? Charles Perkins: At the present time we have six Write a detailed description of the character by different policies concerning Aborigines here in drawing on the drama and dance featured in this Australia. sequence. Charles Perkins: It’s just a load of crap. A load Writing as Djali, describe the experience of visit- of crap. ing the prison.

Or Or Writing as Old Lady, describe the experience of visiting the prison. Writing as Prison Man, describe the experience of being incarcerated.

Write a detailed commentary of this sequence.

Your commentary should refer to relevant story elements such as the relationship between characters; the point/s of view from which the narrative is presented and the function of setting in the narrative. SCREEN EDUCATION © ATOM 2016

Your commentary should refer to relevant production elements.

Your commentary should refer to the dance work and the use of the performance space.

15 Explain the significance of the use of sound in this sequence? Why do we hear the voice of the sex offender? Explain the symbolism of the black X that is marked across Abused Man’s chest. Describe Djali’s response to Abused Man. What role does Big Man play in this sequence? Why does this sequence end with white ochre dust falling into shot? Listen to the soundtrack. What do you hear? How Djali is shadowing is sound used in this sequence to comment on the Suicide Man as he 10. JUST A POOR BLACK FELLA treatment of Aboriginal people? drunkenly weaves Djali is shadowing Suicide Man as he drunkenly One of the voices is that of Charles Perkins. his way along inner weaves his way along inner city lanes and streets, city lanes and streets, dragging his blanket behind him. Suicide Man Use the Internet to research Charles Perkins. is oblivious to Djali’s presence. He arrives at a dragging his blanket high-rise block of flats, where he makes his way Who was Charles Perkins? How did he improve the behind him. Suicide up flights of stairs and along a balcony. When treatment of Aboriginal people? Man is oblivious to Suicide Man reaches the front door of a particular flat, he reaches up and retrieves a key, concealed Explain the symbolism of the smoke that billows Djali’s presence. He on the head of the doorframe. Djali’s concern for into shot at the end of the sequence. arrives at a high-rise Suicide Man is evident throughout the sequence, block of flats, where as he follows Suicide Man’s footsteps, picks up his 9. ABUSE he makes his way up dropped blanket and searches for him in the tunnel. Suicide Man takes his own life. Djali is too late This sequence is preceded by a short scene that flights of stairs and to save him. He is comforted by Woman of Desire. shows Romeo leaning against the wall in the dingy along a balcony. narrow tunnel. Write a detailed commentary of this sequence.

Explain the significance of this scene. How Your commentary should refer to relevant story ele- does it shape the audience’s understanding of ments such as the opening, development and reso- the character of Romeo and what the character lution of the sequence; the relationship between represents? multiple storylines; the structuring of time; characters and the relationship between characters; the This sequence exposes the hurt and torment that point/s of view from which the narrative is present- have characterised the life of Abused Man. Scenes ed; and the function of setting in the narrative. depicting Abused Man’s suffering are intercut with shots of Big Man rubbing red ochre on his hands This sequence is intercut with a scene of Romeo and speaking in language to the camera. playing a didgeridoo, the lights of the city at night in the background, and a scene depicting Djali as Who is Abused Man? the wedged-tailed eagle. Explain the significance of Write a detailed description of the character by these scenes in your commentary. drawing on the drama and dance featured in this sequence. How is dance and movement used to depict Abused Man’s pain? SCREEN EDUCATION © ATOM 2016

16 Your commentary should refer to relevant produc- 2. How have key events beginning with colonisa- tion elements. tion affected the status of Indigenous Australian men? Work as a group to construct a timeline Your commentary should refer to the dance work that documents how Indigenous Australian men and the use of the performance space. have been affected by these events. 3. How have government policies and pro- Were you as surprised as Djali when Suicide Man grams, past and present, affected the status of opened the door of the flat and went inside? Indigenous Australian men? Explain the significance of the mosquito. 4. If health is defined as the social, emotional, 11. HOPE and cultural wellbeing of an individual, what do current statistics suggest about Indigenous Romeo walks along a red dirt road. He has re- Australian male health? What are the risk factors turned to Country. Djali’s journey continues. for Indigenous Australian male health?

Describe all that Djali encounters in this se- 5. Identify the individuals, organisations and gov- quence, beginning with him waking to the sight ernment policies and programs that are endeav- of a parked car packed with Indigenous men ouring to close the gap and reduce disadvantage and ending with him in the real world looking for Indigenous Australian men. skyward. Write a detailed commentary of this sequence. Your commentary should refer to relevant story Spear online elements such as the relationship between characters; the point/s of view from which the The official website for Spear can be accessed at narrative is presented and the function of setting http://www.spear-film.com.au/. in the narrative. Your commentary should refer to relevant production elements. Your commentary should refer to the dance work Stephen Page | Director and the use of the performance space. Does Spear end on a note of hope? and Co-writer

Born in Brisbane, Stephen Page is a descendant of Research Project Between the Nunukul people and the Munaldjali clan of the Yugambeh Nation from South East Queensland. In two worlds 1991, Page was appointed Artistic Director of the Sydney based, internationally acclaimed Bangarra Spear explores notions of Indigenous Australian Dance Theatre and has developed a signature masculinity within a contemporary context. body of works that have become milestones in Australian performing arts. The purpose of this research project is to inves- tigate the status of Indigenous Australian men in today’s Australian society.

This is a collaborative task. You are required to create a multimedia presentation that documents your research findings.

1. How does the media portray Indigenous Australian men? Locate relevant newspaper, radio and television reports. File the reports in a shared folder on Google drive. Use these reports to comment on

17 Page continues to reinvent Indigenous story-telling both within Bangarra and through collabora- tions with other performing arts companies, most notably directing the Indigenous sections for the 2000 Sydney Olympic Games Opening and Closing Ceremonies, as Artistic Director of the 2004 Adelaide Festival of the Arts, writing and directing Bloodland with Wayne Blair and Kathy Balngayngu Marika for Sydney Theatre Company in association with Bangarra.

Page made his directorial debut in 2012, directing the chapter ‘Sand’ in the feature film The Turning. In 2013, Page was Artistic Associate for Sydney Theatre Company’s production of The Secret River as part of the Sydney Festival. He also choreo- graphed the feature films Bran Nue Dae (2009) and The Sapphires (2011).

In 2008, Page was named New South Wales Australian of the Year in recognition of his efforts to bring cultures together. Page was honoured at the Australian Dance Awards for his Services to Dance in 2010, and in 2012, he received the NAIDOC Award for Artist of the Year. He was awarded an Honorary Doctorate of Creative Arts by the University of Technology Sydney in 2015 for his contribution to the arts and Indigenous culture.

For more information about Stephen Page visit Bangarra online at http://bangarra.com.au/people/ executives/stephen-page. SCREEN EDUCATION © ATOM 2016

18 Credits Credits Director…………………………………………………..Stephen Page Producer…………………………………………...... JohnDirector...... Stephen Harvey Page Co-writers…………………………………...... JustinProducer...... John Harvey Monjo & StephenCo-writers Page...... Justin Monjo & Composer………………………………………………..DavidStephen Page ContemporaryComposer...... choreography…………………...... StephenDavid Page Page & BangarraContemporary Dance choreography Ensemble ...... Stephen Page & Cultural consultant/Traditional choreography………..DjakapurraBangarra Dance Munyarryun Ensemble DirectorCultural consultant/Traditionalof photography………………………………...Bonnie choreography...... Djakapurra Elliott Production designer…………………………………….JacobMunyarryun Nash CostumeDirector of designer………………………………………Jennifer photography...... Bonnie Elliott Irwin Editor……………………………………………………..SimonProduction designer...... Jacob Nash Njoo SoundCostume designer………………………………………….Andy designer...... Jennifer WrightIrwin LineEditor producer……………………………………………Belinda...... Simon Njoo Mravicic ExecutiveSound designer producers…………………………………….Robert...... Andy Wright Connolly andLine Lizproducer Kearney...... Belinda Mravicic Executive directorproducers Bangarra...... Dance Theatre…………PhilippeRobert Connolly Magid and Liz Kearney CastExecutive director Bangarra Dance Theatre...... Philippe Magid

CastDjali…………………………..Hunter Page-Lochard Suicide Man……...... Aaron Pedersen BigDjali Man……………………...Djakapurra...... MunyarryunHunter Dingo Man…………………...Waangenga Blanco Page-Lochard AndrogynousSuicide Man...... Man……...... Kaine Sultan-Babij Aaron Pedersen AlcoholBig Man Man……………...... Beau...... Dean Riley SmithDjakapurra Prison Man…………………..Daniel Riley Munyarryun AbusedDingo Man Man…………………Leonard...... Mickelo Waangenga Blanco OldAndrogynous Man…………………...... Demela Man...... WunungmurraKaine Sultan-Babij Romeo…………………….....RomeoAlcohol Man...... Munyarryun Beau Dean Riley Old Lady…………………...... Elma Kris Smith EarthPrison Spirit…………………...Yolande Man...... Brown Daniel Riley WomanAbused ofMan Desire……………Nicola...... Sabatino Leonard Mickelo Wedge-tailedOld Man...... Eagle…………Daniel Riley & Hunter DemelaPage-Lochard Wunungmurra Romeo...... Romeo Munyarryun Old Lady...... Elma Kris Earth Spirit...... Yolande Brown Woman of Desire...... Nicola Sabatino Wedge-tailed Eagle...... Daniel Riley & Hunter Page-Lochard SCREEN EDUCATION © ATOM 2016

19 This study guide was produced by ATOM. (© ATOM 2016) ISBN: 978-1-74295-936-8 [email protected] For information on SCREEN EDUCATION magazine, or to download other study guides for assessment, visit . Join ATOM’s email broadcast list for invitations to

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