DOCSLIB.ORG

Department of English and American Studies English

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Department of English and American Studies English Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Hana Smištíková Archetypal Features in Australian Cinema: Representation of Aborigines Bachelor‟s Diploma Thesis Supervisor: PhDr. Jitka Vlčková, Ph. D. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author‟s signature Acknowledgement I would like to thank to my supervisor PhDr. Jitka Vlčková, Ph.D. for her guidance and help. Table of Contents INTRODUCTION ............................................................................................................................................... 5 1. THE ABORIGINAL PERSPECTIVE ................................................................................................... 9 1.1. Lost child ............................................................................................................................ 9 1.1.1. Children and the environment ....................................................................................... 10 1.1.2. Teenage dilemma and “decolonization”........................................................................ 12 1.1.3. Aboriginal notion of country ........................................................................................... 14 2. THE BLACK TRACKER ....................................................................................................................... 18 3. THE BATTLER(S) ................................................................................................................................. 21 4. PERVADING TOPICS ......................................................................................................................... 24 4.1. Sticking together ........................................................................................................... 24 4.1.1. Yolngu Boy and Rabbit Proof Fence .............................................................................. 24 4.1.2. The Chant of Jimmie Blacksmith and The Fringe Dwellers ........................................27 4.2. Racism .............................................................................................................................. 29 4.3. Assimilation ..................................................................................................................... 34 CONCLUSION .................................................................................................................................................. 37 WORKS CITED ................................................................................................................................................ 41 ENGLISH RESUMÉ ........................................................................................................................................ 45 CZECH RESUMÉ .............................................................................................................................................. 46 Introduction The encounter of Europeans and Australian Aboriginal people was problematic from the very beginning. Due to different languages, traditions and the whole culture and mentality, these two groups were unable to understand and appreciate each other‟s perspective: “Communication was minimal and the cultural gulf was huge” (Encyclopaedia Britannica 9). In course of time the situation developed, and mostly during the second half of the 20th century it changed for better. One of the first steps was the referendum in 1967 that recognized Aborigines as citizens1. According to Ward the result of the referendum “marked the beginning of a new era in relations between black and white Australians”. (302) Another successes in Aboriginal rights were the “Mabo decision”2 and the “apologies for stolen generations3.” The development of mutual relationship is illustrated by the film industry; the most visible aspect is an increasing number of films with Aboriginal themes 1 For more information see “1967 Referendum” 2 Mabo and others v. Queensland (generally referred to as the Mabo case or decision) was a break-through decision in recognizing the native title rights for Aboriginal and Torres Strait Islander people the first time ever in Australia. In 1992 The High Court of Australia decided to reject the terra nullius concept (no man's land) and thus recognized the presence of Aboriginal Australians in Australia before the European settlement. For further information see: “Mabo v Queensland (No 2)” 3 The term “Stolen Generations” is used for Aboriginal people who were forcefully taken away (“stolen”) from their families between the 1890s and 1970s (A Guide to Australia's Stolen Generation), as is suggested most of them had never seen their families again. These people were taken from the environment full of love; however, it was not corresponding to the standards of the white society. Rather soon after the “children removal policy” was stopped the individual politicians started to apologize for the misconduct of their predecessors. This was started by Western Australia's prime minister in 1997 (undoubtedly at least partly caused by release of Bringing them Home Report – an inquiry that contained testimonies of people directly affected by the “Stolen generation policy” for more see “Bringing them Home”) and followed by his colleagues till 2001. (Past Government Apologies) The final, and the most important apology was delivered by the Australian Prime Minister Kevin Rudd in 2008, and it was well received by the public (for more information see “'Sorry' Apology to Stolen Generation”). 5 during the last two decades. “Women, Indigenous culture and multiculturalism now occupy a legitimized (though for the latter two, very much limited) space after years of neglect and misrepresentation.” (Zielinski 94) This opinion is shared by Peter Krausz who claims that: “Over 1,000 feature films have been produced in Australia, yet I could only identify around fifty films that represent Aborigines in any way at all within the narrative”, however, adding that “things are changing”. (1) Things are not changing only in numbers of Aborigines represented in Australian film, but also in the ways they are portrayed in these movies. The aim of this thesis is to examine Indigenous Australians in films as presented to the audience and prove that their representation is becoming more and more likeable and realistic. Moreover, in this thesis a link between the “Mabo” decision plus the apologies and depiction of Aborigines is examined. The thesis builds much on what Collins and Davis pointed out in their book Australian Cinema after Mabo as archetypes of Australian national cinema. These are the black tracker, the lost child, the bush, battler and the Australian landscape itself. (8) The first chapter, titled “The Aboriginal perspective”, is going to follow Collins and Davis by examining the role of some of the archetypes previously mentioned. However, the first sub-chapter “Lost Child” will, as the title itself suggests, analyse the phenomenon of the lost children, and it will also analyse the bush and the landscape together at once. This is due to the fact that children occurring in Rabbit Proof Fence and Yolngu Boy are very much connected to the environment, and so one archetype is defined by the other in these movies. The sub-chapter “The Black Tracker” is about the figure of the 6 Tracker occurring in Rabbit Proof Fence and its role in Australian reconciliation. The next sub-chapter is to provide a closer look on who the “battler” is, how is illustrated in all films selected and in what ways the newer and the older movies differ in depiction of the battlers. The second chapter “Pervading Topics” is about to examine themes that go through all the selected movies while comparing and contrasting the differences between the films made before the “Mabo decision” and “apologetic mood” and more contemporary ones. By being present in all movies selected, the issues are also archetypal for Australian cinematography and its depiction of Aboriginal people. The elements discussed are sense of sticking together, racism and assimilation. The selected films for the examination are: The Chant of Jimmy Blacksmith, The Fringe Dwellers, Yolngu Boy and Rabbit Proof Fence. These films were chosen to examine the representation of Aboriginal culture and identity by studying their main characters and the issues they deal with. These films are concerned with difficulties the Aborigines have been encountering in they lives recently. By the analysis of these films it is possible to understand both sides of the Australia's race-related problems today, and see that there is neither an easy nor a definite answer to them. All the movies discussed are feature films made by Australian directors with smaller or greater discussion with Aborigines. One of the criteria for selection was the date of their release; The Chant of Jimmie Blacksmith and The Fringe Dwellers are older, and date before the “Mabo decision” and beginning of the “apologies for stolen generations” whereas Yolngu Boy and Rabbit-Proof Fence were filmed after 1992. These 7 films were also chosen because of their plots that offer a possibility to compare and contrast the approaches towards Aboriginal culture in the course of time on the basis of similar issues they deal with. 8 1. The Aboriginal perspective An attitude that Australian Aborigines have towards their land is a different one
Load more

Recommended publications
  • Bruce Beresford's Breaker Morant Re-Viewed
    FILMHISTORIA Online Vol. 30, núm. 1 (2020) · ISSN: 2014-668X The Boers and the Breaker: Bruce Beresford’s Breaker Morant Re-Viewed ROBERT J. CARDULLO University of Michigan Abstract This essay is a re-viewing of Breaker Morant in the contexts of New Australian Cinema, the Boer War, Australian Federation, the genre of the military courtroom drama, and the directing career of Bruce Beresford. The author argues that the film is no simple platitudinous melodrama about military injustice—as it is still widely regarded by many—but instead a sterling dramatization of one of the most controversial episodes in Australian colonial history. The author argues, further, that Breaker Morant is also a sterling instance of “telescoping,” in which the film’s action, set in the past, is intended as a comment upon the world of the present—the present in this case being that of a twentieth-century guerrilla war known as the Vietnam “conflict.” Keywords: Breaker Morant; Bruce Beresford; New Australian Cinema; Boer War; Australian Federation; military courtroom drama. Resumen Este ensayo es una revisión del film Consejo de guerra (Breaker Morant, 1980) desde perspectivas como la del Nuevo Cine Australiano, la guerra de los boers, la Federación Australiana, el género del drama en una corte marcial y la trayectoria del realizador Bruce Beresford. El autor argumenta que la película no es un simple melodrama sobre la injusticia militar, como todavía es ampliamente considerado por muchos, sino una dramatización excelente de uno de los episodios más controvertidos en la historia colonial australiana. El director afirma, además, que Breaker Morant es también una excelente instancia de "telescopio", en el que la acción de la película, ambientada en el pasado, pretende ser una referencia al mundo del presente, en este caso es el de una guerra de guerrillas del siglo XX conocida como el "conflicto" de Vietnam.
    [Show full text]
  • Into the Mainstream Guide to the Moving Image Recordings from the Production of Into the Mainstream by Ned Lander, 1988
    Descriptive Level Finding aid LANDER_N001 Collection title Into the Mainstream Guide to the moving image recordings from the production of Into the Mainstream by Ned Lander, 1988 Prepared 2015 by LW and IE, from audition sheets by JW Last updated November 19, 2015 ACCESS Availability of copies Digital viewing copies are available. Further information is available on the 'Ordering Collection Items' web page. Alternatively, contact the Access Unit by email to arrange an appointment to view the recordings or to order copies. Restrictions on viewing The collection is open for viewing on the AIATSIS premises. AIATSIS holds viewing copies and production materials. Contact AFI Distribution for copies and usage. Contact Ned Lander and Yothu Yindi for usage of production materials. Ned Lander has donated production materials from this film to AIATSIS as a Cultural Gift under the Taxation Incentives for the Arts Scheme. Restrictions on use The collection may only be copied or published with permission from AIATSIS. SCOPE AND CONTENT NOTE Date: 1988 Extent: 102 videocassettes (Betacam SP) (approximately 35 hrs.) : sd., col. (Moving Image 10 U-Matic tapes (Kodak EB950) (approximately 10 hrs.) : sd, col. components) 6 Betamax tapes (approximately 6 hrs.) : sd, col. 9 VHS tapes (approximately 9 hrs.) : sd, col. Production history Made as a one hour television documentary, 'Into the Mainstream' follows the Aboriginal band Yothu Yindi on its journey across America in 1988 with rock groups Midnight Oil and Graffiti Man (featuring John Trudell). Yothu Yindi is famed for drawing on the song-cycles of its Arnhem Land roots to create a mix of traditional Aboriginal music and rock and roll.
    [Show full text]
  • The Politics of Affluence
    The politics of affluence The Institute’s recent paper on ‘the rise of the middle-class battler’ (Discussion Paper No. 49) appears to have struck a powerful chord in the community. Clive Hamilton, the report’s author, comments on the political implications of ‘imagined hardship’. No. 33 December 2002 A recent Newspoll survey, statement that they cannot afford to buy commissioned by the Institute, reveals everything they really need. that 62 per cent of Australians believe that they cannot afford to buy The politics of affluence everything they really need. When we The proportion of ‘suf- Clive Hamilton consider that Australia is one of the fering rich’ in Australia is world’s richest countries, and that even higher than in the Who should pay for mater- Australians today have incomes three USA, widely regarded as nity leave? times higher than in 1950, it is the nation most obsessed remarkable that such a high proportion Natasha Stott Despoja with money. feel their incomes are inadequate. The Coalition’s Claytons health policy It is even more remarkable that almost Richard Denniss half (46 per cent) of the richest In other words, a fifth of the poorest households in Australia (with incomes households say that they do not have Letter to a farmer over $70,000 a year) say they cannot afford difficulties affording everything they Clive Hamilton to buy everything they really need. The really need, suggesting that they have proportion of ‘suffering rich’ in some money left over for ‘luxuries’. This Deep cuts in greenhouse Australia is even higher than in the USA, is consistent with anecdotal evidence that gases widely regarded as the nation most some older people living entirely on the Clive Hamilton obsessed with money.
    [Show full text]
  • Teachers' Notes for Secondary Schools
    artback nt: arts development and touring presents teachers’ notes for secondary schools teachers’ notes for secondary schools table of contents History - Djuki Mala [The Chooky Dancers] pg 3 Activity - Djuki Mala Zorba the Greek on YouTube pg 3 Activity - Online video - Elcho Island and The Chooky Dancers pg 3 Activity - Traditional dance comparison pg3 Home - Elcho Island pg 4 History pg 5 Activity - Macassar research pg 5 Activity - ‘Aboriginal’ vs ‘Indigenous’ pg 5 Activity - Gurrumul research pg 6 Activity - ‘My Island Home’ pg 6 Activity - Film: ‘Big Name No Blankets’ pg 6 Community pg 7 Activity - Elcho Island: Google Earth pg 7 Yolngu Culture pg 8 Activity - Film: ‘Yolgnu Boy’ + questions pg 8 Activity - Film: ‘Ten Canoes’ pg 9 Activity - Documentary: ‘Balanda and the Bark Canoes’ pg 9 Activity - Yolgnu culture clips online pg 9 Clans and Moieties pg 9 Activity - Clans and moieties online learning pg 9 Language pg 10 Activity - Yolngu greetings pg 10 Useful links and further resources pg 11 usage notes These notes are intended as a teaching guide only. They are suitable for high school students at different levels and teachers should choose from the given activities those that they consider most suitable for different year groups. The notes were developed by Mary Anne Butler for Artback NT: Arts Development and Touring. Thanks to Stuart Bramston, Shepherdson College, Jonathan Grassby, Linda Joy and Joshua Bond for their assistance. teachers’ notes page 2 of 11 History - Djuki Mala [T he Chooky Dancers] In 2007, on a basketball court in Ramingining, a group of Elcho Island dancers calling themselves the Chooky Dancers choreographed and performed a dance routine to the tune of Zorba the Greek.
    [Show full text]
  • The Aboriginal Version of Ken Done... Banal Aboriginal Identities in Australia
    This may be the author’s version of a work that was submitted/accepted for publication in the following source: McKee, Alan (1997) The Aboriginal version of Ken Done ... banal aboriginal identities in Aus- tralia. Cultural Studies, 11(2), pp. 191-206. This file was downloaded from: https://eprints.qut.edu.au/42045/ c Copyright 1997 Taylor & Francis This is an electronic version of an article published in [Cultural Studies, 11(2), pp. 191-206]. [Cultural Studies] is available online at informaworld. Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1080/09502389700490111 "The Aboriginal version of Ken Done..." Banal Aboriginality in Australia This writing explores the ways in which representations of blackness in Australia are quite specific to that country. Antipodean images of black Australians are limited in particular ways, influenced by traditions, and forming genealogies quite peculiar to that country. In particular, histories of blackness in Australia are quite different that in America. The generic alignments, the 'available discourses' on blackness (Muecke, 1982) form quite distinct topographies, masses and lacunae, distributed differently in the two continents. It is in these gaps, the differences between the countries — in the space between Sale of the Century in Australia and You Bet Your Life in the USA — that this article discusses the place of fatality in Australian images of the Aboriginal.
    [Show full text]
  • 1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania It Is 1968, Rural Western Austra
    1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania Abstract: In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on- screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future. It is 1968, rural Western Australia. As we glide along an undulating bitumen road up ahead we see, from a low camera angle, a school bus moving smoothly along the same route. Periodically a smattering of roadside trees filters the sunlight, but for the most part open fields of wheat flank the roadsides and stretch out to the horizon, presenting a grand and golden vista. As we reach the bus, music that has hitherto been a quiet accompaniment swells and in the next moment we are inside the vehicle with a fair-haired teenager. The handsome lad, dressed in a yellow school uniform, is drawing a picture of a boxer in a sketchpad. Another cut takes us back outside again, to an equally magnificent view from the front of the bus. This mesmerising piece of cinema—the opening of September (Peter Carstairs, 2007)— affords a viewer an experience of tranquillity and promise, and is homage to the notion of a golden age of youth.
    [Show full text]
  • What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
    What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs.
    [Show full text]
  • Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi's the Chant of Jimmie Blacksmith Revisited
    FILMHISTORIA Online Vol. 28, núms. 1-2 (2018) · ISSN: 2014-668X Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi’s The Chant of Jimmie Blacksmith Revisited ROBERT J. CARDULLO University of Michigan Abstract The Chant of Jimmie Blacksmith (1978) broke ground in its native country for dealing bluntly with one of the most tragic aspects of Australian history: the racist treatment of the aboriginal population. Adapted faithfully from the 1972 novel by Thomas Keneally, the film concerns a young man of mixed race in turn-of-the-century Australia who feels torn between the values and aspirations of white society, on the one hand, and his aboriginal roots, on the other, and who ultimately takes to violence against his perceived white oppressors. This essay re-views The Chant of Jimmie Blacksmith from the following angles: its historical context; its place in the New Australian Cinema; its graphic violence; and the subsequent careers of the film’s director, Fred Schepisi, and its star, Tommy Lewis. Keywords: The Chant of Jimmie Blacksmith; Fred Schepisi; Thomas Keneally; New Australian Cinema; racism and colonialism Prior to the late 1970s, Australia was something of a cinematic backwater. Occasionally, Hollywood and British production companies would turn up to use the country as a backdrop for films that ranged from the classic (On the Beach [1959]) to the egregious (Ned Kelly [1970], starring Mick Jagger). But the local movie scene, for the most part, was sleepy and unimaginative and very few Australian films traveled abroad. Then, without warning, Australia suddenly experienced an efflorescence of imaginative filmmaking, as movies such as Picnic at Hanging Rock (1975), The Getting of Wisdom (1977), My Brilliant Career (1979), and Breaker Morant (1980) began to be shown all over the world.
    [Show full text]
  • The Aboriginal
    A STUDY GUIDE BY KATE RAYNOR SCREEN EDUCATION 1 www.metromagazine.com.au www.theeducationshop.com.au Introduction the early years of the twentieth century, the Illin family fled St Pe- tersburg, Russia, to Australia (they went to South America earlier) to IN escape persecution by the Czar. They settled in far north Queens- land, hoping to find a ‘working man’s paradise’. Calling their new home ‘Little Siberia’, they embarked on the arduous, back-breaking task of clearing the rainforest to make way for dairy farms. Soon the Illins encountered the Ngadjon people, traditional owners of the Atherton Tablelands the Russian immigrants now occupied. Leandro Illin, 28, (pictured top right) son of patriarch Nicholas, became involved with Kitty Clark (pictured bottom right), an Aboriginal woman from the area. They had a child together and Leandro applied to the Protector of Aborigines, J.W. Bleakley, for permission to marry. Permission was denied and the police were dispatched to remove Kitty and her children to a local mission. But Leandro was a man of fierce determination and resolve, and he made every effort possible to protect ‘There must Kitty and their child, and to formally secure their union. Pioneers of Love (Julie Nimmo, 2005) is an epic saga, with the twists and have been turns of Illin family history becoming in some sense symbolic of the vast social upheavals of the twentieth century. Through a powerful personal story, we are a lot of love given insight into the complex social and historical realities of life for immigrants and Indigenous people back in the early days of white settlement.
    [Show full text]
  • Mckee, Alan (1996) Making Race Mean : the Limits of Interpretation in the Case of Australian Aboriginality in Films and Television Programs
    McKee, Alan (1996) Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs. PhD thesis. http://theses.gla.ac.uk/4783/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Making Race Mean The limits of interpretation in the case of Australian Aboriginality in films and television programs by Alan McKee (M.A.Hons.) Dissertation presented to the Faculty of Arts of the University of Glasgow in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Glasgow March 1996 Page 2 Abstract Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences.
    [Show full text]
  • A Survey of Australia May 7Th 2005
    Has he got the ticker? A survey of Australia May 7th 2005 Republication, copying or redistribution by any means is expressly prohibited without the prior written permission of The Economist The Economist May 7th 2005 A survey of Australia 1 Has he got the ticker? Also in this section The limits to growth Australia’s constraints are all on the supply side. They need to be tackled. Page 3 Beyond lucky The economy has a lot more going for it than mineral resources. Page 5 Innite variety A beautiful empty country full of tourist attractions. Page 6 The reluctant deputy sheri Australia’s skilful foreign policy has made it many friends. Keeping them all happy will not be easy. Page 7 God under Howard The prime minister keeps on winning elec- tions because he understands how Australia has changed. Page 9 Australia’s economic performance has been the envy of western countries for well over a decade. But, says Christopher Lockwood, the Australians old and new country now needs a new wave of reform to keep going The country seems to be at ease with its new- HE best-loved character in Australian ment, but to win re-election on, policies est arrivals, but not yet with its rst Tfolklore is the battler, the indomi- that were as brutal as they were necessary. inhabitants. Page 11 table little guy who soldiers on despite all It was under this remarkable Labor team the odds, struggling to hold down his job, that the really tough things were done: the raise his family and pay o his mortgage.
    [Show full text]
  • NYUNTU NGALI (You We Two) by Scott Rankin
    Education Resources Pre‐Production STC Ed presents a Windmill and Big hART production NYUNTU NGALI (You We Two) by Scott Rankin PRE‐PRODUCTION RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 About Windmill 3 About Big hART 3 Synopsis 4 Themes 4 Historical and social background of the play 5 Interview with the playwright 6 – 7 PRE‐PRODUCTION EXERCISES Storytelling 8 – 9 We are going 10 Photo: Tony Lewis Pijantjatjara 11 – 12 Education Resource compiled by Education manager Naomi Edwards, Education Coordinator Toni Murphy, Editor Lucy Goleby, Contributors Georgia Close, Kerreen Ely Harper and DiAnne McDonald KEY AIM of exercise or section + Extension Exercises Download and watch Drama Exercises English Exercises Play online NYUNTU NGALI Sydney Theatre Company Education Resources 2010 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. PRE‐PRODUCTION RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about “PETROL: You can’t live without him. ABOUT STCED EVA: Can’t live without him. www.sydneytheatre.com.au/stced/about ROAM: We don’t care if you kill us, do we little one. Nyuntu Ngali Scene Five – Who are you? ” CREATIVE TEAM Writer and Director – Scott Rankin Musical Director and Community Producer – Beth Sometimes Lighting Designer – Nigel Levings Choreographer – Gina Rings Objects Designer – Elliat Rich AV
    [Show full text]