Resilience, Courage and Humour
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DEADLYS® FINALISTS ANNOUNCED – VOTING OPENS 18 July 2013 Embargoed 11Am, 18.7.2013
THE NATIONAL ABORIGINAL & TORRES STRAIT ISLANDER MUSIC, SPORT, ENTERTAINMENT & COMMUNITY AWARDS DEADLYS® FINALISTS ANNOUNCED – VOTING OPENS 18 July 2013 Embargoed 11am, 18.7.2013 BC TV’s gripping, award-winning drama Redfern in the NBA finals, Patrick Mills, are finalists in the Male Sportsperson Now is a multiple finalist across the acting and of the Year category, joining two-time world champion boxer Daniel television categories in the 2013 Deadly Awards, Geale, rugby union’s Kurtley Beale and soccer’s Jade North. with award-winning director Ivan Sen’s Mystery Across the arts, Australia’s best Indigenous dancers, artists and ARoad and Satellite Boy starring the iconic David Gulpilil. writers are well represented. Ali Cobby Eckermann, the SA writer These were some of the big names in television and film who brought us the beautiful story Ruby Moonlight in poetry, announced at the launch of the 2013 Deadlys® today, at SBS is a finalist with her haunting memoir Too Afraid to Cry, which headquarters in Sydney, joining plenty of talent, achievement tells her story as a Stolen Generations’ survivor. Pioneering and contribution across all the award categories. Indigenous award-winning writer Bruce Pascoe is also a finalist with his inspiring story for lower primary-school readers, Fog Male Artist of the Year, which recognises the achievement of a Dox – a story about courage, acceptance and respect. Aboriginal and Torres Strait Islander musicians, will be a difficult category for voters to decide on given Archie Roach, Dan Sultan, The Deadly Award categories of Health, Education, Employment, Troy Cassar-Daley, Gurrumul and Frank Yamma are nominated. -
The Australian Theatre Family
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him. -
By Katie Beckett
Darebin Arts Speakeasy and ILBIJERRI Theatre Company present WHICH WAY HOME By Katie Beckett NORTHCOTE TOWN HALL Wed 24 Aug – Sun 3 Sep 2016 65mins (no interval) CREATIVE TEAM Writer Katie Beckett Production Manager Carly Heard Director Rachael Maza Lighting Designer Nik Pajanti Performers Katie Beckett & Tony Briggs Dramaturge Jane Bodie Set & Costume Designer Emily Barrie Stage Manager Kellie Jayne Chambers Sound Designer Mark Coles Smith Sound Support Steph O’Hara ILBIJERRI Theatre Company Artistic Director Rachael Maza Education & Learning Manager Executive Producer Simeon Moran Kamarra Bell-Wykes Creative Producer Ben Graetz Development & Marketing Manager Iain Finlayson Creative Producer Naretha Williams Company Manager Lauren Bok Associate Producer Damienne Pradier Finance Manager Jon Hawkes DIRECTOR’S NOTE Working with Katie Beckett on her first This production is the perfect antidote. play, WHICH WAY HOME, has been an WHICH WAY HOME depicts an absolute joy. Katie’s generosity, Aboriginal man who is loving, caring, courage, hard work and talent over the funny and ultimately a very good father. last couple of years has finally paid of. This is a universal human story that Now in the rehearsal room I have the transcends race, time and place. Most pleasure of working with both her and everyone can relate to having a father or the glorious, equally multi-talented Tony a child. Briggs. It’s experiences like this that afrm why I love what I do! I’d like to acknowledge the extraordinary creative team: Katie Beckett (Writer and Although this journey started a couple Actor), Jane Bodie (Dramaturge), Emily of years ago, WHICH WAY HOME Barrie (Set and Costume), Mark couldn’t be more timely. -
Media Release
MEDIA RELEASE Celebrating strength, pride and achievement of First Nations artists at National Indigenous Arts Awards The Australia Council for the Arts will celebrate the contribution of First Nations artists at the 12th National Indigenous Arts Awards, to be presented tonight at the Sydney Opera House. Respected elders actor Uncle Jack Charles and Pakana shell artist Aunty Lola Greeno will be honoured with the prestigious Red Ochre Awards for Lifetime Achievement. They will be joined by visual artist Jenna Lee, who receives The Dreaming Award for a young and emerging artist and theatre maker Jacob Boehme who is the recipient of the Aboriginal and Torres Strait Islander Arts Fellowship. The National Indigenous Arts Awards (NIAA) recognise the centrality of First Nations artists to Australian culture. They celebrate the significant contribution of First Nations artists to the vibrancy of Australian arts. The event is held on 27 May each year to coincide with the anniversary of the 1967 referendum. Australia Council Deputy Chair Lee-Ann Tjunypa Buckskin said, “On this auspicious date, it is significant that we are supporting and celebrating our First Nations artists at important stages in their careers. There is a profound sense of cultural strength as we acknowledge these artists from across the generations, from emerging to mid-career, to some our most celebrated and acclaimed elders.” First Nations artists have also received extensive acknowledgement in the Australia Council Awards and the Australia Council Fellowships this year. At the NIAA event, these artists will also be acknowledged. Fellowship recipients Vernon Ah Kee (visual art) and Ali Cobby Eckerman (literature) will be joined onstage by three more outstanding First Nations artists, who received Australia Council Awards earlier this year - Rachael Maza, Rhoda Roberts and Vicki Van Hout. -
Jack Charles V the Crown | Education Resource Kit
JACK CHARLES V THE CROWN | EDUCATION RESOURCE KIT JACK CHARLES V THE CROWN 2013 NATIONAL TOUR Performed by Jack Charles Directed by Rachael Maza EDUCATION RESOURCE KIT Prepared by Lia Pa’apa’a in consultation with ILBIJERRI Theatre Company JACK CHARLES V THE CROWN | EDUCATION RESOURCE KIT TABLE OF CONTENTS TO TEACHERS 1 Making the most out of the JACK CHARLES V THE CROWN 1 Multiple assessment methods 1 ILBIJERRI THEATRE COMPANY 2 Company Background 2 JACK CHARLES V THE CROWN 3 Cast & Crew 3 Director’s Note: Rachael Maza 4 Performer and Co-writer: Jack Charles 5 A Note From Jack 5 Co-writer: John Romeril 6 Writer’s Note 6 PRE-SHOW ACTIVITIES 7 Focus 1 - Stolen Generation 7 Focus 2 - Aboriginal Nations And Stories 9 Focus 3 – Identity 12 Focus 4 - Indigenous Theatre 14 Focus 5 - Theatre Etiquette 16 POST-SHOW ACTIVITIES 18 Focus 6 – Review the Show 18 Focus 7 - Creative Pathways 20 Focus 8 - Where To From Here 21 FURTHER RESOURCES 23 Books To Read 23 Links and Further Resources 23 Resources to download 23 Jack Charles on film & YouTube 23 Interview audio links 23 APPENDICES 24 1: Lyrics to ‘Took The Children Away’ by Archie Roach: 24 2: Theatre Do’s And Don’ts 25 3: How to Structure a Review 25 JACK CHARLES V THE CROWN | EDUCATION RESOURCE KIT TO TEACHERS MAKING THE MOST OUT OF THE JACK CHARLES V THE CROWN Welcome to the JACK CHARLES V THE CROWN Education Resource Kit. This kit has been prepared by Lia Pa’apa’a. -
26 March 2017 EXHIBITION WALL LABELS Drafted by Max Dela
SOVEREIGNTY Australian Centre for Contemporary Art 17 December 2016 – 26 March 2017 EXHIBITION WALL LABELS Drafted by Max Delany, Paola Balla and Stephanie Berlangieri BROOK ANDREW Born 1970, Sydney Wiradjuri Lives and works in Melbourne Against all odds 2005 Hope and Peace series screenprint 100.0 x 98.0 cm Private Collection, Melbourne Black and White: Special Cut 2005 Hope and Peace series screenprint 100.0 x 98.0 cm Private Collection, Melbourne Maralinga clock 2015 inkjet and metallic foil on linen 280.0 x 160.0 x 120.0 cm Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley 9, Sydney; and Galerie Nathalie Obadia, Paris and Brussels The weight of history, the mark of time (sphere) 2015 coated nylon, fan, LED 500.0 cm (diameter) Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley 9, Sydney; and Galerie Nathalie Obadia, Paris and Brussels Brook Andrew’s practice encompasses bold inter-disciplinary projects that explore the ongoing histories, image cultures and effects of colonialism and modernity. Presented in Sovereignty is a selection of works from over the past decade. Andrew’s silkscreen prints, from the Hope and Peace series of 2005, deftly connect the traditions of pop art and political posters in a form of agit-pop. Alongside these are presented two sculptural works: a large, soft sculpture Maralinga clock 2015, based on a souvenir clock in the collection of Sydney’s Powerhouse Museum which commemorates the British nuclear test explosions on the desert homelands of the Tjarutja people; and The weight of history, the mark of time (sphere) 2015, a living, breathing balloon form adorned with a distinctive design inspired by the artist’s Wiradjuri heritage. -
Jack Charles V the Crown
15–18 March Rangatira Q Theatre JACK CHARLES V THE CROWN ILBIJERRI THEATRE COMPANY A NOTE FROM JACK CHARLES Shortly after the screening of a 56-minute version of my documentary, Bastardy, on the ABC, I started to receive feedback from a number of sources. Testament that my story had hit that ‘sweet spot’ in the minds and hearts of ordinary viewers, in Melbourne and nationwide. It had impressed so many people, from all walks of life, that many were urged to contact me by phone or postcard, others content to wait for a chance meet, face to face. On the streets, on a tram, bus or train, each one practically falling arse over tit to engage, talk and thank me for the experience. I thoroughly enjoy the rapport and support offered by complete strangers, and understand and honour their reaching out to me. It came as no surprise when Rachael Maza, the Artistic Director of ILBIJERRI, rang to talk about taking my story to its rightful place – the stage, the theatre. The mob at ILBIJERRI were always aware of the rise in my profile and standing in the performing arts arena, so it wasn’t long before I got the call to arms from Rachael and ILBIJERRI – Bold, Black ‘n’ Brilliant! Rachael had roped in my old friend from the Pram Factory days, John Romeril, to be my dramaturg. T’was easy to re-connect to the man who’d written the original play, Bastardy. This is one very important piece of theatre that I was so anxious and ready to do. -
Education Resource
AUSTRALIA / NZ DRAMA BLACK TIES BY JOHN HARVEY & TAINUI TUKIWAHO ILBIJERRI Theatre Company & Te Rēhia Theatre EDUCATION RESOURCE Image: Garth Oriander 1 7 February - 1 March CONTENTS 2 Synopsis 2 Credits 2 Biographies 6 A Note from the Creators 7 About the Performance 7 Major Themes 7 Resources 8 Q&A with Co-Directors 9 Before the Show 11 After the Show 13 Specific Links to Curriculum 14 Appendix Perth Festival respects the Noongar people who remain the spiritual and cultural birdiyangara of this kwobidak boodjar. We honour the significant role they play for our community and our Festival to flourish. SYNOPSIS BIOGRAPHIES Two families, two cultures ... too much! ILBIJERRI THEATRE COMPANY For Maori corporate hotshot Hera and Aboriginal consultancy ILBIJERRI is Australia’s leading and longest running First Nations entrepreneur Kane it was love at first sight. Ambitious and career theatre company. The company creates, presents and tours focused, Kane and Hera have their perfect future all mapped out. powerful and engaging theatre creatively controlled by First But there is one thing they can’t control … their families! Nations artists that gives voice to their cultures. Born from As the biggest mob get worked up for the blackest wedding ever, community, ILBIJERRI remains grounded in telling the stories of reality is sinking in. Fast! Will this international love story bring two what it means to be First Nations in Australia today. ILBIJERRI strong cultures together? Or will it blow Hera and Kane’s world supports self-determination for First Nations voices through apart? programs that foster emerging First Nations theatre makers and industry professionals. -
“To Be Part of an Aboriginal Dream of Self-Determination” Aboriginal Activism in Redfern in the 1970S
“To be Part of an Aboriginal Dream of Self-Determination” Aboriginal activism in Redfern in the 1970s Johanna Perheentupa A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Humanities and Languages Faculty of Arts and Social Sciences August 2013 ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………………………………….............. COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. -
Media Kits Black Ties
MEDIA KITS BLACK TIES BY JOHN HARVEY & TAINUI TUKIWAHO ILBIJERRI THEATRE COMPANY & TE RĒHIA THEATRE STUDIO UNDERGROUND THU 13- SUN 16 FEB A PERTH FESTIVAL COMMISSION Click here for images BLACK TIES Two families, two cultures... too much! When Māori corporate hotshot Hera and Aboriginal consultancy entrepreneur Kane locked eyes at a Cultural Awareness session, it was love at first sight. Ambitious and career focused, Kane and Hera now have their perfect future all mapped out. But there is one thing they can’t control…their families! As the biggest mob of Aunties, Uncles and cousins from both sides of the ditch get worked up for the blackest wedding ever, reality is sinking in. Fast! Will this international love story bring two strong cultures together? Or will it blow Hera and Kane’s world apart? BLACK TIES is a hilarious and heart-warming immersive theatre experience by ILBIJERRI Theatre Company (Australia) and Te Rēhia Theatre (Aotearoa/New Zealand) that reminds us of the power of love to unite. With a peerless cast including Uncle Jack Charles, Mark Coles Smith, Lisa Maza, Tuakoi Ohia and Brady Peeti, and created by a crack team of Aboriginal, Torres Strait Islander and Māori artists, BLACK TIES reimagines the popular wedding rom-com from a distinctively First Nations perspective. Set to a live score of Black anthems and wedding classics, it will be a party to remember. Created by a black bold and brilliant team of Aboriginal, Torres Strait Islander and Māori artists, BLACK TIES re-imagines the popular rom-com wedding trope from a distinctively First Nation’s perspective. -
Blackcomedypress-Kit-Final.Pdf
A sketch comedy show by blackfellas. For everyone. The wait is over! The groundbreaking New characters include Uncle Doctor, Black Comedy is a fast paced, comedy series Black Comedy returns a medico whose methods are more irreverent, entertaining, thought to ABC TV. Written by and starring than just a little unconventional, the provoking - at times silly - at other times some of the funniest and most talented Thong Mum, a woman whose ability confronting, but always funny look at Indigenous performers in the country, with a boomerang thong is deadly, Australia and Australian culture through Black Comedy ‘goes blackly where no and the Beachies, a father and son the comedic prism of our first people. other blackfella has gone before’ using who spend their days sitting on a log Starring alongside our cast are special an array of talented Indigenous and on their Torres Strait Island home guests including; Deborah Mailman, non-Indigenous performers to explore staring out to sea and pondering the Leah Purcell, Matt Day, Luke Carroll, what it means to be Indigenous in imponderable. Shari Sebbens, Bjorn Stewart, Jack contemporary Australia. We also meet Ray, a recent parolee and Charles, Elaine Crombie, Bruce R Series 2 sees the return of many menacing new member of the Black Carter, Brendan Cowell, Lisa Hensley, favorites, Townsville’s favourite gays, the Comedy team, recruited as part of Anita Hegh, Robbie Magasiva, Harriet Tiddas, are back, as are the Housewives the ABC’s Bridging The Gap Program, Dyer, Andrew McFarlane, Bruce Spence, of Narromine and audience favourites we pay homage to The Godfather Chris Haywood, Graham Rouse, Maggie Blakforce – still enforcing what is and with The Elders, an epic four-part tale Dence, Costa Georgiadis and Brooke isn’t black in the community. -
Keeping Hold of Justice: Encounters Between Law and Colonialism
2RPP Contents Acknowledgments vii Chapter 1. Introduction— Encounters between Law and Colonialism: From Structural Injustice to Structural Justice 1 Chapter 2. Settler Societies: The Making of Legal Order in Australia 23 Chapter 3. Holding Law: Bringing Indigenous and Non- Indigenous Laws into Relation 43 Chapter 4. Crimes against Humanity: The Appreciability of Colonial Harm 62 Chapter 5. Transitional Justice and Settler Colonialism: Toward Structural Change 83 Chapter 6. Claiming the Record of Law: Reimagining Law as a Site of Justice 104 Chapter 7. Conclusion— Structural Justice: A Method of “Meeting Points” 132 Notes 143 Select Bibliography 181 Index 203 Digital materials related to this title can be found on the Fulcrum platform via the following citable URL: https://doi.org/10.3998/mpub.11323120 2RPP Acknowledgments As the following pages will attest, this book is an inherently collaborative en- deavor that is part of a much larger, cross- sectoral, and interdisciplinary engage- ment that became known as the Minutes of Evidence project. There are there- fore many people to thank, and processes to acknowledge, in recognition of an extraordinary partnership that took place between 2009 and 2016, and whose legacies continue to unfold. First, we acknowledge the Traditional Owners of the land on which we live and write, the Wurundjeri people of the Kulin nation. We pay our respect to their Elders, past and present, and in extending that respect to Indigenous peo- ples across Australia, we acknowledge that their sovereignty was never ceded. We particularly thank Wurundjeri Elders Aunty Joy Murphy Wandin, Aunty Diane Kerr, and Uncle Bill Nicholson— and their communities— who so gener- ously shared knowledge and stories and provided ongoing advice and guidance for the project as a whole.