DOCSLIB.ORG

LEARNING RESOURCES Belvoir, in Association with Vicki Gordon Music Productions Pty Ltd, Presents BARBARA and the CAMP DOGS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LEARNING RESOURCES Belvoir, in Association with Vicki Gordon Music Productions Pty Ltd, Presents BARBARA and the CAMP DOGS 4 APRIL- 28 APRIL 2019 LEARNING RESOURCES Belvoir, in association with Vicki Gordon Music Productions Pty Ltd, presents BARBARA AND THE CAMP DOGS Writers URSULA YOVICH & ALANA VALENTINE Director LETICIA CÁCERES Songs by ALANA VALENTINE, URSULA YOVICH & ADM VENTOURA* This production of Barbara and the Camp Dogs opened at Belvoir St Theatre on Friday 5 April 2019. Set Designer Stephen Curtis Costume Designer Chloe Greaves Lighting Designer Karen Norris Lighting Realiser Matt Cox Sound Designer Steve Toulmin Musical Rehearsal Director Adm Ventoura Stage Manager Cecilia Nelson Assistant Stage Manager Brooke Kiss Observing Director Riley Spadaro With Troy Brady Elaine Crombie Ursula Yovich Musicians Musical Director and Bass Guitar JESSICA DUNN Guitar SORCHA ALBUQUERQUE Drums MICHELLE VINCENT *Vicki Gordon also contributed music to ‘Tick Sista’, Merenia Gillies contributed to ‘Chained to You’ and James Warwick Shipstone Contributed to ‘.Pieces’ Indigenous Theatre at Belvoir is supported by the Balnaves Foundation We acknowledge the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir St Theatre is built. We also pay respect to the Elders past and present, and all Aboriginal and Torres Strait Islander peoples. CONTENTS About Belvoir 1 Cast and Creative Team 2 The Director 3 Co-Writer's Note 4 Production Elements 7 interview With The Lighting Designer 10 Costume Design References 11 Post Show Discussion 15 Podcast 19 Contact Education 20 Cover Image / Brett Boardman 2017 Learning Resources compiled by Belvoir’ Education, March 2019 Rehearsal Photos / Brett Boardman 2017 Production Photos / Brett Boardman 2017 ABOUT BELVOIR One building. Six hundred people. Thousands of stories. When the Nimrod Theatre building in Belvoir Street, Surry Hills, was threatened with redevelopment in 1984, more than 600 people – ardent theatre lovers together with arts, entertainment and media professionals – formed a syndicate to buy the building and save this unique performance space in inner city Sydney. Thirty years later, under Artistic Director Eamon Flack and Executive Director Sue Donnelly, Belvoir engages Australia’s most prominent and promising playwrights, directors, actors and designers to realise an annual season of work that is dynamic, challenging and visionary. As well as performing at home, Belvoir regularly takes to the road, touring both nationally and internationally. Belvoir Education Our Education Program provides students and teachers with insights into the work of Belvoir and first hand experiences of the theatre-making process. Belvoir Education offers student workshops, teacher professional development workshops, work experience, VET placements, archival viewings and a wealth of online resources designed to support work in the drama classroom. Our arts access programs assist schools in Regional NSW and Western Sydney to access the company’s work. Explore our education pages at www.belvoir.com.au/education 1 CAST AND CREATIVE TEAM Ursula Yovich Alana Valentine Leticia Cáceres Sorcha Troy Brady Co-Writer/Songwriter/ Co-Writer/Songwriter Director Albuquerque Joseph Barbara Guitar Matt Cox Elaine Crombie Stephen Curtis Jessica Dunn Vicki Gordon Lighting Realiser René Set Designer Musical Director & Bass Co-Producer Guitar Chloe Greaves Brooke Kiss Cecilia Nelson Karen Norris Riley Spadoro Costume Designer Assistant Stage Stage Manager Lighting Designer Observing Director Manager Steve Toulmin Adm Ventoura Michelle Vincent Sound Designer Songwriter/Musical Drums Rehearsal Director 2 THE DIRECTOR: LETICIA CÁCERES Leticia is one of the most in-demand directors for new writing in Australia. Leticia won the Helpmann Award for Best Direction of a Mainstage production for The Drover’s Wife by Leah Purcell, for Belvoir in 2016. Other Belvoir credits include the world premiere of Barbara and the Camp Dogs by Alana Valentine and Ursula Yovich (2017) and Random by debbie tucker green (2018). In 2018 Leticia also directed The Space In Between by Steve Vizard and Paul Grabowsky at Arts Centre Melbourne, Going Down by Michele Lee for Malthouse/STC, and The House of Bernada Alba by Patricia Cornelius at MTC. Leticia has received Screen Australia funding to transition into film and TV. Her debut short Wild won ‘Best First Time Film’ at the London Film Awards and ‘Next-Gen Film Award’ at the 2018 Melbourne Women in Film Festival. Her second film The True History of Billie the Kid premiered at the 2018 Melbourne International Film Festival. Leticia Cáceres 3 CO-WRITER’S NOTE URSULA YOVICH & ALANA VALENTINE Alana So, we’ve written the play together so we should write the note together too, right? Ursula Yeah. Alana You go first. Ursula Just shut up and go first will you? Alana There she is, there’s Barbara. Ursula Yeah, so fuckin’ get on with it. Alana I first met Ursula Yovich’s alter-ego ‘Barbara’ at the Helpmann Awards in 2008. My play Parramatta Girls had been nominated but not won and I was having a consoling champagne on an after-party couch. Ursula Yeah, you were sulking. Alana No, I wasn’t. Ursula Yeah, you were. Alana Anyway, Ms Yovich, who had won the Helpmann for Best Female Actor in 2007 for her performance in Capricornia and whom I admired as one of Australia’s most talented performers, began to regale the partygoers with a ‘persona’ that was very different to the version of herself that Ursula said she was given the opportunity to expose on the Australian stage at that time. Ursula Barbara was pissed off, ramped up, foul-mouthed, shamelessly sexual, flirtatious, and dangerous. Alana She was wild-eyed, hip-shaking, loud-laughing and brilliant good fun. If you could continue to watch her between tears of helpless laughter and howls of disbelief, this was a version of First Nations female power to conjure stereotype-busting magic with. Ursula I guess it was a version of me that was pretty raw and exposed. A version that doesn’t usually see the light of day. Alana It was one of those moments when you witness something profound, you open your eyes to see what has always been there and you can never see that person in the same way again. Ursula When Vicki Gordon began managing my music career in 2010, she encouraged Alana and I to work together on a show for Barbara. You didn’t have to ask me twice. I had already felt the power of Alana’s words when we worked together on Barefoot Divas. I was given a monologue that encapsulated my frustration 4 and anger. I was fired up and it felt like a natural progression to create an entire show around this anger and frustration and who better to tell this story than Barbara? Alana Stephen Page, having met Barbara, I supposed, on a few occasions, joked that Barbara could have her own band called the Camp Dogs, after the dogs that hang around camp fires in the Territory and elsewhere. Ursula Yes, this has been a running joke since 1999. With Vicki’s help, I applied to the Australia Council which funded development workshops of the musical. Alana With the brilliant Elaine Crombie and Jeremy Brennan, and the powerhouse Casey Donovan, directed by Leah Purcell. Ursula Vicki brought in stylist Melaine Knight and bass player Adam Ventoura who invited Debbie Yap and Michelle Vincent into the ‘all girl, sort of’ band. Alana When Eamon Flack came to a rough draft showing of the work in 2013 on a rainy Saturday out at the University of NSW, he saw the Barbara that we all saw that day – untamed, furious and sizzling hot. Ursula With Belvoir’s support we continued to work on the drama, and Adam and Alana and I would meet up and write songs. Alana Sitting in a circle and waiting as Ursula brought the remarkable instrument that is her singing voice to cohere the words and melodies. Ursula Vicki contributed her punk heritage influence with music for ‘Tick Sista’, brought in Jessica Dunn, and with Troy Brady and Elaine Crombie the show was ready to rock. Alana During rehearsals Ursula and I would to sit next to each other and pass the laptop literally back and forth, as she wrote a section or revised a lyric and then passed it back to me to augment and write more. I can honestly say that it was a bizarre and wonderful experience of having two brains synchronised to one voice. Thank you to Sharne McGee and the many Katherine residents who have welcomed me to their town – especially Toni Tapp Coutts and Jill and Bill Pettigrew. This journey has been all about Ms Yovich and her profoundly unique spirit and I’m very grateful to have been able to ride with her in Barbara’s motorbike sidecar. Ursula I’d like to put Barbara aside for a just a moment and give my love and appreciation to Alana for guiding and nurturing me as a new writer. For sharing belly laugh after belly laugh and encouraging me to bring Barbara into the foreground and to always jump head first into the shamelessness of this wonderful, complicated, intelligent and messed-up woman. Barbara is a mix of two very strong spirits and she could not have been conjured up without Alana, myself and every strong woman we have crossed paths with in our lives thus far. A & U We’d like to thank Leticia Cáceres for her incredible care, passion and vision for this work and for assembling such an amazing design and production team. Special thanks to Kamahi Djordon King for the original 5 artwork fabric. We also thank all the staff at Belvoir, especially Eamon Flack for supporting us to let Barbara and René and Joseph and the Camp Dogs loose onto the world. Ursula Thank you to Monica Keightley and the rest of the MKM family and of course to my family, my father Slobodan Jović (Stan the Man) and my siblings who are my heart.
Load more

Recommended publications
  • Theatre Costume, Celebrity Persona, and the Archive
    Persona Studies 2019, vol. 5, no. 2 THEATRE COSTUME, CELEBRITY PERSONA, AND THE ARCHIVE EMILY COLLETT ABSTRACT This essay considers the archived costume in relation to the concept of the celebrity performer’s persona. It takes as its case study the Shakespearean costume of Indigenous actress Deborah Mailman, housed in the Australian Performing Arts Collection. It considers what the materiality of the theatre costume might reveal and conceal about a performer’s personas. It asks to what extent artefacts in an archive might both create a new persona or freezeframe a particular construct of a performer. Central to the essay are questions of agency in relation to the memorialisation of a still living actress and the problematisation of persona in terms of the archived object. Can a costume generate its own persona in relation to the actress? And what are the power dynamics involved in persona construction when an archived costume presents a charged narrative which is very different to the actress’s current construction of her persona? KEY WORDS Costume; Archive; Deborah Mailman; Indigenous; Memory; Shakespeare COSTUME IN THE ARCHIVE: A CHARGED OBJECT In this essay I consider the archived theatre costume in relation to persona studies and what the materiality of costume might reveal or conceal about the celebrity performer’s persona(s). Can an archived costume have its own persona? What complexities arise when the charged historical narrative of an archived costume is at odds with a current persona? And in the following case study of Deborah Mailman, what happens when the framing of a living Indigenous actress’s costume constructs a persona that is quite different to the one that the actress currently constructs for herself? A costume worn by a performer live on stage is remembered in particular ways – and many in the audience might focus more on the performer’s stance, physicality, and verbal prowess than what they are wearing.
    [Show full text]
  • Leah Purcell DROVER’S WIFE
    THE Leah Purcell DROVER’S WIFE Currency Press, Sydney Writer’s Note Like many Australians, I’ve grown up with this story and love it. My mother would read or recite it to me, but before she got to that famous last line, I would stop her and say, “Mother, I won’t ever go a drovin’.” I always wanted to do something with this story with me in it as the drover’s wife. There were two forms of inspiration that motivated me to write this play. First came the film idea in 2006, which I wanted to shoot in the Snowy Mountains. That inspiration came when I was filming the feature film Jindabyne, directed by Ray Lawrence. Secondly, I was in a writing workshop. I was there as a director, but got frustrated. So I went home and said it was time to write my next play. I looked at my bookshelf and there it was: my little red tattered book of Henry Lawson’s short stories. The red cover had now fallen off, its spine thread fraying and my drawings inside as a five-year-old fading. In the original story, the drover’s wife sits at the table waiting for a snake to come out of her bedroom, having gotten in via the wood heap, which a ‘blackfella’ stacked hollow. While she waits for the snake, she thinks about her life and its hardships. Her oldest son joins her and she shares her story with him. This is not my version of The Drover’s Wife.
    [Show full text]
  • First Nation Filmmakers from Around the World 10
    MEDIA RELEASE EMBARGOED UNTIL 11.00am WEDNESDAY 10 MAY 2017 FIRST NATION FILMMAKERS FROM AROUND THE WORLD The 64th Sydney Film Festival (7–18 June) in partnership with Screen Australia’s Indigenous Department proudly continues support for First Nation storytelling from Australia and around the world. Leading First Nation Australian directors will premiere their new works at the Festival, including Warwick Thornton’s Opening Night film and Official Competition contender We Don’t Need a Map, and Wayne Blair and Leah Purcell’s highly anticipated second series of Cleverman. “Sydney Film Festival is committed to showcasing First Nation filmmakers and storytelling,” said Festival Director Nashen Moodley. “Throughout the Festival audiences will find examples of outstanding Indigenous cinema, from the red sands of Western Australia to the snowy landscapes of the Arctic Circle. These films promise to surprise, provoke and push boundaries.” “We're proud to continue our partnership with Sydney Film Festival to showcase these powerful documentaries from the world's leading Indigenous filmmakers, as well as premiere the innovative work of emerging new talent from around the country,” said Penny Smallacombe, Head of Indigenous at Screen Australia. “We are very pleased to see five films commissioned by NITV take their place alongside such prestigious works from across the world,” said Tanya Orman, NITV Channel Manager. Two important Australian First Nation documentaries will also have their premieres at the Festival. Connection to Country, directed by Tyson Mowarin, about the Indigenous people of the Pilbara’s battle to preserve Australia’s 40,000-year-old cultural heritage from the ravages of mining, and filmmaker Erica Glynn’s raw, heartfelt and funny journey of adult Aboriginal students and their teachers as they discover the transformative power of reading and writing for the first time (In My Own Words).
    [Show full text]
  • Darkemu-Program.Pdf
    1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers.
    [Show full text]
  • Chloe Armstrong
    SHANAHAN ROB COLLINS | Actor FILM Year Production/Character Director Company 2018 ANGEL OF MINE Kim Farrant SixtyFourSixty Brian 2018 TOP END WEDDING Wayne Blair Goalpost Pictures Father Isaac 2017 UNDERTOW Miranda Nation Emerald Productions Dan TELEVISION Year Production/Character Director Company 2019 MYSTERY ROAD Wayne Blair & Bunya Productions Amos Warwick Thornton 2019 REEF BREAK Various ABC Studios International Doug O’Casey 2019 UPRIGHT Matthew Saville & Lingo Pictures Kane Tim Minchin 2018 SECRET CITY: UNDER THE EAGLE Tony Krawits & Matchbox / Foxtel Joseph Sullivan Daniel Nettheim 2018 GLITCH SEASON 3 Tony Krawitz Perplexing New Reality Phil 2017 THE WRONG GIRL SEASON 2 Various Playmaker Jack Shanahan Management Pty Ltd PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] SHANAHAN 2017 GLITCH SEASON 2 Tony Krawitz Perplexing New Reality Phil 2016 CLEVERMAN SEASON 2 Wayne Blair & Goalpost Pictures / Sundance TV Waruu West Leah Purcell 2016 THE WRONG GIRL Various Playmaker Jack 2015 CLEVERMAN Wayne Blair & Goalpost Pictures Waruu West Leah Purcell THEATRE Year Production/Character Director Company 2016 A MIDSUMMER NIGHT’S DREAM Kip Williams Sydney Theatre Company Lysander 2013-14 THE LION KING Julie Taymor Disney Theatrical Productions Mufasa Australia & New Zealand AWARDS AND NOMINATIONS Year Award/Nomination Production 2018 Equity Ensemble Award for Outstanding Performance CLEVERMAN S2 by an Ensemble in A Drama Series 2017 Logie Award for Best New Talent CLEVERMAN 2017 Logie Award Nomination for Best Outstanding Newcomer CLEVERMAN EDUCATION Year Institution 2013 National Institute of Dramatic Art (NIDA) Sydney, Australia Shanahan Management Pty Ltd PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] .
    [Show full text]
  • Music, TV & Film, Books & Reports by Trent Wallace, Former Australian
    Cultural Resources: Music, TV & Film, Books & Reports By Trent Wallace, former Australian Pro Bono Centre AGS Secondee Policy & Project Officer A practical approach to supporting Indigenous people is by consuming music, television and film, books and reports. Whilst the list is not exhaustive, it provides a solid foundation! Music – There is a diverse and vast array of Aboriginal and Torres Strait Islander musicians. Thelma Plum, Mojo Juju, Jessica Mauboy, Baker Boy, Yothu Yindi, Christine Anu, Deborah Cheetham, Troy Cassar-Daley, Casey Donovan, Isaiah Firebrace, Archie Roach, Xavier Rudd, Dan Sultan, Dr G Yunupingu, Shakaya, A.B Original and Tiddas. Television and Film – TV shows such as Total Control, Redfern Now, Black Comedy, Cleverman, Wentworth -– in particular, anything featuring Leah Purcell. Also, the channel NITV. Anything by Stephen Oliver (look up his poetry and presentations). Movies such as The Sapphires, Rabbit-Proof Fence, Mabo, Radiance, Samson and Delilah, and Top End Wedding. Books – Dark Emu by Bruce Pascoe, First Australians by Rachel Perkins and Marcia Langton, Jandamarra and the Bunuba Resistance by Banjo Woorunmurra and Howard Pedersen, The Quiet Revolution by Marcia Langton, Hidden In Plain View by Paul Irish, It’s Our Country edited by Megan Davis and Marcia Langton, Butterfly Song by Terri Janke and anything by the incredible Anita Heiss. Reports – We also recommend reading the Report of the Royal Commission into Aboriginal Deaths in Custody,1 Closing the Gap reports,2 and Indigenous Expenditure reports.3 The Australian Institute of Health and Welfare has also produced the following helpful reports: Aboriginal and Torres Strait Islander people: a focus report on housing and homelessness,4 and Aboriginal and Torres Strait Islander Health Performance Framework (HPF) report 2017.5 1 See www.humanrights.gov.au/our-work/aboriginal-and-torres-strait-islander-social- justice/publications/indigenous-deaths.
    [Show full text]
  • Sydney Theatre Company Annual Report 2011 Annual Report | Chairman’S Report 2011 Annual Report | Chairman’S Report
    2011 SYDNEY THEATRE COMPANY ANNUAL REPORT 2011 ANNUAL REPORT | CHAIRMAn’s RepoRT 2011 ANNUAL REPORT | CHAIRMAn’s RepoRT 2 3 2011 ANNUAL REPORT 2011 ANNUAL REPORT “I consider the three hours I spent on Saturday night … among the happiest of my theatregoing life.” Ben Brantley, The New York Times, on STC’s Uncle Vanya “I had never seen live theatre until I saw a production at STC. At first I was engrossed in the medium. but the more plays I saw, the more I understood their power. They started to shape the way I saw the world, the way I analysed social situations, the way I understood myself.” 2011 Youth Advisory Panel member “Every time I set foot on The Wharf at STC, I feel I’m HOME, and I’ve loved this company and this venue ever since Richard Wherrett showed me round the place when it was just a deserted, crumbling, rat-infested industrial pier sometime late 1970’s and a wonderful dream waiting to happen.” Jacki Weaver 4 5 2011 ANNUAL REPORT | THROUGH NUMBERS 2011 ANNUAL REPORT | THROUGH NUMBERS THROUGH NUMBERS 10 8 1 writers under commission new Australian works and adaptations sold out season of Uncle Vanya at the presented across the Company in 2011 Kennedy Center in Washington DC A snapshot of the activity undertaken by STC in 2011 1,310 193 100,000 5 374 hours of theatre actors employed across the year litre rainwater tank installed under national and regional tours presented hours mentoring teachers in our School The Wharf Drama program 1,516 450,000 6 4 200 weeks of employment to actors in 2011 The number of people STC and ST resident actors home theatres people on the payroll each week attracted into the Walsh Bay precinct, driving tourism to NSW and Australia 6 7 2011 ANNUAL REPORT | ARTISTIC DIRECTORs’ RepoRT 2011 ANNUAL REPORT | ARTISTIC DIRECTORs’ RepoRT Andrew Upton & Cate Blanchett time in German art and regular with STC – had a window of availability Resident Artists’ program again to embrace our culture.
    [Show full text]
  • By Wesley Enoch and Deborah Mailman with Lisa Flanagan
    Sydney Theatre Company Education present By Wesley Enoch and Deborah Mailman With Lisa Flanagan Directed by Leah Purcell Teacher's Resource Kit Written and compiled by Robyn Edwards and Samantha Kosky sydneytheatre.com.au/education Copyright Copyright protects this Teacher’s Resource Kit. 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. Sydney Theatre Company’s The 7 Stages of Grieving Teacher’s Notes © 2008 1 IMPORTANT INFORMATION The 7 Stages of Grieving By Wesley Enoch and Deborah Mailman Season 22 February – 20 March 2008 Venue Wharf 2, Sydney Theatre Company Pier 4/5 Hickson Road,Walsh Bay Touring The 7 Stages of Grieving will tour to Griffith Regional Arts Centre (2 April), Wagga Wagga Civic Theatre (4, 5, 7 April) and Albury Performing Arts Centre 9, 10 April). This tour has been made possible by Arts NSW through the ConnectED programme. Sydney Theatre Company would like to take this opportunity to warn members of the audience that this production contains names and visual representations of people recently dead, which may be distressing to Aboriginal and Torres Strait Islander people. All care has been taken to acquire the appropriate permission and show all proper respect. The performance time is approximately one hour. Please note there will be no interval and latecomers will not be admitted. We respectfully ask teachers discuss theatre etiquette with students prior to attending the performance. We respectfully ask that you discuss theatre etiquette with your students prior to coming to the performance.
    [Show full text]
  • Who's Got It, Who's Lost It, and Who's Behind the Scenes
    Trump v the swamp Mike Baird Ninja Warriors Leaks flood the White House Why I quit politics TV’s hit machine brothers OCTOBER 2017 POWER 2017 Who’s got it, who’s lost it, and who’s behind the scenes 8 LEAH PURCELL Actor, playwright, director Because: She allows white audiences to see from an Aboriginal perspective. Her radical adaptation of Henry Lawson’s The Drover’s Wife broke new ground for Australian theatre. Among its string of awards was the NSW Premier’s Literary Award for best drama, whose judges described it as “a declaration of war on Australia’s wilful historical amnesia”. Purcell, a Goa-Gunggari-Wakka Wakka Murri woman, uses the full arsenal of drama to tell new stories. In 2016 she co-directed Cleverman, which screened on ABC TV and meshed Aboriginal dreamtime stories into contemporary sci-fi genre. She also co-directed The Secret Daughter, which screened on Seven Network last year and has now been signed for a second series. Starring Jessica Mauboy, it marks the first time a commercial network has put an Indigenous Australian as the lead in a drama series. Season one was the second-highest rating drama for the year. What the panel says: She’s an Indigenous woman with a very political view. The Drover’s Wife was an incredible achievement and will make for a brilliant film. She also has two mainstream TV series on air and she’s winning every single award. – Graeme Mason The Drover’s Wife told the story in a completely different way to which it has been told before.
    [Show full text]
  • Unesco Creative Cities Membership Monitoring Report 2015-17 MEMBERSHIP MONITORING REPORT
    unesco creative cities membership monitoring report 2015-17 MEMBERSHIP MONITORING REPORT GENERAL INFORMATION. CONTRIBUTION TO THE NETWORK’S GLOBAL MANAGEMENT. MAJOR INITIATIVES IMPLEMENTED AT LOCAL LEVEL. MAJOR INITIATIVES IMPLEMENTED THROUGH INTER-CITY COOPERATION. PROPOSED ACTION PLAN. ANGELINA JOLIE AT THE SYDNEY PREMIER OF UNBROKEN CONTENTS. 2015-17 MEMBERSHIP MONITORING REPORT With support from the NSW Government, the City of Sydney, and key screen industry stakeholders, Sydney was awarded the UNESCO City of Film designation in December 2010. The existing screen infrastructure in Sydney and the diversity and value of film culture of Sydney was a major reason for the success of Sydney’s bid. It placed Sydney as the second City of Film in the UCCN. As the specialist agency in screen matters, management of the status of the City of Film was given to the former agency Screen NSW, with the agreement of the City of Sydney and the support of the NSW Government and former Minister for the Arts. The UNESCO Creative City designation is consistent with the aims of the NSW Creative Industries Action Plan, which seeks to ensure that NSW, through Sydney, is recognised as a global creative centre and leader in creative industries. Sydney and its surrounds continue to be the location for high levels of both international and local production and post-production, as well as many Australian TV dramas. NSW is the dominant state for screen production in Australia with more than 60% of Australian production and post-production businesses located in here. With a suite of funding opportunities for the professional production sector, from early development to production finance and a range of industry development programs, the organization supports the continued growth and development of a creative sector that returns significant economic benefits, large numbers of jobs and high cultural and social returns to the community.
    [Show full text]
  • Series 2, Episode 4
    SERIES 2, EPISODE 4 © ATOM 2013 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-74295-383-0 http://www.theeducationshop.com.au Redfern Now Series 2 portrays contemporary inner city Indigenous life in and around the suburb of Redfern in Sydney, New South Wales. The series offers compelling stories of ordinary people dealing with the ups and downs that life brings. Redfern Now is a drama series written, directed and produced by Indigenous Australians. The series was developed in collaboration with UK screenwriter Jimmy McGovern and is produced by Blackfella Films’ Darren Dale and Miranda Dear, and presented by ABC TV and Screen Australia in association with Screen NSW. Now has relevance to units of work in CURRICULUM Aboriginal and Torres Strait Islander LINKS Studies, Australian History, Cultural Studies, English, Health and Human Redfern Now is suitable for second- Development, Literature, Media, ary students in Years 9–12. The Religion and Society, and Sociology. series offers stories of Aboriginal and Torres Strait Islander peoples told by Teachers are advised to direct stu- Aboriginal and Torres Strait Islander dents to complete activities that are peoples, allowing students to develop subject-relevant and age-appropriate. an awareness and appreciation of Indigenous storytelling and to see the issues affecting Aboriginal and Torres BLACKFELLA Strait Islanders from their perspective. FILMS Given its insight into the present expe- For twenty years, Blackfella Films has riences of Aboriginal and Torres Strait created innovative and high-quality Islander peoples, the series provides content across documentary and nar- opportunities for students to engage rative in both short and feature formats in discussions about Aboriginal and for theatrical, television and online plat- Torres Strait Islander identity and be- forms.
    [Show full text]
  • Media-Kit-High-Ground.Pdf
    HIGH GROUND DIRECTED BY STEPHEN JOHNSON RELEASE DATE TBC RUNNING TIME 1 HOUR 45 MINS RATED TBC MADMAN ENTERTAINMENT PUBLICITY CONTACT: Harriet Dixon-Smith - [email protected] Lydia Debus - [email protected] https://www.madmanfilms.com.au TAGLINE In a bid to save the last of his family, Gutjuk, a young Aboriginal man teams up with ex-soldier Travis to track down Baywara, the most dangerous warrior in the Territory, his Uncle. SYNOPSIS Northern Territory, Australia 1919. The Great War is over, the men have returned home. Many return to their normal lives in the cities in the south, others are drawn to the vast open spaces of the North. A sparsely populated wild frontier. They hunt buffalo, they hunt crocodile, and those that can join the overstretched Police service. Travis and Ambrose are two such men. A former sniper, Travis has seen the very worst of humanity and the only thing that keeps him on track is his code of honour, tested to its limit when a botched police operation results in the massacre of an Indigenous tribe. Travis saves a terrified young boy named Gutjuk from the massacre. He takes him to the safety of a Christian mission but unable to deal with the ensuing cover up, Travis leaves his police outpost and disappears into the bush. Twelve years later, 18-year-old Gutjuk hears news of the ‘wild mob’ – a renegade group of Indigenous warriors causing havoc along the frontier attacking and burning cattle stations, killing settlers. It’s said their leader is Gutjuk’s uncle, Baywara thought to be a survivor of the massacre.
    [Show full text]