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Modes and Codes of Silence in Indigenous Women's

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Modes and Codes of Silence in Indigenous Women's A Minor Thesis Presented by SHARI KOCHER 318288 to The School of Culture and Communication The University of Melbourne in partial fulfilment of the requirements for the degree of MASTER OF ARTS IN CREATIVE WRITING in the field of Creative Writing 760-553 Supervisor: Associate Professor Kevin Brophy Due Date: 9 November 2009 This thesis consists of two parts. Part One: Critical Component Modes and Codes of Silence in Indigenous Women’s Poetry: exploring radical notions of listening in some examples of cross-cultural poetic dialogue Part Two: Creative Component Silence and its Thinking Thoughts: Selected Poems I declare that this thesis is my own work, and that due acknowledgement has been made to all other material used. Signature:____________________________________ Date:________________________________________ 2 TABLE OF CONTENTS _____________________________________________________ PART ONE Modes and Codes of Silence in Indigenous Women’s Poetry: exploring radical notions of listening in some examples of cross-cultural poetic dialogue………………. …………………5-46 Bibliography……………………………………………………...47-49 PART TWO Silence and its Thinking Thoughts: Selected Poems The Steady Circle of Silence with its Outer Rim on Fire………52 Dreaming in Auslan: a Study in Yellow and Grey………………53 Suburban Song Cycle………………………………………………..55 Forms of Consent…………………………………………………….59 4am at the Mercy……………………………………………………...61 Switch-On………………………………………………………………62 Inside the Toorak Flower Shop…………………………………….64 Daisy…………………………………………………………………….65 The Poem……………………………………………………………....66 True and/or False……………………………………………………..68 Bloodlines……………………………………………………………...71 Spoons………………………………………………………………….74 Phyllis and Doris……………………………………………………...75 Snapshots of an Irish Immigrant in Reverse…………………….77 Paintings by Arthur Boyd…………………………………………...81 Horse Skull Dreaming………………………………………………..86 3 PART ONE Modes and Codes of Silence in Indigenous Women’s Poetry: exploring radical notions of listening in some examples of cross-cultural poetic dialogue by Shari Kocher 4 In relation to the 1996 Human Rights and Equal Opportunity Commission inquiry into the forced removal of Indigenous children from their families and communities, Aboriginal writer and historian, Tony Birch, writes: When I both heard and read the stories presented to the inquiry I was struck by a truly haunting silence— literal in meaning and effect— that pervaded many of the stories that were presented. So, even though some stories were told others were also not told— with words unable to express the depth of loss. I also thought of the absence of particular sounds, voices and movement that leave our homes each time that one of our loved ones walks out the front door. If for whatever reason they do not return, be it as a result of their death, or perhaps insensitive government policies, we are left with both the absence of the sounds they created and carried with them, and the memory of them (2007:31). This is a thesis about those sounds, and how they have been expressed in a number of poems by Aboriginal women poets Lisa Bellear, Elizabeth Hodgson, Yvette Holt, Eva Johnson and Romaine Moreton. This is a thesis about silence and its hauntings, its textures and tendencies, its polyvalent production of both pain and possibility in the witness and the making of verbal art across a body of Indigenous women’s poetry. This is also a thesis about meeting Indigenous women’s poetry as a white reader and fellow poet who sees her task as learning how to interpret these sounds through a textual practice of learning how to listen. Writing in the wake of the Mabo case, about the trope of the ‘Great Australian Silence’ in the same collection of essays in which Tony Birch’s work appears, Jane Belfrage writes: Indigenous people’s voices and knowledges, and immigrant women’s voices and knowledges, were banished into the Great Australian Silence. To break it is also to bring those knowledges out of silence and into hearing. In order to recognise black subjectivities and knowledge practices we need to embody the knowledge practice of listening. By this I mean hearing indigenous peoples’ voices teaching native Australian 5 philosophies, sciences, cultures and knowledges in Australian educational institutions and on the land; just as “white” women’s voices are beginning to be heard, teaching in those institutions. It is to listen contextually and historically, to listen in relationship, to listen with imagination and heart. In Australian communities of knowers, it is to discursively affirm and consolidate Indigenous people’s knowledges— just as feminist struggles continue to create new knowledges and social practices in the body politic (2007:52-53). From this perspective, Belfrage recognises the generative aspects of a listening silence, and links this with her central project of analysing dialogic space. She writes: Silence is a necessary part of dialogue. It can signify attentive listening; it provides room for recognition of difference and intersubjectivity… Silence is an acoustic space in which voices— sounds— can be heard. Without silence, the identities— the whatness— of sounds cannot be distinguished (53). For Belfrage, dialogic spaces require the primary act of listening. Listening itself requires a dynamics of silence through which the speaking of others may be heard. In the term ‘dynamics’ I suggest the ‘particular state of social or personal interaction’ that the Macquarie dictionary applies to the word, as well as its musical sense of variation in volume and tone to convey emotion. The particular ‘dynamics of silence’ I refer to in relation to listening conjures the generative aspects of a silence that is both open and attentive to what is being shared. Yet silence is also ‘the language of complicity’ (Robertson 2000:unpaginated). For dialogue to work in non-coercive spaces of listening, silence must also be analysed through a dialectic of power. In Australian cultural terms, silence intersects with postcolonial representations and cultural productions of whiteness and power in the areas of law, bureaucracy, governance, policy and the institutions that educate and disseminate the knowledge practices of reading publics (see Brewster 2005, 2006, 2007, 2008). In coming to terms with the cultural inheritance of white Australia as a nation built on the fundamental figure of race, I take up Brewster’s proposition that the responsive reader/listener must actively engage with the affects of whiteness in Indigenous literatures. I apply Anne Brewster’s use of the term ‘affects of 6 whiteness’ by which I understand it to mean the emotional impact on human bodies of the construct of whiteness as a dialectic of power built on assumptions of universal entitlement and marked by its operative mode of invisibility. I further suggest that one of the effects of this engagement is the experience of silence in a number of simultaneous and indeterminate ways. Part of the experience of entering silence as it is deployed, in this thesis, across a number of poems, lies in the primary recognition of the human cost, the grief and the weight of suffering borne by Indigenous people, whose trauma continues under policies and institutions for whom speaking does not necessarily mean being heard. Tony Birch reflects: Silence may or may not be golden. It can be both respectful and destructive. Too many older indigenous people in Australia carry the collective memory of colonial violence in the face of non-indigenous amnesia and a cruel silence of irresponsibility. They have been both witness to and the custodians of this past for too long. They have been forced to speak of their loss and grief when they would sometimes prefer the solitude and comfort of silent meditation. But they know if they do not speak, others will not. And they know they must continue to speak until they are listened to. As a nation we owe them this (2007:33-34). To be Indigenous in a nation such as Australia means that the act of speech and the act of silence are both inevitably political. As Romaine Moreton says in her poem ‘Don’t let it make you over’: ‘it ain’t easy bein’ black / this kinda livin’ is always political’ (2004:111). In her numerous writings on the subject, Anne Brewster shows the many intersecting ways in which the Australian nation is contracted on the figure of race (2006:87, 2007:210, 2008:58). She draws on the work of Charles W. Mills, who suggests that ‘whiteness did not precede the social contract of the nation; it came into existence through it’ (Mills 2000:451) and that ‘race is not anomalous to western liberal democracies but fundamental to them; the political production of race and that of nationhood are intimately linked’ (2006:87). In an article focusing on the poetry of Romaine Moreton, Brewster shows in detail how ‘Indigenous people’s positioning as colonial subalterns in a late modern postcolonial state system of dominance without hegemony, [means that] they have limited ability to participate in a contractual system’, 7 with the consequence that, in Australia, ‘Indigenous protest can be seen as constituting an intervention into the contractual system of the nation’ (2008:59). Building on this idea of intervention, in which Indigenous speech acts intervene in the public narrative of nation, Brewster positions Indigenous activism and writing as ‘important gestures of decolonisation and instantiations of subaltern knowledge’(59). Drawing on the work of Michael Lipsky to define and extrapolate protest activity, and Ghassan Hage to explore how Indigenous protest in its many forms becomes an instrument of hope for marginalised people, as well as a tool that works to counter the paranoia and narcissism of white nation building, Brewster examines how Indigenous poetry, ‘in its “objection” to cultural and political domination and disenfranchisement by white Australia, mobilises the rhetorical strategies of argument and critique on the one hand and poetic effects on the other’(59). In this thesis, I examine the ways in which I see Indigenous poets Lisa Bellear, Elizabeth Hodgson, Yvette Holt, Eva Johnson and Romaine Moreton using silence in some of their work to negotiate the poetic and political effects of the unspoken.
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