Australian Aboriginal Dramatist: John Harding

The use of consonance in this poem encourages the reader to view modern Australia as an inhospitable home for indigenous Australians. Noonuccal describes the Aborigines as, ‘A Semi-naked band, subdued and silent’. The alliteration of the soft, drawn out “s” sound in the words “subdued” and “silent” conveys to the reader an atmosphere of silence and forlorn resignation. In particular, the word “subdued”, with its connotations of unresponsiveness and being withdrawn, further emphasises the conflict between the white and indigenous Australians. This conflict ultimately separated the Aborigines from their land, resulting in Australia becoming a hostile home for the original

There are a variety of ways and factors that influence how people are represented in nonfiction and fiction texts. Indigenous Australians are usually represented in harmful disrespectful ways, but they are also represented in positive ways. There are many factors that contribute to these representations. In the year 8 fiction and nonfiction text studied in the last three terms, we have seen different representations of indigenous Australian people. The main factors contributing to these are, stereotypes, historical events, real life experiences and racism.

This work examines the past and also imagines the future by using references of past racial murders and the way they coincide with the present context and explore Australian Indigenous and non-Indigenous culture in the present-day. Ah Kee created this series of artworks in response to the apparent police cover up of the death of a young man in their custody, for protection of

To conclude, ‘Honey Spot’ by Jack Davis and ‘Brisbane Tent Embassy battle goes on as Elder stands up for his sovereign rights’ by the National Indigenous Times online, outline many similar themes. These include the themes of stereotype-driven misconceptions, the negative attitudes of many non-Indigenous Australians regarding Indigenous cultural practices and how rigid environment laws can inhibit traditional cultural practices. Similar characters and settings all work together to explore the conditions for Indigenous Australians across the

In contemporary society, interpretation is an institutional practice with readers consequently sharing assumptions; highlighting the concept of interpretive communities. Audiences often respond to ideas based on dominant contextual norms and ideologies. The biased recount of Australia's sullen and discriminatory past has led to a collective ignorance; with awareness and redemption of the true atrocities committed by British Settlers being a new concept. Kate Grenville's raw and accosting novel the Secret River confronts readers, positioning them to challenge the socio-historical doctrines of the 21st Century society. Analytical readers can respond actively to issues of racism by acknowledging the intertextuality of the text and contemporary actions, and by recognising and contrasting prevailing attitudes. This process evokes an emotive response to uncomfortable notions and influences a remorseful reaction towards the Aboriginal community and their hardship.

In Louis Nowra’s Inside the Island (1981), the audience of the play is presented with the viewpoint of Australian nationhood in 1917. The play was set when World War 1 had just come to an end and Gallipoli was the only form of true Australian nationhood as our values and attitudes were still based off of the ‘motherland’ Britain. The British were migrating to Australia more frequently and as as they came from the superior country, they automatically became the Australian ‘elite’, becoming the superior race having dominance over the true owners of the land. The play makes us in a modern twenty-first century context, look closely at the changes to nationhood from the time the play was written to when it was depicted and how these changes have

In contrast ‘The Australian Dream’, Grant has presented his perception on the issue of racism on suffering Indigenous Australians is being covered by false lies to enhance Australia’s image of being a multicultural country. “But every time we are lured into the light, we are mugged by the darkness of this country’s history.” Through the utilisation of metaphor and juxtaposition, Grant is able to make a emphasis that, Australia had tried to erase racism, such as through the apologies and reconciliation, but are then blinded by the past targeting of Aboriginal people who continue to be disadvantaged in the community today. Through this Grant has stated that the nation covers the truth by providing hope to those most vulnerable but in fact the perception of a multicultural country still contains racism. Whereas in Bruce Dawe’s, the language devices used are more reflective and inspirational in allowing people to come to the realisation of the difficult experiences.“It

Today I’ll be talking about the play “Blackrock” that I’ve been studying in class this term, the purpose of this speech is to make us think how Australian drama challenges us to think about Australian culture and identity, and the impacts it can have on us as person and as a community.

Thus through Keating’s skillful manipulation of Aristotle’s pathos and ethos, he is able to vehemently communicate with us his solution to the maltreatment of Aboriginals by engaging the viewers to comply with his need for reconciliation. Moreover, the use of Churchill’s extravagance of language in the emotive words “inequality, racism and injustice,” further incites us to a call to action; putting a halt to these grievances. The negative connotations of the alliteration of “the plight of Aboriginal Australians affects us all” further reiterates his argument of taking ownership of the past and thus challenging the status quo to learn another discourse on the controversial subject of reconciliation. Moreover, Keating’s employment of the anaphora of “imagine if” allows for Monroe’s visualisation of the

At a turbulent time in Australian history and society, the year of 1971, David Williamson produced a powerful play entitled The Removalists. Based upon numerous themes including domestic violence, sexism, abuse of power and bullying, Williamson’s play has six characters portraying Australian attitudes. By using stereotyped exaggerated characters in contrast with realistic characters and style, Williamson effectively exposes the faults of society.

Rudd employs an array of literary devices to illustrate reparation and reconciliation between indigenous and non-indigenous Australians. His use of anaphora in “we reflect” and “a future” embeds the need for the Australian political system and also individuals of the Australian public to amend their views and values regarding Aboriginal society and disseminate empathy for the injustices of the past. In contrast to the Crucible, where fear and paranoia complement power and authority and are used as a means of marginalisation, Rudd’s uses his position of authority in order to unite and transform the values of Australian society.

To the locals, a gunshot meant nothing more than dinner or killing a pest on a local farm, but to a Warranjimbi man, the sound of the white man’s gun was a reminder of our place on this land. It was the sound of death, the sound of misery and the sound of torture. The sound of the white man’s gun echoed across two centuries of injustice and suffering. “Australians all let us rejoice, for we are young and free” The sound of the gunshot was the sound of the Stolen Generation.

2o years later and still confrontational A revival of Nick Enright’s Good Works, was demanded after not been staged in Sydney since 1994. Almost two decades forward, Darlinghurst Theatre company have collaboration in order to produce a play a year by Australian writer Nick Enright. Enright’s Good Works spans across the political, cultural and social Australian history from the nineteen sixties to the nineteen eighties.

Through composers use of conflicting perspectives, a diverse set of values are presented, offering responders insight and a deeper understanding of political, social and economic incongruities within society. David Guterson’s courtroom drama, Snow Falling On Cedars (1994) utilises the symbolic setting of the court trial and the island of San Piedro as a microcosm to reflect the embedded racial discrimination within American society. The characterisation of Ishmael, as an embittered individual allows us to see the deleterious effects of cultural divides in society. Alma De Groen’s 1988 dystopic play ‘Rivers Of China’ examines Rahel’s individuality as an archetype for expressing one’s creative spirit and promoting change, suppressed by the totalitarian environment of the matriarchy. Audra, an archetypical character for compliance, holds an alternate opinion and fears progression, reflecting the gender inequity within Australia’s dividing society. Antony Jay’s and Jonathon Lynn’s political sit-com, Yes Minister ‘The Greasy Pole’ (1981), explores the disparity of perspectives between the caricatures, Jim Hacker, the minister, and the bureaucrat, Humphrey Appleby, through the use self-parody to expose that politicians will take politically expedient decisions rather than impose beneficial legislation, illustrating the inherent failures of the Westminster system.

Previously, an article was written discussing why The Removalists by David Williamson, should be included in Australia’s literary tradition. The article went in depth about some of the themes and issues presented in the play, and why it should be studied in schools. After reading the play, I disagree with the inclusion of The Removalists in literary tradition. This article will act as a counter argument, and will respond to some of the points made in the initial publication. The main point behind the inclusion of The Removalists was that it conveys what society was like during the times it was created, and that many of the issues presented in the play are still relevant. Themes such as domestic violence, police corruption, the contagious nature