Australian Poets: Oodgeroo Noonuccal

Throughout Australian history, there have been men and women who fought for the entitlements of the indigenous people. The most respected and recognised of these is Eddie Mabo, a Torres Strait Islander. Mabo stood up for the rights of his people from a very young age all the way to his death, in order to generate changes in the policies and laws of the government. Mabo battled for his right to own the land which he had inherited from his adoptive father, a fight which was resolved only after his demise. Despite this, Eddie Mabo became one of the key influential figures in the Aboriginal rights movement, as his strong will, determination, and intelligence allowed him to bring about change.

It is crucial that we study Australian Narratives as it creates insights into events we may have not explored. This is evident in the novel "Crow Country" written by Kate Constable. It teaches us about Aboriginal beliefs and spirituality, Australia's History and respect, as we experience what it feels like to live in rural Australia, creating an understanding about Aboriginal people. Therefore, through a close read and study of "Crow Country", readers are able to learn new and important things about our past and present, showing that it is crucial to study Australian Narratives.

Australia is filled with many different aspects in which makes it the country it is today. I believe it is important to study texts that explore aspects of Australia by studying texts such as ‘The Club’, by David Williamson, a play written in 1977 about an Australian football club and movies such as “The Castle”, directed by Rob Stitch in 1997, about the daily life of an Australian family when their happiness is threatened when developers attempt to buy their house to expand the neighboring airport. Both these texts show us what Australian life was like in the past. By us looking at themes such as language, tradition and the mateship shown we are able to explore different aspects of Australia that make it what it is today.

She wrote this poem at the age of thirteen which was also her first poem published .

The piece is classified as Aboriginal Australian literature. It was published in the 1960’s. The purpose of the text is to give hope in a new beginning after the events involving the racial tension between the Aboriginals and the white settlers. The poem is directed to the Aboriginal people of Australia who suffered from these events

How the language of ‘We are going and ‘Let us not be bitter’ demonstrates Oodgeroo Noonuccal’s perspective on Aboriginal rights.

Bruce Dawe is considered to be one of Australia’s most influential poets of the 20th century. Dawe’s poems capture Australian life in numerous ways, whether it is our passion for AFL in Life-Cycle or our reckless nature towards war as in Homecoming. Dawe creates very complicated poems reflecting the author’s context relevant to the time period, your context is based upon your reading of the poem, where you may gather different meanings, to that of the original intent, hidden within the text.

The poem lacks many of the inclinations that Koch discusses in Chapter Three. O’Hara almost puts away all personification and lies to make sure that everyone pays more attention to the emotion. He uses these emotions to ensure the

The lack of connection is also shown with the metaphoric “still too narrow bridge, around the factory that was always burning down” symbolically alluding to the fact that his bond to Australia was constantly burning down. This signifies the ‘bridge’ that connects 10 Mary Street to Australia was incapable to support the family, reinforcing the difficulty to, at and from work or school. The metaphor also indicates the weak attachment to Australia to their secure, immovable, Polish reflection of

Hello ladies and gentlemen, I am here to bring forth some poems that represent our beautiful country for the Australian day anthology. Australians identity is a wonderful thing with our mate ship and way of life respected throughout the world. Our acknowledgement of our past makes us the country we are and creates the country we have, with the pride shared between all who happily call Australia there home. These poems explore our country’s pride through times of hardship, this being the Vietnam war. And how our strong mate ship and pride helped us prevail through this time. These are very clear throughout the poems becoming clear staple pieces for this era.

Aboriginal women is sexualized, assaulted, and mistreated in today’s society, and the novel portrays this inequity. Lisa’s friend, Erica, was in Terrace, when Lisa witnesses her being harassed by a group of white men. The men were teaching Erica how to “fuck a white man,” when Lisa intervenes. The men call the girls “a squaw, “cunt”, and “bitch” (Robinson 250). The

‘We’re all Australians now’ draws the reader to see the war from a positive Australia home front perspective. Texts from

The italicised Haisla words and phrases in Monkey Beach deeply tie the culture to the traditional territory of the Haisla in British Columbia. These words are used when Lisa is when she gathering or preparing food, like berries, plants and fish, with her Uncle Mick and/or her Ma-ma-oo. These occurrences not only mark how her family members connect her to her culture and advance the plot; they also respond to the hunger of Non-Indigenous readers

Western and Indigenous knowledge systems differ in values, habits of mind and practices; however, there has been productive cross-cultural collaboration that integrates global vision with social and cultural dimensions. Productive collaboration addresses past contradictions in the coevolution of society, science and environment. Ten Canoes is a cross-culturally collaborative film that was meant to portray the Yolngu community in its true representation in an attempt to bridge the black and white Australian cultural divide by sharing its traditions and values with a non-Indigenous audience. Important spiritual and cultural information is shared throughout the passage of the film that frames and contextualizes the cosmology of the Yolngu people (Clothier & Dudek, 2009: p. 85). Dutch-born director Rolf De Heer and Yolngu director Peter Djigirr consolidate to show modern audiences the “community’s cultural continuance and to connect between individuals and the community both past and present” (Clothier & Dudek, 2009: p. 86). Additionally, Ten Canoes is only spoken in the Yolngu’s Indigenous language. For Yolngu audiences, “the use of their own languages in Ten Canoes highlights the vibrancy of a continuing linguistic heritage” (Clothier & Dudek, 2009: p. 87). Simultaneously, audiences that cannot understand the language of the Yolngu people read subtitles that create a critical intimacy to engage in “passion and reason while seeking understanding” (Clothier & Dudek, 2009: p.

Colleen McElroy uses her poetry to describe her culture and heritage in a very historical manner. McElroy’s poetry is very different from Hughes and Clifton in the sense that she uses so many references to her ancestors culture back in Africa. “My memory floats down a long narrow hall, A calabash of history. Grandpa stood high in Watusi shadows Where effigies of my ancestors are captured in Beatle tunes, And crowns never touch Bantu heads. My past is a slender dancer reflected briefly Like a leopard in fingers of fire. The future Dahomey is a house of 16 doors, the totem of Burundi counts 17 warriors-- In reverse generations. While I cling to one stray Seminole. My thoughts grow thin in the urge to travel beyond Grandma’s tale. Of why cat fur id for kitten britches; Past the wrought iron rail of first stairs In baby white shoes, To Ashanti mysteries and rituals.” The use of African language and the names of tribes paint a geographical image that readers can begin to follow. Heritage is more than following the lineage of a people, the land in which they live is equally as involved. This ethnic and topographical following of these people gives her Clifton’s poetry the breath