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Sibendu Chakraborty Sibendu Chakraborty i(A142241 works by)
Gender: Male
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Works By

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1 Performance and Cosmopolitanism in Australian Aboriginal Theatre : Mapping Margins and Aboriginality in David Milroy’s Waltzing the Wilarra Sibendu Chakraborty , 2023 single work criticism
— Appears in: Marginality in Australian Literature 2023; (p. 131-145)
1 Locating Indigenous Sovereign Spaces : Race and Womanhood in Romaine Moreton’s Poetry Sibendu Chakraborty , 2017 single work criticism
— Appears in: Claiming Space for Australian Women's Writing 2017; (p. 261-273)

'A Goenpul woman from Minjerribah (Stadbroke Island), Romaine Moreton’s powerful poetry defines Aboriginality in terms of race, class, gender and sexuality. This chapter focuses on the concept of “indigenous sovereignty” with a collateral drive towards identifying the tropes of “blackness” that Moreton deployed in her poems. The chapter looks at the issue of “racism” in Moreton’s poetry by keeping in mind the theoretical engagements of “whiteness studies” that tend to problematise the black/white relation. In other words, the critical reception of Moreton’s poetry can be subjected to a relative assessment of the significance of white and indigenous readership negotiated through a complex web of indigenous or quasi-indigenous productions.'

Source: Abstract.
1 y separately published work icon Australian Aboriginal Theatre: Discourse of Protest and Nationalism against a Multicultural Backdrop in Jack Davis’ Plays Sibendu Chakraborty , Calcutta : 2013 5988736 2013 single work thesis
1 Where Campfires Used to Gleam : A Collage of Bipolar Dreaming in Davis’ Aboriginal Theatre Sibendu Chakraborty , 2010 single work criticism
— Appears in: Rupkatha Journal on Interdisciplinary Studies in Humanities , vol. 2 no. 2 2010; (p. 136-144) 'Jack Davis' preoccupation with an aboriginal sense of experience as symbolized through uncle Worru's characterization in The Dreamers, is thought to have been sparked off by a mysterious man named Jack Henry, whose nostalgia was embittered and angered by what he considered to be the end of the golden age. Davis' own experience at the Moore River Settlement and his angst at having been forced to overlook the Noongar culture and tradition are snowballed into a representation of wisdom bordered on the edge of eccentricity. Uncle Worru's strong evocation of a poetic, almost archaic, wish-fulfilling past is thus addressed in terms of his dream-time stories. This paper tries to locate the significance of the dream-time stories in consolidating the theme of protest. The question is: how far successful is uncle Worru in acting out the role of Davis' spokesman? Uncle Worru's scheme of looking back at his past endeavors and success needs to be weighed against the younger generation's instinctive habit of dreaming forward into the future. The sense of false securities embodied through uncle Worru's dreaming backward in time necessarily comes in clash with the later generation's habit of dreaming forward. The dilution of the theme of protest thus gets enmeshed in the whirlpool of cultural abnegation. Davis' "syncretic theatre" distils the elixir of dreams polarized on the chronological separation between past and present.' (Author's abstract).
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