'Ngapartji Ngapartji' traces the true story of one of the world's oldest nations - the Spinifex people - and their encounter with the Cold War and particularly the British atomic testing at Maralinga.
'Each night of the five night pilot season, audiences will be taught a little more of the Pitjantjatjara language. After each lesson a short excerpt of the story is performed. Each evening's performance is stand alone, but undertaken sequentially over the five sessions you will learn more of the language and experience a richer understanding of this exceptional story.' Source: www.acmi.net.au (Sighted 09/08/2007).
Master storyteller Trevor Jamieson weaves this global narrative in his native tongue, Pitjantjatjara.
The play's website contains detailed information about various productions, including crew members: http://www.ngapartji.org/ (Sighted: 11/08/2015)
First presented as a work in progress by Big hART, Melbourne International Arts Festival, the Australian Centre for the Moving Image, and Sydney Opera House, 11-15 October 2005. Director: Scott Rankin. World premiere at the Fairfax Studio, Victorian Arts Centre, as part of the 2006 Melbourne International Arts Festival, 12 October 2006.
The production has since been performed at the Araluen Centre, Alice Springs, the Sydney Opera House, the 2007 Perth International Arts Festival and the 2008 Sydney Festival and Company B at Belvoir Street Theatre.
A revised version, Ngapartji Ngapartji one first performed at the Playhouse, Canberra Theatre Centre, Canberra, Australian Capital Territory, 25 - 28 July 2012.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Indigeneity, Time and The Cosmopolitics of Postcolonial Belonging in the Atomic AgeHelen Gilbert,
2013single work criticism — Appears in:
Interventions : International Journal of Postcolonial Studies,vol.
22013;(p. 195-210)'This essay canvasses theatrical renditions of time, mobility and belonging in Marie Clements' 'Burning Vision' (2002) and Trevor Jamieson and Scott Rankin's 'Ngapartji Ngapartji' (2005), each dealing with the social and environmental legacies of the Atomic Age in remote indigenous homelands in Canada and Australia, respectively. The plays situate local memories within the currents of global history by delivering intimate yet epic accounts of the effects of nuclear industrialization on land, water, species and human communities. Drawing from Tim Ingold's theorizations of dwelling and Nigel Clark's recent work on the geological scales of cosmpolitanism, I explore ways in which performances of mobility and intercultural connectedness in these theatrical works articulate with conventional notions of indigeneity as a marker of rootedness or belonging to particular geographical spaces.' (Author's abstract)
New and Liquid Modernities in the Regions of Australia: Reading Ngurrumilmarrmiriyu [Wrong Skin]Denise Varney,
2011single work criticism — Appears in:
Australasian Drama Studies,
582011;(p. 212-227)'Story-telling, autobiography, documentary and musical theatre are some of the ways in which Indigenous artists and theatre companies critique decades of invasion, dispossession, misrepresentation and silencing. Since the 1960s, Indigenous theatre and performance have represented diverse urban and regional perspectives on important historical and contemporary issues - especially the Stolen Generation, deaths in custody and land rights. These issues relate to the forced removal of "light-skinned‟ Aboriginal children from their families from the late nineteenth century until the 1970s, the disproportionate number of Indigenous deaths in police custody relative to the Indigenous and non-Indigenous populations, and Indigenous claims for the recognition of prior occupation of the land and the award of Native Title. More recently, the impact of British nuclear testing at Maralinga in outback South Australia is explored in a new work, Ngapartji Ngapartji, that situates Indigenous experience within the wider context of the bombing of Hiroshima and the Cold War-led nuclear arms race of the 1950s and 1960s. Maryrose Casey and Helena Grehan have published thoughtful and challenging essays on the new political and aesthetic terrain uncovered in this performance. Ngapartji Ngapartji's linking of Maralinga and Hiroshima signifies a shift from a national to a more global perspective that is also reflected in the multi-cultural characters and cast. Critiques of the policies and practices of successive state and national governments give way in this work to a more international perspective reflecting the globalising forces of the contemporary era. The recent engagement with the global intensifies in two new Indigenous works at the 2010 Adelaide Festival: Tony Briggs' The Sapphires, a multi-cultural cast play which tells the story of an Indigenous "Motown‟ singing group that entertains the troops in Vietnam in the late 1960s, and Ngurrumilmarrmiriyu [Wrong Skin], which deals with global entertainment culture including hip-hop and Bollywood. By drawing out the global influences in Ngurrumilmarrmiriyu [Wrong Skin], this article discusses the issues of modernity, digital media, globalisation and identity in contemporary Indigenous theatre that look beyond the nation to the new horizons of the global.' Denise Varney.