AustLit
A range of terminology has been used in this essay to define Aboriginal and Torres Strait Islander theatre practitioners and performing arts companies. The term ‘First Nations’ and ‘Indigenous’ will be inclusive of both Aboriginal and Torres Strait Islander Peoples. ‘First Peoples’ will encompass all Indigenous people worldwide.
A Rich Tradition of Performance and Theatre
The First Nations People of Australia are the oldest continuous culture on Earth, comprising over 250 distinctly separate nations and language groups with different histories and performative customs (Casey, Telling 8). Their traditional practices of storytelling through art, dance, and song have been a consistent means of cultural expression within this vast and complex landscape. These participatory frameworks of revealing and embodying systems of knowledge have existed since time immemorial, with evidence of First Nations dance and storytelling found in Arnhem Land dating back to 54,000 years ago (Eckersley 131).
Stephen Page, Artistic Director of Bangarra Dance Theatre, said of historical Aboriginal performance that “I suppose it goes back to the traditional kinship of art form, the story teller will dream the story and pass that on to the song man and the song man will adapt that and the didj player will hear that song and he will get the rhythm and the dancer will get all those art forms and will display and celebrate that through his physical spirit and the visual artist is part of that process by taking in the whole bigger picture. It is a beautiful thing” (Casey, Telling 17).
Stolen by Jane Harrison production image. Playbox Theatre, 1998. Directed by Wesley Enoch, Malthouse Theatre (Melbourne).
(Stolen. Ilbijerri Theatre Company and Playbox Theatre production, 1998. Directed by Wesley Enoch, Malthouse Theatre, Melbourne.)
While the performance traditions of Aboriginal and Torres Strait Islander Peoples have endured since that time, their life stories and experiences came to prominence on the Australian stage in the late-1960s and early-1970s through the Nindethana Theatre in Melbourne, co-founded by Jack Charles and Bob Maza, and the National Black Theatre in Redfern (Casey, Nindethana 25-26). The pioneering efforts of those who championed these theatre companies provided First Nations playwrights with the opportunity to not only independently present their works on stage, but through tours, collaborations, and screenings on Australian Broadcasting Corporation (ABC) television (Casey, Creating 62). Bob Maza, one of the founders and Artistic Director of the National Black Theatre, said that the intent of the Black Theatre movement in Australia was to focus on socio-political issues and communicate with both Indigenous and non-Indigenous people, not just entertain (52).
Gerry Bostock, Jack Davis, Wesley Enoch, Jane Harrison, Kevin Gilbert, Eva Johnson, Rachael Maza, Oodgeroo Noonuccal, Robert J. Merritt, and many others have since played a significant role in developing a recognition of Aboriginal and Torres Strait Islander Peoples lived experiences in a historical and contemporary context. The late playwright Jack Davis once said that “the territory of the theatre [is] to bear witness” (Casey, Telling 103). Wesley Enoch, leading First Nations theatre director, playwright, and Artistic Director of the Sydney Festival, notes that “every Aboriginal play by definition needs to have cultural material being discussed, dealt with, referred to, and enacted” (Syron 81). In this sense, these theatre practitioners not only played a political and social justice role in raising mainstream awareness of Aboriginal and Torres Strait Islander Peoples experiences, but ensured that their cultural continuum was preserved and passed on.
Although contemporary works in First Nations theatre and dance have been intrinsically linked to traditional epistemologies of performance through ceremony, cultural elements, and ways of storytelling, these works are also constantly evolving as diverse, complex productions with multiple layers of meaning. First Nations performing arts companies are also continually developing new works and achieving success through touring overseas and collaborating with other First Peoples arts companies in New Zealand, Canada, Asia, and Scandinavia. These experiences provide further opportunities to develop audience engagement and share local stories, knowledge, and protocols (Wilson et al. 98).
Performance and Teaching Protocols
Performance and Teaching Protocols
Protocols are in place for Aboriginal and Torres Strait Islander performers to acknowledge the country where they will be performing, and to seek permission to tell their stories from the traditional owners of that land. First Nations authors or creators of a work also need to ensure that the cultural knowledge embodied in a work is not reproduced inappropriately. As an example, to ensure correct protocols were followed when Wesley Enoch directed The Dreamers by Jack Davis, he hired a cultural advisor from Yirra Yaakin Theatre Company in Perth to work closely with Davis’s family in Western Australia (Australia Council, Protocols 14). Rachael Maza, Artistic Director of Ilbijerri Theatre Company and daughter of First Nations artist and theatre director Bob Maza, notes that all the works they perform are based on someone's story, so the process of collaborating with that specific community regarding their culture and story is fundamental for each work. While she admits that this process is time-consuming and not straightforward, Maza says it is part and parcel of what Ilbijerri do (Arts Law 01:20-2:25).
Acknowledging that First Nations Peoples have many diverse perspectives depending on their heritage also supports best practice protocols for teachers in consulting with local Aboriginal and Torres Strait Islander community members, parents, and carers when planning learning experiences with Aboriginal and Torres Strait Islander content. This collaborative practice not only reflects the lead teacher level of Australian Professional Standards for Teachers 1.4 and 2.4, but enhances trust and mutual understanding, and enables the curriculum to be linked to local knowledge and aspirations (AITSL 2-6).
(Wilay Education Program, Daniel Riley and Yolande Brown. Bangarra Dance Theatre. Image credit: Tiffany Parker.)
Although all works are protected by copyright, there are few legal rights governing the reproduction of First Nations material. Misappropriation is therefore common, and it may be difficult for non-Indigenous people to determine what is authentic. In 2007, the Australia Council for the Arts endorsed protocols for all Indigenous drama and dance sectors to guide the control and protection of their heritage, supported by the 2006 United Nations Declaration of the Rights of Indigenous Peoples. Heritage not only refers to art, literature, music, dance, and drama, but also knowledge systems, languages, and other aspects of Indigenous society and culture (Heiss 83-86). These protocols contain principles of consultation and consent, interpretation, integrity, and authenticity; secrecy and confidentiality; attribution and copyright; proper returns and royalties; and the recognition of First Nations People as guardians and interpreters of their heritage, based on the principle of self-determination (Australia Council, Protocols 10).
“Theatre companies like Yirra Yaakin put the principle of self-determination into practice and we are re-setting the way things are done. We are determining the way forward. Rather than providing people with a false sense of Aboriginal people’s experiences, we are finding our way forward by developing our artistic, creative and contemporary work.” - Sam Cook, former Executive Producer of Yirra Yaakin Theatre Company (Australia Council, Protocols, 13)
(Junior Sonneteers Program, Yirra Yaakin Theatre Company. Image credit: Very Serious.)
There have been many successful collaborations between Indigenous and non-Indigenous performing arts companies — for example, Ilbijerri and Playbox Theatre Company's production of Jane Harrison's Stolen, which was seen by an audience of 150,000; and Bangarra and The Australian Ballet's national and international tour of Warumuk - in the dark night. However, the rights of Aboriginal and Torres Strait Islander Peoples to self-determination remains a critical focus to control the means of representation. Hence why this project recognises the First Nations performing arts companies who maintain sole proprietorship and creative control over the works they produce, as well as the scope of their activities and future development. Wesley Enoch (23) suggests that the responsibility rests with these theatre practitioners to champion the work of Aboriginal and Torres Strait Islander creators in order to enact a better future and be leaders of change.
Many works by Aboriginal and Torres Strait Islander creators are already recognised for their literary worth and socio-political relevance, yet further support to present and tour new First Nations works nationally and internationally can help build an awareness of their lived experiences, and aid the development of cultural competency. Studies in educational research demonstrate that a greater understanding of Aboriginal and Torres Strait Islander Peoples ways of being and knowing can increase a teacher's confidence in conveying cross-curriculum content (Booth 77). Government and academic broad evidence-based research also indicates that the ability of arts and cultural participation to effect social and political change should not be underestimated, and that its most significant impact may be enabled through education (Australia Council, Closing 14; Shoemaker 260).
While there have been many successful collaborations in Australia and a greater commitment to present Indigenous works by other major non-Indigenous arts companies, the right of Indigenous people to self-determination remains a critical focus to control the means of representation. Hence why this project recognises the Indigenous performing arts companies who maintain sole proprietorship and creative control over the works they produce, the scope of their activities, and future development. Wesley Enoch suggests that the responsibility rests with these small to medium theatre practitioners to champion a better future and be leaders of change. Government funding support for enhanced authentic representation of First Nations lived-experiences and constitutional recognition can also allow for a broader audience to support the reconciliation process in Australia and to develop cultural competency. Studies in educational research have shown that a good understanding of Indigenous ways of knowing and being can lead to a greater interest and confidence in teaching cross-curriculum content. Academic and government broad evidence-based research also indicates that the ability of arts and cultural participation to effect social and political change should not be underestimated, and that its most significant impact may be enabled through education.
(Patyegarang. Jasmin Sheppard, Bangarra Dance Theatre. Image credit: Greg Barrett.)
Bangarra Dance Theatre is one of twenty-eight Major Performing Arts (MPA) companies funded by the Federal Government — and the only Indigenous MPA. Bangarra along with Ilbijerri Theatre Company and Yirra Yaakin Theatre Company are three of the sixteen Aboriginal and Torres Strait Islander-led companies regarded by the Australia Council as ‘critical assets’ to achieve positive outcomes for communities (Closing 21). Each has developed a strong educational framework in which to present Aboriginal and Torres Strait Islander works to schools and communities across Australia. The valuable educational materials these companies have produced detail their commitment to enter a meaningful collaboration between the performer and participant of each production. In addition, these resources promote educational outcomes for all students through exploring a deeper history of the country in which they live. Bangarra, Ilbijerri, and Yirra Yaakin also support the development of intercultural understanding by helping teachers explore Aboriginal and Torres Strait Islander Peoples perspectives and embed cross-curriculum priorities. In an age of competing demands for teachers and the multiple subjects they have to cover, these materials easily adapt content to learning areas, and offer activities and lesson plans. The education, youth, and professional learning programs, as well as sample productions and associated curriculum links offered by Bangarra, Ilbijerri, and Yirra Yaakin are detailed below.
‘Bangarra is an Aboriginal and Torres Strait Islander organisation and one of Australia’s leading performing arts companies, widely acclaimed nationally and around the world for our powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design.’
Read more: Bangarra Dance Theatre
Bangarra’s successful Rekindling initiative, launched in 2013, engages with communities and Aboriginal and Torres Strait Islander youth through sharing knowledge of song, dance, and culture. The aim of the long-term dance residency program is to inspire a sense of pride and kinship in young Aboriginal and Torres Strait Islander Peoples, and empower a new generation of cultural leaders. No prior dance experience is required. Through this program, secondary school-aged students learn Aboriginal and Torres Strait Islander dances from highly acclaimed dancer and Youth Program Director Sidney Saltner and other Bangarra alumni, who together have over 50 years of performance experience. Students in the program research local stories and develop their own dance through a series of gatherings with Elders, who are recognised custodians of knowledge, culture, and law within their community. These dances are then performed at a local community event. Bangarra’s Youth Program team also reconnects with past participants each year to deliver additional workshops and encourage further skill sharing in the community. At the beginning of 2019, over 31 communities across five states and 850 students had participated in the Rekindling program. Sixty Rekindling students were also given the opportunity to participate in a totem ceremony at the Opening Ceremony of the 2018 Commonwealth Games.
In addition to Rekindling, Bangarra has partnered with the Arts Unit of the NSW Department of Education for over nine years through The Arts Unit program. The program has awarded Aboriginal Dance Workshops and opportunities for performance to nearly 800 secondary students from over 100 NSW schools. In 2018, Bangarra also continued its partnership with the Queensland Government’s Department of Education for its largest annual youth performing arts event: Creative Generation — State Schools Onstage, which is televised nationally. Bangarra’s Youth Program Team mentored 88 Indigenous secondary students from 17 schools through the program, which culminated in a performance with over 1,800 participants from all over the state.
Read more: Rekindling program
Bangarra offer valuable learning experiences for students each year through their Wilay (Wiradjuri word for Brushtail Possum) education program and Workplace Giving Program. In 2018, over 2,400 students throughout Australia were offered discounted ticket performances, behind the scenes experiences, and post-show discussions with Bangarra’s dancers and creative team. Bangarra’s eResources and Study Guides have been developed in partnership with Education Services Australia for four of the eight major Bangarra production resources. Aligned with the Australian Curriculum, resources are specifically designed for primary and secondary school teachers to build pre and post-production class activities. They include background information on the company and Bangarra repertoire, written excerpts, suggested activities, curriculum support tools, further reading, and educational links. Performance DVDs can be purchased or made available via digital streaming through ClickView and Kanopy subscription-based services. The eResources and Study Guides are free and downloadable from Bangarra’s website, or by request. Bangarra's education resources support teachers to incorporate Aboriginal and Torres Strait Islander perspectives into their learning program to meet Year 7 - 10 Achievement Standards in the Dance Senior Syllabus. Through viewing the performance in person or via DVD and undertaking the activities in the resources, students gain an understanding of the devices used by dancers, choreographers, and technical personnel to communicate intent and meaning through performance. Students practice and apply these specific techniques and technical skills to their own works, and explore how different cultures and viewpoints can enrich performance meaning.
Read more: Bangarra Learning
Teachers' Professional Learning Program
Bangarra’s Winhanga-rra (hear, think, listen) program is available to primary and secondary school teachers across the country. In 2018, 76 teachers participated in intensive one-day workshops that focused on community engagement. The workshops featured talks, film presentations, open forum discussions, and practical tasks to engage with Aboriginal and Torres Strait Islander Peoples culture and source materials. These workshops are inclusive and collaborative, and teachers are welcome to bring their own ideas to activities. No dance experience is necessary.
Read more: Winhanga-rra (hear, think, listen)
BENNELONG
‘Bennelong is a dance theatre production that explores the story of Woollarawarre Bennelong (Bennilong, Baneelon c1764-1813), a Wangul man of the Eora nation who lived in the Port Jackson area at the time of the British first settlement. Today, Bennelong is one of the most celebrated and mythologised Aboriginal individuals from the days of early settlement. His wide notoriety is remarkable - not only for the stories about his interactions and relationships with the British, but for the amount of primary source material that refers to him in notebooks and diaries of several first fleet officers, as well as Governor Arthur Phillip himself.’
Read more and access links to Bangarra's Education Resources for Bennelong.
Summary of Curriculum links:
Cross-curriculum priority |
Aboriginal and Torres Strait Islander histories and cultures |
General capabilities |
Critical and creative thinking, Intercultural understanding, and Literacy |
Learning areas |
History, English, Arts (Dance, Music, Visual Arts), and Geography |
Themes explored |
Indigenous perspectives, Pre and Post-Colonial Australian History, Australian Literature, Cultural Studies, Place, Identity, Language, and Ownership |
Source: Bennelong Study Guide, Bangarra Dance Theatre
(Bennelong portrait. Wikimedia Commons.)
PATYEGARANG
'The story of Patyegarang is framed against the backdrop of early colonisation in the Sydney region between 1788 and 1791. As the colonial fleet arrived on Eora country, Patyegarang befriended the colony’s timekeeper, Lieutenant William Dawes, gifting him her language in an extraordinary display of trust and friendship. In Dawes’ notebooks, rediscovered in 1972, are transcripts of this remarkable cultural exchange. Patyegarang’s words are a window into a rich, complex and utterly different perspective on her world, its values and its sacred meanings.’
Read more and access links to Bangarra's Education Resources for Patyegarang
PATYEGARANG
‘The story of Patyegarang is framed against the backdrop of early colonisation in the Sydney region between 1788 and 1791. As the colonial fleet arrived on Eora country, Patyegarang befriended the colony's timekeeper, Lieutenant William Dawes, gifting him her language in an extraordinary display of trust and friendship. In Dawes' notebooks, rediscovered in 1972, are transcripts of this remarkable cultural exchange. Patyegarang's words are a window into a rich, complex and utterly different perspective on her world, its values and its sacred meanings.’
Read more and access links to Bangarra's Education resources for Patyegarang.
Summary of Curriculum links:
Cross-curriculum priority | Aboriginal and Torres Strait Islander histories and cultures |
General capabilities | Critical and creative thinking, Intercultural understanding, and Literacy |
Learning areas | History, English, Arts (Dance, Music, Visual Arts), Science (Astronomy and Meteorology), and Geography |
Themes explored | Indigenous perspectives, Pre and Post-Colonial Australian History, Australian Literature, Cultural Studies, Place, Identity, Language, and Ownership |
Source: Patyegarang Study Guide, Bangarra Dance Theatre
(Patyegarang portrait. Parramatta Heritage Centre, NSW Government.)
‘Ilbijerri (pronounced ‘il bidge er ree) is a Woiwurrung word meaning “Coming Together for Ceremony”. Ilbijerri is one of Australia’s leading theatre companies creating innovative works by First Nations artists. Ilbijerri creates, presents, and tours powerful and engaging theatre, creatively controlled by Indigenous artists.’
Read more: Ilbijerri Theatre Company
(Coranderrk, 2017. Ilbijerri Theatre Company. Image credit: James Henry.)
As a respected partner of schools and communities, Ilbijerri leads student learning and teacher professional development through its Marguk Education Program, developed with the support of Regional Arts Victoria. ‘Marguk (pronounced mar-gook) means to share/unite in the Boon Wurrung language.’ The program is aligned with the Aboriginal and Torres Strait Islander Histories and Cultures cross-curriculum priority and suitable for age groups ranging from prep to students of the Victorian Certificate of Education. The aims of the Marguk Workshop Series include developing new works specifically for schools, and offering teachers the support and resources to assist them when planning lessons with Indigenous content. Facilitated by Ilbijerri’s creative team, the face to face sessions and workshops are aligned with schools performances to engage students through drama activities that incorporate Indigenous perspectives. The workshops are also based on the dramatic technique of tableaus, which form an image to represent a story or idea and may involve movement and sound. In 2017, 35 Marguk workshops were offered to schools and over 1,400 students participated in the program.
“This was an outstanding workshop. The ability of facilitators to get students involved and active and really thinking about issues facing Aboriginal people was fantastic.” - Teacher feedback
Extensive teacher resources have been developed for all age groups to include curriculum links to pre and post-show activities that build on student learning and complement the Marguk Workshop Series. Ilbijerri also deliver guest lectures at the Victorian College of the Arts, and work with the Monash University and Drama Victoria to inform the delivery of First Nations high school content.
Read more: Ilbijerri Education Program
Curriculum links for Marguk Workshop Series:
Cross-curriculum priority |
Aboriginal and Torres Strait Islander histories and cultures |
General capabilities |
Intercultural understanding, Critical and Creative thinking, Personal and Social Learning |
Learning areas |
History and Social Sciences, English, Arts (Drama) |
Themes explored |
Indigenous perspectives, Pre and Post-Colonial Australian History, Cultural Studies, Place, Identity, Language, Civics and Citizenship |
Source: Marguk Teaching Resources
Ilbijerri Ensemble Youth Program
The Ilbijerri Ensemble Youth Program offers fortnightly workshops for young and emerging First Nations youth (aged 15+ years), who are interested in developing their performance skills. Participants in the program have the opportunity to increase their confidence and knowledge of theatre performance, network and learn from emerging and established First Nations theatre practitioners, and form new career pathways.
Read more: Ilbijerri Ensemble
(Darebin Performance Lab, 2017. Ilbijerri Theatre Company. Image credit: Darren Gill.)
The Ilbijerri Ensemble Youth Program offers fortnightly workshops to emerging First Nations youth (aged 15+ years), who interested in learning more about performance craft. Participants in the program have the opportunity to develop their confidence and knowledge of theatre performance, to network and learn from emerging and established First Nations theatre creative personnel, and be able to form career pathways.
CORANDERRK: We Will Show the Country
(Suitable for Years 9 and 10)
‘At a Victorian Parliamentary Inquiry in 1881, the men and women of the Coranderrk Aboriginal Reserve went head-to-head with the Aboriginal Protection Board. Their goal was both simple and revolutionary: to be allowed to continue the brilliant experiment in self-determination they had pioneered for themselves on the scrap of country left to them. Coranderrk recreates the Inquiry. This is both great theatre and great history. It revives the voices of all those, black and white, who fought for a better pact between the country’s oldest and newest inhabitants.’
Read more and access links to Ilbijerri's Education Resources for Coranderrk.
“With lessons to be learnt at so many levels – historical, social, language and geographical – this play should be compulsory reading in high schools across Australia.” – Australian Stage
Summary of Curriculum links:
Cross-curriculum priority |
Aboriginal and Torres Strait Islander histories and cultures |
General capabilities |
Intercultural and ethical understanding, Critical and Creative thinking, Personal and Social Learning |
Learning areas |
History and Social Sciences, English, Arts (Drama) |
Themes explored |
Indigenous perspectives, Post-Colonial Australian History, Cultural Studies, Place, Identity, Language, Civics and Citizenship |
Source: Coranderrk Teacher Resources 2017
(Panoramic photos of Coranderrk Aboriginal Station shortly after the conclusion of the 1881 inquiry. Museum Victoria.)
WHICH WAY HOME
(Suitable for Years 9 and 10)
‘Which Way Home gives profound insight into father-daughter relationships and questions the necessity of gendered roles in parenthood. It is a personal story of resilience, addiction, loss and triumph. The work centres on the final road trip to Country undertaken by father and daughter. Told through the eyes of the daughter, from young girl to woman, we see the changes not only in the landscapes but also in the minds of the characters. The story has the capacity to remind audiences of every person’s need for family, history and heritage.’
Read more and access links to Ilbijerri's Education Resources for Which Way Home.
“The play depicted a beautiful relationship between father and daughter, something rarely represented in our culture. It was really great to see a positive relationship being represented.” - Audience feedback.
Summary of Curriculum links:
Cross-curriculum priority |
Aboriginal and Torres Strait Islander histories and cultures |
General capabilities |
Intercultural and Ethical understanding, Critical and Creative thinking, Literacy, Personal and Social Learning |
Learning areas |
History and Social Sciences, English, Arts (Drama), Geography |
Themes explored |
Indigenous perspectives, Pre and Post-Colonial Australian History, Cultural Studies, Place, Identity, Language, Civics and Citizenship |
Source: Which Way Home Teacher Resources 2018
(Which Way Home, 2016. Ilbijerri Theatre Company. Image credit: Steven Rhall.)
Read more: Yirra Yaakin Theatre Company
(Yirra Yaakin's Artistic Director, Eva Grace Mullaley. Image Credit: Jamie James.)
(Junior Sonneteers, Yirra Yaakin Theatre Company. Image credit: Dana Weeks.)
Yirra Yaakin's education program is centred on its youth-focused productions, residencies, and workshops to offer young people of all ages a unique cultural learning experience. In 2019, Yirra Yaakin visited 65 schools on metro and regional tours, offered 25 education workshops, and engaged with over 18,000 students. Yirra Yaakin believe in forming strong partnerships with teachers and the wider community to promote student involvement in the arts. Their diverse range of productions tour to some of the most remote areas of Western Australia each year. Post-performance question and answer sessions with students are also offered.
The education program is supported by high-quality education materials that have been developed in consultation with Noongar Elders, teachers, and local communities all over Western Australia to be aligned with cross-curriculum priorities. These resources have been developed for students of all ages. They include curriculum activities linked to learning areas; historical, cultural, and social perspectives; background information on each production; and interviews with creative personnel. These resources are available to teachers for free when booking for a performance, or they can be purchased once the production has finished. Those attending performances can also access risk assessment guides and notes on theatre etiquette from Yirra Yaakin’s website.
Read more: Yirra Yaakin Education Program
The ‘Moorditj Wirlya’ (Strong Heart) Respect Yourself, Respect Your Culture Workshops empower students to share and celebrate their cultural identities and heritage in a safe space. Presented by Wongi/Yamatji actor and writer, Zac James, these workshops are specifically designed for Year 9-12 drama students to explore themes of culture, belonging, and identity across 9 x 2-hour sessions. Within a collaborative framework, students engage in Forum theatre, scene work, dramatic conventions, text analysis, team bonding activities, rehearsal techniques, debrief techniques, and learn basic production. The conclusion of the workshop sees students perform an original piece of theatre using the themes discussed. The 'Moorditj Wirlya’ (Strong Heart) Respect Yourself, Respect Your Culture Workshops link to the curriculum through Aboriginal and Torres Strait Islander histories and cultures in the English and Arts (Drama) learning areas.
Read more about 'Moorditj Wirla' (Strong Heart) Workshops
(Culture 2.0 Workshops, 2018. Image credit: Jamie Breen.)
The Noongar Shakespeare Project is a long term cultural and creative endeavour celebrating Noongar culture and language — a language that is considered endangered with less than 400 fluent speakers. Therefore, the project's aims are to 'keep their language alive' and directly build on the number of people with a knowledge of the language and Noongar culture.
In a world first in 2012, Yirra Yaakin presented Shakespeare's Sonnets in Noongar language at the Globe Theatre’s Cultural Olympiad in London, translated by Kylie Bracknell. Currently developing Shakespeare's Macbeth into Noongar language, Yirra Yaakin Theatre Company in association with Bell Shakespeare will premiere a full-length production of Macbeth entitled Hecate in February 2020.
In 2018, through Yirra Yaakin's work in adapting Shakespeare into Noongar, secondary school students from Perth were invited to take part in a pilot of the Junior Sonneteers Program. From 21 auditionees, 11 students were selected to participate in an intensive two-month period of workshops in professional aspects of theatre performance craft, vocal and language skills, and acting techniques — while gaining a knowledge of Shakespeare and Noongar language. These workshops culminated in a number of well-received performances, leading to a new intake of young artists from very diverse backgrounds, expanding the group from 11 to 23.
The Junior Sonneteers Program values the importance of investing in each student’s development, recognising them as part of the future of Yirra Yaakin. The program also supports the company’s aims to sustain one of the world's oldest languages while promoting cultural awareness and reconciliation.
'Boodjar Kaatijin is an instalment of the successful Kaatijin series of new works for families and younger audiences. Boodjar Kaatijin incorporates live music with storytelling to share Noongar understanding of the Earth and country. This work is based on the creation stories in and around the Perth metropolitan area, giving audiences in Perth a glimpse of the cultural significance of the places in which they live.'
Read more and access link to Yirra Yaakin's Education Resources for Boodjar Kaatijin.
DJINDA KAATIJIN
Djinda Kaatijin, which means ‘to understand stars’ in the Noongar language, explores how stars are culturally important through Noongar dreaming stories and contemporary Indigenous storytelling. In this next exciting instalment in Yirra Yaakin’s series of productions for young people, Weitj (Emu), Dwert (Dingo) and Wardong (Crow) journey through the milky way to learn about the Seven Sisters (Pleiades), while interweaving star stories from around Australia and the world.
Read more: Djinda Kaatijin
“Wow!!! What an absolutely amazing performance yesterday. The children and staff were enthralled and engaged the whole way through. It was a very professional performance with people who obviously have a passion for their work. We're already discussing booking your company for next year.” — Alison McAvoy, Boyare Primary School
Summary of Curriculum links:
Cross-curriculum priority |
Aboriginal and Torres Strait Islander histories and cultures |
General capabilities |
Intercultural understanding, Literature, Literacy |
Learning areas |
History and Social Sciences, English, Arts (Drama), Science, Geography |
Themes explored |
Indigenous perspectives, Cultural Studies, Place, Identity, Language |
For education resources for Djinda Kaatijin, please contact education@yirrayaakin.com.au.
(Djinda Kaatijin. Yirra Yaakin Theatre Company. Image credit: Dana Weeks.)
KAARLA KAATIJIN
‘Kaarla Kaatijin which in Noongar means 'to understand fire' is the first story in a series of five productions centred around Noongar language and culture. The story follows the plight of the birds and animals of the land suffering an endless, icey winter. Together they undertake a dangerous and brave mission to catch 'Kaarla' (fire) and bring it back to warm the land once more. Rich in storytelling and beautifully written characters, Kaarla Kaatijin builds on Yirra Yaakin's excellent reputation for high quality Indigenous theatre for young people. This enchanting Western Australian story celebrates local culture and heritage in a refreshingly youthful and vibrant way.’
Read more: Kaarla Kaatijin
“What a fantastic incursion we were treated to. Thank you. Compliments to all the performers as they had the children eating out of their hands and were amazing. Great storytellers!” – Teacher, Illawarra Primary School
Summary of Curriculum links:
Cross-curriculum priority |
Aboriginal and Torres Strait Islander histories and cultures |
General capabilities |
Intercultural understanding, Literature, Literacy |
Learning areas |
History and Social Sciences, English, Arts (Drama), Science, Geography |
Themes explored |
Indigenous perspectives, Cultural Studies, Place, Identity, Language |
For education resources for Kaarla Kaatijin, please contact education@yirrayaakin.com.au.
The substantial inclusion of authentic Indigenous perspectives supports Aboriginal and Torres Strait Islander histories and cultures cross-curriculum priorities across many general capabilities and learning areas. Bangarra, Ilbijerri, and Yirra Yaakin’s diverse education and youth programs encourage respectful collaborations with local Aboriginal and Torres Strait Islander community members, and enable First Nations students to see themselves reflected in empowering ways. Bangarra's professional learning program also provides teachers with an increased understanding of Aboriginal and Torres Strait Islander Peoples culture, and a greater confidence in teaching cross-curriculum content. The comprehensive resources produced by these performing arts organisations detail their strong commitment to enter into reciprocal relationships with schools, and provide teachers with straightforward applications for embedding Aboriginal and Torres Strait Islander Peoples perspectives. Through their efforts, Bangarra, Ilbijerri, and Yirra Yaakin are not only contributing to a 65,000 year-old cultural continuum, but ensuring students have access to unique learning opportunities, and insight into the rich heritage of the country in which we live.
Parallax
1. Skylab (Gary Gooper and Liani Dalgetty). World premiere co-production by Black Swan State Theatre Company and Yirra Yaakin Theatre Company. Image credit: Dana Weeks.
2. Stolen. Ilbijerri Theatre Company and Playbox Theatre production, 1998. Directed by Wesley Enoch, Malthouse Theatre (Melbourne).
3. Wilay Education Program (Daniel Riley and Yolande Brown). Bangarra Dance Theatre. Image credit: Tiffany Parker.
4. Junior Sonneteers Program. Yirra Yaakin Theatre Company. Image credit: Very Serious.
5. Patyegarang (Jasmin Sheppard). Bangarra Dance Theatre. Image credit: Greg Barrett.
6. Bennelong. Bangarra Dance Theatre. Image credit: Daniel Boud.
7. Bennelong portrait. Wikimedia Commons.
8. Patyegarang portrait. Parramatta Heritage Centre, NSW Government.
9. CORANDERRK: We Will Show the Country, (Trevor Jamieson), 2017. Ilbijerri Theatre Company. Image credit: James Henry.
10. Darebin Performance Lab, 2017. Ilbijerri Theatre Company. Image credit: Darren Gill.
11. CORANDERRK: We Will Show the Country, 2013. Ilbijerri Theatre Company. Image credit: Patrick Boland.
12. Panoramic photos of Coranderrk Aboriginal Station shortly after the conclusion of the 1881 inquiry. Museum Victoria.
13. Which Way Home, 2016. Ilbijerri Theatre Company. Image credit: Steven Rhall.
14. Yirra Yaakin's Artistic Director, Eva Grace Mullaley. Image Credit: Jamie James.
15. Junior Sonneteers, Yirra Yaakin Theatre Company. Image credit: Dana Weeks.
16. Culture 2.0 Workshops, 2018. Yirra Yaakin Theatre Company. Image credit: Jamie Breen.
17. Djinda Kaatijin. Yirra Yaakin Theatre Company. Image credit: Dana Weeks.
Multi-Tab
1. Patyegarang (Jasmin Sheppard). Bangarra Dance Theatre. Image credit: Greg Barrett.
2. Dark Emu. Bangarra Dance Theatre. Image credit: Daniel Boud.
3. Jack Charles V The Crown (Jack Charles), 2010. Ilbijerri Theatre Company. Image credit: Bindi Cole.
4. Skylab (Gary Gooper and Liani Dalgetty). World premiere co-production by Black Swan State Theatre Company and Yirra Yaakin Theatre Company. Image credit: Dana Weeks.
“Aboriginal and Torres Strait Islander Histories and Cultures.” Australian Curriculum, Assessment and Reporting Authority (ACARA), 2019, https://www.australiancurriculum.edu.au.
“Assessment criteria for Graduate Teacher Standards 1.4 & 2.4: Supporting the Accreditation of initial teacher education programs in Australia: Standards and Procedures.” Australian Institute for Teaching and School Leadership (AITSL), 2018, https://www.aitsl.edu.au/teach/standards.
AusStage, The Australian Live Performance Database, https://www.ausstage.edu.au.
Bangarra Dance Theatre, https://www.bangarra.com.au.
- About, https://www.bangarra.com.au/about/company/.
- “Bangarra: 30 years of sixty five thousand at the Sydney Opera House.” YouTube, 13 June 2019, https://www.youtube.com/watch?v=Li0BJJpFSQc.
- “Bennelong: a sneak peek.” YouTube, 30 June 2017, https://www.youtube.com/.
- Bennelong Education Resource, 2017, https://www.bangarra.com.au/learning.
- “Bennelong Education Resource.” YouTube, 12 September 2018, https://www.youtube.com.
- Bennelong Study Guide, July 2017, https://bangarra-assets.
- Learning program, https://www.bangarra.com.au/learning.
- “Patyegarang - ABC News 7.30 report.” YouTube, 13 May 2014, https://www.youtube.com.
- “Patyegarang - a gift of Australian history in a remarkable dance experience about first contact.” YouTube, 14 April 2014, https://www.youtube.com/.
- Patyegarang Study Guide, https://www.qpac.com.au.
- Patyegarang Teacher's Resource, https://issuu.com/bangarra.
- Rekindling program, https://www.bangarra.com.au/community/rekindling/.
- “Rekindling Youth Program in Charleville, QLD 2018.” YouTube, 19 October 2018, https://www.youtube.com/.
- The Arts Unit and Creative Generation - State Schools Onstage, 2018 Annual Report, https://issuu.com/bangarra/.
- Winhahga-rra, Teachers’ Professional Learning, https://www.bangarra.com.au/learning/.
Booth, Sarah. Teaching Aboriginal curriculum content in Australian high schools. Edith Cowan University, Research Online, 2014, https://ro.ecu.edu.au/theses/1522.
Casey, Maryrose, and Cathie Craigie. “A Brief History of Indigenous Australian Contemporary Theatre.” Australian Script Centre, 2011, pp. 1-7. https://australianplays.org/.
Casey, Maryrose. Creating Frames : Contemporary Indigenous Theatre 1967-1990. University of Queensland Press, 2004.
Casey, Maryrose. “Nindethana and the National Black Theatre: Interrogating the Mythology of the New Wave.” Australasian Drama Studies, No. 36, April 2000, pp. 19-33. https://search-informit-com-au.
Casey, Maryrose. Telling Stories : Aboriginal Australian and Torres Strait Islander Performance. Australian Scholarly Publishing, 2012.
Eckersley, Mark. Australian Indigenous Drama. Tasman Press, 2012.
Enoch, Wesley. Take Me to Your Leader : the Dilemma of Cultural Leadership. Currency House, 2014.
“Guidelines for Ethical Research in Australian Indigenous Studies.” Australian Institute of Aboriginal and Torres Strait Islander Studies. 2nd ed., 2012, https://aiatsis.gov.au/sites/.
Heiss, Anita. Dhuulu Yala (To Talk Straight). Publishing Indigenous Literature, 2003.
Heiss, et al. Macquarie PEN Anthology of Aboriginal Literature. Allen & Unwin, 2008.
“Ilbijerri Theatre: Artistic Director Rachael Maza on Cultural Protocols for Indigenous Theatre.” Arts Law Centre of Australia , 27 Feb 2012, https://www.artslaw.com.au.
Ilbijerri Theatre Company, https://ilbijerri.com.au.
- 2017 Annual Report, https://h8t7s8r4.stackpath.
- About, https://ilbijerri.com.au/about/.
- Coranderrk Teaching Resources, 2017, https://ilbijerri.com.au/.
- Coranderrk: We Will Show the Country, https://ilbijerri.com.au/event/.
- “Coranderrk - Trailer.” YouTube, 16 February 2014, https://www.youtube.com/.
- “Drama Tableau Project.” YouTube, 9 April 2014, https://www.youtube.com/watch.
- Education program. http://ilbijerri.com.au/education/.
- Ilbijerri Ensemble Youth Program, https://ilbijerri.com.au/event/ilbijerri-ensemble/.
- Marguk Teaching Resources, https://www.artscentremelbourne.com.au.
- Marguk Workshop Series, https://ilbijerri.com.au/event/marguk/.
- Which Way Home, 2018, http://ilbijerri.com.au/event/which-way-home/.
- Which Way Home Education Resources, 2018, http://ilbijerri.com.au.
- “Which Way Home by Katie Beckett 2018.” YouTube, 17 January 2018, https://www.youtube.com/watch?v=wq9Hb1Pdy0c.
Leane, Jeanine. “Teaching with BlackWords: Aboriginal and Torres Strait Islander Writers and Storytellers.” St Lucia, Qld: AustLit, 2012.
Living Culture: First Nations Arts Participation. Australian Government, Australia Council for the Arts, Department of the Prime Minister and Cabinet, 25 September 2017, https://www.australiacouncil.gov.au/research/living-culture/.
Lowe, Kevin, and Tyson Yunkaporta. “The Inclusion of Aboriginal and Torres Strait Islander Content in the Australian National Curriculum: A Cultural, Cognitive and Sociopolitical Evaluation.” Redress, vol. 27, no. 2, 2018, pp. 18–30. https://search-informit-com.
Parkinson, Chloe & Tiffany Jones. “Aboriginal people’s aspirations and the Australian Curriculum: a critical analysis.” Educ Res Policy Prac, no. 18, 2019, pp.75-97.
Performing Arts - Protocols for Producing Indigenous Australian performing arts. Australian Government, Australia Council for the Arts, 2nd ed., 2007, https://www.australiacouncil.gov.au.
Price, Kaye. “Aboriginal and Torres Strait Islander Studies in the classroom.” Aboriginal and Torres Strait Islander Education: An Introduction for the Teaching Profession, edited by K Price, Cambridge University Press, 2012, pp.151-163, https://www-cambridge-org.
Shoemaker, Adam. “Aboriginality and Black Australian Drama.” Black Words White Page: New Edition. ANU Press, 2004, pp. 231–264, https://www.jstor.org/stable/j.ctt2jbkhp.
Submission to the Closing The Gap Refresh. Australian Government, Australia Council for the Arts, Department of the Prime Minister and Cabinet, 5 April 2018, https://www.australiacouncil.
Syron, Liza-Mare. “The Bennelong Complex : Critical Perspectives on Contemporary Indigenous Theatre and Performance Practice and the Cross-Cultural Experience in Australia.” Australasian Drama Studies, vol. 53, 2008, pp. 74–83, https://search-informit-com.
Wilson, Denise, et al. “Engaging with Local First Nations Communities through the Performing Arts.” Australasian Drama Studies, no. 73, 2018, pp. 69–106.
Yirra Yaakin Theatre Company, https://yirrayaakin.com.au.
- “2019 Education Program | Sneak Peek.” YouTube, 31 October 2018, https://www.youtube.com/.
- Djinda Kaatijin, https://yirrayaakin.com.au/production/djinda-kaatijin/.
- Education program & workshops, https://yirrayaakin.com.au/education/.
- Junior Sonneteers Program, https://yirrayaakin.com.au/production/junior-sonneteers-program/.
- “Junior Sonneteers Program.” YouTube, 30 October 2018, https://www.youtube.com/watch.
- “Kaarla Kaatijin by Zac James.” YouTube, 7 September 2018, https://www.youtube.com.
- Our Story, https://yirrayaakin.com.au/our-story/.
- The Noongar Shakespeare Project, https://yirrayaakin.com.au/production.
- “The Noongar Shakespeare Project.” YouTube, 1 November 2018, https://youtu.be/.
“Aboriginal and Torres Strait Islander Histories and Cultures.” Australian Curriculum, Assessment and Reporting Authority (ACARA), 2019, https://www.australiancurriculum.edu.au.
“Assessment criteria for Graduate Teacher Standards 1.4 & 2.4: Supporting the Accreditation of initial teacher education programs in Australia: Standards and Procedures.” Australian Institute for Teaching and School Leadership (AITSL), 2018, https://www.aitsl.edu.au/teach/standards.
AusStage, The Australian Live Performance Database, https://www.ausstage.edu.au.
Bangarra Dance Theatre, https://www.bangarra.com.au.
- About, https://www.bangarra.com.au/about/company/.
- “Bangarra: 30 years of sixty five thousand at the Sydney Opera House.” YouTube, 13 June 2019, https://www.youtube.com/watch?v=Li0BJJpFSQc.
- “Bennelong: a sneak peek.” YouTube, 30 June 2017, https://www.youtube.com/.
- Bennelong Education Resource, 2017, https://www.bangarra.com.au/learning/resources.
- “Bennelong Education Resource.” YouTube, 12 September 2018, https://www.youtube.com.
- Bennelong Study Guide, July 2017, https://bangarra-assets.
- Learning program, https://www.bangarra.com.au/learning/resources/.
- “Patyegarang - ABC News 7.30 report.” YouTube, 13 May 2014, https://www.youtube.com.
- “Patyegarang - a gift of Australian history in a remarkable dance experience about first contact.” YouTube, 14 April 2014, https://www.youtube.com/.
- Patyegarang Study Guide, https://www.qpac.com.au.
- Patyegarang Teacher's Resource, https://issuu.com/bangarra.
- Rekindling program, https://www.bangarra.com.au/community/rekindling/.
- “Rekindling Youth Program in Charleville, QLD 2018.” YouTube, 19 October 2018, https://www.youtube.com/.
- The Arts Unit and Creative Generation - State Schools Onstage, 2018 Annual Report, https://issuu.com/bangarra/.
- Winhahga-rra, Teachers’ Professional Learning, https://www.bangarra.com.au/learning/.
Booth, Sarah. Teaching Aboriginal curriculum content in Australian high schools. Edith Cowan University, Research Online, 2014, https://ro.ecu.edu.au/theses/1522.
Casey, Maryrose, and Cathie Craigie. “A Brief History of Indigenous Australian Contemporary Theatre.” Australian Script Centre, 2011, pp. 1-7. https://australianplays.org/.
Casey, Maryrose. Creating Frames : Contemporary Indigenous Theatre 1967-1990. University of Queensland Press, 2004.
Casey, Maryrose. "Nindethana and the National Black Theatre: Interrogating the Mythology of the New Wave." Australasian Drama Studies, No. 36, April 2000, pp. 19-33. https://search-informit-com-au.ezproxy.library.uq.edu.au.
Casey, Maryrose. Telling Stories : Aboriginal Australian and Torres Strait Islander Performance. Australian Scholarly Publishing, 2012.
Eckersley, Mark. Australian Indigenous Drama. Tasman Press, 2012.
Enoch, Wesley. Take Me to Your Leader : the Dilemma of Cultural Leadership. Currency House, 2014.
“Guidelines for Ethical Research in Australian Indigenous Studies.” Australian Institute of Aboriginal and Torres Strait Islander Studies. 2nd ed., 2012, https://aiatsis.gov.au/sites/.
Heiss, Anita. Dhuulu Yala (To Talk Straight). Publishing Indigenous Literature, 2003.
Heiss, et al. Macquarie PEN Anthology of Aboriginal Literature. Allen & Unwin, 2008.
“Ilbijerri Theatre: Artistic Director Rachael Maza on Cultural Protocols for Indigenous Theatre.” Arts Law Centre of Australia , 27 Feb 2012, https://www.artslaw.com.au/videos/ilbijerri.
Ilbijerri Theatre Company, https://ilbijerri.com.au.
- 2017 Annual Report, https://h8t7s8r4.stackpath.
- About, https://ilbijerri.com.au/about/.
- Coranderrk Teaching Resources, 2017, https://ilbijerri.com.au/.
- Coranderrk: We Will Show the Country, https://ilbijerri.com.au/event/.
- “Coranderrk - Trailer.” YouTube, 16 February 2014, https://www.youtube.com/.
- “Drama Tableau Project.” YouTube, 9 April 2014, https://www.youtube.com/watch.
- Education program. http://ilbijerri.com.au/education/.
- Ilbijerri Ensemble Youth Program, https://ilbijerri.com.au/event/ilbijerri-ensemble/.
- Marguk Teaching Resources, https://www.artscentremelbourne.com.au.
- Marguk Workshop Series, https://ilbijerri.com.au/event/marguk/.
- Which Way Home, 2018, http://ilbijerri.com.au/event/which-way-home/.
- Which Way Home Education Resources, 2018, http://ilbijerri.com.au.
- “Which Way Home by Katie Beckett 2018.” YouTube, 17 January 2018, https://www.youtube.com/watch?v=wq9Hb1Pdy0c
Leane, Jeanine. “Teaching with BlackWords: Aboriginal and Torres Strait Islander Writers and Storytellers.” St Lucia, Qld: AustLit, 2012.
Living Culture: First Nations Arts Participation. Australian Government, Australia Council for the Arts, Department of the Prime Minister and Cabinet, 25 September 2017, https://www.australiacouncil.gov.au/research/living-culture/.
Lowe, Kevin, and Tyson Yunkaporta. “The Inclusion of Aboriginal and Torres Strait Islander Content in the Australian National Curriculum: A Cultural, Cognitive and Sociopolitical Evaluation.” Redress, vol. 27, no. 2, 2018, pp. 18–30. https://search-informit-com
Parkinson, Chloe & Tiffany Jones. “Aboriginal people’s aspirations and the Australian Curriculum: a critical analysis.” Educ Res Policy Prac, no. 18, 2019, pp.75-97. https://link-springer-com.ezproxy.library.uq.edu.au/article/10.1007/s10671-018-9228-4
Performing Arts - Protocols for Producing Indigenous Australian performing arts. Australian Government, Australia Council for the Arts, 2nd ed., 2007, https://www.australiacouncil.gov.au.
Price, Kaye. “Aboriginal and Torres Strait Islander Studies in the classroom.” Aboriginal and Torres Strait Islander Education: An Introduction for the Teaching Profession, edited by K Price, Cambridge University Press, 2012, pp.151-163, https://www-cambridge-org.
Shoemaker, Adam. “Aboriginality and Black Australian Drama.” Black Words White Page: New Edition. ANU Press, 2004, pp. 231–264, https://www.jstor.org/stable/j.ctt2jbkhp.
Submission to the Closing The Gap Refresh. Australian Government, Australia Council for the Arts, Department of the Prime Minister and Cabinet, 5 April 2018, https://www.australiacouncil.
Syron, Liza-Mare. “The Bennelong Complex : Critical Perspectives on Contemporary Indigenous Theatre and Performance Practice and the Cross-Cultural Experience in Australia.” Australasian Drama Studies, vol. 53, 2008, pp. 74–83, https://search-informit-com.
Wilson, Denise, et al. “Engaging with Local First Nations Communities through the Performing Arts.” Australasian Drama Studies, no. 73, 2018, pp. 69–106, https://search-proquest-com.ezproxy.library.uq.edu.au
Yirra Yaakin Theatre Company, https://yirrayaakin.com.au.
- Djinda Kaatijin, https://yirrayaakin.com.au/production/djinda-kaatijin/.
- Education program & workshops, https://yirrayaakin.com.au/education/.
- “2019 Education Program | Sneak Peek.” YouTube, 31 October 2018, https://www.youtube.com/.
- Junior Sonneteers Program, https://yirrayaakin.com.au/production/junior-sonneteers-program/.
- “Junior Sonneteers Program.” YouTube, 30 October 2018, https://www.youtube.com/watch.
- “Kaarla Kaatijin by Zac James.” YouTube, 7 September 2018, https://www.youtube.com.
- Our Story, https://yirrayaakin.com.au/our-story/.
- The Noongar Shakespeare Project, https://yirrayaakin.com.au/production.
- “The Noongar Shakespeare Project.” YouTube, 1 November 2018, https://youtu.be/.