In Prospect Bay, a remote fishing town in South Australian, the only thing that connects the two communities - the Goonyas (whites) and the Nungas (blacks) - is football. The underlying racism and class warfare threatens to make the team's greatest victories irrelevant, though. Two members of the team, Gary Black (the son of a white fisherman) and Dumby Red (the team's star player), are an exception, however, having been best friends since childhood despite their different cultural and family backgrounds. The jubilation that occurs when the team wins the local premiership is short-lived when Dumby is inexplicably overlooked for the 'best on ground' award. This incident subsequently sets off a chain of events that ends in tragedy.
[Sources: Weekend Australian 22-23 December 2001 pp.14-15 and Australian Screen]
'To some, black skin and country music may seem unlikely bedfellows. But from early stars like Jimmy Little and Herb Laughton through Dougie and Wilga Williams to Vic Sims, Bob 'Brown Skin baby' Randal, Bobby McLeod, Issac Yama and Roger Knox. Aboriginal country music is a very real phenomenon. A long rich tradition that's still alive today in Troy Cassar-Daley and Archie Roach.' (Source: On-line)
'B.L.A.C.K. is a cypher scribed by independent and indigenous Hip Hop artist, Wire MC, which stands for Born Long Ago Creation's Keeper. Through interview and observation the song is visually and dialectically deconstructed to speak of contemporary issues around Aboriginal blackness, politics and culture. The filmmaker with his own roots in hip hop aligns himself with Wire and through a rapped narrative adds antoher layer of complexity to notions of blackness, by pulling apart his own identity. This is a musical documentary that exposes an authentic and empowering B.L.A.C.K. voice existing underneath the hype of 'bling-bling' hip hop.'
Source: http://www.cultureunplugged.com (Sighted 7/9/11)
'In Writing Never Arrives Naked, Penny van Toorn engages our minds and hearts. In this academically innovative book she reveals the resourceful and often poignant ways that Indigenous Australians involved themselves in the colonisers' paper culture. The first Aboriginal readers were children stolen from the clans around Sydney Harbour. The first Aboriginal author was Bennelong – a stolen adult. From the early years of colonisation, Aboriginal people used written texts to negotiate a changing world, to challenge their oppressors, protect country and kin, and occasionally for economic gain. Van Toorn argues that Aboriginal people were curious about books and papers, and in time began to integrate letters of the alphabet into their graphic traditions. During the 19th and 20th centuries, Aboriginal people played key roles in translating the Bible, and made their political views known in community and regional newspapers. They also sent numerous letters and petitions to political figures, including Queen Victoria. Penny van Toorn challenges the established notion that the colonists' paper culture superseded Indigenous oral cultures. She argues that Indigenous communities developed their own cultures of reading and writing, which involved a complex interplay between their own social protocols and the practices of literacy introduced by the British. Many distinctive features of Aboriginal writing today were shaped by the cultural, socio-political and institutional conditions in which Aboriginal people were living in colonial times.' (Source: Publisher's website)
'An authoritative survey of Australian Aboriginal writing over two centuries, across a wide range of fiction and non-fiction genres. Including some of the most distinctive writing produced in Australia, it offers rich insights into Aboriginal culture and experience...
'The anthology includes journalism, petitions and political letters from both the nineteenth and twentieth centuries, as well as major works that reflect the blossoming of Aboriginal poetry, prose and drama from the mid-twentieth century onwards. Literature has been used as a powerful political tool by Aboriginal people in a political system which renders them largely voiceless. These works chronicle the ongoing suffering of dispossession, but also the resilience of Aboriginal people across the country, and the hope and joy in their lives.' (Publisher's blurb)
'This is the first collection to span the diverse range of Black Australian writings. Thirty-six Aboriginal and Islander authors have contributed, including David Unaipon, Oodgeroo Noonuccal, Gerry Bostock, Ruby Langford, Robert Bropho, Jack Davis, Hyllus Maris, William Ferguson, Sally Morgan, Mudrooroo Narogin and Archie Weller. Many more are represented through community writings such as petitions and letters.
Collected over six years from all the states and territories of Australia, Paperbark ranges widely across time and genre from the 1840s to the present, from transcriptions of oral literature to rock opera. Prose, poetry, song, drama and polemic are accompanied by the selected artworks of Jimmy Pike, and an extensive, up-to-date bibliography.The voices of Black Australia speak with passion and power in this challenging and important anthology.' Source: Publisher's blurb.
'When Jimmie Blacksmith marries a white woman, the backlash from both Jimmie's tribe and white society initiates a series of dramatic events. As Jimmie tries to survive between two cultures, tensions reach a head when the Newbys, Jimmie's white employers, try to break up his marriage. The Newby women are murdered and Jimmie flees, pursued by police and vigilantes. The hunt intensifies as further murders are committed, and concludes with tragic results.'
Source: Publisher's blurb (HarperCollins ed.)
'On a lonely cattle station in the Northern Territory, a newly born Aboriginal baby is adopted by a white woman in place of her own child who has died. The child is raised as a white child and forbidden any contact with the Aborigines on the station. Years later, Jedda is drawn by the mysteries of the Aboriginal people but restrained by her upbringing. Eventually she is fascinated by a full-blood Aboriginal, Marbuck, who arrives at the station seeking work and is drawn to his campfire by his song. He takes her away as his captive and returns to his tribal lands, but he is rejected by his tribe for having broken their marriage taboos. Pursued by the men from Jedda's station and haunted by the death wish of his own tribe, Marbuck is driven insane and finally falls, with Jedda, over a cliff.'
(Synopsis from the Australian Film, Television and Radio School website, http://library.aftrs.edu.au)
At the completion of this subject, students are expected to be able to:
critically analyse and engage with representations in film and text of Aboriginal people as historical and cultural constructions;
critically analyse contemporary Indigenous forms of representation and knowledge systems across different text (film, images, literature, the media);
at the level of Professional Practice, develop critical skills to represent more appropriately Aboriginal issues and perspectives in their professional fields;
develop appropriate practices and confidence for interacting with local Aboriginal communities;
critically examine the ways racism constructs typical representations of Aboriginality, the nation and race relations in the Australia
be able to negotiate the plurality and diversity of both the theoretical perspectives studied and the ways that you, your teacher and your peers engage differently with the subject.
Teaching and learning strategies
The subject provides you with access to a wide range of intellectual resources and seeks to create an environment that supports lively, intellectually challenging and stimulating debate. The subject aims to be student-learning focused.
The lectures / tutorials will incorporate a range of teaching and experiential learning strategies including readings, case studies, structured small group discussion and student presentations. You will be required to participate in film screening and attend two field trips as part of this subject. You will also be encouraged to attend other performances where appropriate.
This subject provides you with a wide range of learning experiences that will facilitate your knowledge of the social theory field and how this can be advanced or challenged through its application to the area of Indigenous Australian critical studies.
You will be encouraged to develop your practical skills in liaising with Aboriginal communities or organisations and your participation in relevant professional, industry or community-based projects. This approach is consistent with UTS's commitment to practice-based learning.
Task:Complete a written report (2-3 pages) summarising each of the set readings for weeks 1-3.
Assessment item 2: Tutorial Presentation and written paper based on presentation
Length:1000 words (6cp), 1200 words (8cp)
Task:For this assessment you are required to undertake research on a topic as set out in the subject outline or negotiated topic, present your findings to the class, facilitate discussion for up to one hour of class time and present a written analysis of your work the following week. The topic and therefore the date, will be allocated in week three. You might like to consider what theme you would like to pursue for this presentation, and possibly for the next assignment, prior to week three.
Assessment item 3: Negotiated Independent Project
Task:A written project. This will assess your understanding of the subject material and your ability to apply the social theories we have studied and critical Indigenous perspectives.
Grossman M., (2003) Blacklines: contemporary critical writing by indigenous Australians, Carlton, Vic. Melbourne University Press. Introduction pp.1-14.
Muecke, S. (2004) Ancient & modern: time, culture and indigenous philosophy, Sydney: University of NSW.
Muecke, S. (2005) Textual spaces: aboriginality and cultural studies, Perth, W.A. API Network, Australian Research Institute, Curtin University of Technology.
Coe, Mary, (1989) Windradyne: a Wiradjuri Koorie, Canberra, Aboriginal Studies Press. [available @ Sydney University library]
Cowlishaw, G., (1988) Black, White or Brindle: race in rural Australia, Cambridge University Press, Cambridge, pp13-52.
Goodall, H., 'New South Wales' in McGrath, A., (1995) Contested ground: Australian Aborigines under the British crown, St. Leonards, NSW, Allen & Unwin, pp 55-120.
Morris, B., (1989) Domesticating Resistance: The Dhan-Gadi Aborigines and the Australian State, Berg Publishers, Oxford, pp 6-30.
Rowley, C.D., (1970) Eastern frontiers: New South Wales in The Destruction of Aboriginal Society, Penguin, Australia, pp 27-63.
Ryan, L., Waterloo Creek: northern New South Wales, 1838 in Bain Attwood and S G Foster, (2003) Frontier conflict: the Australian experience, Canberra, National Museum of Australia, pp 33-43.
McNiven, I.J, Russell, L. & Schaffer, K. (eds) (1998) Constructions of colonialism: perspectives on Eliza Fraser's shipwreck, London; New York, Leicester University Press.
Miller, O., (1994) Legends of Fraser Island, Port Melbourne, Rigby Heinemann.
Schaffer, K., (1995) In the wake of first contact: the Eliza Fraser stories, New York, Cambridge University Press.