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Issue Details: First known date: 2000... 2000 Muwi Muwi-nyhin, Binung Goonj: Boastful Talk and Broken Ears
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AbstractHistoryArchive Description

Melissa Lucashenko outlines the issues of writing about Australian indigenous culture.

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon QWC News Magazine no. 85 May 2000 Z985247 2000 periodical issue 2000 pg. 8-10
  • Appears in:
    y separately published work icon Writing Queensland no. 186 July 2009 Z1655164 2009 periodical issue 2009 pg. 5-7

Works about this Work

Six Groundings for Aboriginal and Torres Strait Islander Story in the Australian Creative Writing Classroom: Part 2 Paul Collis , Jen Crawford , 2018 single work criticism
— Appears in: TEXT : Journal of Writing and Writing Courses , October vol. 22 no. 2 2018;

‘All Australian children deserve to know the country that they share through the stories that Aboriginal people can tell them,’ write Gladys Idjirrimoonra Milroy and Jill Milroy (2008: 42). If country and story, place and voice are intertwined, it is vital that we make space in Australian creative writing classrooms for the reading and writing of Australian Indigenous story. What principles and questions can allow us to begin? We propose six groundings for this work:

  1. Indigenous story is literary history, literary history is creative power.
  2. We do culture together: culture becomes in collaboration, conscious or unconscious.
  3. There is no such thing as Indigenous story, and yet it can be performed and known.
  4. Country speaks, to our conceptions of voice and point of view.
  5. History and memory are written in the land and on the body in bodies of practice.
  6. Story transmits narrative responsibility. Narrative responsibility requires fierce listening.

'This two-part paper discusses each of these groundings as orienting and motivating principles for work we do as teachers of introductory creative writing units at the University of Canberra. Part 1 discussed the first three groundings and was published in TEXT Vol 21, No 2, October 2017. Part 2 discusses the remaining three groundings.'  (Publication abstract)

Six Groundings for Aboriginal and Torres Strait Islander Story in the Australian Creative Writing Classroom: Part 2 Paul Collis , Jen Crawford , 2018 single work criticism
— Appears in: TEXT : Journal of Writing and Writing Courses , October vol. 22 no. 2 2018;

‘All Australian children deserve to know the country that they share through the stories that Aboriginal people can tell them,’ write Gladys Idjirrimoonra Milroy and Jill Milroy (2008: 42). If country and story, place and voice are intertwined, it is vital that we make space in Australian creative writing classrooms for the reading and writing of Australian Indigenous story. What principles and questions can allow us to begin? We propose six groundings for this work:

  1. Indigenous story is literary history, literary history is creative power.
  2. We do culture together: culture becomes in collaboration, conscious or unconscious.
  3. There is no such thing as Indigenous story, and yet it can be performed and known.
  4. Country speaks, to our conceptions of voice and point of view.
  5. History and memory are written in the land and on the body in bodies of practice.
  6. Story transmits narrative responsibility. Narrative responsibility requires fierce listening.

'This two-part paper discusses each of these groundings as orienting and motivating principles for work we do as teachers of introductory creative writing units at the University of Canberra. Part 1 discussed the first three groundings and was published in TEXT Vol 21, No 2, October 2017. Part 2 discusses the remaining three groundings.'  (Publication abstract)

Last amended 10 Dec 2009 12:02:45
8-10 Muwi Muwi-nyhin, Binung Goonj: Boastful Talk and Broken Earssmall AustLit logo QWC News Magazine
5-7 Muwi Muwi-nyhin, Binung Goonj: Boastful Talk and Broken Earssmall AustLit logo Writing Queensland
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