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Issue Details: First known date: 2010... 2010 Where Campfires Used to Gleam : A Collage of Bipolar Dreaming in Davis’ Aboriginal Theatre
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'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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Last amended 4 Oct 2011 15:08:47
136-144 http://rupkatha.com/V2/n2/JackDavisAboriginalTheatre.pdf Where Campfires Used to Gleam : A Collage of Bipolar Dreaming in Davis’ Aboriginal Theatresmall AustLit logo Rupkatha Journal on Interdisciplinary Studies in Humanities
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