Jack Davis uses an authentic voice through the implementation of genuineness that’s evident through his lack of biasness. Jack Davis doesn’t degrade the characters of those such as Neville and Neal, instead exhibiting attitudes in response to the context of the story. The characters that Davis had created has motives in response to their displayed behaviours. The characters of Sergeant and Constable are considered to confirming to the set stereotypes against the aboriginals that’s evident in ‘Natives are best left to keep to themselves’ (Act 1, Scene 2), although the Sergeant may appear as condescending and racist at times, one needed to empathise with his prerogative as to an extent, he can be seen as simply following the orders set by AO Neville. The depth and complexity added to each characters are also manifested through Sister Eileen and Matron Neal. Sister Eileen is classified as one of ‘do gooders’ in the stage play, irrespective of her rank within the social hierarchy. She allocates respect the Aboriginals by addressing them by their full name and sympathising with their …show more content…
Sister Eileen’s prerogative to teach the younger Aboriginal generations of the English language is a product of the assimilation, as the extinction of the traditional language in exchange to English could cause a destruction of a culture. The complexity of Sister Eileen’s character allows the audience to witness her transgression against the futile treatment of the aboriginals, while at the same time, affirming the stereotypes of Aboriginals as uneducated, henceforth the enforcement of the English language. The variance within the paradigm of the characters used within Jack Davis’ stage play allows the readers to witness the hidden motives beneath each character, strongly influenced with the careful establishment of complexity added to each
The history of Aboriginal alienation was an important context that assisted Silvey in the making of his novel, and furthermore establishing a successful play. The year 2009 was an influential year for Aboriginal’s rights. After twenty years of negotiation, the United Nations
Black Diggers is a play written by Tom Wright about the indigenous Australians who fought in World War II and their previously forgotten stories. The Ideas and themes involved in the text circle around two main points. The first is the inferiority of non-indigenous Australians in the play which can be seen by all the non-indigenous characters who aren’t called by their names. The second is the injustice shown towards non-indigenous soldiers due to discrimination and violence throughout the play. These arguments are evident in the old soldier’s monologue which was set in 1956.
In her book Nanberry, Jackie French portrays colonial life as a very confusing and perplexing time for both the Indigenous Australians and the White British Settlers, albeit in different ways. With the Indigenous Australians confused by the sudden invasion of the white settler (ghosts), and the British Settlers becoming confused by the new sights, smells and culture of ‘Sydney Cove’. Through the characters of Nanberry, Surgeon White and Bennelong, the viewer is shown just how confusing their life was at the time of the first settlement in Australia. Nanberry is one of the main characters in French’s book, and is a prime way through which she portrays colonial life as perplexing and confusing. Nanberry was born into, and partially raised by an Indigenous Australian family, however he was adopted by Surgeon White at the tender age of eight or nine.
How does the discourse of whiteness impact upon Aboriginal and Torres Strait Islander peoples’ educational outcomes? Due to the white hegemony in modern society even as it continues to change, one thing that remains constant is the representation of ‘normal’ is being white. It is this hidden discourse of whiteness in society which remains invisible, yet, represents unearned power through sustained dominance and unware beneficiary of privilege. The universalisation and normalisation of whiteness as the representation of humanity is enshrined and conveyed in our curricula, television, films, museums, songs, novels, visual arts and other material culture (Moreton-Robinson, 2004). This blindness to whiteness subjects our Aboriginal and Torres Strait
You tell me, and I won’t put it down on the form, No-one will know but you and me”. It’s obvious that the author, Thomas King, is trying to make awareness about the treatment of Aboriginals are facing in
Upon initial encounter, the apology is recognized but once the viewer becomes aware, Bennett has cleverly reconfigured and remixed the apology to reveal a prideful testimony of colonial intent, objective and execution. The remixed ‘un-apology’ makes it irresistible bait for an “ass whopping”, only Billy Jack could deliver which many intergenerational survivors would appreciate. The remix essentially exposes the colonialist project, which was “designed to colonize Indian minds as a means of gaining access to Indigenous resources.” In general, Bennett masterfully depicts colonial residues, the trans-generational violence of exploitation of land, resources and colonial subjugation. The medium of film and media work as an effective tool to create a dialogue between these characters of different decades, time and narrative is conflated and transcended the historical wrong doings that are felt today, the past influences the present and future, or in another’s words, “history is amendable, but knows no past, present and future; it knows no long or short time, no ‘long ago’ or ‘recently’ – as absolutely unique and nonconvertible moments”
The poem My Mother The Land by Phill Moncrieff poetically describes the struggles the aboriginal people faced at the hands of the European people and colonisation throughout history. The fact that the author based the poem on accurate historical events adds to the authenticity of representations and engages the reader in an emotional journey with the struggles the aboriginal people faced with the somewhat loss of their country, culture, identity, people and place. The author uses a variety of language features and text structures to create this view point, for instance the author uses several language features and text structures throughout verse one to demonstrate the loss of culture and people. The poet uses effective language features throughout the poem to describe the loss that the narrator feels in their country, culture, identity, people
The nation (Australia) is constantly looking for a person/group of people to follow. The underprivileged are stuck in the midst and subsequently, they feel a sense of inequality. Noonuccal accentuates the auditory effect of the underprivileged, in an attempt to evoke a depressing or compassionate feeling towards them from the reader through the use of imagery in the ‘underprivileged call’. The use of personification in ‘unfriendly doors’ displays how the statesman can force the ‘unfriendly doors’ to groups of people in which he dislikes, which shows how mean and unfriendly Australians can be.
While repeating the ‘Australian Dream’ to exhibit its irony and fallacy. Included was the demonisation of pop cultural figures, among them Charles Dickens, which alienates the audiences views, and asks them to question previously assumed realities. Talking from a voice of authority Grant distinguishes his aboriginal heritage and outlines his inherited past, one full of violence and injustice. Heavy use of hand gestures and passionate vocal tones, reinforced by strong eye contact and a lack of reliance on notes.
No matter what changes are made, as long as their skin colour isn’t pure white, they will never be regarded as “Australian”. This puts stress on the requirement for migrants to completely dispose of their own identity for an “Australian” identity. The fact that the protagonist claims that he or she has provided the migrants with equality is also ironic. “Learn English to Distinguish ESL from RSL”, the utilisation of assonance and internal rhyme
his comeback, I was dispatched to George Cherry’s boxing club to watch him work out. After he had finished and showered, we adjourned to a neighbourhood greasy spoon for an amiable, two-hour chat. As we were about to leave, Lafleur asked about an old friend: “So how is Red Fisher?” “Red is Red,” I said, the only accurate description of the man I could ever manage.
In An Inspector Calls the character Sheila changes and matures significantly throughout the play. Priestly aims to encourage and persuade the 1912 audience to consider the negative power of capitalists and that socialism is a better way forward. Sheila contributes to Priestly’s moral message about socialism and capitalism by emphasising the possibility for change which is up to the younger generation. At the start of the play, Sheila is portrayed as a spoiled daughter who has been taught to be submissive to her parents.
It tries to explore the process of reclaiming Aboriginal identity in the works of Sally Morgan’s My Place and Rubi Langford Ginbi ’s Don’t Take Your Love to Town. The paper focuses on how these selected writers engage in the reclaiming process, and also tries to locate the changes that occur in the identity of Aboriginals in Australia during pre-colonial, colonial and in contemporary
Doubt, a film taking place in New York during the 1960s, focuses on the accusation of a priest, Father Flynn, being a child predator by a nun, Sister Aloysius. The credibility of Sister Aloysius and Father Flynn are often brought into question throughout the film. As the evidence gathered was mostly circumstantial and created through assumptions, Father Flynn did not harm Donald Miller at any instance despite the constant pressure from Aloysius to admit his guilt by leaving the parish. Sister Aloysius is displayed as old fashioned and spiteful towards change. Her denial of change stems from the smallest and pettiest of objects: ballpoint pens and Christmas songs.
This response of empathy for aboriginals is further enforced by the generic ordering of events throughout the play. “No sugar” follows the generic structure of events, first the opening of the play describing the characters then the problem Aboriginal segregation, finally the ‘happy ending’ of Joe and Mary leaving the town. Although this ending turns out great for Joe and Mary the audience is left wondering to what is left of the rest of the native people. This basic ordering of events allows for the audience to clearly understand the situation and the problems the aboriginals