Australia's first Indigenous writer, David Unaipon (1872-1967) made a commitment to sharing his stories with non-Aboriginal people. Did he hope that they would be valued as part of our country's cultural expression? Since his time Aboriginal myths and stories have been widely adopted and adapted, often without reference to their origins or history. Homer and Shakespeare are no longer around to defend their work, but Aboriginal people are alive and outspoken about how they are depicted on the page, stage and on the screen. How, if ever, asks Muruwari playwright Jane Harrison, can Aboriginal themes be 'used' by others in a way that is acceptable to Aboriginal people? How can non-Aboriginal people learn to interpret themes, and indeed, what are Aboriginal themes? Who can give permission and who can refuse? What about our shared experiences and common history, do we not all have the rights to that? Harrison treads her way through the challenging issues of exploitation, referencing, literary fraud, blacked-up actors and community ownership. Sharing our history and stories is essential, she writes, for the health of Aboriginal culture. Bur first we must acknowledge who is in control.
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JANE HARRISON, a Muruwari descendant, was commissioned by Ilbijerri Theatre Co-operative to write Stolen, about the Stolen Generations. Stolen premiered in 1998, followed by seven annual seasons in Melbourne, plus tours to Sydney, Adelaide, regional Victoria, Tasmania, the UK (twice), Hong Kong and Tokyo, and readings in Canada and New York. Harrison was the co-winner (with Dallas Winmar for Aliwa!) of the Kate Challis RAKA Award for Stolen. Stolen is studied on the VCE English and NSW HSC syllabi. On a Park Bench was workshopped at Playbox and the Banff Playrites Colony, and was a finalist in the Lake Macquarie Drama Prize. Rainbow's End premiered in 2005 at the Melbourne Museum and toured to Mooroopna, and will tour to Japan in 2007. Harrison was the 2006 Theatrelab Indigenous Award winner for her play, Blakvelvet. She contributed one chapter to Many Voices, Reflections on experiences of Indigenous child separation, published by the National Library, Canberra. Her most important creation has been her two daughters.
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Paperback. Etat : new. Paperback. Australia's first Indigenous writer, David Unaipon (1872-1967) made a commitment to sharing his stories with non-Aboriginal people. Did he hope that they would be valued as part of our country's cultural expression? Since his time Aboriginal myths and stories have been widely adopted and adapted, often without reference to their origins or history. Homer and Shakespeare are no longer around to defend their work, but Aboriginal people are alive and outspoken about how they are depicted on the page, stage and on the screen.How, if ever, asks Muruwari playwright Jane Harrison, can Aboriginal themes be 'used' by others in a way that is acceptable to Aboriginal people? How can non-Aboriginal people learn to interpret themes, and indeed, what are Aboriginal themes? Who can give permission and who can refuse? What about our shared experiences and common history, do we not all have the rights to that?Harrison treads her way through the challenging issues of exploitation, referencing, literary fraud, blacked-up actors and community ownership. Sharing our history and stories is essential, she writes, for the health of Aboriginal culture. Bur first we must acknowledge who is in control. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9780980798296
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Paperback. Etat : new. Paperback. Australia's first Indigenous writer, David Unaipon (1872-1967) made a commitment to sharing his stories with non-Aboriginal people. Did he hope that they would be valued as part of our country's cultural expression? Since his time Aboriginal myths and stories have been widely adopted and adapted, often without reference to their origins or history. Homer and Shakespeare are no longer around to defend their work, but Aboriginal people are alive and outspoken about how they are depicted on the page, stage and on the screen.How, if ever, asks Muruwari playwright Jane Harrison, can Aboriginal themes be 'used' by others in a way that is acceptable to Aboriginal people? How can non-Aboriginal people learn to interpret themes, and indeed, what are Aboriginal themes? Who can give permission and who can refuse? What about our shared experiences and common history, do we not all have the rights to that?Harrison treads her way through the challenging issues of exploitation, referencing, literary fraud, blacked-up actors and community ownership. Sharing our history and stories is essential, she writes, for the health of Aboriginal culture. Bur first we must acknowledge who is in control. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. N° de réf. du vendeur 9780980798296
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Paperback. Etat : new. Paperback. Australia's first Indigenous writer, David Unaipon (1872-1967) made a commitment to sharing his stories with non-Aboriginal people. Did he hope that they would be valued as part of our country's cultural expression? Since his time Aboriginal myths and stories have been widely adopted and adapted, often without reference to their origins or history. Homer and Shakespeare are no longer around to defend their work, but Aboriginal people are alive and outspoken about how they are depicted on the page, stage and on the screen.How, if ever, asks Muruwari playwright Jane Harrison, can Aboriginal themes be 'used' by others in a way that is acceptable to Aboriginal people? How can non-Aboriginal people learn to interpret themes, and indeed, what are Aboriginal themes? Who can give permission and who can refuse? What about our shared experiences and common history, do we not all have the rights to that?Harrison treads her way through the challenging issues of exploitation, referencing, literary fraud, blacked-up actors and community ownership. Sharing our history and stories is essential, she writes, for the health of Aboriginal culture. Bur first we must acknowledge who is in control. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. N° de réf. du vendeur 9780980798296
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