In contrast, Musa conveys the reformation of idealistic perceptions through his distinctive Australian voice as the changing values of Australia shape the new generation within his locale. Musa’s experiences an alternative perspective in comparison to the stereotypical expectations of Australia where “no don Bradman/ no pavlova” but instead “the generation who printed a crystal font on its bloodstream.” Musa’s use of juxtaposition conveys a marginalised community voice, providing the audience an insightful experience of the reality in Musa’s disregarded community in contrast with the stereotypical Australian perspectives. Musa further conveys the changing values of Australian idealism through generational changes in expectations and values …show more content…
However, this ultimately fails as the inevitable change resulting from the character’s unacceptance for change catalyses the distancing between them and their idyllic lifestyle. This is shown when Roo responds to Pearl, “Me? I’m not tired. Who said I was-?” Lawler’s use of high modality displays to the audience Roo’s denial of being fatigued as he remains hopeful in maintaining his previous lifestyle. As a result, it highlights Roo’s rejection of differences that occurs in his life. Lawler utilises Bubba as a foil character with her voice of youth as, “All I want’s one chance of comin’ close to-I-dunno- whatever it is that I’ve been watching all these years.” Bubba’s youthful voice explicitly presents to the responder her hope for the layoff seasons as she foils Olive in the attempt to replicate these seasons despite it ending. Olive’s alternate voice on society’s views is revealed in the stage direction, “There is a frozen second before she answers, backing slowly away from and shaking her head in rejection.” Lawler’s use of stage direction displays Olives instant rejection to Roo’s marriage as she remains optimistic towards her concluding blissful routine. Consequently, Olive’s reaction towards Roo’s proposal exposes to the audience her radical views of non-acceptance on traditional …show more content…
In addition, he comments on the need of change in order overcome their marginalised state. Musa’s application of repetition in, “And what delights, what insights in stories, what power to give voice to the worlds inside” depicts to the responder the potential power of an individual’s story. As a result, he empowers people to let their voices be heard and not be muted by society. Singular and plural pronouns in “Because you, me, US, we are more than statistics, /more than misfits” enables Musa to manipulate the responder’s perspectives to feel inclusive with the discriminated society. Due to this, he encourages people to not become minorities. His saying we are a minority, let’s not stay as a minority, more than just data. In conjunction, Musa’s optimistic voice is conveyed through “this is the new scripture of our lives, /spelled skyscraper high in CAPITAL LETTERS- BOLD.” Musa’s exaggerated tone emphasises his perspective to the audience on the marginalised communities hope in achieving prosperity.
The 2014 Walkley Award winning documentary, "Cronulla Riots: the day that shocked the nation" reveals to us a whole new side of Aussie culture. No more she’ll be right, no more fair go and sadly no more fair dinkum. The doco proved to all of us (or is it just me?) that the Australian identity isn’t really what we believe it to be. After viewing this documentary
Anne Zahalka cleverly presents her intentions and interests in the world clearly throughout her artworks, more specifically her series ‘Welcome to Sydney’. Through the creation of this series Zahalka was interested in the changing multicultural nature of Australian society, closely drawing the audiences attention to the cultural frame. She effectively does this by portraying the subjects with dignity and respect by deliberately positioning them in an area in which they connect with. In doing so, Zahalka acknowledges her own experience, as the daughter of immigrant parents has influenced her conceptual practice. She uses cultural symbols to show the individuals are different, yet making them as one being put into Australian locations. In the image ‘Guangan Wu, Market Gardens, Kyeemagh’ a chinese immigrant stands in a panoramic landscape of market garden...
Today, I will be telling my view on Australian texts. I will be analysing the text “The Exotic Rissole” by Tanveer Ahmed.
The marginalised Australian experience traps groups and individuals based on one or many aspects of their life. Both the poem ‘capital letters’ by Omar Musa and Craig Silvey’s novel ‘Jasper Jones’ explore the Australian Experience of marginalisation. They share many aspects of marginalisation including racism, injustice, resilience, consequences and life on the margin. Marginalisation can have negative psychological and emotional responses, however in capital letters and jasper jones, the consequences of overcoming marginalisation and the build-up of resilience are emphasised. Omar Musa’s poem capital letters looks into his own life and experiences growing up on the margin in Queanbeyan, Australia. The poem displays both the harsh consequence, as well as the
stage for the development of Australian cultural identity and the values, attitudes and beliefs of
Peter Weir’s 1981 film Gallipoli can in every sense of the phrase be called an ‘Australian classic’. The impact and effect this film has had upon the psyche and perspective of several generations of Australians has been significant. Whilst it can be argued that every Australian is aware of the ANZAC legend, and the events that occurred on the Turkish beaches in 1915, Weir’s film encapsulates and embodies a cultural myth which is now propagated as fact and embraced as part of the contemporary Australian identity. The film projects a sense of Australian nationalism that grew out of the 1970’s, and focuses on what it ‘means’ to be an Australian in a post-colonial country. In this way Gallipoli embodies a sense of ‘Australian-ness’ through the depiction of mateship and through the stark contrast of Australia to Britain. A sense of the mythic Australia is further projected through the cinematic portrayal of the outback, and the way in which Australia is presented in isolation from the rest of the world. These features combined create not only a sense of nationalism, but also a mythology stemming from the ANZAC legend as depicted within the film.
Australia has the terrible condition of having an essentially pointless and prefabricated idea of “Aussiness” that really has no relation to our real culture or the way in which we really see ourselves. We, however subscribe to these stereotypes when trying to find some expression of our Australian identity. The feature film, The Castle, deals with issues about Australian identity in the 1990’s. The film uses techniques like camera shots, language and the use of narration to develop conflict between a decent, old fashioned suburban family, the Kerrigans and an unscrupulous corporation called Airlink. Feature films like The Castle are cultural products because they use attitudes, values and stereotypes about what it means to be Australian.
Australian voices are the medium used to reflect an Individual's value in the society, culture, historical and political beliefs of Australia. It expresses general opinions, perspectives, attitudes, interpretations and emotion of both individual Australians and the wider collective society. In "The Castle" by Rob Stitch, the Australian voices, both private and public voices provide the audience with an insight into a range of voices that shape Australian culture and society.
The Stolen Generation has had a profound impact on every aspect of the lives of Indigenous communities. It has jeopardised their very survival. It has impoverished their capacity to control and direct their future development. The Stolen Generation has corrupted, devastated and destroyed the souls, hopes and beliefs of many Australian lives through damaging assimilation policies established in an attempt to make a ‘White Australia’ possible. Discrimination, racism and prejudice are some of the many permanent scars upon Indigenous life that will never be repaired. However, recently Rudd and the Australian public have sincerely apologised for the detrimental effects the Stolen Generation had caused. The Stolen Generation has dramatically shaped Australian history and culture.
The poem “We’re not trucking around” by Samuel Wagan Watson presents an Aboriginal perspective on Australian National identity, showing the audience that Australians still mistreat Indigenous people, expressing his perspective through the ideas that white men still mistreat Aboriginals and the marginalization of Aboriginal culture. Watson reinforces his idea through poetic and language
Onto another concept, I decided to make aware of cultural differences between Jim and Albert as they come from two different cultures which played a immense role in Australian history. However, I kept in mind that the two men of different cultures also must hold similarities as they are both
The lines, “As I said, it might help if we … we can imagine it’s opposite” use perspective to put the non-indigenous Australians into the shoes of indigenous Australians, to help them explore and understand the possibilities of not belonging.
This struggle against marginalization is one of the principal elements that bind their sense of community, ...
Multiculturalism has enabled the Australian society to underline the importance of higher values in life and idealism. It is caused by desire for a perfect social existence of the multicultural society in Australia.
The main theme expressed in the play is change and the characters' inability to cope with this. Like many working-class people from this time the characters in the play are fairly uneducated and because of this, they do not have an understanding of the growing old process, they cling onto what they know best, which is youth and this brings about their downfall. Olive is the classic dreamer. She is thirty-nine but still continues to live as though she's a teenager. She has extremely strong ideals, which she refuses to let go of. She wants excitement; she wants "five months of heaven every year." She doesn't want the monotony and responsibility of married life. Roo and Barney, who once were fit young men, come down from the lay-off this year, dragging their ever-increasing age with them. Roo is not as fit and healthy as he used to be - he has a bad back - his pride also holds him back from realizing that he is getting older and that life is changing for him. Time is catching up with Barney as well and he is no longer the epitome of male prowess that he believed he once was. Underneath the smiling, joking façade he really is a fairly pathetic man who doesn't truly understand what is happ...