Jack Davis' No Sugar, first performed in 1985, is a post-colonial realist work written in protest of the 1988 Bicentenary celebrations. In this broadly applicable play, Davis highlights the discrimination against Aborigines between 1929 and 1934 and particularly its justification under the government policy of `protectionism'. Focusing on the experiences of the Millimurra family, No Sugar underscores the view of Aborigines as uncivilized, the attempt to assimilate them to white culture through Aboriginal reserves such as the Moore River Settlement, and the resilience and determination of Aborigines faced with almost complete disempowerment. A fundamental concern of No Sugar is the notion of the definition of power along racial lines. This concern would draw significantly different responses from original and contemporary, Aboriginal and White audiences. Economic, political and social power, but also the less tangible but equally valid linguistic power in the play is invariably held by Whites. That said, Aborigines are, to an extent, empowered by their own language and culture and their resilience in the face of oppression.
Economic power is, in particular, demonstrated through the allocation of resources to Aborigines as `rations'. An element of protectionism, this allocation is more widely representative of the incapacity of Aborigines to overcome social stigma and gain self-sufficiency. Scene two sees the Sergeant respond to Gran's request for soap by suggesting that the Aborigines will `have to work if [they] want luxury items like soap'. In response, Milly highlights the inability for Aborigines to receive fair payment for labor, arguing that in return for Joe's work, he received `a pair of second-hand boots and a piece of...
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...ikely to have a negative reaction to political and social domination represented in No Sugar. The need for White and Aboriginal culture to exist together would be recognized by a White audience.
No Sugar also highlights issues of Aboriginal identity, that is, how Aboriginals view themselves and how they are viewed by others. It is suggested that singular view of Aboriginality by Whites is at the core of many forms of racism. Such issues, as with issues of power, draw differing responses from White and Aboriginal audiences in original and contemporary contexts. The play highlights the `authentic' Aboriginality, suggesting that Aborigines are uncivilized, unclean, untrustworthy and highly inferior. For example, the Sergeant suggests that the `Natives best left to keep to themselves', and that he has `nothing against `em, but [he] knows exactly what they're like'.
Good morning Mrs Dover and 8D. I have chosen to analyse the film clip “black fella, white fella” by the Warumpi band, and have determined that the song and associated images is partially successful in communicating aboriginal values, such as culture, land and family. The lyrics include the language features repetition, alliteration and rhetorical questions to deliver a message of reconciliation and equality. These features are also supported by visual imagery that is intended to support the ideas within the song.
The idea that indigenous Australian communities are underprivileged and do not receive the same justice that the white community accrues is represented through Jay Swan and his interactions with the corrupt white police officers and the indigenous locals of the town. My empathetic response to the text as a whole was influenced directly by way the text constructs these ideas as well as my knowledge of the way indigenous Australians are represented in the mainstream media and the behaviour of the police force as an institution. These contextual factors and the way Sen has constructed ideas influenced me to empathise with the indigenous
Jiwani and Young's argument also causes me to consider Audra Simpson's talk, "The Chief's Two Bodies," in which she discusses both how and why the eradication of Aboriginal women was necessary to the development of patriarchal colonialist society. In short, Simpson acknowledges that through the creation "status," an arbitrary blood relationship to one's Aboriginal lineage, marriage, and scrip colonialist were able to remove land "ownership" from Aboriginal women, by essentially making them invisible. In effect, Jiwani and Young reinforce and provide evidence to suggest that ideologically, the concept of Aboriginal women being invisible or contrarily "hypervisable" (899), in that they are the antithesis of the "good" Christian women (the mother, the sister, the wife, the virgin) creates a binary. These apposing ideological women cause a "moral and racialized economy of representation [that] works to privilege dominate societal norms" (Jiwani and Young, 904). What is interesting about these discursive modes is the fact that news reporting itself is a colonialist practice rooted in economic stability. These modes maintains the cycle of violence and marginalization and only counter media rooted in art, such as the "Red Dress Campaign," or the "Walking with Our Sister's Campaign" which, bring awareness to the Aboriginal perspective can act as a retaliation to standard media
Though the stereotyping and alienation is strong in Dougy and Gracey’s community they manage to break away from it. The whites feel that the Aborigines get everything free from the government and never do any work of their own, and according to the book, most of them do just this.
The Indigenous youth of Australia still face many challenges growing up in a world dominated by white Europeans. This essay will discuss the stereotypes and marginalisation that young Indigenous teenagers must face. After viewing Yolngu Boy and Black Chicks Talking, there will be examples from the two movies on the stereotypes, marginalisation, interdependent and the connection the characters of the movies have with the Aboriginal culture and the dominant white culture.
“The more you know, the less you need.” The attitude from White Australians towards Indigenous Australians was extremely unfriendly, and due to the fact that Aboriginal Australians had knowledge about things the European settlers believed did not matter they treated as if they were uneducated nuisances. The aboriginal people believed that the land they had lived on for generations belonged to them; however the White Australians came and took the land. This also means that the Europeans took what the Indigenous people valued most, and that was their land. Authors and directors convey different attitudes, values and beliefs in different ways, however it still has the same impact.
In Jasper Jones, racial power has been reflected through the representation of certain groups and individuals of the 1960s and the conflicts that occurred. At the time in which the text was set being the 1960s, racial prejudice was evident in Australia, especially in rural areas that maintained a parochial and xenophobic society. Aboriginal people were not recognised as citizens of Australia and in some cases, not even as people. They were mistreated and typically seen as uneducated drunkards and criminals. Offspring of white colonists and Aboriginal people were regarded as ‘half-caste’ and were also not acknowledged as Australians. In the same context, there was a growing hatred and resentment towards Vietnamese immigrants due to the impac...
Throughout Australian history a racist attitude towards Aboriginals has been a significant issue. From the moment the early settlers arrived on our shores and colonised, the Aboriginals have been fighting for the survival of their culture. The Aboriginals haven been take in and dominated to bring them in line with an idealistic European society. These themes have been put forward by Jack Davis in his stage play, No Sugar, the story of an Aboriginal family’s fight for survival during the Great Depression years. Admittedly Davis utilises his characters to confront the audience and take them out of their comfort zone, showing them the reality of Aboriginal treatment. This is an element of the marginalisation that Jack Davis uses through out the play this starts from the beginning where he discomforts the audience by using an open stage. One character that Davis uses through out the play is A.O. Neville, Davis uses him to portray the issue of power, this is a very important issue that is carried through out the play.
According to conservative conflict theory, society is a struggle for dominance among competing social groups defined by class, race, and gender. Conflict occurs when groups compete over power and resources. (Tepperman, Albanese & Curtis 2012. pg. 167) The dominant group will exploit the minority by creating rules for success in their society, while denying the minority opportunities for such success, thereby ensuring that they continue to monopolize power and privilege. (Crossman.n.d) This paradigm was well presented throughout the film. The European settlers in Canada viewed the natives as obstacles in their quest of expansion by conquering resources and land. They feared that the aboriginal practices and beliefs will disrupt the cohesion of their own society. The Canadian government adopted the method of residential schools for aboriginal children for in an attempt to assimilate the future generations. The children were stripped of their native culture,...
Though the film mentioned the impact that residential schools had and still has on the aboriginal people, I felt that this issue needed to be stressed further because the legacy of the schools is still extremely prominent in aboriginal communities today. The film refers to the fact that residential schools harmed the aboriginal people because they were not able to learn their culture, which has resulted in the formation of internalized oppression within in the group. “The...
The assimilation policy was a policy that existed between the 1940’s and the 1970’s, and replaced that of protectionism. Its purpose was to have all persons of aboriginal blood and mixed blood living like ‘white’ Australians, this established practice of removing Aboriginal children (generally half-bloods) from their homes was to bring them up without their culture, and they were encouraged to forget their aboriginal heritage. Children were placed in institutions where they could be 'trained' to take their place in white society. During the time of assimilation Aboriginal people were to be educated for full citizenship, and have access to public education, housing and services. However, most commonly aboriginal people did not receive equal rights and opportunities, for example, their wages were usually less than that paid to the white workers and they often did not receive recognition for the roles they played in the defence of Australia and their contribution to the cattle industry. It wasn’t until the early 1960’s that expendi...
The 1964 Australian Freedom Rides were conducted by Sydney University students who were a part of a group called Student Action for Aboriginals (SAFA), led by none other than Charles Perkins— a man who would be the first Australian Aboriginal University graduate and was, at the time, a passionate third year arts student when he was elected leader of the SAFA.— Despite the name, the freedom rides took place on the 12th of February in 1965, the 1964 title refers to when SAFA banded together to organise the rides and insure sufficient media coverage was had. The students’ aim was to draw attention to the poor health, education, and housing that the Aborigines had, to point out and deteriorate the social discrimination barriers that existed between the ‘whites’ and Aborigines, and to support and encourage Aborigines to resi...
Hooper’s compelling and strategically written text paints an Australian context where a distinct racial divide separates the country; one where racism is rife and where white supremacy is rampant. Hooper urges the reader to accept that in the context of colonial Australia, Aboriginals faced such extreme oppression that they resorted to summoning spirits to doom their cruel white colonisers. She recounts a walk to a cave in Cape York, where she intentionally selects paintings depicting destructive images of white colonisers being “doomed”, highlighting the rifles which the white troopers brandished. The marginalised Aboriginals resigned to using “purri purri” (sorcery) against the police, which emphasises the idea that in this context, the Aboriginals felt so oppressed that they resorted to conjuring spirits for protection. Hooper describes a painting in which under a white man’s shirt, “he was reptilian”, and the adjective “reptilian” allows the audience to understand that in this context, the Aboriginals felt so threatened that they had to draw the trooper as a snake.
These lines exemplify Keating’s constant reference to the non-indigenous group as ‘we’ and ‘us’, this coupled with the accusatory tone present throughout this section of the text ensures that the blame is being put on the white Australian’s of the population. The word choice and tone in ...
Specific elements of the storyline that display the theme racism include: the display of animalistic treatment, enforced religious practices, and historical comparisons. The film reveals the overarching government belief that the white race is smarter and purer, to the inferior, uncivilized and misguided, darker-skinned, Aboriginals. This belief is demonstrated throughout the film and signifies the government’s attitudes toward the half-caste race as: uncivilized animals that need a trainer to discipline them. For example, the film shows the girls being transported like livestock to th...