"Stolen" tells of five Aboriginal children forcibly removed from their families, brought up in a repressive children's home and trained for domestic service and other menial jobs. Segregated from their community, after their release they begin their journey 'home', not all of them successfully. The pain, the poignancy and sheer desperation of their lives is seen through the children's own eyes as they struggle to make sense of a world where they have been told to forget their families, forget their homes and forget their culture. This tender and moving story, awash with the humour of innocents, goes further than any previous account to bring the tragic story of the Stolen Generations to the Australian stage. 1 act, 2 male, 3 female.

David Unaipon had a commitment to sharing his stories with non-Aboriginal people. What can we make of this? Did he mean they have the freedom to adopt Aboriginal myths and stories without qualm, without recourse, without responsibility? Or did he merely hope that they would be valued as part of our country's cultural expression? How, if ever, can Aboriginal themes be 'used' in a way that is acceptable to Aboriginal people? How can non-Aboriginals interpret their work? Neither Homer nor Shakespeare are 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. Muruwari playwright Jane Harrison tackles this intractable issue and finds a way forward.

The Hadrian’s Wall Community Archaeology Project (WallCAP) conducted a series of fieldwork projects along the Hadrian’s Wall corridor between 2019 and 2021. The work focused on sites that were poorly understood or under particular threat and aimed to improve understanding of them so they could be better managed in future. At several sites excavation was followed by conservation and consolidation work. This volume brings together the final reports of these excavations, at seven Roman sites in the Wall corridor. As the sites were spread along the length of the Wall the character and afterlife of the Wall in very different landscape locations could be compared. An assessment of the Vallum at Heddon on the Wall identified how earthwork archaeology survived in a sloped, heavily ploughed landscape. Three excavations investigated the condition of the stone Wall curtain at Port Carlisle, Walltown Crags, and Steel Rigg and Cats Stairs. At each site the Wall builders had responded to the demands of the local terrain and made use of local resources. It is also clear how at each site the Wall had a different post-Roman history. Excavations at the bridging point of the Cam Beck revealed for the first time how the Wall was carried over a ‘minor’ watercourse, and discovered traces of the Turf Wall. Small buildings were also identified just south of the Wall as it approached the bridge. At Corbridge Roman town, excavations on the northern periphery of the settlement demonstrated that from early in its history the most northerly town in Europe was of considerable extent. The area investigated showed that, even at the edge of town, shops lined the roads alongside well-appointed houses with bustling yards. Later on in the Roman period the town contracted behind walls and cremation burials were inserted by the road. Each site is reported on independently, presenting the primary data for each investigation. The volume concludes with a synthetic analysis of what the results of these excavations together reveal about Hadrian’s Wall, considering, amongst other things, construction details and the decay and destruction of the monument in the centuries following Roman occupation.

The Hadrian’s Wall Community Archaeology Project (WallCAP) was funded by the National Lottery Heritage Fund to promote the value of heritage – specifically of the Hadrian’s Wall World Heritage Site – to local communities, and to provide opportunities for volunteers to engage with the archaeology and conservation of the Wall to better ensure the future of the monument. This short book provides a summary of the project, communicating the range of activities undertaken during the project and key results. It explores the structure and aims of the project, and creates an insightful overview of the many different people and communities that participated. Archaeological fieldwork resulted in a number of new discoveries and insights into Hadrian’s Wall. The revolutionary new work to explore the stones of Hadrian’s Wall, its source geology and how stones were reused from the monument is also discussed. Each chapter is supported by full colour illustrations, and contributions from project volunteers also bring the project into a vibrant focus.

Published by Oxford University in the Thames Valley Landscapes Monograph Series, this volume (no. 43) brings together the work of an award-winning, five-year lottery-funded university/community research project ("Archeox") on the landscape and history of East Oxford, part of the City of Oxford (UK). It documents field and geophysical surveys, archive and collections research, excavations at two Medieval ecclesiastical sites (a leper hospital and a Benedictine nunnery), at a prehistoric pit alignment, together with an extensive campaign of test-pitting which has given new insights into the Roman, Medieval and post-Medieval settlement pattern. The book tells the prehistory and history of a formerly rural area on the eastern outskirts of Oxford which underwent rapid urbanisation after 1850, and is now an integral part of the city. The research plan relied upon engaging and working with the community to participate and to provide access to many study areas, and offered a comprehensive programme of training and education to all those who took part, ensuring that the work done was to an appropriately high standard. It has produced new insights into a number of nationally-important archaeological sites, gained new overviews of the development of the landscape, and brought out from obscurity many under-studied or forgotten finds in local collections. Fundamentally a project which sought to unite university and city, the contemporary story of people and their heritage is a key part of its message. Working in and among some of Oxford's most deprived communities, "Archeox" has been recognised as an exemplar of good practice in breaking down barriers to higher education. Over seven hundred people participated as volunteers, and the project reached many more through outreach and engagement programmes and events. The book is extensively illustrated with many maps, plans and photographs, and is authored by 55 participants in the project, ranging from leading Professors of Archaeology to volunteers who are achieving published work for the first time.

Five plays from around Australia which illustrate that the rich tradition of indigenous storytelling is flourishing in contemporary Australian theatre. Adapted from her award-winning novel, Vivienne Cleven's "Bitin' Back" is a 'zany and uproarious black farce'; "Black Medea", Wesley Enoch's richly poetic adaptation of Euripides Medea, blends the cultures of Ancient Greek and indigenous storytelling to weave a bold and breathtaking commentary on contemporary experience; The acclaimed "King Hit" by David Milroy and Geoffrey Narkle, strikes at the very heart of the Stolen Generations, exploring the impact on an individual and a culture when relationships are brutally broken; Set in the 1950s on the fringe of a country town, "Rainbow's End" by Jane Harrison creates a 'thought-provoking and emotionally powerful' (Age) snapshot of a Koori family to dramatise the struggle for decent housing, meaningful education, jobs and community acceptance; And David Milroy's "Windmill Baby" is set on an abandoned cattle station in the Kimberley landscape, combines the poetry of a campfire story with the comedy of a great yarn.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.