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"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.
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.
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.
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.
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