"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.