Spear study guide by Bangarra Dance Theatre

A FOOT IN EACH WORLD. A HEART IN NONE

A STUDY GUIDE BY KATY MARRINER

Â© ATOM 2016

http://www.metromagazine.com.au ISBN: 978-1-74295-936-8

http://theeducationshop.com.au

Spear (2015), a feature film directed by Stephen Page, tells an Indigenous Australian story through movement, dance, sound, visual design and digital media. A young Aboriginal man Djali journeys through his community attempting to understand what it means to be a man.

Warning: Aboriginal and Torres Strait Islander viewers are advised that Spear contains voices and names of deceased people.

Curriculum links Spear is suitable for secondary students in Years 10 – 12 in the learning areas of Dance, Drama, English, History and Media. Spear can be used as a resource to address the Australian Curriculum: Cross-curriculum priority – Aboriginal and Torres Strait Islander Histories and Cultures. The film’s depiction of the experiences of Indigenous Australians, particularly of adult males, provides opportunities for students to engage in discussions about Indigenous Australian identity and belonging and to examine the influences of traditional Indigenous views and values, as well as the impact of the views and values of contemporary Australian society. Details about integrating this cross curriculum priority can be accessed at http:// www.australiancurriculum.edu.au/crosscurriculumpriorities/Aboriginal-and-Torres-Strait-Islanderhistories-and-cultures.

Teachers of Years 11 and 12 are advised to consult the curriculum documents for the nominated subjects endorsed by their state or territory. The activities within this study guide provide

English http://www.australiancurriculum.edu.au/english/ curriculum/f-10?layout=1#level10

Humanities and Social Sciences: History http://www.australiancurriculum.edu.au/ humanities-and-social-sciences/history/curriculum/f10?layout=1#level10

The Arts: Dance http://www.australiancurriculum.edu.au/the-arts/ dance/curriculum/f-10?layout=1#level9-10

The Arts: Drama http://www.australiancurriculum.edu.au/the-arts/ drama/curriculum/f-10?layout=1#level9-10

The Arts: Media Arts http://www.australiancurriculum.edu.au/the-arts/ drama/curriculum/f-10?layout=1#level9-10

Australian Curriculum: Senior Secondary Curriculum English http://www.australiancurriculum.edu.au/ seniorsecondary/english/english/curriculum/ seniorsecondary#page=1

SCREEN EDUCATION © ATOM 2016

In addition, teachers of Year 10 are advised to consult the curriculum documents for these subjects endorsed by their state or territory.

Australian Curriculum Learning Areas: Year 10

{{

{{ {{ {{

personal interpretations to describe the structure, content and aesthetic qualities of a film; observe, experience and write about dance in an analytical, a critical and a reflective manner; understand influences on the dance works created by choreographers; develop and justify their own and other interpretations of a text; create a wide range of texts, make presentations and contribute actively to class and group discussions.

Teachers are advised to direct students to complete activities that are subject relevant and age appropriate.

opportunities for students to: {{ u nderstand the aesthetic, style and format of a film; {{ analyse, explain and evaluate the structure of a text and how the features of the text influence audience response; {{ understand how ideas and viewpoints about events, issues and characters that are expressed in texts are drawn from and shaped by different historical, social and cultural contexts; {{ use appropriate media terminology and

Spear can also be used to support the teaching of pastoral care programs. It is important that students are provided with strategies to support their learning about themselves and others. Students with well-developed social and emotional skills find it easier to manage themselves, relate to others, develop resilience and a sense of self-worth, resolve conflict, and feel positive about themselves and the world around them.

Synopsis Djali (Hunter Page-Lochard) wants to understand what it means to be a man. His journey begins in Arnhem Land and takes him to the city streets of Sydney. Djali’s search for meaning exposes him to the troubled stories of other Indigenous Australian men. He witnesses the indignities and hardships they face as they negotiate life in a contemporary society that ignores their needs. Djali’s challenge is to navigate his way to a state of being that will nourish rather than destroy him.

SCREEN EDUCATION © ATOM 2016

In addition, Spear provides an opportunity for Aboriginal and Torres Strait Islander students to see themselves, their identities and their cultures portrayed on screen in a feature film made for a mainstream Australian audience.

CLASSIFICATION: M It is recommended that teachers preview Spear prior to classroom use given its depiction of adult themes, particularly suicide.

RUNNING TIME: 84 MINUTES Languages: English, Ka La Lagaw Ya and Yolgnu Matha.

Bangarra Bangarra is an Aboriginal and Torres Strait Islander organisation and one of Australia’s leading performing arts companies. Bangarra is widely acclaimed nationally and around the world for their powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. Led by Artistic Director Stephen Page, Bangarra celebrated its 25th anniversary in 2014 and achieved their highest box office results since the company’s inception.

Bangarra’s relationships with Indigenous communities are the heart of the company, with its repertoire

created on country and stories gathered from respected community Elders. It is this inherent connection to land and people that makes Bangarra unique and enjoyed by audiences from remote Australian regional centres to New York. Spear is an expanded version of a dance work for stage, also called Spear, which was performed by Bangarra in 2000.

USEFUL LINKS:

http://bangarra.com.au/ https://www.facebook.com/Bangarra/ https://twitter.com/bangarradance https://www.instagram.com/ bangarradancetheatre/?hl=en https://www.youtube.com/user/ bangarradancetheatre

Before and after viewing activities »» BEFORE THE SCREENING TASK 1 Watch the official trailer for Spear. Suggested link: http://www.spear-film.com. au/#!trailer/fbevv a. What do you think the film will be about? What questions do you have about the film?

SCREEN EDUCATION © ATOM 2016

The company’s dance technique is forged from over 40,000 years of culture, infused with contemporary movement. The company’s sixteen dancers are professionally trained, dynamic artists who represent the pinnacle of Australian dance. Each has a proud Aboriginal and/or Torres Strait Islander background, from various locations across the country.

Bangarra is widely acclaimed nationally and around the world for their powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. Led by Artistic Director Stephen Page, Bangarra celebrated its 25th anniversary in 2014 and achieved their highest box office results since the company’s inception

b. What does the trailer tell a potential audience about the genre, narrative, characters themes and setting of the film? c. What does the trailer tell a potential audience about the director of the film and the production company? What other information is included in the trailer? d. How does the trailer begin? How does the trailer end? Was the trailer effectively edited? e. Does the trailer make you want to see the film?

TASK 2 A filmâ&#x20AC;&#x2122;s promotional poster is both art and advertising. The poster exists to promote the film for a commercial purpose. The poster also has an aesthetic value. Use Google images to locate a copy of the promotional poster for Spear.

Look at the promotional poster for Spear. What can you see? Your notes should refer to both the visual and written features of the poster. Use the following questions to guide your note taking: {{ W hat is the title of the film? What is the tagline of the film? What credits are shown on the poster? {{ What is the dominant image of the poster? What does this dominant image suggest? {{ What is in the foreground of the poster? What is in the background of the poster? {{ What are the dominant colours of the poster? {{ Does the poster draw on the codes and conventions of a particular genre? {{ Does the poster suggest the likely audience of the film? Drawing on your notes, write an evaluation of the promotional poster for Spear.

SCREEN EDUCATION ÂŠ ATOM 2016

»» AFTER THE SCREENING After the screening of Spear, spend time as a class, discussing the students’ interest in the film and provide students with the opportunity to ask questions about the film. Ask students to review their responses to Tasks 1 and 2 and where necessary make adjustments that correct and/or clarify their analysis of both the trailer and poster.

The title of the film Construct a class mind map about the film’s title. Begin the mind map by writing the title of the film – Spear, in the centre of the mind map. In the space around the title, record the reasons why the film is titled Spear. Drawing on the class mind map, your task is to answer the question – Why do you think the film is titled Spear? – by writing an extended response. Your claims should be endorsed by specific evidence from the film.

Analysing key sequences – film as text As you watch Spear, use the following questions to make notes about the film’s key sequences. {{ {{ {{ {{

What did you see? What did you hear? What did you think? What did you feel?

Use the notes that you have made to write an extended response that addresses the following key questions: {{ What is the sequence about? {{ Why is the sequence significant? {{ How does the filmmaker use story elements to convey meaning? Story elements include: -- the opening, development and resolution of the narrative

SCREEN EDUCATION © ATOM 2016

Choreography is the creation and composition of a dance by selecting and arranging movements and patterns of movement to convey expressive intention. Choreographic devices include:

-- cause and effect -- establishment and development of and relationship between characters -- point/s of view from which the narrative is presented -- the function of setting in the narrative -- the relationship between multiple storylines -- the structuring of time and its impact on narrative progression {{ How does the filmmaker use movement and dance to convey meaning? {{ How does the filmmaker use production elements to convey meaning? Production elements are the techniques filmmakers use to tell stories. Production elements include: -- camera techniques -- acting -- mise en scene -- editing -- lighting -- sound

Analysing key sequences – dance works As you watch Spear, use the following questions to make notes about the film’s dance works.

Body actions are general types or categories of movement used within motifs, phrases, sections and sequences in choreography. Body actions can be used separately and in combination

{{ {{ {{ {{ {{ {{ {{ {{ {{

Motif Contrast Accumulation Repetition Reversal Retrograde Inversion Fragmentation Embellishment

Write a simple definition of each choreographic device listed above. You may add other devices to the list. Identify and explain the choreographic devices used in each key dance work. Body actions are general types or categories of movement used within motifs, phrases, sections and sequences in choreography. Body actions can be used separately and in combination. {{ {{ {{ {{ {{ {{

Gesture Locomotion Elevation Falling Turning Stillness

Write a simple definition of each body action listed above. Identify and explain the body actions used in each key dance work. The elements of movement are time, space and energy. Describe the use of the elements of movement in each key dance work.

It is intended that you are able to identify and explain the expression intention of each key dance work.

Identify and describe the dance styles evident in each key sequence of Spear.

SCREEN EDUCATION © ATOM 2016

The expressive intention is the central theme or concept of the composition. The intention for a dance might be to fulfil a performance purpose; to explore an idea, observation, emotion or theme; to explore movement possibilities in a particular style or fusion of styles; and a response to music or other stimulus such as visual imagery or words either in a literal or abstract manner.

Begin your descriptions of the following characters by drawing on the action of this sequence:  The characters are listed in order of appearance.

1. CEREMONY The opening sequence of Spear depicts a contemporary traditional cleansing ceremony. Djali, the protagonist of Spear, is the subject of the initiation. A remote and rocky coastline provides the backdrop for the ceremony that is the focus of the sequence. The opening sequence of the film is set in the natural world. Describe the use of setting in this sequence to communicate key ideas.

-- Romeo -- Earth Spirit -- Woman of Desire -- Old Lady -- Suicide Man -- Old Man -- Big Man -- Djali -- The group of Indigenous men who stand with Djali Describe Djali’s interactions with the other characters. Why do you think Romeo stands on a rocky ledge at a distance from Djali? What props are used in this scene? Explain the significance of each prop that you have listed. For example: Old Man’s plastic shopping bag and Big Man’s clapping sticks are props.

How is the setting used as a performance space by the dancers?

The action shifts to an interior space. A dancer falls into the shot. He hangs in the shots, slowly twisting and turning his body and tilting his head. This is the wedge-tailed eagle. White dusty ochre falls from his body.

Ceremonies play an important part in the lives of Indigenous Australians. In this sequence, Djali’s body is washed with water and his forehead is painted with white ochre. Smoke is used to cleanse his body and spirit.

Describe the character of the wedge-tailed eagle. Explain the symbolism of this character in the story told by Spear. Write an analysis of the way the camera work in this scene is used to portray the dance work.

Describe the ceremony that is enacted in this sequence. What happens and what is its purpose?

The action returns to the natural world. Djali stands on the headland looking towards the ocean as waves break on the rocky outcrop.

The opening sequence introduces Djali and the characters that he will interact with in subsequent sequences.

SCREEN EDUCATION © ATOM 2016

Suicide Man: I tried, brother. I tried to live. I tried to live. I tried to live. I tried to live every day. Tried to live every fuckin’ day. Suicide Man: I say to this whitefella, right, ‘Hey you! Yeah I’m speaking to you and you’ and I speak to that whitefella and I say, I say to ‘em, ‘I tried ... real fuckin’ hard.’ How is sound used in this sequence to create meaning? Your answer should refer to the use of diegetic and non-diegetic music, singing and the noises of the natural world.

Suicide Man: I fuckin’ tried. Yeah, I tried real hard. And I sing at him really loud so he can hear me. I say, ‘Listen to me! Listen to me here. Listen to me you dirty little Jesus!’

2. CITY

Suicide Man: Hey mate, how much? How much? How much, hey. How much? How much?

This sequence begins with Djali making his way along a dimly lit and narrow tunnel. In the scene that follows he is outside. The built landscape of this sequence is a stark contrast to the setting of the opening sequence. Djali walks the streets, busy with traffic, initially alone and then shadowed by Romeo. Describe Djali’s passage through the urban environment. How does he move? Is he aware of his surroundings? How are lighting and sound used in the exterior street scenes to convey meaning? The action shifts to a performance space. The setting is deserted and dangerous. The headlights of a parked car suddenly flick on. Djali is caught in the glare. The men from the parked car are not interested in Djali. It is the man who stands behind him, Dingo Man, that they want.

-- Big Man -- Romeo -- Prison Man -- Alcohol Man

Describe the use and significance of the following props: -- The car -- The branches of leaves -- The ochre dust

3. ‘I TRIED REAL HARD’ Suicide Man is a tragic figure. While the character appeared in the opening sequence, it is in this scene that he becomes known to the audience. Djali encounters Suicide Man in a railway station underpass. In this sequence, like others to follow, Suicide Man is drunk and has taken to ranting about his plight. He is ignored by the passers-by, most of them white. Who is Suicide Man? Write a detailed description of the character by drawing on the drama and dance featured in this sequence. Suicide Man has a speaking role in Spear. He is unlike most of the other characters in this regard. He raves for all to hear and mumbles to himself about life and its disappointments and injustices. What does Suicide Man have to say? Suicide Man’s relationship with society is represented through the troupe of dancers who make

SCREEN EDUCATION © ATOM 2016

Is Djali frightened? Describe how the dance work is this scene conveys the nature of the relationship between Dingo Man and his assailants. How are production elements used in this scene to convey the danger of the situation? Explain the role that the following characters play in this scene:

I say to this whitefella, right, ‘Hey you! Yeah I’m speaking to you and you’ and I speak to that whitefella and I say, I say to ‘em, ‘I tried ... real fuckin’ hard.’

their way back and forth along the underpass and then push and shove him about during the group dance work. Write a detailed analysis of the way movement and dance are used to convey Suicide Man’s lack of status in society. How does Djali view Suicide Man? Your answer should indicate how Djali’s relationship with Suicide Man is established through acting and dialogue. Djali’s dialogue, ‘Abos. Photos. Buy a spear. Buy a boomerang.’ is taken from Kevin Gilbert’s poem ‘The Spirit of Progress’. Explain the significance of Djali’s dialogue. In particular, comment on how these words make a comment about the plight of Suicide Man and the status of Aboriginals in Australian society. Kevin Gilbert was an Indigenous Australian activist, artist, poet, playwright and printmaker. Write a detailed commentary of Gilbert’s poem, ‘The Spirit of Progress’. Use the following questions to scaffold your analysis of the poem:

Man has made his way along the underpass and now stands at the foot of the station’s steep escalators uncertain of how to proceed. This is where Djali finds him, a barefoot, stationary and solitary figure, cautious of the way the modern world works. How does Djali respond to Old Man and his predicament? Explain the symbolism of Old Man’s plastic shopping bag filled with red dirt. Why is there a hole in the bag? What does this scene suggest about the relationship between an old and young generation? Describe the use of movement and gesture in this scene. Why does this sequence end with the railway station announcement? How do Suicide Man and Old Man differ? Do they have anything in common? The sequence is followed by a short scene that tracks Romeo striding through a blackened bush landscape. Explain the significance of this scene. How does it shape the audience’s understanding of the character of Romeo and what the character represents?

What is the poem about? Why is the poem important?

Explain the presence of Woman of Desire and Old Man in the railway station underpass. The action shifts to inside the railway station. Old

SCREEN EDUCATION © ATOM 2016

How does the poem use language to create meaning?

Suicide Man: Hey, what do you call a blackfella with dandruff, hey? What do you call a… what do you call a... A lamington! Suicide Man: Hey, what do you call a carload of abos going over a cliff? An abolanche! Suicide Man: Hey hey brothers, come here. Come here, come here. Why do they call us boongs? Because that’s the sound we make when we hit their bull bar. Suicide Man: How do a group of Aborigines take a family portrait? They all jump in the back of a stolen Torana and they run a red light camera. Smile, you mob! Why is this sequence intercut with scenes of Suicide Man, drunk and telling racist jokes to a non-existent audience? Why is each joke punctuated by a shot of Old Man? Suicide Man sits on a stone staircase, wrapped in his blanket for warmth and smoking a cigarette, he recalls the life he once lived.

4. JEDDA SHAKE-A-LOVE. In this sequence, Djali becomes the audience as he watches Androgynous Man perform on a stage and make preparations backstage at a nightclub. Djali is mesmerised by Androgynous Man as he dances on a stage. The grace and beauty of his performance is intercut with scenes of him backstage applying white ochre to his face, as a drag queen sits alongside him at the same dressing table applying garish makeup.

Suicide Man: I did well at school. I respected the priest. And I went to Uni. I got my degree. I worked for the mongrels. I got my pay, I got my super. I got a wife. Got kids. I bought a home. I did their contracts. I dug up the earth. I was always polite. Never talked politics. Never talked back. Never talked shit. And still, I’m forty years old. A foot in each world, and a heart in none. I started drinking, started gambling. I lost my wife, I lost my kids. I lost my job. I lost myself. A foot in each world and a heart in none.

Voiceover dialogue is an integral part of this sequence. Backstage a ribald and bitchy conversation between one drag queen and another plays out prior to their performance. We also hear the emcee announce Androgynous Man’s imminent arrival on stage:

{{ A ndrogynous Man’s group performance in the bush. How does Djali view Androgynous Man? What comment is this sequence making about Androgynous Man’s way of existing?

‘And now for something a little bit different, the one and only, the fabulous, Jedda Shake-a-Love.’ Who is Androgynous Man? Write a detailed description of the character by drawing on the drama and dance featured in this sequence. Write a detailed analysis of the following dance works: {{ A ndrogynous Man’s solo performance on stage; {{ Androgynous Man’s solo performance in the bush;

‘And now for something a little bit different, the one and only, the fabulous, Jedda Shake-a-Love.’

The sequence is followed by two short scenes, the first tracks Romeo striding through a blackened bush landscape and the second depicts the wedge-tailed eagle. Why does the narrative return to Romeo and then to the wedge-tailed eagled?

SCREEN EDUCATION © ATOM 2016

5. ALCOHOL The sequence begins with Djali and Old Lady sitting atop an upturned car. They can hear a voice speaking in language. The drama shifts abruptly to Alcohol Man, caught in the glare of oncoming traffic. Who is Alcohol Man? Write a detailed description of the character by drawing on the drama and dance featured in this sequence. How does the filmmaker use production elements to convey the danger of Alcohol Man’s situation? Alcohol Man falls to the ground. Write an analysis of the dance work that follows the accident. Describe the use and significance of the following props: • The upturned car • The smoke • The bottles of alcohol Alcohol Man tries to stand despite his injuries. He staggers and falls again. Djali approaches and is there to catch Alcohol Man when he once again attempts to stand but fails. What role does Romeo play in this sequence? What comment is this sequence making about alcohol consumption?

Who is Suicide Man? How does this scene shape the audience’s response to Suicide Man? Your answer should refer to Suicide Man’s monologue and the use of production elements. What comment is this scene making about the status of Indigenous Australians in contemporary Australian society.

6. BOWLING Djali and Old Man go tenpin bowling. They are at ease in each other’s company. Describe the relationship between Djali and Old Man. Comment on how the acting of Hunter PageLochard and Demela Wunungmurra contributes to the audience’s understanding of the relationship. How are production elements used in this scene to convey their relationship? Why do Djali and Old Man go tenpin bowling? Explain the significance of the setting. A film screens on a large television screen on the wall at the end of the bowling lanes. The men notice it as they are leaving. The film is Charles

SCREEN EDUCATION © ATOM 2016

Chauvel’s Jedda (1955). Use the Internet to research Jedda. Drawing on your research, explain why the director of Spear, Stephen Page, decided to use this excerpt from the film. How do Djali and Old Man react to the scene that they watch?

7. MY BOOMERANG WON’T COME BACK

Your commentary should refer to the dance work and the use of the performance space.

Djali and Old Man stand inside the entrance to a community hall. A ‘Welcome to Country’ banner hangs on the red stage curtains. A group of Aboriginal men and women begin to dance in time with the music.

Recall your thoughts and feelings when you first watched this sequence. Share these thoughts and feelings with the class.

Write a detailed commentary of this sequence.

Why does Old Man join the dancers?

Your commentary should refer to relevant story elements such as the opening, development and resolution of the sequence; characters and the relationship between characters; the point/s of view from which the narrative is presented and the function of setting in the narrative.

‘My Boomerang Won’t Come Back’ was written by Max Diamond and Charlie Drake in 1961. The song was performed by Charlie Drake, a British comedian. Despite its explicit racism, the song topped the charts in Britain and reached number one on the Australian music charts in November 1962.

Your commentary should refer to relevant production elements.

Read the lyrics of ‘My Boomerang Won’t Come Back’.

How does Djali react to the performance?

In the bad, bad lands of Australia many years ago The Aborigine tribes were meeting Having a big pow wow We’ve got a lot of trouble, Chief On account of your son, Mac My boy Mac, why, what’s wrong with him? My boomerang won’t come back Your boomerang won’t come back My boomerang won’t come back My boomerang won’t come back I’ve waved the thing all over the place Practised till I was black in the face I’m a big disgrace to the Aborigine race My boomerang won’t back I can ride a kangaroo (yeah, yeah) Make Kinkajou stew (yeah, yeah) But I’m a big disgrace To the Aborigine race My boomerang won’t come back They banished him From the tribes then And sent him on his way He had a backless boomerang So here he could not stay This is nice, isn’t it Getting banished at my time in life What a way to spend an evening Sittin’ on a rock in the middle of the desert With me boomerang in me hand I should very likely get bushwhacked Get out of here, you nasty bushwhackin’ animals Think I will make a nice cup of tea

“If you throw that thing at me” “I’ll jump right on your head” Isn’t it marvellous, in a land full of kangaroos?

And I can pick that one For three long months he sat there Or maybe it was four Then an old, old man In a kangaroo skin came A-knocking at his door I’m the local witch doctor, son They call me George Alfred Black Now tell me, what’s your trouble, boy? My boomerang won’t come back Your boomerang won’t come back My boomerang won’t come back My boomerang won’t come back I’ve waved the thing all over the place Practised till I was black in the face I’m a big disgrace to the Aborigine race My boomerang won’t back Don’t worry, boy, I know the trick And to you, I’m gonna show it If you want your boomerang to come back Well, first you’ve got to throw it Oh, yes, never thought of that Daddy will be pleased Must have a girl Excuse me, now then, slowly back and throw Oh, my God, I hit a flying doctor Eee-hee-hee, can you do First Aid? Don’t talk to me about First Aid, boy, you owe me fourteen chickens You know what I mean, learn you to throw the boomerang, you know First things first Yeah, I know that, but, yeah I think on this occasion, you know, you could be just a little more considerate…

Good gracious! There goes a kangaroo I must practice with me boomerang Hit him right behind the left ear Now then, slowly back

My boomerang won’t come back My boomerang won’t come back I’ve waved the thing all over the place Practised till I was black in the face I’m a big disgrace to the Aborigine race My boomerang won’t back

Why is the song offensive? In 2015, ABC Radio banned the song after a listener complaint. Do you think the song should have been banned from radio airplay in 1961?

8. PRISON MAN Prison Man’s body, covered in dark grey paint, is wiped clean by Old Lady at the beginning of this sequence. The drama then shifts from the stage to the real world. Djali and Old Lady make their way into a prison to visit. Scenes of Djali and Old Lady waiting together, Old Lady being searched, Djali waiting alone and Old Lady preparing a smoking ceremony in the visitor’s restroom are intercut with scenes depicting Prison Man’s experience of incarceration. The voices of politicians discussing government policies regarding the treatment of Aboriginal people feature on the soundtrack for this sequence. Who is Prison Man? Write a detailed description of the character by drawing on the drama and dance featured in this sequence. Writing as Djali, describe the experience of visiting the prison.

Charles Perkins: Twenty thousand years we’ve been inhabiting this continent this great country, but the Aboriginal people do not have... Charles Perkins: You might think there’s a bright future for Aborigines in Australia today because society can put me where I am. Charles Perkins: At the present time we have six different policies concerning Aborigines here in Australia. Charles Perkins: It’s just a load of crap. A load of crap.

Or Or Writing as Old Lady, describe the experience of visiting the prison.

Writing as Prison Man, describe the experience of being incarcerated. Write a detailed commentary of this sequence. Your commentary should refer to relevant story elements such as the relationship between characters; the point/s of view from which the narrative is presented and the function of setting in the narrative.

Your commentary should refer to the dance work and the use of the performance space.

Your commentary should refer to relevant production elements.

Listen to the soundtrack. What do you hear? How is sound used in this sequence to comment on the treatment of Aboriginal people? One of the voices is that of Charles Perkins. Use the Internet to research Charles Perkins. Who was Charles Perkins? How did he improve the treatment of Aboriginal people? Explain the symbolism of the smoke that billows into shot at the end of the sequence.

9. ABUSE This sequence is preceded by a short scene that shows Romeo leaning against the wall in the dingy narrow tunnel. Explain the significance of this scene. How does it shape the audience’s understanding of the character of Romeo and what the character represents? This sequence exposes the hurt and torment that have characterised the life of Abused Man. Scenes depicting Abused Man’s suffering are intercut with shots of Big Man rubbing red ochre on his hands and speaking in language to the camera. Who is Abused Man? Write a detailed description of the character by drawing on the drama and dance featured in this sequence. How is dance and movement used to depict Abused Man’s pain?

Djali is shadowing Suicide Man as he drunkenly weaves his way along inner city lanes and streets, dragging his blanket behind him. Suicide Man is oblivious to Djali’s presence. He arrives at a high-rise block of flats, where he makes his way up flights of stairs and along a balcony.

Explain the significance of the use of sound in this sequence? Why do we hear the voice of the sex offender? Explain the symbolism of the black X that is marked across Abused Man’s chest. Describe Djali’s response to Abused Man. What role does Big Man play in this sequence? Why does this sequence end with white ochre dust falling into shot?

10. JUST A POOR BLACK FELLA Djali is shadowing Suicide Man as he drunkenly weaves his way along inner city lanes and streets, dragging his blanket behind him. Suicide Man is oblivious to Djali’s presence. He arrives at a high-rise block of flats, where he makes his way up flights of stairs and along a balcony. When Suicide Man reaches the front door of a particular flat, he reaches up and retrieves a key, concealed on the head of the doorframe. Djali’s concern for Suicide Man is evident throughout the sequence, as he follows Suicide Man’s footsteps, picks up his dropped blanket and searches for him in the tunnel. Suicide Man takes his own life. Djali is too late to save him. He is comforted by Woman of Desire. Write a detailed commentary of this sequence. Your commentary should refer to relevant story elements such as the opening, development and resolution of the sequence; the relationship between multiple storylines; the structuring of time; characters and the relationship between characters; the point/s of view from which the narrative is presented; and the function of setting in the narrative. This sequence is intercut with a scene of Romeo playing a didgeridoo, the lights of the city at night in the background, and a scene depicting Djali as the wedged-tailed eagle. Explain the significance of these scenes in your commentary.

Your commentary should refer to relevant production elements. Your commentary should refer to the dance work and the use of the performance space. Were you as surprised as Djali when Suicide Man opened the door of the flat and went inside? Explain the significance of the mosquito.

11. HOPE Romeo walks along a red dirt road. He has returned to Country. Djali’s journey continues.

2. How have key events beginning with colonisation affected the status of Indigenous Australian men? Work as a group to construct a timeline that documents how Indigenous Australian men have been affected by these events. 3. How have government policies and programs, past and present, affected the status of Indigenous Australian men? 4. If health is defined as the social, emotional, and cultural wellbeing of an individual, what do current statistics suggest about Indigenous Australian male health? What are the risk factors for Indigenous Australian male health?

Describe all that Djali encounters in this sequence, beginning with him waking to the sight of a parked car packed with Indigenous men and ending with him in the real world looking skyward. Write a detailed commentary of this sequence. Your commentary should refer to relevant story elements such as the relationship between characters; the point/s of view from which the narrative is presented and the function of setting in the narrative. Your commentary should refer to relevant production elements. Your commentary should refer to the dance work and the use of the performance space. Does Spear end on a note of hope?

5. Identify the individuals, organisations and government policies and programs that are endeavouring to close the gap and reduce disadvantage for Indigenous Australian men.

Research Project Between two worlds

Born in Brisbane, Stephen Page is a descendant of the Nunukul people and the Munaldjali clan of the Yugambeh Nation from South East Queensland. In 1991, Page was appointed Artistic Director of the Sydney based, internationally acclaimed Bangarra Dance Theatre and has developed a signature body of works that have become milestones in Australian performing arts.

Spear explores notions of Indigenous Australian masculinity within a contemporary context.

Spear online The official website for Spear can be accessed at http://www.spear-film.com.au/.

Stephen Page | Director and Co-writer

The purpose of this research project is to investigate the status of Indigenous Australian men in today’s Australian society. This is a collaborative task. You are required to create a multimedia presentation that documents your research findings.

1. How does the media portray Indigenous Australian men? Locate relevant newspaper, radio and television reports. File the reports in a shared folder on Google drive. Use these reports to comment on

Suggested scaffolding tasks

Page continues to reinvent Indigenous story-telling both within Bangarra and through collaborations with other performing arts companies, most notably directing the Indigenous sections for the 2000 Sydney Olympic Games Opening and Closing Ceremonies, as Artistic Director of the 2004 Adelaide Festival of the Arts, writing and directing Bloodland with Wayne Blair and Kathy Balngayngu Marika for Sydney Theatre Company in association with Bangarra. Page made his directorial debut in 2012, directing the chapter ‘Sand’ in the feature film The Turning. In 2013, Page was Artistic Associate for Sydney Theatre Company’s production of The Secret River as part of the Sydney Festival. He also choreographed the feature films Bran Nue Dae (2009) and The Sapphires (2011). In 2008, Page was named New South Wales Australian of the Year in recognition of his efforts to bring cultures together. Page was honoured at the Australian Dance Awards for his Services to Dance in 2010, and in 2012, he received the NAIDOC Award for Artist of the Year. He was awarded an Honorary Doctorate of Creative Arts by the University of Technology Sydney in 2015 for his contribution to the arts and Indigenous culture. For more information about Stephen Page visit Bangarra online at http://bangarra.com.au/people/ executives/stephen-page.

Credits Credits Director…………………………………………………..Stephen Page Director. .................................................................. StephenHarvey Page Producer…………………………………………...........John Producer................................................................. John Harvey Co-writers…………………………………....................Justin Monjo & .............................................................. Justin Monjo & Co-writers. Stephen Page Stephen Page Page Composer………………………………………………..David David PagePage & Composer............................................................... Contemporary choreography…………………............Stephen Stephen Page & Contemporary choreography................................. Bangarra Dance Ensemble Bangarra Dance Cultural consultant/Traditional choreography………..Djakapurra Ensemble Munyarryun Cultural consultant/Traditional choreography........ DjakapurraElliott Director of photography………………………………...Bonnie Munyarryun Production designer…………………………………….Jacob Nash Director ofdesigner………………………………………Jennifer photography......................................... Bonnie Elliott Costume Irwin Production designer............................................... Jacob Nash Editor……………………………………………………..Simon Njoo Irwin Costume designer.................................................. Jennifer Wright Sound designer………………………………………….Andy Simon Njoo Editor...................................................................... Line producer……………………………………………Belinda Mravicic Andy Wright Sound designer...................................................... Executive producers…………………………………….Robert Connolly Belinda Mravicic Line Liz producer......................................................... and Kearney .............................................. Robert Connolly producers. Executive director Bangarra Dance Theatre…………Philippe Magid and Liz Kearney Executive director Bangarra Dance Theatre.......... Philippe Magid

Cast

Djali…………………………..Hunter Page-Lochard Cast Suicide Man……..................Aaron Pedersen Djali. ........................................................................ Hunter Big Man……………………...Djakapurra Munyarryun Dingo Man…………………...Waangenga Blanco Page-Lochard Suicide Man............................................................ Androgynous Man…….........Kaine Sultan-Babij Aaron Pedersen Djakapurra Big Man.................................................................. Alcohol Man……………........Beau Dean Riley Smith Munyarryun Prison Man…………………..Daniel Riley Waangenga Blanco Dingo Man.............................................................. Abused Man…………………Leonard Mickelo Kaine Sultan-Babij Androgynous Man.................................................. Old Man………………….......Demela Wunungmurra Alcohol Man........................................................... Romeo…………………….....Romeo Munyarryun Beau Dean Riley Smith Old Lady…………………......Elma Kris Daniel Riley PrisonSpirit…………………...Yolande Man............................................................. Earth Brown Leonard Mickelo Abused of Man........................................................... Woman Desire……………Nicola Sabatino emela Old Man.................................................................. Wedge-tailed Eagle…………Daniel Riley & Hunter DPage-Lochard Wunungmurra Romeo.................................................................... Romeo Munyarryun Old Lady................................................................. Elma Kris Earth Spirit.............................................................. Yolande Brown Woman of Desire.................................................... Nicola Sabatino Wedge-tailed Eagle................................................ Daniel Riley & Hunter Page-Lochard

This study guide was produced by ATOM. (© ATOM 2016) ISBN: 978-1-74295-936-8 editor@atom.org.au For information on SCREEN EDUCATION magazine, or to download other study guides for assessment, visit <http://www.screeneducation.com.au>.

For hundreds of articles on Film as Text, Screen Literacy, Multiliteracy and Media Studies, visit <http://theeducationshop.com.au>.

Join ATOM’s email broadcast list for invitations to free screenings, conferences, seminars, etc. Sign up now at <http://www.metromagazine.com.au/email_list/>.