AustLit

Set in a small coastal town against the turmoils of murder, mystery and romance, Heartland deals with the death of an Aboriginal girl and the doubts concerning the guilt of her boyfriend, who is arrested for her murder. Vincent Burunga, an Aboriginal police liaison officer working in the town, is an outsider to both the local Aboriginal people and the white justice system, and he finds himself constantly on the edge caught between two cultures trying to understand each other. It explores the developing relationship between Vincent and the newly arrived Elizabeth Ashton. Both are convinced of the young man's innocence but must endure hostility from both the white and black communities and get past the obstacles of their different backgrounds.

The narrative also follows the people from this seaside community and their battle to restructure their own way of life and their struggle to restore their belief in a positive future, despite the obstacles in their path.

This unique CD features stereo recordings of traditional Australian Aboriginal music and stories, and is presented by Aboriginal writer and performer Bob Maza.

The Keepers is set in South Australia during the 19th century. The story centres around the relationship between Mirnat, and Aboriginal Woman and Elisabeth Campbell, the wife of a Scottish missionary. The two women deepen their relationship through their attempts to learn each other's language. The play demonstrates the complexity of the Boandik* sign language which features quite prominently in the play's stage directions and production. (Balme, 1997)

"Documents the experience of Indigenous Australians - in particular, the Boandik of South-eastern South Australia - at the hands of white settlers and their descendants. Spans two generations and two different time frames and stresses the importance of the land: "The Land is alive. It moves. It breathes. We know because we are its keepers.""

*Bungandidj peoples of Mount Gambier region, South-eastern South Australia

Source: AusStage

Source: Balme, C. 1997. 'Reading the Signs: A Semiotic Perspective on Aboriginal Theatre', in Ar̲atjara: Aboriginal Culture and Literature in Australia. Rodopi. p.163.

New writing from old Australians this collection presents Aboriginal playwrights using the dramatic form to tell how black and white Australians interact.'

'These are modern, urban plays, but traditional beliefs give strength and resilience to many of the characters in them. These city dwellers are joined to the land and their dreaming, with ancient bonds of common belief; the four plays provide a remarkable, often humorous insight into Aboriginal experience in Australia.' (Source: backcover)

A six-episode awareness series examining aspects of Australian Aboriginal heritage and culture. It also looks at such issues as Aboriginal resistance against white invaders.

The first Aboriginal television show produced and broadcast by the ABC, Basically Black comprised a series of comic/tragic sketches based on the 1972 Nimrod Street Theatre revue. The television adaptation was heavily censored and politically 'watered-down' by the ABC, to make it less confronting and controversial

One of the characters written into the revue is Lionel Mouse who fights racism as 'Superboong,' a strange visitor from a northern tribe who comes to the city possessing powers far greater than mortal Kooris, faster than a killer boomerang. An incident of racism in a nearby hotel sees Superboong leap into action, but he unfortunately can't do anything, because Aboriginals are barred from entering hotels; he is forced to go off in search of incidents that he can fight (ctd. Casey p. 56). This ironic treatment of the superhero shows that even superheroes will be discriminated against, when he is not allowed in a hotel to change into his costume.

Other sketches include a satiric take on the boxing troupes that plied their trade as part of carnival side shows during the 1930s, 1940s, and 1950s; the 'Bennelong' sketch, in which Bennelong is presented at a London garden party in beautifully tailored clothes but also in a gilded cage; and a sketch played out between an aggressive white labourer and an Indigenous industrial designer, which ends with the latter being viciously beaten and then arrested for assault.

The concept for Basically Black evolved not long after Bob Maza arrived in Sydney to undertake an apprenticeship program for directors and actors with the Nimrod Theatre Company. The revue was a biting satire, continuing the response to the High Court ruling against a traditional claim to land ownership, in addition to highlighting white attitudes towards the Aborigines over the past 200 years.