1. Post-colonial Literature for Children EDU32PLC Week 3 - Lecture 6 Aboriginal voices in Australian Literature - Authority to speak © La Trobe University, David Beagley 2006

2. References Bradford, C. (2002) Wielding a Black pen: aboriginality in literature. Idiom, 38(2) September: 14-22 McDonald, M. (2001) Bridging Cultures [online]. Available: http://www.mememcdonald.com/books/bridgingcultures.htm Scutter, H. (2001) Writing the childhood self: Australian Aboriginal autobiographies, memoirs and testimonies. The Lion and the Unicorn. 25(2): 226- 241

3. Voice What is “voice” in literature? Perspective, point of view, personality of the perceived “speaker” of the text, or sub-text Character voice – the person portrayed Narrative voice – the teller of the story Authorial voice – the impression conveyed by the creator Personal voice - the tone and expression of a particular person Cultural voice – the underlying social context

4. Voice How is “voice” conveyed? Personal voice By the language characteristics of the “speaker” Vocabulary, idiom, accent, grammar Emotions, expression, tone Cultural voice By the issues expressed By the social context of that expression Cultural markers, that distinguish Identity of the personal voice

5. Aboriginal voices in Australian Literature Until recently, very, very little: David Unaipon 1873-1967 Oodgeroo Noonuccal – Kath Walker 1920-1993 Last two decades, a rich and rapidly growing corpus deriving directly from personal experience presenting personal identity and culture with pride Not so much “history at a distance” as “me in my world”

6. The Questions Who has the right to tell Aboriginal stories? Who has the authority to “own” them? What are Aboriginal stories?

7. Memoirs, autobiographies, testimonies and reminiscences Sally’s Story, My Girragundji, Tucker, Do not go around the edges Stradbroke Dreamtime, Rabbit Proof Fence, As I grew older, Maybe Tomorrow, Binna Binna Man, Minah, The shack that dad built, A is for Aunty Very strong focus on childhood memories Clear, open portrayal of identity and “cultural markers” Largely written for younger audience

8. Childhood memories Celebrate the fun and innocence of childhood, before bad times of adulthood Restore that past, start again Personal and private world, unaware of outside “noise” Symbolic of return of pre-colonial days Affirms identity by clear sense of self and shows what can be.

9. Identity and cultural markers Use of language – grammar, vocabulary, personal voice – “Kriol”, fullas Place, setting and landscape – “fringe dwellers” Family and relationship patterns Activities, seasons and “circle of life” Belief systems and religion Relationship to European communities

10. Younger audience “Softer” representation, less confronting and enabling identification with key characters Emphasis on essential innocence of children - both as speaker and audience Illustrations often in “naïve” style as if drawn by children Does this emphasis on Childhood and Children avoid the essentially political context of the situation of Aboriginal Australia?

11. Political Context Does this emphasis avoid the essentially political context of the situation of Aboriginal Australia? All literature is political because it reflects its social context The softer focus of childhood highlights the positive aspects of Aboriginal life, rather than the negative aspects of European treatment Therefore, the attempt to “protect” children actually reaffirms the identity, dignity and survival of Aboriginal culture