DRAFT Namatjira - Education Notes BighART 2012 · These notes are designed to enhance students’...

EducationNotes

AdaptedfromnotesbyMalthouseTheatre&MegUpton

BighARTIncP.O.Box901,Devonport,Tasmania7301

www.bighart.org.au

NAMATJIRAByScottRankin

CreatedwiththeNamatjiraFamily

EDUCATIONNOTES

“Untaitjakaltjanamalanga,athanganhailama...Albert‐anhaitjanamarelhakarretnya…”

Fromleft:MarcusWheeler,DerikLynch,BettyWheeler,LenieNamatjira,TrevorJamieson.ImagebyGrantMacIntyre

"I'llletyouinonasecret...'Albert'isnotactuallyatraditionalAboriginalname..."

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CONTENTS1/Aboutthesenotes

• Curriculumlinks2/Cast,CreativeTeam,CulturalConsultants&Productioncredits3/Introduction4/Exhibitions5/AbouttheNamatjiraProject&BighART5/Synopsis5/Backgroundinformation

• AlbertNamatjirabiography • The1967Referendum • InterviewwithTrevorJamieson,DerikLynch&WayneBlairattheArt

GalleryofNSW6/Previousproductions

• Reviews‐2011NationalTour&2010Belvoirco‐production7/QuestionsforAnalysisandDiscussion

• Theworldoftheplay • Structureoftheplay • Theatricalstyles • Theactor/audiencerelationship • Characterisation–useofexpressiveskills,useofspace • Statusandmotivation • Stagecraft • Themes

8/Reviews,Articles&Furtherresources

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ABOUTTHESENOTES:These notes are designed to enhance students’ exploration and analysis of the Namatjiraproduction for the purposes of their studies in various curriculum areas including TheatreStudies, Drama, History, Art, Dance and Music. They are not offered as a definitiveinterpretation of the production but stand as a springboard to a broader exploration of thework. We hope that students approach Namatjira with their own awareness in order toexperience the work for themselves as an evocative and powerful piece of contemporarytheatre.We invite students and teachers to explore the production’s innate theatricality, itsstoryandideas,anddiscoveritsrelevancetotheirownandothers’livesCURRICULUMLINKS:Namatjira isabeautifully renderedproduction thatcanbeenjoyedpurely for theexperience,butBighARTacknowledgesthatmanystudentsandteacherswillbeattendingtheperformancefor the purposes of study, and therefore suggests the following curriculum links. These linksrelatetoNSWandVictoria,butcanalsobeinterpretedforotherStates.NSWSTATECURRICULUMLINKSSTAGE5 AboriginalStudies

Core‐AboriginalIdentitiesOptions – Aboriginal Visual Arts, Aboriginal performing Arts,Aboriginal Peoples and the Media, Aboriginal Oral and WrittenExpression

5.1–5.9

VisualArts

Critical & Historical Studies – Conceptual Framework (Aboriginal &IndigenousArtists);Frames(TheCulturalFrame)

5.8,5.9

Drama DramaticForms:AustralianIndigenousTheatre,BiographicalTheatre 5.3.1,5.3.2,5.3.3

History Topics: Australia Between the Wars; Changing Rights & Freedoms(SectionA:AboriginalPeoples)

5.1,5.3,5.7

English TextTypes:Non‐fiction,Drama.Themes:AboriginalExperiences 1,7,9STAGE6‐Preliminary AboriginalStudies

Aboriginality&theLand;Heritage&Identity P1.3,P2.2,P3.2

VisualArts

Conceptual Framework–The roleof theartist, how interests in theworldarerepresentedthroughart;Frames–TheCulturalFramework(culturalartists)

P.8,P.9,P.10

Society&Culture

TheSocial&CulturalWorld;Personal&Social Identity; InterculturalCommunication

P1,P2,P3,P5

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Drama DramaticForms:AustralianIndigenousTheatre;BiographicalTheatre P3.2,P3.3English TextTypes:Non‐fiction,Drama.Themes:AboriginalExperiences 1,4,5,12ASTAGE6‐HSC AboriginalStudies

Aboriginality&theLand;Heritage&Identity H1.3,H2.1,H2.2,H3.2

VisualArts

ConceptualFramework–Theroleoftheartist,howinterestsintheworldarerepresentedthroughart;Frames–TheCulturalFramework(culturalartists);CaseStudy–AlbertNamatjira&AustralianIndigenousArt

H8,H9,H10

Society&Culture

BeliefSystems,EqualityandDifference H1,H2,H3,H5

DramaEnglish

AustralianDrama&Theatre–ContemporaryAustralianTheatrePractice;IndividualProject–SetDesign,CriticalAnalysisEnglishStandard–Belonging,Experiencethroughlanguage(distinctlyvisual)EnglishAdvanced–Belonging,Representation&Text(History&Memory)EnglishESL‐Belonging,Experiencethroughlanguage(Australianvoices)

H3.1,H3.3

VICTORIANSTATECURRICULUMLINKS

VCETheatreStudies–Unit4–Outcome3:PerformanceAnalysisVCE Theatre Studies – Unit 3 – Outcome 3: Analysing a Play inPerformanceVCEDramaUnit1–DramaticStoryTelling–Outcome4:Analysingdramaperformancespresentedbyotherpractitioners

TheVCETheatreStudiesandDramaStudyDesigns

VCEDrama–Unit2–CreatingAustralianDrama–Outcome4:AnalysingAustraliandramaperformance

VELSLevel6–TheArts–Dimension:ExploringandResponding

TheExploringandrespondingdimensionfocusesoncontext,interpretingand responding, criticism and aesthetics. It involves students analysinganddevelopingunderstandingabouttheirownandotherpeople’sworkand expressing personal and informed judgments of arts works.Involvement in evaluating meaning, ideas and/or content in finishedproductsisintegraltoengagementintheArts.

TeachersandstudentsmayalsofindthenotesareusefulfordiscussingandexploringtheproductionthroughthelensofAustralianHistory,Politics,VisualArtsorDance.

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CREATIVETEAM Written&DirectedbyScottRankinComposer&MusicDirectorGenevieveLaceyLightingDesignerNigelLevingsSetDesignerGenevieveDugardCostumeDesignerTessSchofieldSoundDesignerJimAtkinsCreativeProducerSophiaMarinosAssociateProducerCecilyHardyCommunityProducerShannonHuber

CAST TrevorJamiesonDerikLynchGrandchildren&descendentsofAlbertNamatjira,alternatingKevinNamatjira,LenieNamatjira,MostynKentaltja,GloriaPannka,IvyPareroultja,DougieAbbott,PeterTaylor,EltonWirri,HilaryWirri,BettyWheeler,MarcusWheelerMusicians–alternatingNicoleForsyth,GenevieveLacey,RhiaParkerPortraitartists‐alternatingRobertHannaford,MichaelPeck,EvertPloeg

CULTURAL/FAMILY LenieNamatjira,IvyPareroultja,BettyWheeler,GloriaPannka,CONSULTANTS MervynRubuntja,HubertPareroultja,EltonWirri,KevinWirri,Hilary

Wirri,GregoryArmstrong,JosephRontji,RahelEngwanaka,JudithIngkamala,KevinNamatjiraConsultantsAlisonFrench,DavidRoennfeldt

PRODUCTION ProductionManagerNeilFisherStageManagerLornaEarlCompanyManagerDrewCookArtistssupportElspethBlunt,EllenSteiner,SusieThurowSocialPolicyPruGellArtsMentor,On‐CountryWorkshopsSiaCoxNationalProgramsManagerAndrewVineyAdministrationBobTargett&LindyMundyScenicArtistNeilMallardLandscapeArtistEltonWirriChoirSoundsNtariaLadiesChoirFilmCrewSarahDavies,StuartThorne,AdrianWarburtonVoiceOverLexMarinosChoreographyYumiUmiumareSetBuildOscarPrieckaerts

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Introduction–thestory,theplayandtheproject"I'mastorytellerhere,ratherthanacharacter,"saysactorTrevorJamieson."Imakeitclearattheoutset[that] I'mpresentingNamatjirabutbeingmyself. . . I'moutofmyleaguewithhim,butIfeelclosertohimjustbycomingouthere,meetinghisfamilies,goingthroughworkshopswiththem,explainingwhatwe'dliketodoonstage." [ArticlebyNicolasRothwell,TheAustralian,September2010]NAMATJIRA illustratesthelifeofanAustralianIndigenousartist,painterAlbertNamatjira,whotookuptheuntraditionalmediumofwatercolourtopaintlandscapesofhiscountry–WesternArandacountry,intheCentralAustraliandesert.Throughhispaintingsmanysawtheinteriorofthecountryforthefirsttime.This performance offers up amyriad ofways for students to engagewith and experience hisstory through the arts. The arts are central to Indigenous culture and traditions. IndigenousAustralians hand down their stories orally, through song, music and dance. During eachperformance,while theactors tell his astounding story throughwords,movementandmusic,three of Namatjira’s descendants (third generation watercolour artists) depict his country inchalk on the theatre walls. This theatrical story features live music that generates a scoreevocativeofbothEuropeanandIndigenousculture.Twoactorsplaymultiplecharactersacrossthe spanof 70 years.NAMATJIRA is a unique chance for students of Theatre studies,Drama,Aboriginal Studies, EnglishandVisualArts toobserve the live creationof a vast and transientcollaborativepieceofart.AlbertNamatjira’sstoryoffersstudents insights intotheroleoftheartist indifferentsocietiesandcultures,ashenegotiatedlivingwithinhisowncommunityandtheworldofWhiteAustraliasimultaneously.ThisperspectiveisbroadenedbythepossibilityofengagingwithcontemporaryIndigenousartpractice, through theexhibitionof contemporarywatercolourworks that tourswith the production. This provides a further opportunity to understand the life and work ofAlbert Namatjira, and for students to see how he has inspired generations of artists, andcontinuedatraditionofstorytellingthroughtheArts.Creatively ambitious and uniquely possible through the longstanding relationship betweenRankin and his Indigenous collaborators,NAMATJIRA is also a powerful story of aman rivenbetweencultures:acelebratedartistwholostchildrentomalnutrition,anostracisedfigurewhomarriedawomanofthewrong'skin'butonwhom600familymembersweredependent,andthefirstindigenousNorthernTerritoriangrantedcitizenshiponlytobeunjustlyimprisoned.TheNamatjiranarrativeandthelegacyofhisartprovidesatimelyprismthroughwhichwecanviewthecurrentrelationshipofIndigenousandnon‐IndigenousAustralia.Albert’slifecoincided

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withthefirststirringsofpopularmediaandtelevision,enablingthisquietlyspokenman–who,with almost no training, could paint exquisitely – to make his far‐off country accessible andfamiliar.HebroughtthealiendeserttothelivingroomsofsuburbanAustraliaandattheheightofhisfame,AlbertNamatjira’sshowssoldoutwithinminutes.Theprofoundlymoving,energeticandhumorousNAMATJIRAisajoyoustheatricaleventtosharewithyourstudents.HalfacenturyafterhisdeaththecharismaticTrevorJamiesonretellsNamatjira’sextraordinarylife. The story of Albert Namatjira premiered to full houses at Sydney’s Belvoir St Theatre in2010,andwentonin2011totourtoMelbourne,Dandenong,Geelong,Canberra,WollongongandLismore.Withevocativelightingandlivemusic,NAMATJIRAismorethanaperformanceatthetheatre;itisafascinatingaccountoflittleknownAustralianhistory.Ithasaudiencesjumpingtoastandingovation every night, both in appreciation of the work and in acknowledgement of theimportanceofthestory.Notes• Thisproduction isonepartofamuch largerprojectrunbyBighARTcalledtheNamatjira

Project.Theprojecthasbeengoingsincemid‐2009andhas involvedworkingcloselywithNamatjira’sfamilytogetpermissionfortheproduction,todecidewhichaspectsofhisstorycouldbe told, and theways inwhich the community couldbecomepartof the telling. Italso includes a range of skill building and community development workshops with theextendedNamatjirafamilyandWesternArandapeopleinAliceSprings&Hermannsburg

• TheplayispartlyaboutNamatjira’srelationshipwithartistRexBattarbeeandtheirculturalexchange.BattarbeeintroducedNamatjiratowatercolours;AlbertopenedBattarbee’seyestohiscountry.

• During the performance,some of Namatjira’sdescendents, third‐generation water colourartists,arechalkdrawingon the walls of thetheatre, huge depictionsof his country. ThislandscapeisbasedonanartworkbyEltonWirri,akinship grandson toAlbertNamatjira

KevinNamatjira.ImagebyBrettBoardman

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• There are two actors, who each play many characters, both Indigenous and non‐Indigenous. Some of these characters are Namatjira himself; his parents; his friend RexBattarbee;thePastoratHermannsburgmission,LadyHuntingfield,theQueen(Elizabeth),aswellasmanyminorcharacters.

• Amusicianisonstagethroughout,playingliveinstrumentscreatingasoundscape.• Thestory is toldmostly inEnglishbut isalso told in language (WesternAranda)andalso

some German (the language spoken at Hermannsburg mission when it was firstestablished).Therearealsosongsinallthreelanguages.

• MostoftheeventswhichtheplayretellshappenedduringNamatjira’slifetime(1902‐1959)and also earlier, during Rex Battarbee’s childhood inWarrnambool, Victoria. During thistime,AboriginalpeoplewerenotallowedtovoteandhadnotyetbeenawardedAustraliancitizenship. They faced a huge range of legal restrictions and social injustices includingbeingbannedfrompurchasingalcoholorland.TheplayexplainstheseinjusticesthatAlbertandotherAboriginalpeoplefacedduringthistime.Studentswhoareunfamiliarwiththishistory might understand these aspects of the production better if they are briefedbeforehand.

EXHIBITION: In2012Namatjirawilltourwithafoyerdisplayofwatercolours.FeaturingoriginalwatercoloursbyAlbertNamatjira’sdescendants,andcuratedbytheNgurratjutaManyHandsArtCentre,thisunique exhibition guides you through spectacular Central Desert landscapes – the artists’country and the country that Albert used to paint. These vibrant, contemporary works aretestimonytoAlbert’slivinglegacy.Many of the featured artists exhibit in galleries around Australia and have been painting foryears, whilst some are new and emerging artists. They paint their country, withwatercolourlandscapesthatdepictthevastbeautyanddiversityofWesternArandaCountry, includingtheWestMcDonnellRanges,HaastsBluff,PalmValleyandmanyotherspecialplaces.The artists include direct grand children of Albert Namatjira, grandchildren of Namatjira’scontemporaries,andkinshipdescendantsofNamatjiraandhiscontemporaries.Theyhavebeentaughtbytheirparentsandgrandparentsandarethekeepersofthecentraldesertwatercolourtradition.ArtistsbiographiescanbereadontheNgurratjutawebsite.Bytouringtheexhibitionalongsideahighprofiletheatricalwork,theprojectaimstogenerategreater exposure and sales for the artists, aswell as generating greater understandingof thevitalroleofIndigenousartcentresinAboriginalcommunities.ReadmoreaboutartcentresattheDesartwebsite,peakbodyforCentralDesertIndigenousArtCentres.

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ABOUTTHENAMATJIRAPROJECT&BIGhART8August2009markedfiftyyearssinceinternationallyacclaimedwatercolourartistandWesternArandaman,AlbertNamatjira,passedaway.TheNamatjiraprojectwaslaunchedonthatdate,and isa celebrationofhis lifeand legacy: it is a creativecommunitydevelopmentproject, anoriginal, critically acclaimed theatrical work, accompanying watercolour exhibitions, andcontributions to social policy discussion around remote service delivery and Indigenous ArtCentres.Theproject is runby awardwinning arts and social change company,BighART.BighART is anot‐for‐profit organisation that works to: make sustained changes with disadvantagedcommunities; takethe issuesfacedbythesecommunitiesandmakethemvisible inthepublicsphere; influence social policy; create high quality cultural activity which drives personal,community, and regional development; produce critically acclaimed, highquality art for local,nationalandinternationalaudiences.Since1992,BighART’sprogramshaveassistedover6,500peopleexperiencing severedisadvantage in32 communitiesacrossAustralia,helping them tomakesustainedchangesintheirlives.TheNamatjiraproject isa legacy toBighART'sNgapartjiNgapartjiproject, throughwhich thecompanyhasworkedwithIndigenouscommunitiesintheCentralDesertregionsince2004.TheNamatjirastorycametotheattentionofwriter/directorScottRankinasaresultofworkingwithEltonWirri, a kinship grandsonofAlbert’s. Elton, now22, hasworkedonNgapartjiNgapartjisince he was 14 years old, and toured the country with the performance piece, receivingapplause from audiences for his chalk drawings depicting Western Aranda landscapes.The Namatjira project consists ofongoing creative developmentworkshops with the artists from theNamatjira watercolour tradition, andtheir extended families andcommunities. The workshops includefacilitated storytelling sessions, on‐country painting trips, performance,health, film and leadershipworkshops.One year into the project theworkshops culminated in aCommunity Presentation of thetheatrical work‐in‐progress, and a TrevorJamieson&EltonWirri,watercolourworkshop.Imagecourtesyof

BighART

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previewoftheaccompanyingwatercolourexhibition,attheAraluenCentre,AliceSpringsonthe7thand8thofAugust,2010.Fromthere,theshowNamatjiramovedontopremieratSydney'sBelvoir Street Theatre, in September 2010, co‐produced by Company B, one of Australia’sleadingtheatrecompaniesandmostprestigiousvenues.The seasonsoldoutandwasahugecriticalsuccess.TheaccompanyingwatercolourexhibitionwassopopularattheBirrungGallery,in Wooloomooloo, that Big hART wascompelledtoschedulea second exhibition at DamienMinton Annex Gallery. Due to the huge success of the 2010 premier season, Namatjiraembarked on a 9 week tour in 2011, through Melbourne, Geelong, Dandenong, Canberra,WollongongandLismore.TheNamatjiraproject ismade inpartnershipwithNgurratjutaManyHandsArt Centre,whichrepresentsmanyofAlbertNamatjira’sdescendants, includingmembersofhis familywhotouraspartofthecastofNamatjira.Theyare:LenieNamatjira,BettyWheeler,MostynKentaltja,Ivy Pareroultja,KevinNamatjira,Gloria Pannka,HilaryWirri,mervyn Rubuntja, KevinWirri,PeterTaylor,DougieAbbottandEltonWirri.Big hART is adamant that the project work to the benefit of the Namatjira family and isconstantlyworkingtowardsensuringthepositiveoutcomesof theprojectaresustainableandongoing.

PetermannRanges,byEltonWirri.ImagecourtesyofNgurratjutaArtCentre

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SYNOPSISTheaudienceentersaspacethatisalivewithacreativespirit.Beforetheperformancebeginsalandscape is being drawn across a black backdrop, and a portrait artist is painting the mainperformerTrevorJamieson,whileTrevor,seatedonastool,observestheaudience.When Trevor speaks it is as a friend and as a storyteller. We learn that Albert’s father –Namatjirrtja–camefromthebush,fellinlovewithLjukutaandtheymarried.EleawasborninthedesertinArandacountry,CentralAustralia, in1902. ItwasatimeofdroughtandtogetherNamatjirrtjaandLjukutacametotheGermanMissionseekingfoodanddrink,theystayedandEleawaslaterbaptizedAlbert.Meanwhile in Warrnambool, Victoria at the turn of the 20th Century, a baby boy is born,Reginald Battarbee or ‘Rex’. A small white country boy who makes friends with Wilmot, anAboriginalelderlivingnearby.The story of Albert the artist and Rex the artist/soldier run parallel in this production. Albertgrows up on theGermanmission run by a Lutheran Pastor, driven by his desire to bring theAboriginalpeopletoGod,butalsotoadvocateontheirbehalfwhennecessary.Lifeistoughandbabiesdie.Albert’sfatherhasbeenchristenedJonathan,andhismotherEmilie.Albertisgiventothemissiontoberaised.Meanwhile,RexsignsupfortheWesternFrontandissentofftothebeaches of France where he is seriously wounded, scarred for life, a twisted hand and awitheredarm.WhenhereturnstoWarrnambooltomend,hereacquaintshimselfwithWilmot,anAboriginalmanwhocallsRextheoldwaterbird,aheron,becauseofthefunnywayhewalks.Onthemission,Albertlearnstwonew languages; some Germanand some English. Rex, returnednow to Warrnambool, learns topaint with the gift of somewatercolours from his sister.Albert’s father Jonathan returnstotakeAlbertoutintocountrytospend time with the men andbecome a man the proper way.Meanwhile, Albert falls in lovewith a beautiful young woman,Ilkalita,andtheyelope.Withtwoyoung babies to support theyreturntothemission. DerikLynch&TrevorJamiesonasRubina&Albert.ImagebyBrettBoardman

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Onedaya car arrivesat themissionand it isRexBattarbee, returnedveteranandnowartistfromWarrnambool inVictoria.Hebringspaintings inwatercolours and, especially, the colourBLUE.AlbertasksRextoteachhimtopaintwithwatercoloursandtocreate ‘magicwindows’.Heseespaintingasawaytocreatealifeforhimandhisfamily.Inreturn,AlberttakesRexoutintocountryandshowshimhisland,themeaningofcountry.AlberttellsRexthathecanpaintsome things but not others. Some things are women’s business and others are men’s, andothersarenotofhiscommunity,sacredandnothistopaint.Thenarratorthentalksabouttheimportance of a sacred place and a sacred practice –AnzacDay and its place in the nationalpsyche–highlightingtheneedformutualrespectandunderstandingwithregardtosacredsitesandsacredmoments.Albertbeginstopaintandsobeginsadesiretosellhiswork.ThePastorishisfirstclient.Itisn’tenough. Meanwhile, traditional land is being settled by cattlemen, and stockmen drive thecattle through. This is illustrated by the performance of Lee Kernaghan’sWhite Faced Cattlesong.Albertbecomesastockmanlikesomanyofhisfriendsandfamilyatthetime.Henowhaseight children and needs a way out of poverty. Rex Battarbee takes some of his work toMelbourneandincludesitinhisownexhibition.Itreceivesawarmreception,particularlybythesocietywomen.Backoncountry,AlbertandRexgoonapaintingtrip,sharinglanguageandthoughts.AfterthisRextakesmoreofAlbert’sworktoMelbourne.AbuzzaboutAlbert’sworkbeginsandafamoussocietywoman travels toAlice Springs tomeethim.Hisworkbegins to sell andhebegins tomake some real money. He returns to country to paint, exhibits and sells. Now Albert isapproached by family to help out. He builds Rubina a new house complete with generatedelectricity.SoonAlbertissupporting600peopleinhisextendedfamily.Hegivesfreelybecausetheyasknicely.RexreturnstothemissionwithhisfiancéBernicetobemarriedinthesmallstonechapel.ThesearethecrossoverdaysforAlbert.Hehuntsandpaintsanditishiscountry.HepaintsaspecialpictureforhisfriendRexandhisnewbridewhoarenowpartofhiscountry.Heisadmiredbytheelderswhounderstand thespecial friendshipbetweenAlbertandRex.Then…bombsdroponDarwinandGermanMissionariesarenowclassedasenemyaliens.ThePastorisimprisonedandRexbecomesthenew‘protector’.AfterthewarAlbert’sexhibitionstarttoselloutandhebecomesawealthyman.InrecognitiontheAustralianGovernmentmakesAlberta‘citizen’,meaninghecannowqualifytopaytax!Asacitizenhecan’tvote,buthecanbuyalcoholandhemustpaytax.Thealcoholbecomestrickybecause in community law Albertmay be ‘humbugged’ into buying it for others, the Arandaway.BeingacitizenmeansthatAlbertcanliveintownanddoesn’tneedtobackonthemissionatsundown…butinacrueltwist…hischildrendobecausetheyarenotcitizens.

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ThenewQueenElizabethvisitsherempireincludingtheCommonwealthofAustraliaandmeetsAlbert Namatjira. She acquires a painting, loves it and Albert’s work becomes even morepopular.Headvocatesonbehalfofhispeopleandhisfamilyforthelandthatisbeingacquiredbyagricultureandpastoralists;allthegoodland,thelandwithwaterholes.Heisn’tsuccessful.Atrip to Sydney causesmuchmedia attention and Albert is both a celebrity and an oddity asAustralia’sfirstblackcitizen.HeispaintedfortheArchibaldPrizebyWilliamDargieandisgivena twominutestandingovationat the theatre.He isgivenacarwithhisnamepaintedon theside.Why this ovation? What was it we were all yearning for in the cities? What was it aboutourselves,thatwesawaswestaredthroughourlittleNamatjirawindows,ourcheapprints,overthemantelpiece, in our rows of fibro 50s homes in brand new Kirrawee…whowerewe then,broken by war, 10 pound Poms, Italians with secret espresso machines, building the SnowyMountain Scheme, proudly polishing those first FJ Holdens…Whatwas it Rex and Albertwereshowing us in their friendship…some other Australia? A generous one? Not this one, the onewe’vefoundourselvesslidinginto…(ActII,SceneII,Trevorasnarrator)Albert isnowtornapart.Athome‐grog,humbuggedformoney,can’tkeepup,showsothershowtopaint,themissionisfallingapartandthePastor,abouttoretire,questionsitall.Albertbegins togivehispaintingsawayasgiftsand inpayment…forwhat?His father ispassing.TheSpiritcomesandAlberttellsithisname,hisfather’sname,theirrealnames. Thatflyingantdreaming,hewas(hisfather) ThisCarpetSnakedreaming,Iam(Albert) WheredidIgo? Iamnotaman? WhoamI?Albert is arrested andmade responsible for the alcohol fuelled attack andmurder of a localPitjanjatjarawoman.Astheone‘citizen’heisbroughttoaccountandsentencedtosixmonthshardlabour.Themediaandsocietyturnagainsthimandheisallowedtoreturntocountry.ButAlbertNamatjira can no longer paint.His country is gone, the light is fading and slowly he isdying.AlbertNamatjirais57yearsold.The profoundlymovingNamatjira narrative and the legacy of his art provides a timely prismthrough which we can view the current era, in relation to Indigenous and non‐IndigenousAustralia.Albert’slifecoincidedwiththefirststirringsofpopularmediaandtelevision,enablingthisquietlyspokenman–who,withalmostnotraining,couldpaintexquisitely–tomakehisfar‐offcountryaccessibleandfamiliar.Hebroughtthealiendeserttothelivingroomsofsuburban

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Australia.At the height of his fame, his life was a whirlwind of society functions. Yet Namatjira foundhimselfcaughtinastrangeculturaltwilightthatmadelittlesense–bybeingmadeanhonoraryCitizenwithhiswife, theywereno longer just “floraand fauna”– theywereallowed to votewhiletherestoftheircountrymenwerenot;theywereallowedtoownlandandahouse–yettheir children couldn’t staywith them, because theyweren’t allowed in townafter dark; andtheywereallowed topurchasealcohol–butnot todrink itwith their friends.Eventually, thetrapsetbythesecontradictionswouldsnapshut.

BACKGROUNDINFORMATIONNamatjira,Albert(Elea)(1902–1959)bySylviaKleinert,NationalLibraryofAustraliaAlbert(Elea)Namatjira(1902‐1959),artist,wasbornon28July1902atHermannsburg(Ntaria),NorthernTerritory,sonofNamatjiraandhiswifeLjukuta.EleabelongedtothewesterngroupoftheArrerntepeople. In1905thefamilywasreceivedintotheLutheranChurch:Elea(whowasgiven the nameAlbert) and his father (who took the name Jonathan)were baptized, and hismother was blessed (as Emilie). Albert attended the Hermannsburg mission school. Inaccordancewith the practice of themissions, he lived separately from his parents in a boys'dormitory.At13hespentsixmonthsinthebushandunderwentinitiation.Heleftthemissionagain at the age of 18 andmarriedIlkalita,aKukatjawoman.Eight of their children were tosurvive infancy: five sons—Enos,Oscar, Ewald, Keith andMaurice—and three daughters—Maisie, Hazel and Martha. ThefamilyshiftedtoHermannsburgin1923 and Ilkalita was christenedRubina.READMORE:http://adb.anu.edu.au/biography/namatjira‐albert‐elea‐11217ANDTHENAMATJIRAWEBSITE:http://www.namatjira.bighart.org/category/namatjira/

Albert,Rubina,fatherJonathon&grandchildren.ImagecourtesyofStrehlowResearchCentre

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THE1967REFERENDUM–WHATDIDITINVOLVE?Priortothenationalreferendumof1967,Aboriginalswereclassifiedunderthelawas‘floraandfauna’. The referendum asked Australians to decidewhether to repeal that definition and toinclude Aboriginals as citizens of this country. The following two links provide a series ofperspectives and facts about the referendum, events leading up to it and the results of theoverwhelmingsupportforthegrantingofcitizenshiptoaboriginalAustralians.www.naa.gov.au/collection/fact‐sheets/fs150.aspxwww.wangkamaya.org.au/index.php?option=com_content&task=view&id=107&Itemid=1InterviewwithTrevorJamieson,DerikLynchandWayneBlair(co‐director)attheArtGalleyofNSWhttp://www.namatjira.bighart.org/category/media/ InthisliveinterviewattheArtGalleryofNSW,duringthe2010seasonofNAMATJIRAthetwoperformers and co‐director outline the process of developing the production with BIG hARTproductionsincluding:• thecastanddirector’sresearchabouttheman,hislifeandhisart(includinglearningtopaint

inwatercolours)• theculturalsensitivitiesarounddevelopingtheworkandgainingpermissionfromthefamily,• painting and listening and the significance of sustained engagement in the development of

thework • Derik Lynch talks about

playing nine differentcharacters–fivemaleandfour female and how hehastocreateeachofthemwith the assistance ofcostume

This is a very useful resourcefor developing anunderstanding of the makingof Australian Theatre from avery particular stimulus – aman’slifeandhistory,impactandsignificance.

TrevorJamieson,ScottRankin&WayneBlairinfrontofAlbertNamatjira'sHouse,Hermannsburg.ImagecourtesyofBighART

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QuestionsforAnalysisandDiscussionTheWorldofthePlay…theaudiencegetstoexperienceitlikeaportraitbeingpaintedatthesametime…‐TrevorJamieson,interviewatArtGalleryofNSWWhilethisisacontemporaryproduction,theworldoftheplayhasanumberoffacets:

•Whataspectsoftheproductioncontributetoanhistoricalworld? •Whataspectscontributetoaspiritualworld? •Whataspectsofthisworldarefamiliar?Unfamiliar? •Whoandwhatistheaudienceinthisworld? •HowdoyoufeelaboutTrevorJamieson’scommentthatyouarewitnesstoaportrait

andlandscapebeingpainted? •Howdoestheexperienceofthelivepaintingcontributetotheaudience’sentrytothe

worldoftheplay?ThehistoricalperiodinwhichAlbertNamatjiralived,operatedunderverydifferentpolitics.

•Considertheline,‘…mmmIndigenoustheatre,sointriguing,suchrichculturalidioms… •Whatpoliticsistheplayhavingfunwithhere?

StructureofthePlayNAMATJIRAisascriptedworkthatusesthedeviceofnarrationinordertotellthestory.TrevorJamiesonplayshimself,AlbertNamatjira, thenseveralothercharacterswithintheproduction.DerikLynchplaysninecharactersintotalincludingallthewomenintheplay.ThestoryofAlbertNamatjiraislinearbutalsocompressedintime,keymomentsarere‐createdbytheactorsandthesemomentsareheldtogetherbyTrevor’snarrative.Albert’sstoryistoldinconjunctionwiththatofRexBartarbee’s,bornaroundthesametimeinWarrnambool,Victoria.Theirmeetingiscriticaltothestory.Theearlyscenesintheproductionclearlyparallelthetwomen’searlyyearsandthenthecrucialmeetingthattakesplaceonthemission.

•Discussthestructureoftheproductionandhoweffectiveyouthoughtitwas •Wereyoueverlost?Didyoufollowit? • Comment on the balance between narration and re‐creation/re‐enactment of key

momentsinAlbert’slife.TheatricalstylesNAMATJIRAisaproductionthatusesseveraltheatricalstyles.AstheaudienceenterTrevorisseatednexttoacanvas.Heisbeingpaintedbyaportraitpaints.Houselightsareup.IntheveryfirstmomentsoftheproductionTrevorJamiesonassumestheroleofstoryteller.

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•Discusstheuseofdirectaddressinthesefirstfewminutes. •Howwouldyoudescribethetone?Conversational?Casual?Conspiratorial? •HowdidyourespondtoTrevorintroducingeachoftheartists? •NotewhenTrevorreturnstohisstool,bytheportraitandwhytheplayisstructured

likethis.Furtherintotheproduction,TrevordescribesAlbertandRex’sfirstvisittoAlbert’scountry.

•Whatstyledoestheproductionworkwithhere? •Howdoesthestylechosenevokethespiritualandthedreaming?

NAMATJIRAuseselementsofdance.TherearetimeswhenTrevorJamiesonandDerikLynchuseaspectsoftraditionalAboriginaldanceinthework,forexampletoillustratetotemsandstories

• Discuss how the actors Trevor Jamieson and Derik Lynch use dance to illustrateaspectsofAlbert’slife.

•Discusshowcontemporarydanceisusedbytheactorsintheproduction. •Whenspecificallyisdanceused?Towhateffect? •Doesthedanceinformthenarrative?Doesthedanceinformthecharacterisation?

IntheonlineinterviewconductedattheArtGalleryofNSW,theinterviewerasksthecastabouttheuseofcomedyinashowthatisoftendeeplymovingandverysad.

•Howdoescomedyworkinthisproduction? •Inparticularthereareseveralcomiccharacters–thesocietylady,theQueen,andthe

stockmen.Whydoyouthinkthesecharactersareportrayedincomicway?Isthissatire? • HOW is the comedy achieved? Consider the use of characterisation, timing, focus,

tension,languageetc.Theproductionalsousesaspectsofmusicaltheatreandheightenedrealism,particularlyinthedancenumberbetweenAlbertandRubinawhentheyfirstmeet,andalsoduringtheStockmensong.

•Discusstheaspectsofthesestylesandhowthesemomentsworkwithintheplay.NAMATJIRAishighlynon‐naturalisticinstyle.

•Outlinesomeofthetheatricalconventionsnormallyassociatedwithnon‐naturalisms? •Whataresomeofthedramaticelementsofnon‐naturalism? • In particular consider use of stillness and silence, mood, rhythm, pathos, contrast,

focus,timingandhowtherewereevidentintheproduction. •DoyouthinkthisstorycouldbetoldusingNATURALISM?Why/whynot?

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Theactor/audiencerelationshipConsideryourdiscussionoftheperformancespaceandtheoveralldesignoftheproduction,aswellasthetheatricalstyleswithinthepiece.

•Whattypeofactor/audiencerelationshipwasinitiallycreated? •Howdidtheactorcreatethis? •Whatdirectorialdecisionswereevidentintheestablishmentofthis? •Discussbreaking the fourthwalland itseffectiveness toestablishanactor/audience

relationship. • How important was the use of space in this production for establishing the

actor/audiencerelationship?Some of the action within the production took place behind the fourth wall and in theperformancespaceitself.Therearetimeswhenothertypesofactor/audiencerelationshipsareestablished.ThereisastrongmomentinthefirstactwhenRexBartarbeereturnstoWarrnambool,brokenbytheWarandDerik,playingoldWilmot,sitsupstagewithhisbacktoTrevorplayingRex.

• Commentontheeffectivenessofthis.Whythischoice?Whatdiditrepresent?CharacterisationInNAMATJIRAtheactorseachplayapproximately9to10characters.FocusfirstlyontheactorTrevorJamieson.

• How does he use his expressive skills to portray himself as the narrator? Considerfocus,voice,gesture,movement.

• How does Trevor Jamieson convey the character of Albert Namatjira – does heembodyhimfullyoronlyaspectsofhim?

• Other characters portrayed are Rex Battarbee, Albert’s father, Jonathan, and theGermanPastor–howdoestheactorusaccentinportrayingtheseroles?

•HowdoesTrevorJamiesonusedanceandstylizedmovementtoplayAlbert,Jonathanandthedreamingcharacterssuchasthewaterbird?

DerikLynchplaysbothmaleandfemalecharacters.

•Femalecharacters include:Albert’smotherEmily,Albert’swifeRubina,aMelbourneSocietyWoman,theLadyHuntingfield,andtheyoungQueenElizabeth

•Discusshowtheactorusesaccentandgesturetocreateeachofthesecharacters.Intheproductiontheactorssometimestransformcharacteronstage.ThisistrueofallofTrevorJamieson’scharacters,butnotallofDerikLynch’s.Sometimeshegoesoffstageandreturnsasanewcharacter.

• How do the actors TRANSFORM character while on stage? What do they use as

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transformationdevices? •Commentonaparticulartransformationthatyouthoughtwasdoneskillfullybyone

oftheactors–why? • Discuss how the overall convention of transformation of character worked in the

production.What roledo theAboriginalartistsplay in thisproduction?Whenareyouawareof themandwhenaren’tyou?Whenaretheydirectlyspokentoandhowdoesthishelpestablishtheworldoftheplay?StatusandMotivationThereareseveral layers intheworkthatneedtobediscussedwithregardtocharacterstatusandcharactermotivation.STATUS:

•CommentonhowthestatusbetweenAboriginalandwhiteAustralianswasportrayedintheproduction–perhapschoosetwokeymomentstoconsiderhere

• For example when Albert Namatjira goes to Melbourne and Sydney, how is heregardedandhowishespokenabout?

•What is the status of theAboriginal people on themission? Is the character of thePastorahighstatuscharacter?Whatdeterminedthis?

•DiscussthestatusofAlbertinhisowncommunity–considerhisrelationshipwithhisfatherandtheAboriginalelders,thenhisstatuswithregardtotheextendedcommunitywhen he becomes famous. How does the actor convey status in these moments?Vocally?Movement?UseofSpace?

•HowdoesthelawdetermineAlbert’sstatus? • Do the actors use particular expressive skills including voice, gesture, focus, use of

spacetoconveyhigherorlowerstatus?MOTIVATION:Thereareseveralthingsthatmotivatethecharactersinthisproductionincluding:

•Lifecircumstances/therequirementofbasicneeds •Religiousbeliefs •Nationalisticfervour–signinguptothewar •Artisticexpression •Financialimperatives •Theneedtobelong

Selectacharacter thatyoubelievecouldbe linked tooneof theseanddiscusshowtheactorconveyedthis.Whichcharactersaremoreclearlysketchedinordertoexaminethis?

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StagecraftThe overall set design ofNAMATJIRA includes a black backdrop, a representational rockwithlayersorsedimentsthatcouldbemanipulatedtoalteritsappearanceanduse,anartists’frame,andasimplestool

•SelecttwosetitemsanddiscussindetailhowtheactorTrevorJamiesonusedthemtocreatethecharacterofAlbertNamatjira

•Didthesetdesignreflectanyofthemajorthemesintheproduction?Costume–costumetendedtoberepresentational inthisproduction.FocusonthecharactersplayedbyDerikLynch:

•Howdidtheactorusecostumetocreatesomeofthefemalecharacters? •Whatcostumeswerethereandforwhichcharacters? •Howdidcostumeactsymbolically? •Howdidhecombinecostumewithexpressiveskillstoenhancethecharacterisation?

Soundandmusic–thereisacombinationoflivemusic(recorders)andrecordedsoundeffectinthisproduction.Thereareseveralmoments in theproductionwheretherecordersareclearlyheard.

•Howdidtheliverecorderscreatemoodandatmosphere? •Wasthemusictiedtoanythemesintheproduction? • What sound effects do you recall? How did they enhance the narrative of the

production? •Howdidthesoundeffectscreatemoodandatmosphere? •Howdidthesoundeffectsworktocreatecomedy?

The liveart–asTrevorJamiesonsays, theartistscreatingthechalkdrawingsaredrawingtheaudienceintothework(withanintendedpun).

•Howdoesthedrawnbackgroundactaspartoftheset?Whatdoesitrepresent? • When is your focus drawn to it and when does it recede? Is this deliberate?

Directorial?Partofthestory?Lighting–therearesomeveryevocativelightingstatesinNAMATJIRA.

• Consider how lighting works to separate the narrated moments and the enactedmoments–didyounoticeanyshifts?Colours?Intensities?

•Discusshowlightingworkedtocreatelocation,particularlyAlbert’scountry •Discusshowlightingwasused inthemusicaltheatrenumberssuchasthestockmen

and the initial dance between Rubina andAlbert – how did lightingwork to create asenseofheightenedrealismorfantasy?

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ThemesNAMATJIRA explores many poignant and important themes about Australia’s history and itsdevelopmentasanation.Someinclude:theestablishmentofwhitesettlement,theimportanceandvalueoffamily, loyalty,friendship,sacredsites,whoseversionofhistory,culturalborders,discriminationetc.Youmayfindmanymore.

•Discusssomeofthesethemesinrelationtoyourtakeontheproduction. •Howwerethethemesexplored? •Whatcharactersdoyouthinkembodiedparticularthemes? •Howdidthescriptitselfsetouttoexploreparticularthemes? •Howdidaspectsofstagecraftrepresentoralignitselftoparticularthemes.

HermannsburgSchoolChoir,infrontoftheOldMissionChurch,NamatjiraProjectpresentation,August2011.

ImagebyJagathDheerasekara

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REVIEWS&ARTICLESAtthefollowinglinksyoucanreadsomestellarreviewsandarticlesofNamatjira:

• Review:TheAustralianhttp://www.theaustralian.com.au/news/arts/portrait‐with‐dance‐mime‐and‐music/story‐e6frg8n6‐1225932564634

• FeatureArticlebyNicolasRothwelloftheprocesshttp://www.theaustralian.com.au/news/arts/all‐the‐drama‐of‐episodes‐from‐an‐artists‐life/story‐e6frg8n6‐1225916687286

• Article:CanberraTimes,abouttheexhibitionandthesocialpolicypaneldiscussionatParliamentHouse,2011http://www.canberratimes.com.au/news/local/news/general/namatjira‐clan‐adds‐colour‐to‐capital/2295917.aspx

• Review:TheAgebyEllyVarenti,2011http://www.theage.com.au/entertainment/about‐town/a‐compelling‐tribute‐to‐a‐legend‐of‐australian‐art‐20110815‐1iuk2.html

• Review:TheatreNotesbyAlisonCroggon,2011http://theatrenotes.blogspot.com/2011/08/review‐namatjira‐rising‐water.html

• Article:TheBrag,aboutDerikLynch‐http://www.thebrag.com/2010/09/27/interview‐derek‐lynch‐namatjira/

FURTHERRESOURCES

• NamatjiraWebsite‐http://www.namatjira.bighart.org/• NamatjiraVimeoChannelwitharangeofshortfilmsmadebytheproject‐

http://vimeo.com/channels/188211• NamatjiraFlickrSiteforarangeofphotosfromtheproject‐

http://www.flickr.com/photos/namatjiraproject/• NamatjiraFamilyFilmbyBighART–http://vimeo.com/26896655• Stateline(NTnews)featuredtheNamatjiraCelebrationsinAliceSprings9Aug‐

http://www.abc.net.au/news/video/2010/08/06/2976191.htm• FootageontheABConlinesitehere‐

http://www.abc.net.au/local/stories/2010/08/06/2975831.htm?site=alicesprings• ScottRankin&TrevorJamiesonspeakaboutNamatjiraonABC’sARTWORKS‐

http://www.abc.net.au/rn/artworks/stories/2010/2986612.htm

CONTACTSophiaMarinosNamatjira–[email protected]/0295573076

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