Binna Man Quotes

The film “Beneath Clouds” by Ivan Sen and the picture book “The Rabbits” composed by John Marsden and illustrated by Shaun Tan portray the relationship between the representation of the ideas of belonging and not belonging in a text as well as the meaning responders derive from these representations. The texts convey perceptions of belonging and not belonging through the characters’ interactions with others and the bonds they possess with the environments that surround them. Both Sen’s indigenous film and the adaptation of the colonisation of Australia by Marsden and Tan demonstrate how investigating the concept of belonging may broaden and deepen the audiences’ understanding of themselves and their world by utilising a variety of techniques.

Using the text alongside the illustrations engages in critical literacy, revealing the hidden power relationships and ideological assumptions that underline texts (Winch 2014, p.539), and strike in-depth discussions. For example, about being lost and how you managed to find your way again, what the differences are between your approach and her approach, what do you notice about where they live, how is it different from where you live, and what are all the amazing things you could possibly do if you lived there. The idea is helping to develop a child’s knowledge of their world and the knowledge about a world that is not their own (Winch 2014, p.536). Majority of Indigenous content learning occurring in the younger years found in the Australian Curriculum, is remembering, understanding and applying, in relation to Bloom’s Taxonomy (Lowe, 2015). This book can be used to unearth these cognitive processes but can further be explored beyond the elaborations of the curriculum with the grade ones to build a greater depth of understanding through analysing, evaluating and creating (Lowe, 2015).

In the essay “Cree Poetic Discourse”, the author Neal McLeod addresses an intellectual problem that the western academic writing approach harms the indigenous Cree narratives. According to McLeod, the Cree narrative process, which involves poetic thinking, embraces new possibilities and keeps changing (9). This evolution process not only depends on various occasions of speaking but also depends on different storytellers and audiences who absorb stories, thus allowing Cree poetic discourse to possess dynamic feature (McLeod 9). Such dynamic narrative approach compresses space, like Neal McLeod, said, “Like the colors and shapes in the sky, like the folds and contours of water and lakes. (14) ” In order to fully

‘Waiting for harry’, filmed in 1980, is about the funeral of Harry’s nephew. The film depicts a traditional aboriginal wedding Prepared by Frank, complete with tension, stress, and togetherness. I will argue that this ethnographic film encompasses the feeling of unity and involvement, pulling the audience into the film through various cinematic techniques. The film overall made me feel engaged and interested in the lives of the tribe members, and the ceremony that they perform for the deceased. The use of narration and subtitles further the sense of inclusion, an idea which was made important by Frank when he stated, “This film is for everyone”. This quote sets the tone of the film and is continuously represented throughout, through interactions between the Anbarra people, the anthropologist, the Northern Australian’s, and the audience.

The indigenous Warlpiri people of Central Australia exhibit an array of cultural beliefs that structure their lives in a way that hugely distinguishes them from modern society, granting the group a meaningful perspective into the world around them. Jackson explores the existential notion of being at home in the world, and what it signifies in a nomadic context. He focuses on cultural relationships of people to the material world and environment, as well as Warlpiri spiritual belief systems. This essay will explore the effects of nomadic culture on the Warlpiri, concentrating on how the nomadic sense of home influences their lives both physically and intellectually through short-term resource management and the Warlpiri language. Following, it will analyse the Aboriginal concept of dreaming and of ancestry, in order to express how this spiritual system of belief meaningfully affects Warlpiri spirituality, ritual behaviour, and their connection to the surrounding natural environment. Jackson’s reading will be analysed for this purpose, which follows his experiences in and around the Tanami desert with a group of Warlpiri companions.

In this narrative in particular, the boy and his community learn the importance of acceptance and tolerance. When the community disproves and shames the boy for his illness, the boy becomes depressed, wanting to end his life. However, when the boy assumes the role of a healer, he is accepted by his community and lives a fulfilling life. The lesson taught by this story relates to many other First Nations stories. The reason behind oral tradition is to pass along a message or lesson through many generations, so present members continue with the same morals as their ancestors. The Boy and the Loon relates to First Nations culture as it carries the tradition of passing along a message through many ages of people. In all, this story has many commonalities with First Nations stories that relate to indigenous

In the book Monkey Beach by Eden Robinson, the main character, Lisamarie, has to go through a series of traumatic events. However, these events play a crucial role in understanding the message of the novel. First Nations communities are still struggling with the aftermath of residential schools. This has led to a loss of culture. Lisamarie faces the death of many family members, and sexual assault which help her get in touch with her supernatural side. However, because she has grown up in a Haisla family that doesn’t practice a lot of its culture, she doesn’t know how to accept that part of herself. Several members of Lisamarie’s family attended residential schools which forces her to face intergenerational trauma. The author uses traumatic events that revolve around first nations communities to make the reader aware of the struggles that still affect first nation cultures.

In the haunting landscape of the film Bones of Crows, the scars of history are a deep wound in the lives of many Indigenous people. The film delves into the complexities of globalization, victims, and residential schools, confronting the stark reality of systemic oppression faced by Indigenous communities. At the heart of the movie lies the explicit theme of indigenous victimization, a theme that resonates with the intergenerational trauma caused by the legacy of residential schools. In Bones of Crows, we witness the protagonist’s journey as they navigate the haunting echoes of history, confront the oppressive forces of society, and ultimately, defy the established norms. First of all, the film follows a Cree family’s story of survival in

It shows the struggle of a Metis teen, and it shows how many Aboriginal people face their struggles and how they can maintain their personal identity at the same

[Lead in sentence/Hook] “Son of a Trickster,” by Eden Robinson, is the story about the coming of age and rough period of adolescence of a young Aboriginal boy. Through her novel, Robinson is able to convey a message that the Aboriginal people, mainly focusing on the Haisla and Heiltsuk First Nations, are dark and grating societies of Canada. In order for her readers to understand her perspective of the society, she first demonstrates the selfishness of the societies with the symbolism of raven along with its traits and attributes. Secondly, she uses supernaturalism which shows the mysterious and deceiving society of the Haisla and Heiltsuk First Nations. Lastly, the connection of Jared’s relationships with his peers reveal the negative influences, trends, and issues within the Aboriginal societies. Overall, all these factors contribute the darkness of both reality and the story.

The Indigenous Australian imagination perceives the way of the world and all that exists as not the result of a singular force or mind, but, rather, the result of powerful totemic ancestral beings who once roamed the land. This ontological tradition, known as “The Dreaming”, serves as an infinite link between past and present, people and place, and both the natural and spiritual world. “The Dreaming,” then, asserts that all of humanity and nature in its entirety is alive and connected. In his ethnographic account titled, Pintupi Country, Pintupi Self, Fred Myers examines the importance of The Dreaming to Pintupi society and its centrality in the constitution of their lived world. Descriptions of what happened in The Dreaming underlie Pintupi social relationships and constructions of “country.” It is through this mythological construct that the Pintupi Aboriginal people mediate their relationships with the land and negotiate aspects of personhood and identity.

The ‘colonisation' of Australia by Europeans has caused a lot of problem for the local Aborigines. It drastically reduced their population, damaged ancient family ties, and removed thousands of Aboriginal people from the land they had lived on for centuries. In many cases, the loss of land can mean more than just physical displacement. Because land is so much connected to history and spirituality, the loss of it can lead to a loss of identity. This paper will examine the works of Tim Rowse and Jeremy Beckett as well as other symbols of identity that are available to modern Aborigines in post colonial Australia.

The Absolutely True Diary of a Part Time Indian is a novel for young adults by Sherman Alexie, illustrated by Ellen Forney and was published in September 12, 2007. This novel is a first person narrative by a Native American teenager Arnold Spirit Jr, also known as Junior. In this essay I will be emphasising mainly on the root cause of physical and psychological violence in the text and how Arnold represents and comes to terms with violence in his life. Junior is a 14 year old budding Indian cartoonist who lives in the Spokane Indian Reservation and schools at the reservation.

In order to keep the terminology manageable, the term “Ancestral Being” is used here to describe all Aboriginal deities, rather than including the terms “Creation Being” and “Totemic Being”. There are hundreds of Ancestral Beings throughout Australia, recorded by Aborigines in their stories, songs, body paintings and art. This includes recordings in the rock paintings and petroglyphs (rock carvings) dating back thousands of years. Some Aboriginal stories relating to Ancestral Beings were recorded by early Europeans and published as children’s story

Aboriginal artwork is a physical depiction of the ancestor sprits, which are connected and linked throughout the artwork. Which is linked back to the begging of time. During the creation period when the ancestor sprits dwelled the land leaving behind their remains and part of themselves behind in forms of rock art, caves implanting themselves in the land and playing a significant role in aboriginal artwork. Mostly all aboriginal art can be connected to scenery with various paintings depicting the substantial relationship between various features within the land. All aboriginal art should be viewed and considered as important and significant because they are basically the representations of relationships which are seen as lessons that impact and guide how the land is perceived and understood today. Whenever an aboriginal painting displays or ever represents particular structures and characteristics of the land its main focus is to be presented in a story like manner. The paintings and artwork symbolizes the continuing link with the country the land and the responsibilities that are tied to it. Paintings are a display that is incredibly important and hold a significant meaning. Paintings are seen as a radical act to display and express to the world that the aboriginal people posses the land and the land posses