Thursday, 26 August 2021

2021: NEO-Learning

 

 

NEO-Learning – Interactive Online Digital Education Platform.

Launched August 26, 2021. Yindjibarndi Community, Ieramugadu, (Roebourne) WA and Big hART

Commentary by Frank McKone

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NEO-Learning is a First Nations education program for primary schools, devised by the Ieramugadu children and guided by their elders as a continuing gift to all Australians.

Big hART was first invited to work in Ieramugadu (Roebourne) 10 years ago by senior women Elders, who wanted Big hART to deliver projects which highlight heritage as living, continually evolving in the here and now. It was thereby vital that NEO-Learning celebrated living continuous culture, and was co-created by young people from Roebourne and guided by Elders and senior members of the community.

As Elder Michelle explained at the launch, “How do you bring stories about your life?  We’re in control of our story in NEO-Learning,” going on to show how the children in the schools using the platform are “not just consumers” – because they are actively engaged – and that learning online in this way is a “new literacy” for her children, as well as for everyone else.  

Most important, from the Yindjibarndi perspective, is how NEO-Learning works “to maintain our culture” from the old into the new.  “We are the teachers now,” said one of the Roebourne students, while their Elders talked of the importance of their young people taking on their role as creatives and innovators in their culture, and so being engaged and committed to their community.

The Yindjibarndi people are one of the five clans who had to take over the responsibility to care for the land known as Murujuga or Burrup Peninsula, after the ancient traditional custodians – the Yaburara – were massacred in 1869.  The area, with literally tens of thousands of rock art drawings, has been extensively damaged mainly by the LNG gas and chemicals industry which should never have been allowed to operate there.  

The Ngarluma community has taken on the task of managing as best they can what is now the Murujuga National Park, in the face of Woodside attempting to expand their operatons.  When I spoke to a Ngarluma Elder, in 2018, his central concern was that the rock art, which scientific studies show dates back to at least 35,000 years ago and was still being actively worked until the massacre, is essential in the education of young people today, so that they understand and respect their culture, and are committed to their community.  

Despite the WA Government doing its part in requesting Murujuga be nominated for World Heritage (which requires the Federal Department of Environment to prepare for the Minister to put the nomination, representing Australia, to UNESCO), Woodside may yet be given what I would call a red light to go ahead with their proposed expansion.


Watching the launch of NEO-Learning, two points important for education became clear.  First is how the engagement of the teachers and their students works.  Second is the arts education principle, which underpins the process.

This is where an appreciation of Big hART comes in.  I have previously written of Scott Rankin’s work, on this blog: Cultural Justice and the Right to Thrive by Scott Rankin.  Platform Paper No 57, November 2018 (Currency House, Sydney).  

Speaking at the launch he made his philosophy clear, in simple terms: “It’s harder to hurt someone if you know their story.”  Big hART people are “servants of society”, operating not as a generalised charity, but as facilitators of specific projects through the arts.  “We are the privileged ones,” he says, because of what the Yindjibarndi people are doing for us.

The Canberra Hospital School teachers – team leader Jo Daly, Penny Fry and Debbie Sam – spoke enthusiastically of the flexibility of the NEO-Learning program, with Big hART’s highly practical facilitator Mark Leahy, in their constantly changing situation.  

The students come and go according to their hospital treatment requirements, and what they are capable of doing from day to day is unpredictable.  The NEO-Learning program consists, for a start, of videos made in Roebourne with such enthusiasm and sense of fun, that even hospital inmates who can’t get up and dance are thoroughly enthused about their own futures.  And for teachers in more stable circumstances, it is through the arts activities, perhaps especially in dance, painting and music which the videos generate, that real understanding of First Nations culture becomes built into their students’ learning.  

Governor-General David Hurley spoke powerfully of the essentially inclusive nature of the project – bringing us together as Australians in a multi-cultural society – as he introduced the first Indigenous woman Member of Parliament, Linda Burney, to officially launch NEO-Learning.  She spoke of her own work teaching, and then in advocacy and curriculum development for Aboriginal Education, remembering her own experiences when young, of being made to feel inferior, in the time when “Aboriginal” meant at best “primitive”, and at worst meant to be massacred, as the Yaburara had been in 1869.

Though she spoke more briefly than she had intended – because the enthusiasm of previous speakers had let time get away – I thought of the great contrast between the treatment still of Indigenous people in the “justice” system, and of the explicit racism I have seen in many places on my travels around Australia, compared to the dictum provided to us by Scott Rankin

It’s harder to hurt someone if you know their story.  And even harder if you join with them in the art of story-telling through NEO-Learning.


© Frank McKone, Canberra

Saturday, 21 August 2021

2021: A Migrant's Son by Michaela Burger

 

 

Opal Mining at Coober Pedy
A dream image representing
A Migrant's Son
by Michaela Burger
(Image: Stage Whispers)

A Migrant’s Son by Michaela Burger.  Produced by Critical Stages Touring.

Filmed at the Hopgood Theatre, South Australia 2020, streamed online by Riverside Theatre, Parramatta (Sydney) as A Migrant’s Son Online Watch Party and Interactive Live Chat, Friday August 20, 2021.

The performance (without Live Chat) is also available to stream On Demand on Youtube from Saturday August 21 to Sunday September 5 – viewers can watch as many times as they wish.  Bookings via https://riversideparramatta.com.au  or phone (02) 8839 3399.

Reviewed by Frank McKone
August 20

Performed by Writer and Composer        Michaela Burger
With La La Land Choir and George Grifsas (Bouzouki/Guitar)

Director                                                            Jane Packham
Musical Director and Choral Arrangements    Carol Young
Music Producer/Arranger                                 Dave Higgins
Dramaturgs                                      Sally Hardy & Elena Carapetis
Song Development                                           Jethro Woodward
Costumes                                                          Artemis Sidiropoulou
Lighting Design                                               Tom Bayford

After-show Live Chat with Michaela Burger hosted by Critical Stages CEO Chris Bendall.

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Michaela Burger is a force to be reckoned with – as a story teller; a voice for her family and migrant community; simply as a powerful speaking and singing voice; as an instant creator of character; as a musician and composer; and as an actor with presence who communicates honestly with her audience.  

Filming a stage show can often mean losing the human warmth of a live show.  This performance was filmed between Covid restrictions, and, as Burger and Bendall laughingly recalled, was a hurried job as the unlikely opportunity arose.  

Though I have not seen the show onstage – it’s life  seems to have begun  at The Butterfly Club, Melbourne in May 2018 (Stage Whispers) and has toured in Australia and UK – this Hopgood Theatre performance seems to have a sense of immediacy, almost as if improvising as the musicians, choir, and solo performer Burger switch from song to story, from costume to costume, from one family character to another, including herself as the daughter of the son of the Greek migrant whose parents had arrived in Australia in 1924.

Michaela Burger

Michaela Burger (George Grifsas behind)

Although this work has been classed as fringe cabaret, this to me puts it down a peg below its significance.  Cabaret, of course, can be more than attractive entertainment and certainly can be political, as it was in its beginnings in post World War I Germany.  And it can be something like standup comedy, much of which nowadays consists of a humorous, often ironic, take on the performer’s personal life.  In the Canberra-Queanbeyan tradition, we are used to a variation on this theme in the shows by Shortis & Simpson, which began in the Queanbeyan School of Arts CafĂ© back in the mid-1990s.

But Michaela Burger has revealed in this show a highly personal experience which is clearly fundamental to her sense of herself, of her understanding of her identity, and even of her need to be a creator and performer.  She shows us why she is what she is because of the bonds in her family, on her father’s side through from her grandfather and even great-grandfather, and the culture of Greek women in their lives.

This, in my view, places A Migrant’s Son in the line of work of quite recent times, which I have called Personal Theatre.  Though my situation means I never see as wide a range of theatre as I would like, so far all work of this kind seems to be by women.  I will now add Michaela Burger to my list: Liz Lea in Red (2018), Ghenoa Gela in My Urrwai (2018), I’m a Phoenix, Bitch by Bryony Kimmings (2020), and Stop Girl by Sally Sara (2021).

The content and theatrical form in each case is quite different, but the essence of this type of theatre is that we are taken directly into appreciating, understanding and respecting an element of each creator’s personal life which is central to their understanding of themselves.  In each story there is some particular moment of new awareness entirely personal to her, which I have experienced during the performance as an awakening of my own feelings – for the performer, and for myself on reflecting on my own life.

That moment in A Migrant’s Son is the accidental death of Michaela’s uncle: her father’s brother; her grandmother’s son.  Even though Michaela had never met her uncle, it was in her learning of that story in its awful detail that she understood the truth of her grandfather’s dictum: “family is everything”.  When, in the Live Chat, someone asked “Is family still everything?”, I knew the answer before Michaela spoke, saying “family is the meaning of identity”.

This is what theatre is for: what it is all about.


Michaela Burger
The daughter of A Migrant's Son

© Frank McKone, Canberra

Monday, 9 August 2021

2021: Under the Influence by Shortis & Simpson, with Keith Potger

 

 

John Shortis, Moya Simpson, Keith Potger
Under the Influence

Under the InfluenceShortis & Simpson, with special guest Keith Potger, in a tribute to the musical inflences of the founding member of The Seekers.  Technical operator: Elizabeth Hawkes.

At Contentious Character Winery, Wamboin NSW, Sat-Sun August 7-8 2021.  Shortis & Simpson’s next guest, Covid willing, will be Karen Middleton, March 25 2022 at the National Press Club.

Reviewed by Frank McKone
August 8

In my day, which means 1964 when The Seekers landed in London and 'Morning Town Ride' went to No 1 for weeks on end, I thought they were perfectly politically correct.  Very nice people.  But Keith Potger, songwriter and arranger, Under the Influence of Shortis & Simpson, proves quite otherwise.  Rewriting spirituals and Australian folksongs showed a penchant for humour and picking up on the social zeitgeist; but the implications of his limericks are something apocryphal – even beyond John Shortis’ efforts.

What a relief for those of us so lucky to travel on the day out of the Federal Territory into the not currently 'Covid 19 Affected' Queanbeyan Palerang Regional area of New South Wales.  Humming along quietly, so as not to disturb the others 1.5 metres away with my rather shaky harmonies, 'All My Trials' began to fade away, 'California Dreaming' took me for that 'Morning Town Ride', while the story of Dusty Springfield and her brother Tom Springfield made me look forward to the day when 'The Carnival is Over'.

Is it OK to be nostalgic?  Everyone else seems to be hankering for ‘going back to normal’.  But I just enjoyed going back to the past when every Country & Western singer/guitarist was named Hank – at least according to Keith.  Except him, of course.

You could say Contentious Character was the right venue for Under the Influence.  Plenty of good food and wine, and a fascinating history of a colonial kind.  Moya, like me, just came from England but with a different accent.  Potger’s people went from Germany/Holland to Ceylon (that’s Sri Lanka where the tea comes from) centuries ago, and escaped Britain granting them independence by migrating to Australia when Keith was 6 or so.  To Melbourne, that is: the centre of Australian folk music – once again, according to him.

Religion plays a role in this show: John, Catholic; Moya halfway between agnostic and atheist; and Keith, Calathumpian.  The cultural mix of the Penguin Book of Australian Folk Songs, American songs like ‘The Saints Go Marching In’ as spiritual and jazz, Hoagy Carmichael’s ‘Stardust’ (even I played that on my harmonica) with special focus on Pete Seeger of The Weavers, as well as C&W titles like ‘I Kissed Her on the Lips And Left Her Behind For You’ all turned into the story of The Seekers' songs, listed over 8 printed pages on Wikipedia, from 1963 to ‘You’re My Spirit” by Potger and Athol Guy for the 1993 25 Year Reunion.

From Keith’s first group at school (The Trinamics); through the influence of The Four Lads (remember ‘Moments to Remember'); The Jordanaires’ harmonising when backing Elvis Presley; his father playing banjo/ukulele (think of George Formby); his group, The Escorts, getting on TV!; and finally The Seekers with Athol Guy, Bruce Woodley and Ken Ray – who was replaced by jazz singer Judith Durham (with Moya reprising Durham’s first song with The Seekers: the spiritual ‘My Lord What a Morning’) – this is a fascinating show full of history, musical appreciation, memory, witty humour, including the iconic Australian limerick:

There once was an eminent Seeker
Who fancied himself as a streaker,
‘Cross the MCG grass, all willy and arse,
He ran, while the crowd called….
(all in unison) ‘Eureka’!

and nostalgia for days when even in spite of the likelihood of nuclear war we could still go for a ‘Morning Town Ride’, the song written by the author of ‘What Have They Done To The Rain?’ and ‘Little Boxes’; brought to The Seekers by Keith Potger and taken to No 1.



The Seekers 1965
Wikipedia

© Frank McKone, Canberra