Category Archives: plays

What Happened at Coranderrk Aboriginal Reserve, Victoria Australia

May we never forget what happened at Coranderrk Reserve. 

barak (2)

Winter in Victoria. Every Saturday at 5am, I still dream I will throw snow chains in the back of my car, grab my skis and head for Healsville and the the cross country skiing at Lake Mountain. I love driving through the tall mountain ash forest near wild dog creek, over the black spur into a pristine world of white. The air crisp and clear, the only sound the swish of my skis and the gentle plop of snow falling from trees.

On the way home I deliberately divert down piccaninny lane (piccaninny means an Australian indigenous child) and slowly climb to a fenced area surrounded by tall trees. Opening the gate I quietly stand by Barak’s grave and gaze over rolling green hills towards where Coranderrk once was a thriving community. In the past, Coranderrk was a government reserve for Australian Aborigines in the state of Victoria between 1863 and 1924, located 50km north-east of Melbourne..

S0mething in the sound of the wind in the grass and the gently sighing of trees keeps drawing me back time and time again to this place. There is a sense of longing I can’t explain. I always knew some facts but I didn’t fully understand what had happened here, so when I had the opportunity to see the play Coranderrk: We Will Show The Country based on actual transcripts from the  records of the 1881 Government Inquiry into self determination, I could not resist.

King William

William Barak (1824-1903), Aboriginal spokesman, variously called ‘King William, last chief of the Yarra Yarra tribe’ or ‘Beruk (white grub in gum tree) belonging to the Wurundjeri Willum horde whose country lay along the Yarra and Plenty Rivers’. This is from his official biography

William Barak, by Florence Fuller, 1885

With his Gippsland-born first wife Lizzie, he was among the first group of Goulburn Aboriginals who settled at Acheron in 1859, hoping to have the area reserved. After much official indecision Coranderrk, near Healesville, was gazetted and he settled there permanently in 1863, in a ‘neat little cottage and garden, most tidy and comfortable’. Barak worked for a small wage on the station farm and acquired a few horses. Further schooling and religious instruction were undertaken; he could read but not write. He was baptized, confirmed, and took a second wife Annie ‘of the Lower Murray’ (Lizzie died before 1863) in a publicized Presbyterian ceremony in 1865. The fate of his family was typical of the time; two infants died of gastro-enteritis, David and Annie of consumption. When he married Sarah (Kurnai) on 7 June 1890 he was the oldest man at Coranderrk and only full-blood survivor of his tribe.

Following the reservation of the land, Barak and the Kulin together with the first managers, John and Mary Green, enthusiastically embarked upon the task of making Coranderrk their new home. Their vision was to make the station fully self-supporting.

However,soon vested local interests began to agitate to move Barak and his people off this land, and so began a sustained, sophisticated campaign for justice, land rights and self-determination.  In collaboration with white supporters, the Kulin people used the legal and political system to force a Parliamentary Inquiry.

In the late 1870s when management of Aboriginal affairs came under vigorous public criticism Barak emerged as a respected spokesman. Until his death he was the acknowledged leader at Coranderrk and a liaison between officialdom and the native population.

His petitions and public appearances were important spurs to action, especially the government inquiry of 1881. Barak outlined a plan for autonomous communities under Coranderrk’s first manager, John Green:

‘give us this ground and let us manage here ourselves … and no one over us … we will show the country we can work it and make it pay and I know it will’.

Lisa Hill’s excellent review of the play and the book Coranderrk: We Will Show The Country from La Mama Courthouse Theatre Carlton Victoria Australia can be found at ANZlitlovers blog

Coranderrk

Lisa says the play is unique because it’s based entirely on transcripts from the 19th century paper trail of an heroic struggle for Aboriginal self-determination.  Having been dispossessed of their ancestral lands by European settlement, a small band of survivors from the Kulin Nation petitioned the colonial government for a land grant to set up the Coranderrk Reserve.  There they created an award-winning farm and an impressive settlement.

The outcome of the Inquiry?

In the short term the inquiry marked a clear victory for the Corranderrk community, for they succeeded in publicly exposing and preventing the Board’s underhanded plans to close down Coranderrk. John Green was never reinstated as manager as they requested, but the despised Rev. Strickland was dismissed and living conditions improved. Finally in 1884, Chief Secretary Graham Berry ordered that Coranderrk should be permanently reserved as a ‘site for the use of Aborigines’. It was a short-lived victory, however. In 1886, the Victorian Government passed the infamous ‘Half-Cast’ Act, designed to push so-called ‘half-cast’ men and women off the reserves and facilitate their assimilation into the white population. The 1886 Act caused the breaking-up of families and separation of the younger, literate, generation from their Elders. As a direct result, Coranderrk was eventually closed in 1924.

Barak and the Coranderrk community’s fight for self determination should never be forgotten. Finally I am beginning to understand the sense of longing I feel when I stand on that high rolling hill in Healsville.

It’s a story every Victorian should know.

Many thanks to Jason and Karen Whitting for supplying the tickets and to Lisa Hill and Maureen Hanna for accompanying me. An excellent, thought provoking play, good company and plenty of strong coffee. What a great way to spend a Sunday in Melbourne

 

A Wintry Sunday in Melbourne

A dull overcast sky, drops of rain and wind straight off the glaciers of Antarctica didn’t stop me from catching a train for the hour trip from Carrum to Melbourne. Arriving at Flinders Street station I caught a tram to Melbourne University and walked to the La Mama Courthouse Theater in Carlton, Victoria Australia.

bijoux - Copy

 

Tucked in my pocket was a Mother’s Day present from Jason, Karen, Tahlia and Caxton. Two tickets to see the 4pm Sunday performance of Bijou: A Cabaret of Secrets and Seduction. A one woman play by Chrissie Shaw set in a French cabaret after world war two.Kathy, myself and others sat in chairs around small tables on which, strategically placed was a candle, a half filled glass with an obvious lipstick stain and some feathers on a stand. Tiered seats rose behind us but we were part of the performance, a cabaret audience on the floor-level stage.

We are in a cafe-bar in Paris 1933. A wine, a chat, the music plays…Chrissie Shaw enters from a side door and instantly command our attention. She is a ravaged figure in faded finery and fake pearls. The evening takes an unexpected turn. Madame Bijou, former queen of the Demi-Monde, (the term refers to a group of people who live hedonistic lifestyles, usually in a flagrant and conspicuous manner) unleashes a string of intimate, colourful memories, taking us backwards in time to the shadows of her youth

promo bijou

This intriguing cabaret gave us a glimpse into the private, sensual world of a riveting ageing Parisienne who tells her life stories of seduction, survival and revealing intrigues accompanied by music and songs by Satie, Weill, Hollander, Bruant and others sensitively accompanied on the piano by Alan Hicks. The songs introduce the year and set the scene for for the aging Madam Bijou’s memories and stories.

bijoux - Copy (3)

We came away having run a gauntlet of emotions from dismay at the tragic revelation that, as a child, Bijou witnessed the death of her father, sadness for the loss of innocence when she was groomed and seduced at fifteen by a person in a position of trust, laughter at the silliness of her many conquests, and amazement at how she survived in France during and after war had ravaged the country and the world.

La Mama is a favourite haunt of mine and I’ve seen many community plays written and produced by Ray Mooney of Holmesglen TAFE play writing class. The theatre is nationally and internationally acknowledged as a crucible for cutting edge contemporary theatre since 1967. Valued by artists and audiences alike, La Mama is treasured for its continued advocacy of those seeking to explore beyond mainstream theatre.  A not-for- profit association it is essentially a playwright’s theatre, a place where new ideas, new ways of expression can be tried out, a place where you can hear what people are thinking and feeling.

We had dinner in an old Italian restaurant and I could not resist recounting tales of times spent in Lygon Street Carlton during my Masters Degree days at Melbourne Uni. It was so much fun to revisit old haunts, such as book shops, coffee shops and devour a steaming bowl of pasta with a glass of red on a cold wintry night when our breath fogged the windows.

It does the heart and soul good to take a holiday and visit the theatre for an evening of make believe.