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Today, most White Australians are sensitive and distinctively aware of the social and cultural
issues related to Aborigines. This must be credited to playwrights such as Jack Davis and Wesley
Enoch&Deborah Mailman as they reveal the brutal discrimination, abuse to Australia's Indigenous
people and their sacred culture through their pieces No Sugar and 7 Stages of Grieving. Both
plays utilise the theatrical techniques of Western theatre in conjunction with their tradition way of
story telling to convey themes of struggle, prejudice and the destruction of Aboriginal culture.
First wave playwright, Jack Davis writes the lives of the Millimurra family in their struggle to
survive the Depression early in the 20th century No Sugar, while 7 Stages of Grieving focuses on
the lives of the modern generation of Australian Aboriginal. This time gap will reflect the
changing cultural, social and political issues in Australia.
No Sugar was written in a period when the majority of Australians were completely unaware of
their situation and became influential along with other texts such as My Place by Sally Moran,
which also discloses the reality of Aboriginal people. No Sugar is the second play in a trilogy
called " The First Born", which traces the history of the Aborigines in Western Australia from the
first White settlement, or in their perspective, invasion, in 1928 to the lives of urban Aboriginals
today. The first play Kulluck (Home) shows the destruction of the Nyoongah people as a
community and the social and economic oppression they suffered with the arrival of Europeans.
Davis wrote this play in 1979 as an angry response to the celebration of Western Australia's 150th
anniversary of White 'settlement'. No Sugar was written just two years before the national
celebration of the Bicentenary and depicts the lives of post-tribal or pre-urbanised Aborigines
people who were caught between assimilation and segregation. In the last play The Dreamers
illustrates Aboriginal people today, their nostalgic longing for what is lost as well as their
acceptance that it will not return. Being the middle of a trilogy, the characters in No Sugar are also
caught in the middle of the process of transformation. The resultant of this process is assimilating
into the white society; however, it is merely a replacement term for a second-class citizenship. In
the 1970's and 80's, Jack Davis' plays facilitated the raising Black consciousness among the White
Australians.
No Sugar is a realist play based on real people. Jack Davis used the technique of the documentary
theatre of Agitprop which uses real historic events to recount history. This is done dramatically in
speeches and newspaper articles and the narrative of characters who remembers the past. To a
White audience this may seem to be too political but for a Black audience, this element is vital in
the essence that the truth is finally being told in their point of view. This play is also written in an
episodic form, a technique adopted from western Brecht theatre and contains a continuous
storyline with coherent connections between each episode. This allows Davis to present his ideas
with a series of unresolved conflicts and problems, which when put together, gives us a whole
picture of suffering in Aborigines life in this period.
The episodic structure is enhanced by the use of juxtaposition and contradiction on stage between
scenes and within scenes. For example, the dual action in Perth and Northam in Act I scene ii
where Neville the administrator dictates his letter to the minister regarding reducing rations is
counterpoised by the effects this has on Gran and Milly when they arrive at the police station to
pick up their ration but only to find that soap has been removed. The sergeant's ironic suggestion
that "they could buy one [soap]" when he should clearly acknowledge the fact that Aboriginals
were not allowed to be payed in money at the time portrays the Aborigine's struggle to survive
under the social and economic restriction placed upon them. Further irony is also evident in the
extract of a newspaper article from the opening scene. " The pageant presented a picture of
Western Australia's present condition of hopeful optimistic prosperity, and gave some ideas if
what men mean when they talk about the soul of the nation." This contrasts to the Millimurra's
appalling living conditions established also in the first scene. Having not enough clothes for David
to wear a clean shirt everyday and the allowed expenditure of two pence to buy an apple for lunch
confirms the falseness in the government's pompous reports. In scene ii, the entrance of a white,
unemployed Frank Brown shows another victim of the "optimistic prosperity" of the state.
The uses of physical forces and abuse against the Aborigines is dramatically symbolised by Neal's
beating of Mary. Lights blacks out just as we are told by the stage directions that " Neal raises the
cat-o'-nine-tails". " A scream" follows and confirms our predictions of a heavy beating. This use
of lighting suggests that physical abuses had been hidden away from most people at the time.
The central symbol and also from which the title of this play derives from, is sugar. Sugar is sweet
and usually brings joy. Thus the title NO Sugar suggests that Aborigines experiences no joy.
Sugar can also be interpreted deathly in its seductiveness. This has Christian connotations where
sugar, ironically named 'humbugs' is sent to seduce children into attending Sunday school.
Jack Davis tends to use stereotyped characters to represent social or human traits. Each White
Australian character represents one aspect of the white society that caused the destruction of
Aboriginal tribal life. Augustus Neville symbolises the government "protector of Fisheries,
Forestry, Wildlife and Aborigines." From his speech to the Historic Society, it can be seen that he
is a man full of grand theories but who stands revealed as the sterile representative of the naked
and blind power in the last Act as he threatens (unaware of the hideous irony) " no more
privileges." Matron represents a 'softer' face of White power. The scientific superiority is one of
the 'supposedly' benefits brought the native Australians. Being a medical professional, Matron
does care about those she is in charge with but cannot accept that the uncivility of Aboriginal
culture can look after themselves. Billy the black tracker is one of the characters in the novel who
have assimilated into the White society. To a traditional Aborigine, he is a betrayer of his own
cultural heritage. Joel dismissed his existence by describing him as "nothing". However as he
recalls the destruction of his cultural tribe in Act II scene vi, the audience can see that he still
understands the unforgivable things the White people has caused to him. " Big mob politjman, and
big mob from stations, and shoot 'em everybody, mens, kooris (women), little yumbah (children)."
This reinforces the spiritual connection Aboriginal people had with each other during times of
adversity.
The names of significant black characters holds religious connotation and serves the purpose of
catching the audience's attentions. Mary (the blessed virgin) is associated with a convicted black
criminal Joseph and is an illegitimately pregnant unmarried mother. When the white audience see
this on stage which does not fit in the conventional connotations, they are forced to question the
political and social issues associated.
The use of songs as an Aboriginal traditional way of communication is incorporated into this play.
The first song ' shout of praise' reveals Aborigines' appreciation for the natural beauty and
sustenance provided by the land. The second song is a hymn turned into a song of protest. The
third is sang by Gran and is a lament and cry for compassion. These songs move its audience from
anger to understanding and finally, hope.
Setting and properties echoes the difference of power between White Australians and the natives.
In Act IV scene v, the opening stage directions report that the dominating Whites are seated on a
raised "dais" above the blacks. Furthermore, Billy and Bluey are dress in "absurdly ill-fitted
uniforms".
At the end of the novel, though the Millimurra family celebrates the birth of Mary and Joseph's
baby, it does not bring a resolution to all the conflicts. The unresolved ending invites the audience
and readers to thin about the problems raised.
Lighting is important in this play in indicating to the audience a shift of shadow. This is
particularly being carefully planned in sections such as Act I scene ii where the lighting needs to
shift from Frank and the Sergeant to the entrance of Miss Dunn. Suitable lighting is also vital to
ensure an appropriate mood. Because the play is episodically structured, flexible and simple
staging is recommended to ensure fast transition between scenes.
7 Stages of Grieving is similar to No Sugar in the sense that it shares the purpose and the use of
theatrical devices as a medium to propagate their ideas. It is written by second wave Aboriginal
playwrights Wesley Enoch and Deborah Mailman who considerably experienced less unfortunate
incidence and prejudice than Jack Davis. However, following the death of his grandmother in the
early 1990's, Enoch experienced the whole sense of grief and the sense of spiritual connection the
gathering of the community. This triggered Enoch's idea of creating a script investigating the
theme of grief. In 1995, 7 Stages of Grieving became a national premiere and it wasn't long before
embarking on an international journey.
This play is written in a non-realist style, exploring the grieving process in Aboriginal history as
well as criticisms of recent social, economic and political issues. There are twenty-four short
scenes, combined to form a collage. The solo actor who is recognised as " the women" performs a
series of monologues disclosing the history of the Australian Indigenous people from " genocide
to " reconciliation". The use of projections and alienation hints a strong Brechtian influence.
In scene two Sobbing¸ the words associative of grief and loss projected on the walls is reinforced
by the crescending cries of the women. The crying reaches its peak when the word "desolate" is
projected on, followed by " nothing I feel Nothing." At this stage, the cry "subsides". This sort
of simultaneous use of visual and aural devices appears throughout the play and is one of the key
achievers in this masterpiece. The last projection not only demonstrated a change of attitudes since
White invasion, dramatises the magnitude of the grieving that it reached to the extend of loss of
emotions.
The burning of eucalyptus leaves and singing "a song for the spirits" in scene three Purification
reminisces Aborigine's cultural heritage and their close connection with land and spirits. In Scene
four Story of Father, references to people such as Pauline Hanson provide the evidence for the
continuous updating process of this play.
Scene eight Family Gallery is inextricably linked to scene 5 Photograph by the running motif, the
"suitcase". In the earlier scene, the women struggles to cope with the death of a family member
and decides to heal by pushing their memories of them "into the shadow", or symbolically locking
the photos away in the suitcase. In scene eight, the audience would recognise that the projection of
the photos are those taken out of the suitcase. This suggests that the only way to heal the wound is
to face the things that caused the wound and also serves as an advice for many those who "push
[their past] into the shadow" and turn to alcohol, etc. In scene 13 Aunt Grace, the "suitcase"
reappears again symbolic of the hidden Aboriginal history. Though Aunt Grace married a white
European, she returns home carrying the suitcase and "throws the content all over" Nana's grave.
This emphasis again the close spiritual bond between all Aboriginal people no matter where they
went and settled in.
Black Skin Girl of scene 9 reminds the audience Aboriginal children's assimilation was not out of
their own will. This is supported by her desperate "attempts to evade the [alphabet] letters" on her
dress which represented white civilisation and forces and the Aboriginal song " Bului guli mie
[black skin girl] Naia gigi Warunguldud [I will be strong always]."
Scene 12 Murri gets a dress is "delivered in the style of stand up comedy", which is another
western theatrical technique. This monologue satirises the discrimination of Blacks even when
entering a shop. They will receive a "special treatment" in the form of stares and whispers, " keep
an eye on the black one."
In scene 15, the opening stage directions " the women stands strong" immediately establish her
strength. The repetition of "grief" and "grieving" creates a link to the title of this play, suggesting
that just because they are "grieving" does not mean "we're not fighting".
The following scene Bargaining is a single sentence criticises the White's abuse of their sacred
land. " What is it worth?" the women asks after hammering a "for sale" post into the grave. For the
native Australians, land was priceless but the white settlers abuse it for money and materialism.
The truth about the Stolen Generation is revealed in scene 17 Home Stay using piles of red earth
sand as analogies for an Aboriginal tribe. " You always have to marry your own skin." Out of the
eight piles of sand formed, they are either "your brother", "your cousin", "your grandparents" and
so forth. Thus even when one child was forcibly taken away from this tribe, the social effects is
detrimental as shown by the women's destruction of the sand piles.
Scene 21 and 22 brings elements of sarcasm and bitterness in though " Wreck-Con-Silly-Nation",
which is further reinforced by projection usage. The packing of " the word Reconciliation" and
"locks it inside the suitcase is a gesture of the worthlessness of this word to them because "what's
the use in having a word if we don't think and talk about it?" This scene ends with "the women
places the suitcase down at the feet of the audience", pleading the audience to take serious thought
to this word and the actions involved with it.
The last scene Walking across Bridge depicts Aborigine's mixed emotions to this real event. The
numerous "pauses" suggests their dazed responses to the huge " sorry across the sky." However, a
hint of bitterness is detected by the last sentence " I guess we can't go back now," which suggests
that the Aborigines would rather prefer to live their tradition way of life.
It can be seen this No Sugar and 7 Stages of Grieving explores the lives of Aborigine's during
different times. Their portrayal of different themes through different theatrical styles reflects a
changed and will be continuously changing artistic, cultural, social and political issues and
interests in the 1980's, 90's and 2000. Ultimately, their shared purpose of telling real stories about
Aboriginal life have succeeded in giving their group of people a significant voice history that will
remain forever clear in the sympathetic hearts of most white Australians
. way of life.
It can be seen this No Sugar and 7 Stages of Grieving explores the lives of Aborigine's during
different times. Their portrayal of different. early in the 20th century No Sugar, while 7 Stages of Grieving focuses on
the lives of the modern generation of Australian Aboriginal. This time gap will
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