Student Research
Katie Goldhammer 2007 (Masters of Museum Studies: ELS802 Special Research Project)
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Object 5: National Black Theatre
Playbill: "Here Comes the Nigger" written by G. L. Bostock
Aboriginal Arts and Culture Center
Redfern, Sydney, 1976
(Object 41002286, Australian History Museum, Macquarie University)
Context of Object:
"This concept is not that it is professional or amateur but that it is playing to, and focusing the needs of the people. These needs have been ignored by white society, and their forms of theatre does not attract blacks." L. Bostock, Aboriginal Black Theatre Arts and Culture Center (Object 41002286, Australian History Museum, MQ, 1)
A Decade of Expression
The 1970's was a decade of protest, empowerment and pride for Aboriginal peoples of Australia. The 1967 Referendum promised change and recognition in society, however, Aboriginal peoples still felt without a voice in Australian society or politics. This voice was found with the establishment of the National Black Theatre in Redfern, NSW, in the midst of a new Aboriginal cultural renaissance throughout the arts. The early 1970's became a time of identification as the referendum now gave Indigenous Australians the freedom to identify themselves as Aboriginal. Finds Parbury of the Ministry of Aboriginal Affairs NSW, "they need no longer pass as white to get on" (Parbury, 1986, 148).
Further Research:
Black Theatre and Community Action
Redfern, Sydney, was the birthplace of the Aboriginal cultural revival
in the early 1970's. The foundations of the National Black Theatre "provided
a showplace for Aboriginal pride and talent," (Parbury, 1986, 142),
while at the same time strides were being made in other areas in the
community in Redfern with the introduction of the Aboriginal Medical Service
and the Aboriginal Legal Service.
Across the nation, Indigenous theatre companies established themselves in Melbourne, as the Ilbijerri Aboriginal and Torres Straight Islander Theatre Cooperative Ltd, Kooemba Jdarra in Brisbane, and Yirra Yaakin Noongar Theatre in Perth. The first Aboriginal play, The Cherry Pickers, was written in 1968 by activist, Kevin Gilbert (Tranter, 2001, 1). "It was the work of early Aboriginal activists that saw the development of Indigenous theatre as a vehicle for promoting Indigenous social justice" finds Glen Shea, Powerhouse Museum curator (Tranter, 2001, 1); just as the Aboriginal Tent Embassy was occurring in Canberra in 1972, a vibrant, vocal, Aboriginal community was being established in Redfern.
The Play, Here Comes the Nigger:
"Storytelling has always played a major part in our culture- not just oral, but story telling through dance, song, and visual arts. Theatre has enabled us to bring these expressive forms together which, combined with important messages about our culture, has created a unique strand of theatre in this country." G. Shea, curator (Tranter, 2001, 1)
Until the 1970's and the 1967 Referendum, Aboriginal activists realised a difficulty with showing that urban Aborigines also have a culture contribution to make to society. Indigenous theatre groups and the plays produced provided a stage for presentation of pressing issues in Aboriginal Society. The Black Theatre Arts and Culture Center was entirely government funded for the first several years. However, Here Comes the Nigger ran from October 29, 1976 to December 10, 1976, despite a complete cut in government funding (Tranter, 2001, 1).
The play is about a blind aboriginal poet, his black militant brother, and the conflict that arises because one can not see colour, and thus treats all peoples equally. This familiar story form used in passing history and tradition in Aboriginal culture serves as a framework to present issues of Aborigine as alien in "a white man's metaphysical imagination" (Bostock, 1976, 10). "It tells of Sexism, Racism, Confusion, Frustrations, Hurts – it tells of people," reads the poster advertisement for the play (Bostock, 1976, 11).
The People
G.L. Bostock, playwrite and activist returned home from fighting overseas
for Australia to find his fellow Aboriginal peoples fighting for "equal
rights, land rights and human rights" in Sydney (Bostock, 1976, 8). Bostock
attended 'black' political demonstrations such as the Black
Moratorium in Sydney and the Aboriginal Embassy in Canberra.
After traveling to Aboriginal reserves and enduring the "procrastination
of white politicians" Bostock "became aware of his true identity" as
a foundation member of Black Theatre in 1972 (Bostock, 1976, 1).
The bios of cast members in the playbill are telling as well. Ron Murray (Tim) was "shifted to Sydney and brought up by a white family…Aged 17, can't read or write very well," and since leaving school at 3rd form has been a trainee stage technician at the theatre (Bostock, 1976, 6). John Bayles (Ari) "recently started working at Black Theatre because he thinks theatre is an effective way of telling people all over the world about the Aboriginal people's struggle" (Bostock, 1976, 7).
In summary, Lester Bostock and Black Theatre as a movement "has interpreted into words the combined thoughts, ideas, opinions and feelings of many Aborigines, how they as blacks relate to contemporary white society," reads the playbill from "Here Comes the Nigger" (Bostock, 1976, 10). In 1976, this form of theatrical expression became a new voice for Aboriginal peoples in the Sydney area and around Australia.
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