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1 Visiting Aunty Evelyn Powell in Wellington, NSW, 2011. L–R: Aunty Rhonda Dixon Grovenor, Aunty Loretta Parsley, Lily Shearer, Aunty Evelyn Powell, Halcyon Macleod, LeRoy Parsons, Clare Britton. 2 At the posts in the paddock, 2009. L–R: Lily Shearer and Aunty Rhonda Dixon Governor. 3 Michelle Blakeney at the posts in the paddock, 2011. 4 Bryony Anderson working on construction at Pappinbarra in Regional NSW, 2009.

5 L–R: Jeff Khan, Fiona Foley, LeRoy Parsons, Djon Mundine, Clare Britton. 6 Traveling, 2011. 7 Aunty Evelyn Powell and LeRoy Parsons, Wellington, NSW, 2011. 8 Visit to Ulladulla, 2011. L–R: Aunty Rhonda Dixon Grovenor, Aunty Vic Carriage, Aunty Loretta Parsley, Clare Britton 9 Detail of the posts in the paddock. 10 Aunty Loretta Parsley at Bundanon Artists Trust, 2010.11 Bundanon Artists Trust, 2010. LeRoy Parsons with Aunty Loretta’s Photographs. 12 Ochre at Barrington Tops with Lily Shearer’s hands, 2011. 13 First week of conversations at Urban Theatre Projects. L-R: Clare Britton, Halcyon Macleod, Katy Britton, Aunty Rhonda Dixon Grovenor, Nadeena Dixon and Lily Shearer.

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In2007myGrandpawasburiedinacemeteryonahilljustoutsideatowncalledMerriwainregionalNewSouthWales.MysonLeswasyoungwhenGrandpadied.Hetoddledawayfromthegroupgatheredatthegraveandtowardstheheadstonesofsomeotherrelativesofmine—Mick,ElizabethandJamesO’Brien.ElizabethandJamesweremurderedbyJimmyGovernorin1900.Whentheydied,ElizabethwaspregnantandJameswasfifteenmonthsold–aboutthesameageasmylittleboy.JimmyGovernorwasthesubjectofThomasKeneally’s1972novel,andFredSchepisi’s1978film,The Chant of Jimmie Blacksmith.Jimmy’swife,Ethel,wasalsopregnantwhenhewashangedandtheyalsohadayoungboyofasimilarage,SidneyGovernor.

ThehousewhereElizabethandJamesO’BrienlivedandweremurderedisonmyGrandpa’sfarm.Afterthemurders,MickO’Brienneverwentbackthere.Hediedin1936(thirty-sixyearsafterhisfamilywerekilledbyJimmy).Theirslabhutinthemiddleofanisolatedpaddockwaslefttofallaway,allthatremainsaretheverticalhardwoodpostsofthehut,standinginthepaddocklikeghosts.Icanrememberbeingtakenthereasalittlegirl,showntheruinsofthehouseandtoldthestoryofwhathadhappened.GoingthrougholdphotographsatGrandpa’shouse,Ifoundaslidetakenin1968.Intheslide,thehouselooksalittlebitmorelikeahousethanitdoesnow.

In2008we—MyDarlingPatricia— startedworkonashowbasedonthishistory,calledPosts in the Paddock.LilyShearerfromMoogahlinPerfromingArtsintroducedmetoAuntyRhondaDixon-GrovenorandNadeenaDixon—motheranddaughterrespectively — whoaremusiciansanddistantrelativesofJimmyGovernor.Wesatdowntogether — AuntyRhonda,Nadeena,Lily,Halcyon,andmymumKatyBritton(neeO’Brien)withallthearticlesaboutthestorythatwecouldfind.Verynervously,wetalked,wereadandwelistened.AttheendoftheweekwedecidedthatwewantedtomeetAuntyEvelynPowell,Jimmy’sniece,wholivesinWellingtonNewSouthWales,andwewantedtotraveltogethertotheruinsofthehouseinwhichmyrelativesweremurdered–thepostsinthepaddock.LilyorganisedaTaragothroughRedfernCommunityCentreandMichelleBlakeneycamealongasaphotographerandfilmmaker.WetravelledtoWellington,NewSouthWales,andstayedwithSuWilliamswhothrewopenherdoorsandintroducedustoAuntyEvelyn.Atthepostsinthepaddock,LilyandAuntyRhondaconductedasmokingceremony.Thesunset,andthecuriouscowswanderedovertohaveacloserlook.MyUncleTony,thefarmerwhonowownsthefarm,participatedinthesmokingceremonyandheandhiswifeJowelcomedusallintotheirhome.

BackinSydneywestartedtotrytotranslatetheexperienceintothefoundationsofatheatrework.WebeganworkingwithactorLeRoyParsons,puppeteerSamRoutledge,puppetmakerBryonyAndersonandsounddesignerDeclanKelly.Afterwehadbeenworkingtogetherforawhile,LeRoy,whosuspectedhewasrelatedtoEthelPagebutdidn’tknowhow,discoveredthatheisJimmyandEthel’sgreat-great-grandson,descendeddirectlyfromthechildthatEthelandJimmyconceivedaroundthetimeofthemurdersin1900.

ThroughLeRoyweencounteredthebeautifulAuntyLorettaParsleyandAuntyVicCarriage(Ethel’sdaughter)andPosts in the Paddock,asitis,startedtotakeshape.Wehaven’tbeenabletoholdthewholeofourexperiencewithintheconfinesofatheatreshowsowehaveworkedwithFionaFoley,PierProductionsandmanyrelativesonbothsideofthisstorytomakeasoundinstallation,andwithPerformanceSpacetoproducethispublication.WewanttothankUrbanTheatre Projects,BundanonArtistsTrust,PerformanceSpace,MargueritePepperProductions,RedfernCommunityCentre,GadigalInformationServiceAboriginalCorporation(incorporatingKooriRadio93.7FM)andalloftheconsultants,collaboratorsandfamilywhohaveshapedandsupportedthiswork.

Tous,thepostsinthepaddockareapictureofthesilenceandgriefsurroundingAustralianhistory.

Allthepeopleimmediatelyinvolvedinthisstoryhavepassedon.TherewereagenerationofAustralianswhoweretooclosetotheshame,theguiltandthesadnessofthisstorytolookatit.MickO’Brienneverreturnedtothehousewherehisyoungfamilydied,butalotoftimehaspassed,andweinviteyoutoreturntherewithus.Weseethisstoryasatragedyonbothsides,forJimmyandforhisvictims — weparticularlywanttoacknowledgethepeopleunder-representedinthiswork:theMawbeys,theFitzpatricksandtheMcKays.WewanttoacknowledgethatthemurdersthatJimmyGovernorcommittedtookplaceagainstabackdropofdispossession,displacement,oppressionandinmanycases,themurderofnownamelessAboriginalpeople.Aswellasthepeoplewhosestoriesandnamesweknowandcantellyouabout,wewanttoacknowledgethetraditionalowners,pastandpresent,ofthatlandandallthenamesandthestorieswewillneverknow.ClareBrittonCo-ArtisticDirector,MyDarlingPatricia

IntroductionForewordPerformanceSpaceishonouredanddelightedtopresenttheworldpremiereseasonofPosts in the Paddock,amajornewperformanceworkbyMyDarlingPatriciainassociationwithMoogahlinPerformingArts.Posts in the Paddockisanexpansiveandambitiousprojectthathasarisenfromapainfulhistory.Onehundredyearsago,threerelativesofMyDarlingPatricia’sClareBrittonweremurderedbyAboriginalbushrangerJimmyGovernor.Aftercommittingseveralsimilarmurders,GovernorbecameanotoriousandcontestedfigureinAustraliancolonialhistory,representedacrossliterature,filmandpopularculture,alwayswithvaryingdegreesofaccuracyanddifferinginterpretationsofthefacts.Governor’slegacyandhisdemonisingthroughthesesubjectivereconstructionshasbecomeaproblemwhichhisfamilygrappleswithtothisday.

ThepropertywherethesemurderswerecommittedisstillownedbyBritton’sfamily,andthepoststhatarethelastvestigesofthehousewhereherrelativesdied— stillstandingintheemptypaddocksoftheproperty — providetheproject’stitle.TheyhavealsoprovidedaliteralandconceptualmeetingpointfortheartistsofMyDarlingPatricia,aswellasLeRoyParsons,AuntyRhondaDixonGrovenorandtheirvariouscollaborators — fromGovernor’sfamilyandfromthebroadercommunityofIndigenousartistsinAustralia — tomeet,discussandformulateanewversionofthisstory.Throughthisprocessofcomingtogetherandsharingtruths,Posts in the Paddockoffersamorepersonal,immediateandurgenttellingoftheincidentanditsrepercussions:onethattakesintoaccountthemultiplevoicesthatmustnecessarilybelistenedtoinorderforthesecomplexandconflictedhistoriestobetrulyreconciled.

ThispublicationhasbeenproducedtoprovidefurtherinsightintoPosts in the Paddock,andparticularlytoshedsomelightonthecomplexhistoriesandintersectingstorieswhichwereuncoveredthroughtheproject’sextensiveprocessofresearchandconsultation.AninsightfulandexpansiveessaybyDjonMundinecontextualisesJimmy’slifeandsituateshiskillings,hissubsequentnotoriety,andtheproductionofPosts in the Paddockitself,inthewiderlandscapeofAustraliancolonialhistory.Hisessayraisessomeuneasytruthsaboutinterracialrelationsinpost-colonialAustraliaandasksquestionsthatarecentraltothisproject.LorettaParsley,awriterandhistorianandJimmyGovernor’sgreatgranddaughter,writespowerfullyfromafamilyperspectiveaboutJimmy’slegacy.AndTonyO’Brien,Britton’sunclewhocurrentlylivesonandmanagesthepropertywherethepostsaresituated,offershisthoughtsandexperienceoflivingonthesiteofthisimportantmomentinhistory.TherealisationofthisprojectmarksacontinuingassociationbetweenMyDarlingPatriciaandPerformanceSpace,andwearedelightedtobeworkingwiththecompanyagain.Similarly,wearethrilledtobeworkingwithMoogahlinPerformingArts,andlookforwardtoanongoingassociationwiththisnewcompanyasitgrowsandevolves.

OnbehalfofPerformanceSpaceIextendmyheartfeltthankstothemembersofMyDarlingPartriciaandMoogahlin,andtheirmanycollaboratorsonthisproject.Similarly,thewritersinthispublicationhavesharedtheirperspectiveshonestly,compassionately,andattimesbravely.Thisprojecthasbeentheworkofmanyhandsandtheircommitmenttothisprojecthasbeenextraordinary.Posts in the PaddockisatestamenttothepowerofcollaborationintacklingthemostcomplexanddifficultmomentsinoursharedhistoryinAustralia

JeffKhanAssociateDirector,PerformanceSpace

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It’sunderstoodthatanindividualwhoisneverallowedtocontributetosociety(Aboriginalorwhite)willexistinastateofextremenormlessness.

InAboriginalsocietyallartisasocialact.Ceremoniesarethecomingtogetherofdifferentgroupsofpeopletocollaboratealongproscribedlinestocreateartinsong,danceandstructuredritual.Somesingspecificsongcyclesforotherstoperform,somedancespecificdancesinresponse,stillotherspaintparticular,preciseimagesandarrangeperformancespaces.Itwasthewayinwhichsocietycouldbethoughtof–inaction.Jimmy’sgenerationfounditdifficulttoconveneandtoorganisetheseimportantspiritualeventswithsomanymissingparts.Theywereunabletorestructuretheseage-oldarrangements.Whenanynumberoftheseparticipatinggroupsareexterminated,howissocietytocontinue?Howdoesonecontributetothatsocietyandaffirmone’sidentitywhenyouaresomeoneontheedge?

ThestoryofJimmyistosomeextentthestoryofEthel.Itseemsobviousthattheywereinlove.JimmyandEthellivedinthetimeofThe Yellow Wallpaper,the1892shortstorybyAmericanwriterCharlottePerkinsGilman.Inthe1800snotonlywere‘blacks’discriminatedagainstasaclass,butsowerewomenin‘white’Westernsociety.Womenweretreatedlikecommodities –lockedup,controlled,tradedandowned— trulydomesticated.Likeblacks,womendidn’thavetherighttovote,wereinsulted,uselessanddisempowered.BothFrankClune(Jimmy Governor,1959),ThomasKeneally(The Chant of Jimmie Blacksmith,1972),andothers,positedthatEthelwasapromiscuouspersonoflowintelligenceanddidnotcreditherasanadultpersonofsomecharacter,alsoseekingtoberespectedasahumanbeing.Theysuggested(withoutevidence)thatEthel’schildrenweren’tJimmy’s,perpetuatingtheracistlinestillcurrentinsomequartersthatifEthelsleptwithablackmanshewouldobviouslysleepwithanyone.Keneallyendingupplayingalecherouscookcharacter,harassingEthelinherplaceofworkinthe1972The Chant of Jimmie Blacksmithfilm.

JimmyandEthel’smarriagewasanenormousaffronttothe‘white’societyofthetime.Crossingtheracelineswasanintenselyfeltissue.Post-colonialwriterFranzFanonandothershavesaidonewaytomoveintowhitesocietyandmoveuptheclassstratawastomarryawhiteperson.PossiblyifJimmyhadstayedonthereserve,evenafterhismarriagetoEthel,andhadn’taspiredtoenter‘white’societyinsomeformandtomoveabovehisandEthel’slowerclassposition,theirmarriagemaynothavebeensocontentious.

Twooften-anthropomorphisedanimalspiritsintheAboriginalworldarethedingoandthepossum.TheDingoisseenaslawless —abeingwhosleepswithanyone.MeninArnhemLandjokinglysaytoeachother“nhewatu”,whichmeans“youdog”.Acanineisawildanimalthatiscontrolledanddomesticated.Howdoyoudomesticateawildanimal?Byfeedingit,makingitdependent?Adogonaleash.Jimmywasconstantlyremindedofthelengthandlimitsofhisleash.

InCicero’sDe Oratore(55BCE),followingthecollapseofScopas’banquethall,thepoetSimonidesofCeosisdescribedasinventinga‘systemofloci’memorywherehewasabletolocateandnamethedeadundertherubble.Inourhistory,isthechallengeknowingwhoandwherethedeadbodiesareburied?Isourmemoryaboutreclaimingthingsfrom‘undertherubble’?Aretrievaloperation?

ThestoryofJimmyGovernorisa‘memorywalk’acrossaphysicalandsocialterrain,evokingmanyemotionsandfeelings.Itbringsoutandplaysonallourhumanqualities:sorrow,pain,hate,regret,stoicism,expression,success,joyandoptimism.ThepostsinthepaddockaretheframepostsoftheO’Brienfamilyhome —thesceneofamurder.ThepostsrecalltomindtheTiwiPukumanigravepoststhatchangedthecourseofAboriginalarthistoryin1958atArtGalleryofNSW.SimilarspiritualobjectsexistedincarvedtreesthroughoutNSW.Thecarvedtreesprovidedthelocationofwherethebodieslay;theyarebothburialmarkersandrevelatory.Theyremind,theyaremnemonicentities.

Physicalworkcanhaveaspiritualdimension.TheremainingO’Brienpostsarespacedatangles,remindingoneofthefencepoststhatJimmyGovernorsplitanderectedundercontractforanumberofwhitepropertiesoverthedistrict —10shillingsper100posts,10shillingsforboringtheholesand12shillingsforerection.Suchwork,aswithritual,isphysicallydemanding.Jimmywasfitandwasatatimeoflifewhenoneenjoysthephysicalchallenge.

“Jimmywantedtobewhite!Hewantedtobewhite!HehadmoreopportunitiesthananyotherAboriginalmanofhistime!”,anAboriginalcuratoralmostshoutedatmeearlierthisyear.Butforme,thisisalmosttooeasyandtoopersonal.Whatismeantbyopportunity?DeepinoursoulwhatdoweaspresentdayAboriginalpeoplereallyyearnfor?Isthecurator’scommenttrue,ordidJimmymerelywanttobeacceptedandrespectedasahumanbeinginthesocietyhewasexpectedtoaspireto?

Acurrentdebateistakingplacein2011.Whatmakesyouwhite?Ifyourmotheriswhite,doesthatmakeyouwhite?Ifyourfatheriswhite,doesthatmakeyouwhite?Ofcoursetheconceptof‘theAboriginal’itselfwasafaultyconstruction,givenAustraliawasacontinentofseparate,distinctlanguagegroupsandsocieties.Coloniallaw(whitepeople)determinedthisidentity.Whetheryoulivedonthereserveoroutsidethereservecreateddivisionswithinanddefinedthisidentity,anditvariedovertime.Sometimesonlyfull-bloodAboriginalscouldliveonreserves—alsodecidedbycolonialauthority.

JimmylivedinthetimeofSigmundFreudandKarlMarx.Marxarguedforafairreturn(ashareoftheprofits)forthelabourinputoftheworkers.ThiswasalsothetimeoftheriseofunionismandthebeginningoftheAustralianLaborParty,theworkers’party.Freudtalkedoftraumaandmemory.Howlongdoesittakeasocietytorecoverfromthetraumaofthebrutalcolonisationthattookplace?Ofmurder,rapeandbrutalityuponmen,womenandchildrenonalargescaleandtoaprofounddegree.Jimmywantedpersonalrespect.WhatdoImeanbypersonalrespect?Possiblythatyouseetheotherpersonashavingqualitiesyouadmire.Jimmywasthricecheated.Firstly,therewasthewidespreadcolonialdispossession,disempowerment,containmentanddispersionoftheAboriginalclansinAustraliafrom1788onwards.ThenJimmy’sfatherwascheatedoutofasilvermineraldeposithefoundandthatagroupofwhite‘friends’profitedfrom.AndfinallytherewasJimmy’sownlife,theshabbycheatingofhishardlabourandtheinsultsconcerninghischoiceofa‘white’partner.

Ifatreefallsinforestandnoonewitnessesit,doesitmakeasound?Therearehistoriesthatarequiet,storiesthatarequiet.Howfarawaycanyoubeandstillhearaleaffall,thetickingoftime,aheartbeat,agunshot,abodyfall?Isitthesameforeachear?Peoplecanmakethemselvesheardthroughmanymeans.

Ayouthparticipatinginthe2011Londonriotssaid,“Youonlycometohearusnow[aftertheriot]!”

… Dance, dance, otherwise we are lost …Pina Bausch, Pina by Wim Wenders, 2011

JimmywasborninEmileDurkheim’stime.Durkheim,borrowingfromGuyau,broughtintosociologicaldiscoursetheterm‘anomie’in1897todescribeastateofbeingwhereanindividualfeelsrejectedintheirpositiveactionstoadjusttochangingorseeminglyambiguoussocialnorms.Thiscanleadtoafeelingoflawlessness,resultinginsuicideordeviantbehavior.

The Ballad of Jimmy Governor Djon Mundine

Animation still from Posts in the Paddock.

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Possums,ontheotherhand,areseenasasexyinAboriginalspiritualterms.Theystayupatnight,areplayful,mischievous,noisy,cheeky,athleticandfulloflife.InnumerousaccountsofJimmy,hewasdescribedasyoung,athletic,intelligent,witty,quickandhandsome.WasJimmyseenassexytolocalwhitewomen?Althoughcondemnedinpolite‘white’society,inthepsycho-sexualenvironmentinwhichwhitemensleptrelativelyfreely,forcefully,brutallyandindiscriminatelywithAboriginalwomen,wasJimmyseenassexuallydesirabletothewhitewomenofthedistrict?Wastheretheattractionoftheforbiddenfruit?ThiswouldhaveaddedterriblytoanytensionbetweenJimmyandthewhitemenhedealtwith.

Jimmymurderedninewhitepeople(twomen,threewomenandfourchildrenandteenagers).Muchhasbeenmadeofhiskillingofwomenandchildren.Jimmywasbornin1875,ayearbeforeCuster’sLittleBigHorndefeatanddeathwhenheattackedamassedcampofNativeAmericansgatheredforareligiousceremony.Custerwascriticisedforthefoolishnessofdividinghisforcesinthisbattle.Howeveritwouldappearhisintent,whichhehadpracticedbefore,wastodrawtheNativeAmericanmenawaywithonegroupandsoleavethewayopenforCusterhimselftoattack,murderandcapturethethenundefendedwomenandchildrenwithhisotherforce.Inkillingortakinghostagethewomenandchildren,thereactionsofthedefendingmenwouldbeseverelycompromisedanddefeated.Thewomenandchildrenweremerepawnsinhisgame.Theirdeathsmatteredlittle.

PreviouswritersonJimmyGovernorsuggestedthatthecolonialcountryinJimmy’slifetimewasalreadysettledandatpeace;theAboriginalpopulationhadbeenviolentlyandtotallysubdued.Thissubjugationhasremainedinsocietalmemoryuntilthepresentday.JimmylivedduringthetimeofIshi,thenowfamousNativeAmericanfromCalifornia.Shortlyafterhisbirth,Ishi’sextendedfamilywerelargelymurderedbyAmericancolonistsintwounprovokedattacksinthemid1860s,and,afterhidingfornearly40years,wereattackedagainin1908,withonlyIshisurviving.Foundalonein1911,hespenttherestofhislifeasalivingspecimenintheUniversityofCalifornia,BerkeleyMuseumofAnthropology.AlthoughinAustraliaandtheUSA,muchofthecontinenthadbeentakenbyEuropeancolonistsandthenativepopulationssubduedandclearedoffthelandforlivestockandagriculture,anotherformof‘ethniccleansing’silentlypersistedintothe20thcentury.Inthis,groupsofcolonialfarmersorrancherscould,anddid,withoutseriousinterferencefromtheauthorities,disperse,murder,assault,rapeandmakecruelplaywithanyAboriginalpopulationstheyfoundstillwithintheirvicinity.

I have none, because there were no people to name meIshi [1862–1916].

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Left. Construction of Posts in the Paddock shadow puppets.Next Spread. Posts in the Paddock site, “Poggy”, NSW.

Onamorepositivenote,aroundthetimeofFederationandJimmy’sexecutionin1901,accordingtotheanthropologistcoupleR.M.&C.Berndt,weseethebeginningoftheGunapipi(Kunnapipi)religiousritualcycleinArnhemLand,oneofthelargestattendedreligiousritualeventsincontemporaryAboriginallifethatcontinuestoday.

Posts in the Paddockisacomplexandseriousproject.TheindividualsinvolvedincludedescendantsfrombothJimmy’sfamilyandthoseoftheothervictims—theO’Brienfamily.Howmuchcanweforgive?Canforgivenessinapersonalissuesoasnottobeheldhostagetothepast,beappliedtosocietalissuesandahistoryapproachinga‘holocaust’?Howdoesthepersonalandthesocietalrelatetoeachother?TheJewishresponsetotheHolocaustandhowitwaslargelyignoredbycivilisedWesternsocietywasadefiant‘NeverAgain’,not‘Iforgiveyou’.Melbourne-basedAboriginalartistBindiColeexplainedtomerecentlythatinordertoprogressinherownlife,uponhermother’sdeath,shehadtorationaliseandforgiveherownmotherforanyandallpossibledeficienciesinherupbringing.ShethensuggestedtomethatinorderforAboriginalpeopleatlargenottobeheldhostagetothetraumaofacolonialpastthattheyshouldalsonowforgive‘white’Australiansocietyforthisbrutalhistory.Sheproposedtorecordandmakepublicthesestatementsofforgiveness.AnumberofAboriginalpeoplevolunteeredtoperformthis‘absolution’performanceforherandtheresultantpowerfulmovingimageartworkiscalledSeventy Times Seven(2011).Ididnotagreewiththeproposition;yes,theremaybeaneedtobefreeofthepersonalpsychologicalbaggagebutthereismoretoasocietyandahistorythanme.IcannotspeakforallAboriginalpeople,andveryserioushistoricalandpoliticalconsequencesneedtoberesolvedbeforethetraumacanbehealed.Ofcoursetherecanbeforgiveness,butwithinthatmustbeawillingnesstosecureandretainthetruth.Forgivenessisnotaboutforgettingbutremembering.

InformertimesinAboriginalsociety,emotionsandfeelingsaroundmurdersorothercrimescouldberesolvedthroughrecompenseinritual,ceremonyorsacredgiftpaymentordutytoobservecertainobligationsotherthandirectviolentretributionleadingtoendlessvendettas.

The glory of our race is power of communication. We share our strength and knowledge and rise as one; we share our failure and weakness and help each other bear it.Charlotte Perkins Gilman, 1891.

Intheendyoumustvalueonelifeasmuchasthatofthousands–inthiscasetherewasnopossiblenecessitytoslaughterthousandsofAboriginalpeople,andnoneedtomurderaselectfew.Possiblycommunicationisn’talwaysinspeechandwordsandwhatweseeistheconvenientavoidanceandforgetting,anotherlackofhonesty,andarealfailureofcommunication.

AsbrotherMalcolmsaid:We declare our right on this actTo be a manTo be a human beingTo be given the rights of a human beingIn this societyIn this actOn this dayWhich we intend to bring into existenceBY ANY MEANS NECESSARY!Malcolm X, directed by Spike Lee, 1992

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MygreatgrandfatherJames(Jimmy)GovernorwasborntotheperiodoftimewhenEuropeanculturewasbeginningtoimplementasocialclasssysteminAustralia,andtodominateAboriginalculturalandheritagepractices.Jimmydemandedrespectandwasalawabidingcitizen.Hisnotorietyinbecomingabushrangerwasforcedonhimbywhatheconsideredanunfairinequalsystem.Hisdemiseanddemeanourwereaffectedbythefactthathehadmarriedanon-AboriginalwomancalledEthelPage,mygreatgrandmother.Theperiodof1875to1901gaverisetoamajortransitioninAustraliancultureandpoliticsthatbroughtsignificantchangestobothAboriginalandnon-Aboriginalpeople.DuringthistimemanyeventsweretooccurthatwouldchangetheshapeofAboriginallives.Peoplewererelocatedandsubjectedtouninvitedchangesthatwerelatertofracturethestabilityofmanypeopleslives,bothblackandwhite.IbelievethatJimmyhadastrongconnectiontohiscountryandagreatloyaltytohisfamily.Hisspiritwashisownershipandidentitywastobethebestproviderforhisoldfamilyandhisnewfamily.EthelexpectedthatJimmywouldbealoyalhusbandandaprotectorofherandtheirchildSid.SidandEthelweretobecomethemoststableandgroundingforceintheeventsthatleduptoJimmy’scaptureandconsequenthanginginSydney.DocumentationthroughoutthepolicerecordsofJimmy’sinternmentanduptohissubsequenthangingsuggeststhatEthelhaddiligentlymaintainedcontactandshowedherdignity,prideandherlovingcommitmenttoJimmyuntilhewashunginDarlinghurstGoalon18January1901.AfterJimmy’sdeath,Ethelwastocontinueherloveandcommitmenttoherfamily.IntheyearfollowingJimmy’sdeathmygrandmother,ThelmaHazelVioletGovernor,wasborntoEthelinWollongong,on9April1901.BirthcertificaterecordsvalidateandconfirmthatJamesGovernorwasherfather.SidGovernorwastoliveontheeastcoastofNSWbuthechangedhisnametoSidDuncan.IbelievethiswasdonetoprotecthimfromthestigmaofbeingJimmy’sson.Fortherestofherlife,Ethelremainedadevotedmother,andalovingandcaringwife.AfterhermarriagetohersecondhusbandFrankBrown,anAboriginalmanfromWreckBay,sheboreninemorechildren:Robert,Daphne,Alma,Eunice,Dorothy,May,Victoria,FrankandCharles.ShelivedintheUlladullaregionandraisedherchildren.Sheplayedanactiveroleinthecommunityandwasknownforhergenerosityandcompassion,helpingthoselessfortunatethanherself.Shewasacreativepersonwhowasfrequentlyaskedtocrochetgarments.OneofhergarmentsisfeaturedinthecollectionoftheClydeRiverandBatemansBayHistoricalSociety.Ethelkeptherfamilyclosetoherandshehadthesupportofhermother,Julia.Ethellivedaproductiveandhonourablelifeandshemadeherownpositivecontributiontosociety.ShepassedawayinSydneyon31December1945,andwasburiedatthesamecemeteryasherbelovedJimmy.Ethel’slastsurvivingdaughterVictoria,aged91,presentlyresidesinUlladulla.ManyofmyGrandmotherThelmaHazelVioletGovernor(knownasViolet)’sdescendantsnowliveontheeastcoastofNSW.Violet’sbloodstreamsfromtheheritageofherfatherJimmyandiswashedandcleansedinthesaltwaterofhisdaughter’slivingdescendants.VioletmarriedGeorgeParsonsin1918.SheandGeorgehadfourchildren:Cyril,Robert,EthelandRuth.AllofVioletandGeorge’schildrenaredeceased,butaresurvivedbychildren,grandchildren,greatgrandchildrenandgreatgreatgrandchildren.Jimmy’sjourneyhasledhisdescendantstoensurethatissuesofthepast,presentandfutureeventsinthehistoricalandpoliticalarenaarerespectedandvalued.Weareallguidedbyourownspiritualdestiny.

Blood On His Hands, Cleansed by Salt Water Loretta Parsley

Hands of Loretta Parsley and Clare Britton, Barrington Tops, 2011.

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MyDarlingPatriciaTakingitsnamefromafaded60year-oldloveletterfoundhiddeninadiscardedvanityset,MyDarlingPatriciawasfoundedin2003byClareBritton,BridgetDolan,KatrinaGillandHalcyonMacleod,withSamRoutledgejoiningthecompanyin2006.Thecompanyutilisespuppetry,installationandperformancetofusearrestingimagesofdomesticdegradationwithepiclandscapesinauniqueevocationoftheAustraliangothic.MyDarlingPatriciaworksinacollaborativeprocessledbyArtisticDirectorsHalcyonMacleodandClareBritton.ThecompanyhascreatedfiveproductionsworkingtogetherwithassociateartistsandpresentersatPerformanceSpace,ArtsHouseMeatMarket,TheMalthouseTheatre,SydneyTheatreCompanyandAdelaide’sVitalstatistix.MyDarlingPatriciaismanagedandproducedbyMargueritePepperProductions.www.mydarlingpatricia.com

MoogahlinPerformingArtsMoogahlinPerformingArtswasformedinRedferninNovember2007byagroupofAboriginaltheatreartists,educatorsandcommunityworkersinhonourofthelateKevinSmith’srequestandinmemoryofthefoundingmembersoftheBlackTheatre.Moogahlinaimstocreateandtellcommunity-basedstories,developacomprehensiveyouththeatreprogramandmountlargescalemainstageproductions.MoogahlinsupportsbothemergingandestablishedIndigenoustheatreartists,nurturingworkcreated,developedandperformedbyAboriginalpeopleforAboriginalpeople.MoogahlinisaYuin-Bundjalungwordmeaningto‘play’or‘foolaround’.

PerformanceSpacePerformanceSpaceisAustralia’sleadingorganisationforthedevelopmentandpresentationofinterdisciplinaryarts.PerformanceSpaceisanartsdevelopmentagencysupportingtheexplorationandexperienceofnewforms,newideas,andnewcontexts.Ourartisticfocusisonartsinformedbyperformance,whichdrawtheirinfluencesfromacrosstheperformingandvisualarts.Weencourageartwhichexplorestheintersectionsbetweenartforms,questionsassumptionsabouttherelationshipsbetweenartistandaudience,andengageswiththeconcernsoftheever-evolvingsocietyinwhichwelive.www.performancespace.com.auThefollowingartistswereinvolvedincreatingandperformingPosts in the Paddock:BryonyAnderson,KatyBeckett,JennBlake,MichelleBlakeney,ClareBritton,PhilDowning,NadeenaDixon,AuntyRhondaDixonGrovenor,FionaFoley,MarleyGrovenor,SamJames,DeclanKelly,HalcyonMacleod,KirkPage,LeRoyParsons,SamRoutledge,ChrisRyan,LilyShearer,JadeSims,ChrisTwyman.

Artist Biographies

Previous Spread. Ethel Page and Jimmy Governor.Above. Construction Of Posts In The Paddock Shadow Puppets.