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Education Resources

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These resources were written and compiled by Ella Peile, in collaboration with Queensland Theatre

Company.

WELCOME!

Welcome to the Education Resources for Country Song by Reg Cribb. These resources are designed to work alongside the play and offer inspiration before and after your visit to the theatre. There are

worksheets and activities as well as ideas for responding. Feel free to pull these resources apart and use what works best for you and your students. Best, Heidi Irvine (Producer, Education and Youth Programs) and Ella Peile (Resource Writer)

CONTENTS:

AT THE THEATRE 4

THEATRE ETIQUETTE 4

ABOUT THE PLAY 5

ESSENTIAL INFORMATION 5

TOPICS AND THEMES 5

PRE-SHOW ACTIVITIES 6

PERSONAL STORYTELLING 6

CULTURAL UNDERSTANDING 7

COEXISTING TIMES 7

CIVIL RIGHTS 8

THE FREEDOM RIDES 9

COUNTRY MUSIC IN AUSTRALIA 10

JIMMY LITTLE LIFETIME 10

AUSTRALIA’S NATIONAL ANTHEM 11

MIND-MAPPING COUNTRY SONG 11

POST-SHOW ACTIVITIES 12

IDENTIFYING KEY MOMENTS 12

CONNECTED NARRATIVES 12

VISUAL DESIGN 13

NARRATIVE STRUCTURE: A JOURNEY 14

STORYTELLING: THE LONG AND THE SHORT 15

ROLE: SKILLS OF PERFORMANCE 16

ROLES AND RELATIONSHIPS 17

CHARACTER PROGRESSION: COMMUNICATION OF AGE 18

TIME AND PLACE: SCENE TRANSITIONS 18

SONG 19

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ANALYSING MUSIC 20

ELEMENTS OF DRAMA 21

ASSESSMENT RESOURCES 23

SUGGESTED ANALYSIS QUESTIONS 23

POSSIBLE ASSESSMENT TASK: RESPONDING 25

POSSIBLE ASSESSMENT TASK: FORMING 26

APPENDIX 27

JIMMY LITTLE BIOGRAPHY 27

TIMELINE: 1937 - 1973 29

RESOURCES 31

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AT THE THEATRE

Queensland Theatre Company would like to take this opportunity to alert members of the

audience that this production and resource contains names and visual representations of

people who have passed, which may be distressing to Aboriginal and Torres Strait Islander

people. All care has been taken to acquire the appropriate permission and show all proper

respect.

THEATRE ETIQUETTE

We’d like to welcome you to the experience of attending a live performance – while we

know you get all the etiquette stuff, here’s a reminder of some simple information you can

pass on to your students.

1. We ask you to get involved in the performances by applauding and laughing at

appropriate moments. If you have a question – ask your teacher at the interval/end

of the show or one of the cast, if you have a chance for a Question & Answer session.

2. Food or drink is not permitted in the theatre

3. Live theatre is different to TV – the actors on stage can hear and see you and there

are other members of the audience to think about. If you need to leave the

performance for any reason, please ensure this is done quickly and quietly and at an

appropriate break in the action

4. Switching your phone to silent isn’t the only thing to do. Please ensure that you

switch off your mobile phone and leave it in your bag before the performance begins.

The glow of the phone screen is obvious to others and is very distracting!

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ABOUT THE PLAY

Jimmy takes us on a journey of his past, weaving into his story those of his contemporaries:

Auriel Andrew, Bobby McLeod, and Lionel Rose. Country Song is a beautiful, musical, witty

and warming journey that celebrates the healing power of music.

ESSENTIAL INFORMATION

Cremorne Theatre, QPAC. 4th August - 8th August 2015

Writer: Reg Cribb

Original Concept: Michael Tuahine

Director: Wesley Enoch

Designer: Josh McIntosh

Musical Director: Jamie Clark

Projection Designers: optikal bloc

Lighting Designer: Jason Glenwright

Dramaturg: Louise Gough

Cast Includes: Elaine Crombie, David Page, Bradley McCaw, Megan Sarmardin, Michael

Tuahine and Tibian Wyles

Duration: 2 hours, 5 minutes (includes interval)

Suitability: High school Drama, Music, History

Warnings: Coarse language

Suggested Elements for Analysis: Role, Relationship, Character, Time, Place, Language,

Movement

Styles and Conventions: Musical theatre, Magic realism, Song, Monologue, First-person

narration, Non-linear structure, Multiple narratives, Fragmentation, Transformation of time

and place, Multiple role, Projection, Shadow, Puppetry,

TOPICS AND THEMES

- Music, song and storytelling

- Identity and culture

- Internal conflict

- Racism and stereotypes

- Civil rights

- Memories and reflection

- Family and relationships

- Fame and success

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PRE-SHOW ACTIVITIES

PERSONAL STORYTELLING

Ask students to reflect on their own life: What significant moments have they experienced?

What hopes and expectations do they have for the future?

My life in 60 seconds: Ask students to get into groups of three or four. One at a time they

are to tell their life story in 60 seconds, including as much as possible in the time.

As a whole class, reflect on the stories told. Consider what kind of moments people chose to

share in the limited time. What made these moments stick out? Think about the moments

that you found particularly moving, engaging, or funny, and the qualities in the storytelling

that made them so. Did anyone tell their life story in a non-chronological structure? How

else might one arrange their life’s events other than through time?

Students regroup. Choose one student’s life story to tell, within the following guidelines:

- At least five events must be included.

- The performance is to go for two minutes. The balance of time across events does not

need to be even. (E.g. the events might take 10 seconds, one minute, 5 seconds, 30

seconds, 15 seconds.)

- In telling the life story, students could employ any styles and conventions they like. (You

may wish to remind students of conventions you have already worked with this year.)

- Students should focus on making the changes between time and place clear without

relying solely on narration or placards.

- Consider how the event can be distilled to its essential information through use of stylised

action, symbol, pithy dialogue, etc.

Share and discuss. What directorial choices and skills of performance were demonstrated

that helped you (as audience) understand when and where the event was taking place, and

what role each actor was playing?

Foreshadow for students that Country Song will jump across place and time, and they should

be observing how this is communicated as they watch the play.

Optional extension: Two groups work together to interweave their stories, keeping the five

events of both stories but placing them in a new order, so both stories flow as one cohesive

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performance. Transitions could involve song, dialogue between the characters, narration,

movement and/or visual effects.

CULTURAL UNDERSTANDING

The main characters in Country Song are from the following backgrounds:

Jimmy Little - Yorta Yorta

Auriel Andrew - Arrernte

Bobby McLeod - Monaro/Yuin

Lionel Rose - Gunditjmara

Without suggesting that cultures are homogenous (i.e. individuals within a culture aren’t all

the same), it is recommended that students have some understanding of the characters’

cultural backgrounds, to enhance their understanding and appreciation of the show.

See section on Aboriginal Culture and Identity in Resource List. You may also wish to speak

to your school’s Indigenous Liaison.1

Particularly relevant concepts include:

- The use of song as storytelling, and songlines. An introduction to songlines can be found

at http://dl.nfsa.gov.au/module/1566/

- The importance of place and the meaning of country. An explanation of Country and

Dreaming can be found at http://www.shareourpride.org.au/sections/our-culture/

- Temporal concepts and the coexistence of past and present. A suggested activity follows.

COEXISTING TIMES

Ask students, in small groups, to select two events involving the same person as a young

child and as a teenager or adult. Encourage them to select events that they can easily

portray.

Students workshop their events and assign roles to each student. The young person and

teenager/adult should be played by different students.

Rehearse the two scenes, focussing on telling the story in a simple and clear way.

1 Whilst acknowledging their culture can be a valuable experience for Indigenous students, do not expect or ask them to be a source of knowledge for the non-Indigenous students in the class. They may not know or not be comfortable sharing some information.

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Each group is to then overlap the two scenes so they take place in the same physical

space and time (but keeping the dramatic worlds separate.)

Finally they are to link the two scenes by connecting the two different times. They could

either pause both scenes and have two characters interact outside of time, or have one

character “step into” the other time as this scene continues.

Share and discuss. How did the links between times contribute to the creation of dramatic

meaning?

Discuss with students the idea that Aboriginal concepts of time tend to be less bound by

linear trajectories than European-Australian concepts of time. This is connected to the

Dreaming2, the basis of Aboriginal spirituality, which suggests that “The veil separating

physical life from existence outside of physical life is far less distinct and far more permeable

than that experienced by non-Indigenous peoples.”

(http://shareourpride.reconciliation.org.au/sections/our-culture/)

Ask students to keep this concept in mind when viewing Country Song.

CIVIL RIGHTS

Before seeing the show, students should have at least a basic understanding of some of

the struggles of Australian Indigenous peoples including the Stolen Generations and issues

of racism and segregation. This could be done in a number of ways:

- Discuss using videos, websites and/or handouts (see Resource List.)

- Read and explore the poem Coolungar Thieves, or personal experiences focussing on the

experience of parents whose children were forcibly removed (see Resource List.)

- Build a timeline of key events in the fight for civil rights. This timeline could be added to

over the term to include events from Country Song or other events from Little’s life.

The sound of a vehicle. A commotion in the distance. She hugs the basket closer to her,

fearful.

DAD: Stay calm. Just stay calm.

She puts some clothes over the top of baby JIMMY in the basket to hide him. A white Chief

Protector wearing an official badge strolls in.

2 Dreaming is an English translation of the Aboriginal concept, which there are many names for in different Aboriginal languages. It is the preferred English translation, rather than Dreamtime.

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BOBBY: I want you to reinstate Mr Charles Perkins back to his rightful position in this

department.

PUBLIC SERVANT 2: He called the Coalition racist!

BOBBY: Ya don’t sack people for statin’ the bleeding obvious!

THE FREEDOM RIDES

Ask students to enrol as university students. Hand out a card (from a shuffled standard deck

of cards) to each student. Explain that the card they have been given signifies their role:

- Hearts: Sympathetic to Indigenous civil rights movement

- Diamonds: Worried about how the events will affect you

- Clubs: Against the Indigenous civil rights movement

- Spades: Part of the Indigenous civil rights movement

Ask students to imagine the classroom as the lawn of a university campus. Enrol as an activist

gathering support for the Freedom Ride. You may wish to use quotes from interviews with

Charles Perkins (see Resource List.) For example:

Hey listen, second class is not good enough, you know. You don't want to have to live on

river banks and in shanty huts and at the end of a road where there's rubbish tips. Live in

town. And you don't have to cop these white men sneaking around pinching Aboriginal

women at night, you know. Sitting down the front of picture theatres, not being able to sit

in a restaurant, because nobody will allow you as an Aborigine to sit in a restaurant - that's

not on.

Students, in role, debate whether or not to join or support the movement.

Step out of role and reflect on the improvisation.

Provide students with some information about the Freedom Rides or watch a short video.

(See Resource List.) Discuss the significance of the Freedom Rides to the civil rights

movement.

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COUNTRY MUSIC IN AUSTRALIA

Explore the origins and development of country music in Australia. (See Appendix for

resources.) Students could research and create their own timeline. The class could also

watch the Buried Country film, which tells the story of Aboriginal country music.

DAD: (laughing) Cowboy? Nah. Yorta Yorta boy from Cummeragunja? Yeah! You wanna go

out West? Maybe you can move to bloody Perth.

JIMMY: I like them songs.

DAD: Whitefellas music Jimmy. Doesn’t get much whiter! That music is too white for most

white people! Just coz some pasty-faced fella in a cowboy hat sings about losin’ his horse.

Or his wife or even worse, losin’ his dog, that don’t mean us blackfellas gotta hear that and

go hey, that sounds like our life! It’s not our life Jimmy!

JIMMY: You sure about that?

DAD: Jimmy... these whitefellas don’t wanna hear your songs. They don’ even want you in

here. The second you close your mouth and stop singin’, they’ll have two words for ya: Get

out!

JIMMY LITTLE LIFETIME

Handout the Jimmy Little biography (see Appendix) and read as a class.

Ask students to decide on a single event from the biography to depict. They are to prepare

a very short, easily repeated action to signify this event, and state one by one which event

they are depicting.

Students, still repeating the actions, are now to arrange themselves in a given order:

- chronological

- according to physical levels (low to high)

- according to mood (group in similar moods, or a line of lightest to most sombre)

- make an aesthetic judgement (free arrangement, placing teacher as audience member.)

This could be done as a silent class agreement, or you could select a small number of

directors to lead the group.

Ask students: Does theatre (and other storytelling) always have to tell a complete story from

beginning to end? Do events always have to be shown chronologically?

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Foreshadow for students that Country Song is about Jimmy Little, but it is not a complete

story of his life (i.e. it is fragmented.)

AUSTRALIA’S NATIONAL ANTHEM

Ask students when Advance Australia Fair was declared Australia’s national anthem, and if

anyone knows what the national anthem was before 1973. (Refer to Resource List for links

to a recording of God Save The Queen and some historical information about the change of

the anthem.)

Discuss how students feel if instead of singing Advance Australia Fair, they were expected

to sing God Save The Queen. What assumptions does the song make?

Look up the full lyrics to Advance Australia Fair. (See Resource List.) Discuss the perspectives

of the song: what groups are privileged and what groups are not included?

Engage with Indigenous perspectives on the national anthem. See Resource List for

examples of alternate anthems and Advance Australia Fair translated into Luritja language.

Explain to students that the national anthem referred to in Country Song is God Save The

Queen, the play being set in 1973 (and earlier.)

MIND-MAPPING COUNTRY SONG

Create a mind-map for each of the words in the title: Country and Song.

When exploring possible connections, consider multiple perspectives. For example, the word

“country” is likely to have multiple meanings to Aboriginal people, including one’s family

heritage, the place where one was born, and the physical place. Likewise, students may

make connections with the word “song” to singing, to songlines, and from there to

storytelling and to place.

These mind maps can be added to throughout the responding process, and referred to when

discussing the dramatic meaning.

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POST-SHOW ACTIVITIES

IDENTIFYING KEY MOMENTS

Ask students to recall, in two minutes, all the moments that particularly stood out to them.

Either jot these down or tell to a partner. Descriptions should be brief, just enough to jog the

memory.

Invite responses to any of the following. Students are to present their response by recreating

the moment as accurately as possible. At any point, observing students can make

adjustments to the presentation to ensure that the recollection is exact. It is important to be

specific at this point, while the memory is most fresh. Students should be recording the

examples - you may wish to nominate a scribe.

• One of the roles, communicated through body language and gesture only

• A moment when the relationship between two characters was clearly communicated

(present in pairs)

• An effective transition of time/place

• A moment that added depth to the communication of a character, or showed a change

in the character

• A symbol in the form of an object, gesture or single phrase

• An example of rising tension (present in small groups)

• Use of song that assisted the management of focus

• Use of song that provided depth or contrast in dramatic meaning

• An example of the effective management of mood (present in small groups)

• A moment that clarified or emphasised the overall dramatic meaning (present in small

groups)

• Any other examples appropriate to your class needs.

Students are to record a number of key moments in their books in as much detail as possible,

which can later be referred to/used as examples.

CONNECTED NARRATIVES

Country Song tells Jimmy Little’s story, along with the stories of three other famous

Australians: Lionel Rose, Auriel Andrew, and Bobby McLeod.

Compare these four characters by created a Venn diagram, like shown. Complete the

diagram by addressing each of these topics:

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- decades they were alive

- decades they were most famous

- what they were famous for

- cultural background

- political involvement

- character descriptions

This could be completed individually in students’ books, or together by drawing the diagram

on the board and asking students to write their responses on sticky notes which can be

placed in the appropriate circle.

How did the interlocking of these stories assist in the communication of dramatic meaning?

Consider the similarities and differences in the characters, and their shared timeline.

Discuss the use of song as a connection between the characters. How was this achieved?

JIMMY keeps strumming CYRIL. UNDER THE MILKY WAY.

As he strums, a gentle 3 part humming harmony starts up, coming out of the

darkness.

What other techniques were used to connect and interweave the different narratives? Were

they engaging and effective?

VISUAL DESIGN

In groups, students are to select one scene that effectively utilised elements of visual design,

e.g. projection, lighting, set, costume. Provide each group with coloured paper, tissue paper,

scissors, glue, pens, etc. and torches. Students are to create a representation of their chosen

scene. As they do so, groups should discuss how the visual design contributed to the

communication of dramatic meaning. Considerations:

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- use of space, e.g. shapes, space between characters and distance from audience

- use of colour and light, e.g. bright, dim, warm, cool, clean, organic

- literal meaning e.g. communication of setting, narrative device

- abstract function e.g. creation of mood, communication of internal world of character

- symbolic meaning e.g. representing success, death, etc.

Each group presents their representation and explains why the visual design was effective

in their chosen scene.

NARRATIVE STRUCTURE: A JOURNEY

Write the following events on card. Make enough sets to allow for one per group of four-six

students. You could also use larger cards and do the activity as a class.

Arrange the cards in chronological order. Students then rearrange the events in the order

that they took place in Country Song (as listed.) Students could photograph this order, record

in their books, or write a number of each of the cards. Note that the structure returns to

Jimmy backstage at the Opera House throughout the show, including Jimmy’s conversations

with Bobby, Lionel, and Auriel. This return to Jimmy backstage provides an anchor point

which we can consider the present time.

• Jimmy Little born at Cummeragunja Mission, 1937

• Jimmy’s Dad plays in The Gum Leaf Orchestra, 1947

• The Chief Protector sees baby Jimmy, 1937

• Jimmy receives a guitar for his birthday, 1947

• Jimmy’s Mum passes away, 1950

• Jimmy yodels on Australia’s Amateur Hour, 1951

• Bobby McLeod protests Charlie Perkins’ sacking, 1974

• Charlie Perkins leads SAFA protests calling for Aboriginal Rights, 1965

• The Jimmy Little Trio is formed, 1954

• Jimmy meets Marj, mid 1950s

• Jimmy and Marjorie get married, 1958

• Auriel Andrew becomes famous for singing on TV, 1960s

• The Jimmy Little Trio are the #1 act with Royal Telephone, 1963

• Lionel Rose wins World Title, 1968

• Jimmy, Auriel, Bobby and Lionel sing at Sydney Harbour, 1973

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Compare the two arrangements. Discuss how the non-linear structure assists the

communication of dramatic meaning. Consider the links that are made between characters

and events due to their placement in the dramatic structure.

How would you describe the structure? Examples of words used to describe non-linear

structures include flashbacks, meta-narrative, in media res, reverse chronology, cyclic, and

parallel stories. Which are the most appropriate terms? Provide an example for each.

Jimmy describes the story as a journey:

JIMMY: Let’s go on a journey eh, you and me. Along a few songlines. Not just mine.

Coz I’m feelin’ mighty lonesome up here tonight. Now I can’t tell everyone’s story,

there’s been a lot of them and that is a beautiful thing. Sometimes they gonna

weave in and out of each other, sometimes they gonna move together, sometimes

they gonna crash in to each other.

Reflect on Jimmy’s reference to songlines, a concept closely related to the idea of a journey,

storytelling, and song.

Were the different interactions between the stories (weaving in and out, moving together,

crashing into each other) evident? In groups of four, reflect on a particularly effective

treatment of two different stories or points in time. Recreate, focussing on the transitions

and the creation of dramatic focus.

Rehearse and present. Discuss how dramatic focus was achieved in the play throughout the

multiple narratives.

STORYTELLING: THE LONG AND THE SHORT

Country Song interweaves multiple storylines. Some events are explored in depth and others

are told in a more stylised or minimal way.

Break class into groups. Each group is to consider one event that was communicated in a

minimal way (e.g. through simple gesture or narration) and an event that was explored in

depth (e.g. realistic duologue or extended narration and action.)

Each group is to explore both moments and prepare the following for presentation:

- Describe or recreate the dramatic action.

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- Explain the dramatic meaning that was communicated and its main function e.g. narrative,

mood, character development.

- Discuss the use of tempo and duration and the effect of this.

- Make a judgement as to why the writer and director chose to portray that moment in such

a way and evaluate the overall effectiveness.

Share and discuss.

ROLE: SKILLS OF PERFORMANCE

Discuss the use of multiple role in Country Song. How do the performers manage the changes

in role through their skills of performance (use of body and voice)? Discuss the use of

archetypes in the portrayal of peripheral characters.

Each student selects a role to workshop, considering each aspect of physicality from the feet

up, and finally voice. Prompt students to ensure their portrayal is accurate. E.g.:

• How wide are their feet? What direction are they turned?

• How do they move their legs? Easy and flowing? Jerky? Stomping, gliding?

• Where do they hold their arms? Close and tight, gesticulating?

Students are to repeat a single line in their character’s voice - you could use any simple

piece of text (e.g. your school motto.)

Students then select another role that offers contrast in body and voice. Go through the same

process for this role.

Now that students have developed their two roles, they are to practice swapping from one

to the other, noting the changes that happen to the body as they do.

Finally, have students repeat the given line in their first role. Clap to signal that students

should change role. They should continue the line without a break, but change voice and

body to make the role change clear.

Reflect on the skills of performance used to communicate role through body language,

gesture, facial expression, vocal tone, pitch, rhythm, etc. Students could then write a

paragraph response on the communication of role, providing examples from the show.

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ROLES AND RELATIONSHIPS

Create a relationship network of the characters in the show. Though it’s not necessary to

look at every single character, do explore some minor characters and be sure to include some

opportunities for contrasting status levels. The characters include:

Jimmy Little

Voice at the Opera House

Dad

Mum

Protector

Radio MC

Punters at RSL

Bobby

Public servants

Riot Squad

Charlie (Charles Perkins)

Announcer

Guitar player

Bass player

Marj (Marjorie Rose)

Auriel Andrew

TV Boss

Lionel Rose

Slim Dusty

Interviewers

Lolly

Gavin

Gavin’s mother

Manager

The relationship network can be mapped on the board or on the ground, or by having a

student represent each character and show their connections by physical proximity,

direction, and gesture (e.g. hands on each others’ shoulders.)

Choose two contrasting relationships (e.g. a close familial relationship and a professional

relationship.) Break the class into two groups and have each group explore one of these

relationships. They are to consider how the show communicated:

- status

- closeness

- the feelings of each character towards the other

- the progression of this relationship over time

through:

- physical proximity

- gesture, movement and body language

- levels

- vocal tone, pitch, inflection

- language

- visual effects

- sound and music

Each group develops a presentation to explain the show’s communication of the relationship.

The presentation is to be structured as an analytical response, with supporting examples

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(recreated or described scenes.) Students may wish to use the resource “Suggested

Paragraph Structure” to structure their presentation.

AURIEL: Not just because you invited me. But because you inspired me! Geez, yours was the

first black face I ever saw on TV! How do ya reckon that made me feel? I remember yellin’

out: Mum, there’s an Aboriginal on the telly. How did he get in there!

CHARACTER PROGRESSION: COMMUNICATION OF AGE

Discuss how many points in time Jimmy appeared at, and how the different ages of Jimmy

were communicated.

Break into groups. Each group decides on two moments from the play, showing Jimmy at

different ages. They are to recreate these moments as accurately as possible, but in silence.

After groups have rehearsed the physical recreation of their selected moments, allow them

to add voice, using gibberish or a single word in place of the text. This encourages students

to consider stance, gesture, spatial relationships, pitch, pace, etc.

Each group shares their rehearsed performance to the rest of the class, who reflects on the

directorial and performative choices made which communicated Jimmy’s character

progression/ages.

TIME AND PLACE: SCENE TRANSITIONS

Country Song employs a non-linear structure and interweaves multiple storylines. What

challenges does the absence of a chronological structure or singular storyline provide for the

creative team?

How was time and place communicated? Consider the use of lighting, projection, language,

and skills of performance. Choose an example transition which made the change in time

and place clear. Discuss:

- Was the transition instant or gradual?

- What conventions were used? What style do these fit under?

- How did the stage action (language, performance skills) work together with technological

aspects (lighting, sound, projection) to communicate the time and place?

- Was the transition effective in maintaining audience engagement?

- How did the inclusion of these scenes contribute to the dramatic meaning? What

importance do they have in Jimmy’s story/memories?

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Discuss the inclusion of scenes that took place outside a “real world” place and time, or in

an indistinct place and time:

- Did the scene represent a psychological place, e.g. dreamscape, imagination?

- Did the scene take place on a spiritual plane?

- Was the scene an abstract representation?

- How did this management of time and place impact the dramatic meaning?

- What function did the scene play in the show as a whole?

- How did the scene manipulate tension and mood?

Workshop a transition of time and place, using sound, light/colour, and body to communicate

the change. Observe the need for the multiple aspects to work together in order to effectively

communicate the dramatic meaning. Scenes for transitions could include flashbacks,

flashforwards, dreamscapes, and chronological progression. Consider instant “snap”

transitions as well as the use of song in a slow transformation.

SONG

As a whole class, select a story that everyone knows (e.g. a fairytale or a play/book that

everyone has studied.)

Break the class into groups and have them find their own space. Assign each group an album

which they can listen to online or with a CD player. The groups are to select one song from

the album to use as part of a retelling of the chosen story.

Groups select a part of the story to tell and create a short scene which uses their selected

song. The song could be performed by the actors on stage or it could accompany action. The

song could be broken up and interspersed with dialogue or occur in the middle of a scene.

Depending on students’ existing knowledge of performance styles you may wish to scaffold

this by providing specific styles/conventions, (e.g. monologue, realistic dialogue, physical

theatre) or you could leave it open and have them focus on the conventions that work best

for their selected scene.

Each group rehearses and presents their scenes.

Discuss the combination of song and dramatic action. Were they complementary? Did each

add something to the scene?

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MUM (continues, sings): Oola oola oola Ay Yippee yay yippee yay Goo wana goog wana Goo

wana goo wana Goo wah-choo!

Mum smiles and speaks to the washing basket.

MUM: Don’ ever stop singin’. Loud and proud. It’ll get ya through all your days. Good ones

and bad ones.

Reflect on the use of music in Country Song:

- What did the different songs contribute to the show?

- How was the style informed by the subject matter?

- Identify uses of musical theatre conventions such as the showstopper and the reprise.

- What was the effect when harmonies were sung from the darkness?

- Compare the penultimate and the final song. How did each song manage focus differently?

E.g. creating a sense of openness and grand scale versus an intimate and personal

moment.

- The songs in Country Song are part of the subject matter as well as creating mood etc.

Which song was most effective at engaging the audience and how were performance

skills used to do this?

ANALYSING MUSIC

As a class, discuss the various songs usezxd throughout the show and choose one to analyse.

What was the function of the song within the show? (There may be multiple functions. E.g.

creation of mood, layering thematic meaning, narration of plot, symbolic, introduction of a

character.) Consider the point in the show at which the song was used.

How did the elements of music support this function? See below for a list of elements used

in music analysis.

Pitch Duration Timbre

Melody

Harmony

Tonality

Tempo

Pulse / Beat / Metre

Rhythm

Silence

Instrumentation

Tone colour

Articulation

Texture Expressive Devices Structure

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Layers

Density of sound

Dynamics

Articulation

Motifs

Repetition

Contrast

Consider the following:

Pitch (Melody) - Draw the contour of the melody or a section of the melody, considering how

varied the pitch was. A rising pitch can often indicate a hopeful mood, a downward melody

may indicate sadness or finality.

Pitch (Harmony) - Did the different voices/instruments harmonise and sound pleasant

together (suggesting peace) or were they dissonant (creating tension)?

Duration (Metre) - Was the song in common time (4/4), a waltz (3/4), or a more unusual time

signature? Was it easy to clap along to? A shifting time signature may create tension

whereas the use of common time feels more regular and danceable.

Timbre - Describe the tone quality of the instruments (including voices). Consider adjectives

like sweet, mellow, brassy, warm, clean, etc. Did the different sounds complement each

other?

Texture - How thick was the sound? How many different sounds could you hear at once?

Were they in rhythmic unison (suggesting peacefulness or grandness) or did they create

polyrhythms (adding complexity, suggesting energy or confusion)?

Expressive devices (Dynamics) - Graph the song showing the use of dynamics from

pianissimo (very soft) to fortissimo (very loud.) Were there sudden changes (creating tension)

or minimal/gradual changes (suggesting stability)?

Elements of Drama

Dramatic Focus

Space

Role

Relationships

Situation

Place

Time

Tension

Language

Movement

Mood

Symbol

Character

Contrast

Dramatic Meaning

In addition to the show-specific activities on the previous pages, the following activities can

enhance your students’ understanding of the elements more generally:

22

Situation/Role/Relationships: Explore blank text to demonstrate how directorial and

performance choices communicate the human context.

Situation/Tension: Ask two or three students to move around the stage. Then ask them to

move around the stage as if they are looking for something. Repeat, but this time they are a

bomb squad who need to detonate a bomb which could explode any second. Discuss the

increased tension when the situation was specific, and how the performers communicated

this.

Focus/Contrast: Explore the creation of dramatic focus through contrast by selecting one

student who everyone else must make the focus through contrast in levels, movement,

shape, etc.

Focus/Tension: Play freeze games e.g. Grandma’s Footsteps to explore Tension of the Task.

Observe the way personal focus (skill of performance) helps create dramatic focus.

Role/Character/Relationships: Explore Laban movement styles and observe the impact of

physicality on characterisation. Workshop how relationships can be communicated through

body language, use of space, vocal tone, etc. Play short three-person scenes that explore

obvious status dynamics.

Language/Sound: Voice workshops are a brilliant starting point. Have students become

aware of their breath, throat and diaphragm. Consider doing an accent workshop. Have them

work with scripts to explore clarity, volume, pitch, pace, inflection, emphasis and pause.

Consider how atmosphere can be created using soundscapes and body percussion. Explore

scenes that use no sound or language.

Atmosphere/Mood/Symbol: Watch some film excerpts that use music to guide the audience’s

feelings in a scene. Consider the use of colour and set in costumes and what they mean to

the audience.

Audience Engagement/Dramatic Meaning: At the conclusion of every exercise always ask

the class what it was about the Elements of Drama that made the audience feel engaged in

the action on stage and what they understood was happening on stage because of that

element. In adding this in to your classroom discussion you are helping your students

become critical thinkers and theatre appreciators.

23

ASSESSMENT RESOURCES

SUGGESTED ANALYSIS QUESTIONS

Narrative - Briefly outline the plot, referring to dramatic structure. Then evaluate how

effectively the play engaged the audience.

Themes and Issues - What lessons or questions does the play hold for a contemporary

audience? How effectively did the play communicate this meaning?

Style and Conventions - What style(s) were evident in the play? Did the choice of style(s)

and conventions engage the audience? Provide specific examples in your evaluation.

Role - How effectively did the play manage role? Refer to two specific examples to show

how the actors used skills of performance to manage multiple roles.

Character - Which character was the most well-developed? Did the portrayal of this

character encourage empathy? Refer to the actors’ skills of performance in creating a well-

developed character as well as directorial choices which layered meaning.

Place and time - When and where is the play set? How did the play manage the changes in

time and place? Choose two examples and explain, by referring to dramatic action, how the

audience knows where and when each scene is set.

Dramatic focus - How did the play engage the audience through dramatic focus?

Dramatic tension - How did the play manage tension? Provide an example of a scene that

was particularly effective in managing tension. What type of tension was it (e.g. task,

relationships?) How did the dramatic action create tension?

Mood - Describe the mood throughout the play visually. E.g. a graph or a timeline. How was

this achieved through directorial choices? How did the mood of each scene support the

communication of dramatic meaning? Explain using a specific example.

Contrast - What sources of contrast were evident in the play? Provide a specific example

and evaluate its effectiveness in engaging the audience and communicating dramatic

meaning.

24

SUGGESTED PARAGRAPH STRUCTURE

The following structures are based on the “TEXAS” method for paragraph writing.

Option 1: Element of Drama

Topic - State the element of drama to be discussed and your position re: how effectively it

was managed.

Explain - Explain your position referring to how effectively the element was managed to

communicate dramatic meaning.

eXample - Clearly describe one example from the show.

Analysis - Analyse this example by referring to how the dramatic action communicated

dramatic meaning.

(If needed, repeat the example/analysis process for a second example.)

Sum up - Conclude your paragraph and restate your position.

Option 2: Aspect of Dramatic Meaning

Topic - State the aspect of dramatic meaning to be discussed and your position re: how

effectively it was communicated.

Explain - Explain your position referring to how effectively the aspect of dramatic meaning

was communicated through dramatic action.

eXample - Clearly describe one example from the show.

Analysis - Analyse this example by referring to the elements of drama and skills of

performance.

(If needed, repeat the example/analysis process for a second example.)

Sum up - Conclude your paragraph and restate your position.

25

POSSIBLE ASSESSMENT TASK: RESPONDING

CONTEXT: In addition to a mainstage performance season at QPAC in August, Country Song

will travel to three other regions (Lismore, Geelong, and Wollongong) in 2015. Is this

programming decision supported by the quality of the work? After seeing Country Song, you

will analyse the performance to conclude its worth for a national tour, taking into

consideration the likely breadth of audience ages, familiarity with Little’s music, etc.

TASK: How successful was Country Song at communicating meaning to a broad

contemporary audience? As an academic writer, you will employ your detailed and specific

knowledge and understanding of drama to analyse and evaluate how effectively the

performance employed the dramatic languages.

Your essay should specifically address the following:

• What dramatic style(s) and conventions did the performance use? How effective were

these choices in the context of Australian theatre?

• How did the performance manage dramatic focus and/or tension to engage the

audience and communicate dramatic meaning?

• How effectively did the performance communicate the human context? Refer to

language, movement and the actors’ skills of performance.

• Were the characters engaging? Discuss with reference to language, movement,

contrast, and skills of performance.

• How did the performance communicate dramatic meaning with a non-linear

structure and multiple narratives?

• What was the dominant theme or message of the play? How was this

communicated?

• Overall, how effective was the performance at creating meaning for a contemporary

audience?

You need to clearly articulate your argument, ensuring that you justify your evaluation with

specific examples from the performance.

You must use appropriate drama terminology. There is no need to define basic terms such

as the elements of drama - you are writing for an informed audience.

26

POSSIBLE ASSESSMENT TASK: FORMING

Original Dramatic Concept

Style: Biographical drama

Example of practice: Country Song by Reg Cribb

TASK: Choose a person whose story you believe is worth telling. They could be an artist,

writer, sportsperson, inventor, etc. They may be well known or largely unknown but make

sure you will be able to research enough about their life.

You are to create an original devised concept for a show based on this person’s life.

In devising your concept, consider using a variety of dramatic conventions, such as:

• dialogue

• monologue

• narration

• song

• projection

• video

• poetry

You should refer to your research materials to guide the development process but are free to

use imagined events as well to complement the story.

You are to submit an outline of your devised concept which clearly outlines the narrative

structure and includes annotations showing choices about your management of the dramatic

languages in relation to purpose, context and meaning. I.e. how you will manage dramatic

action and justification for your choices. Include explanations and examples for each main

convention that your performance will use.

27

APPENDIX

JIMMY LITTLE BIOGRAPHY

From The Jimmy Little Foundation: http://www.jlf.org.au/jimmy-little/

Jimmy was a celebrated and beloved Australian Aboriginal musician, actor and advocate

whose career spanned six decades. A Yorta Yorta man, he was raised on the Cummerangunja

Mission in New South Wales.

Jimmy recorded his first single in 1956 and rose to prominence as an Aboriginal entertainer

throughout the 1960s, some years before the 1967 referendum. He topped the charts and

became a household name with 'Royal Telephone' in 1963, which sold over 75,000 copies

and went gold. His nation-wide profile continued to grow through regular TV appearances,

radio airplay and constant touring. Jimmy also began acting in the late 50s with a major role

in Shadow of the Boomerang followed by performances in stage plays including Black

Cockatoos and a film by Tracy Moffatt and Wim Wenders Until the End of the World.

In the 70s, Jimmy was hailed as one of Australia's founding and premier country music stars

but he also remained fond of orchestral and other genres of music, exploring other musical

directions in a number of recordings and performances. In the 80s, Jimmy began working

with young people at the Eora Centre in Redfern, becoming known as a role model and

mentor for Indigenous youth, and from 2000 was a Guest Lecturer at the University of

Sydney's Koori Centre. In 1999, Jimmy received an ARIA award for Adult Contemporary

album with Messenger, which reached the top 10 of the alternative music charts, introducing

Jimmy to a new, younger audience. That same year, Jimmy was inducted into the ARIA

Australian Music Hall of Fame.

Throughout his illustrious career Jimmy received every major Australian music industry

award, plus several honorary doctorates. Jimmy was the recipient of the National Aboriginal

Day of Observance Committee’s 'Aboriginal of the Year' award in 1989, was named NSW

Senior Australian of the Year in 2002, and received the Australia Council’s Red Ochre Award

in 2004. He was awarded an AO (Order of Australia) for his continued work with Indigenous

Health and Education programs, and in 2004, a public vote named him 'a living Australian

treasure'.

Jimmy was the patron of The Indigenous Doctors Association of Australia, an ambassador for

The Fred Hollows Foundation and Kidney Health Australia. Dr Little was also an ambassador

for literacy and numeracy with the Federal Department of Education Science and Training.

28

Jimmy founded the Jimmy Little Foundation in 2006 to improve renal health across

Indigenous communities in regional and remote Australia.

29

TIMELINE: 1937 - 1973

From http://www.creativespirits.info/aboriginalculture/history/aboriginal-history-timeline-

1900-1969#axzz3brOKClWU

1937: Aboriginal Welfare - Conference of Commonwealth and State Authorities called by

the federal government, decides that the official policy for some Aboriginal people is

assimilation policy. Aboriginal people of mixed descent are to be assimilated into white

society whether they want to be or not, those not living tribally are to be educated and all

others are to stay on reserves.

In practice, assimilation policies lead to the destruction of Aboriginal identity and culture,

justification of dispossession and the removal of Aboriginal children.

“In 50 years we should forget that there were any Aborigines in this country.”

—A.O. Neville, Western Australian Chief Aboriginal Protector

Segregationist practices continue until 1960s with separate sections in theatres, separate

wards in hospitals, hotels refusing drinks and schools able to refuse enrolment to

Aboriginal children.

1938: 150 years after European occupation the Aboriginal Progressive Association declares

a Day of Mourning. An Aboriginal conference is held in Sydney. These are the first of many

Aboriginal protests against inequality, injustice, dispossession of land and protectionist

policies.

1939: The first-ever mass strike of Aboriginal people in Australia occurs, called the

Cummeragunja Walk-off. Over 150 Aboriginal people pack-up and leave Cummeragunja

Aboriginal Station in protest at the cruel treatment and exploitation of residents by the

management.

1946: Aboriginal children need a medical certificate to attend public schools.

1950: Aboriginal children assimilate into NSW local schools, if all other parents agree. This

right of veto is removed in 1960.

1965: Integration policy is introduced, supposedly to give Aboriginal people more control

over their lives and society.

The Aboriginal and Torres Strait Islanders’ Affairs Act, passed in Queensland, gives the

Director of Aboriginal Affairs considerable power over ‘assisted Aborigines’. For example,

an assisted Aboriginal person could be detained for up to a year for behaving in an

‘offensive, threatening, insolent, insulting, disorderly, obscene or indecent manner’ or

‘leaving, escaping or attempting to leave or escape from the reserve’.

30

12 - 26 February: Charles Perkins leads a freedom ride by Aboriginal people and students

through north-western New South Wales in support of Aboriginal rights. The ride

demonstrates the extent of discrimination against Aboriginal people in country towns,

including refusal of service in shops and segregated cinemas, swimming pools, hotels and

clubs.

May: After entering in 1963, Charles Perkins becomes the first Aboriginal university

graduate at University of Sydney with a Bachelor of Arts. He is also the first Aboriginal

Australian to graduate from university.

1967: More than 90% of voters in the national referendum vote to empower the

Commonwealth to legislate for all Aboriginal people and open means for them to be

counted in the census. Hopes fly high that constitutional discrimination will end.

1968: Lionel Rose beats bantamweight ‘Fighting’ Harada in Tokyo to become the first

Aboriginal world boxing champion. He goes on to receive the Australian of the Year award

the same year.

1972: The Aboriginal Tent Embassy is pitched outside Parliament House in Canberra,

demonstrating for land rights.

The Whitlam (Labor) government abolishes the White Australia Policy and introduces a

policy of self-determination. The Department of Aboriginal Affairs was established. By

1975 offices had been established in all states and only Queensland had not transferred to

the department all major responsibilities for Aboriginal policy and administration.

1973: The Whitlam government introduces the first Department of Aboriginal Affairs (DAA),

employing Aboriginal people for Aboriginal issues. The DAA begins a national programme

to improve health services for Aboriginal people. It also introduces the first national body

elected by Aboriginal people, the National Aboriginal Consultative Committee (NACC),

which has only an advisory role, however. Aboriginal people elect the members.

31

RESOURCES

Download the

program

http://www.queenslandtheatre.com.au/

Plan-Your-Visit/Download-a-Program

Music Buried Country: The Story of Aboriginal

Country Music - About the Show

http://www.nitv.org.au/fx-

program.cfm?pid=391f87e7-f82d-

0770-c211d8142e412493

Buried Country: The Story of Aboriginal

Country Music - About the Project

http://www.clintonwalker.com.au/burie

d-country.html

Murundark: Songs of Freedom film

http://www.murundakdocumentary.com

/artists/jimmy-little/

Brennan, Peter & Latta, David. (1991)

Australian Country Music. Random

House, Sydney

McFarlane, Ian. (1999) Encyclopedia of

Australian Rock and Pop. Allen &

Unwin, Sydney

Jimmy Little Biography

http://www.jlf.org.au/jimmy-little/

Discography

http://www.creativespirits.info/resource

s/music/jimmy-little#axzz3brOKClWU

Obituary

http://www.abc.net.au/news/2012-04-

02/jimmy-little-dies-aged-75/3927756

32

Auriel Andrew Biography, Music, Photos and Videos

http://www.aurielandrew.com/

Big Mob Radio show with Andrew

remembering Jimmy Little

http://pbsfm.org.au/node/15838

Lionel Rose Biography and photos

http://www.kooriweb.org/foley/images/

history/1960s/lionel/rosedx.html

Recording of Rose winning the World

Title against Harada

http://aso.gov.au/titles/radio/lionel-

rose-wins-world-title/clip1/

Bobby Mcleod Interview with McLeod

http://www.deadlyvibe.com.au/2007/1

1/bobby-mcleod/

Personal statement

http://www.kooriweb.org/foley/heroes/

mcleod.html

Radio National radio show, A tribute to

Bobby McLeod

http://mpegmedia.abc.net.au/rn/podcast

/2009/06/aye_20090613_1800.mp3

33

Australian

National

Anthem

God Save The Queen - song

https://www.youtube.com/watch?v=sK

m7SNC-Ntw

Information about the history of the

Australian national anthem

http://www.naa.gov.au/collection/fact-

sheets/fs251.aspx

http://www.australia.gov.au/about-

australia/australian-story/austn-

national-anthem

Full lyrics of Advance Australia Fair

http://www.hamilton.net.au/advance/ly

rics.html

Indigenous perspectives on the national

anthem

http://www.creativespirits.info/aborigin

alculture/politics/national-anthem-

advanced-aboriginal-

fair#axzz3brOKClWU

Kutja Australia - a version of Advance

Australia Fair in Luritja language

http://www.tedegan.com.au/kutju.htm

34

1965 Freedom

Ride

Chronological explanation with

photographs

http://indigenousrights.net.au/civil_right

s/freedom_ride,_1965

Explanation and legacy of the Freedom

Rides

http://perkinsforfreedom.weebly.com/fr

eedom-rides.html

Detailed commemoration of 1965

Freedom Ride

http://aiatsis.gov.au/exhibitions/1965-

freedom-ride

Charles Perkins explaining the

motivation for the Freedom Ride

http://dl.nfsa.gov.au/module/1554/

Video explanation

http://splash.abc.net.au/home#!/media/

1817460/Leading-the-Freedom-Ride-

in-1965

35

Aboriginal

Culture and

Identity

Understanding Culture

http://www.shareourpride.org.au/sectio

ns/our-culture/

Music, Law, and Culture in Aboriginal

Australia

http://www.australianmusiccentre.com.

au/resonate/article/living-songs-music-

law-and-culture-in-aboriginal-australia

Poetic Journey through Personal Identity

http://splash.abc.net.au/home#!/media/

1422747/a-poetic-journey-through-

personal-identity

Songlines

http://dl.nfsa.gov.au/module/1566/

Yorta Yorta language radio program

http://www.abc.net.au/local/stories/201

3/03/26/3723934.htm

The Yorta Yorta Nation Aboriginal

Corporation

http://www.yynac.com.au/about.php

First Australians TV series

http://www.programs.sbs.com.au/firstau

stralians/content/

36

Stolen

Generations

Bringing Them Home: Report of the

National

Inquiry into the Separation of Aboriginal

and Torres Strait Islander Children From

Their Families - Human Rights and

Equal Opportunities Commission, 1997

Coolungar Thieves by Graeme Dixon

http://newint.org/features/1999/04/01/

coolungar/

Personal stories of forced removal, plus

poems and images

http://www.creativespirits.info/aborigin

alculture/politics/stolen-generations-

stories#axzz3brOKClWU

Civil Rights The struggle for justice for the Yorta

Yorta Nation

https://www.abl.com.au/ablattach/ALJ0

404.pdf

History of Self-Determination

http://www.australianstogether.org.au/s

tories/detail/self-determination

Fighting for Civil Rights 1920-1970

http://treatyrepublic.net/content/little-

things-big-things-grow-fighting-

indigenous-rights-1920-%E2%80%93-

1970