1. “We are going” Pg 60 of Blue Light Clear Atoms
Oodgeroo Noonuccal
“We are going”
Pg 60 of Blue Light Clear Atoms

2. Voice What is “voice” in literature?
Perspective, point of view, personality of the perceived “speaker” of the text, or sub-text
Character voice – the person portrayed
Narrative voice – the teller of the story
Authorial voice – the impression conveyed by the creator
Personal voice - the tone and expression of a particular person
Cultural voice – the underlying social context
Voice is a personal attribute, usually associated with speech, talking, direct communication to another person. It is what carries the communication to another. There is the straight forward delivery of the bare message and there are tones and variations in expression that carry subtleties that embellish that message
Thus, as a literary device, it is the vehicle for communication
Note distinction between a “direct” voice – of the person directly concerned (character, narrative, author) and an analytical voice – defining the literary function being considered (personal, cultural)
Consider Dougy, Gracey, Angela series by James Moloney – separate character voices in all 3, but 3 different narrative voices over the 3 books, then a single authorial voice throughout the series. Cultural voice is represented from several perspectives thereby: European- Aboriginal

3. Voice How is “voice” conveyed? Personal voice
By the language characteristics of the “speaker”
Vocabulary, idiom, accent, grammar
Emotions, expression, tone
Cultural voice
By the issues expressed
By the social context of that expression
Cultural markers, that distinguish
Identity of the personal voice
Personal voice is oral, aural, literate
Cultural voice is contextual
Cultural markers - language and expression, religion and beliefs, history and attitudes etc. The aspects that distinguish that culture from others - what it has and had and how those affect current life.

4. Aboriginal voices in Australian Literature
Until recently, very, very little:
David Unaipon
Oodgeroo Noonuccal – Kath Walker
Last two decades, a rich and rapidly growing corpus
deriving directly from personal experience
presenting personal identity and culture with pride
Not so much “history at a distance” as “me in my world”
David Unaipon – collected, edited and published Myths and Legends of the Australian Aboriginals in 1930, but did not get his name on the book until the 2001 edition
Oodgeroo Noonuccal took her traditional name in 1988 in protest at the Bicentennial celebrations and as symbol of pride in heritage.
Albert Namatjira – world renowned artist, but was not allowed to control own life, money or destiny, convicted of buying grog for others – 1950s

5. The Questions Who has the right to tell Aboriginal stories?
Who has the authority to “own” them?
What are Aboriginal stories?
These are the questions that we will consider and for which you need to develop your answers.

6. Identity and cultural markers
Use of language – grammar, vocabulary, personal voice – “Kriol”, fullas
Place, setting and landscape – “fringe dwellers”
Family and relationship patterns
Activities, seasons and “circle of life”
Belief systems and religion
Relationship to European communities
Language – Kriol (Creole) a dialect of a language where much of another language (vocab, forms etc.) is blended so that it is effectively a new language. Usually associated with a group dominated by another, where the dominator’s language is imposed over the other.
e.g. Ernie Dingo’s stage accent, Girragundji uses Aboriginal terms (with Euro version, restated) while Sally’s story sticks to English,
Place and setting - Fringe Dwellers, on the edges of the European communities – physically at towns, or marginal land (desert fringes etc.) according to Euro uses. Tucker, Dougy/Gracey’s street, Nene Gare’s novel
“Circle of life” (from Lion King) the inter-relationship of activity, values, seasons and people – what is important, when and with whom. Whether it is an authentic cultural experience, or a mixture of societies depends on the individual case (e.g. Abdullah with seasonal work and foods on Murray), Girragundji’s cycle with wet/snakes/frog etc. And blending into life.
“Circle of life” can only happen in that place with those people – why? What makes it?
Essential nature of beliefs in the “religious” world - the meaning and definite security/confidence it gives
Relationship to European community is accepted, but not judged directly. That is left to the reader by the context

7. Political Context
Does this emphasis avoid the essentially political context of the situation of Aboriginal Australia?
All literature is political because it reflects its social context
The softer focus of childhood highlights the positive aspects of Aboriginal life, rather than the negative aspects of European treatment
Therefore, the attempt to “protect” children actually reaffirms the identity, dignity and survival of Aboriginal culture
Cf. The classifying of society by Marx and Hegel. Simply declaring or recognizing the distinction makes it political

8. “We Are Going” by Oodgeroo Noonuccal

9. We are going Clip description
In this clip, Oodgeroo Noonuccal reads her poem ‘We Are Going’ in full to an appreciative audience at the Harold Park Hotel in Sydney in 1986.
Curator’s notes
by Michael Weir
The recording was made at the Harold Park Hotel in Glebe, Sydney, which had a reputation for the variety of its live acts in the 1980s and ’90s. You can faintly hear ‘pub’ noise of people talking in the bar next to the reading, while it is quiet in the bar where Walker is reciting. This becomes evident by the sudden loud applause from the small crowd at the end.
The understated conviction in Oodgeroo’s voice adds to the poignanacy and beauty of the poem, making it all the more haunting as well as defiant.

10. Readings and Representations
Pain of dispossession
The eroding of culture
Non-indigenous people are considered as ant since they are busy at work and hurrying like ant
Bora grounds
The Aboriginal people felt neglected and left out by non-Aboriginals
They are considered as strangers even though they are the real owner of the sacred island
Treated like they don't belong in Australia

11. Themes
Colonization
Dispossession
Oppression

12. SKBS2213 Selected Literary Works
Literary Techniques
1. Personification
"Thunderer after him, that loud fellow" (S4, L2)
2. Simile
"White men hurry about like ants" (S1, L5)
3. Hyperbole
"...town a semi-naked band subdued and silent" (S1, L1-2)
SKBS2213 Selected Literary Works

13. SKBS2213 Selected Literary Works
4. Alliteration
"...subdued and silent" (S1, L2)
5. Symbolism
"We are the past, the hunts..." (S3, L3)
6. Repetition
"The bora ring is gone, the corroboree is gone" (S5, L4-5)
7. Metaphor
- "We are the lightning bolt over Gaphembah Hill" (S3, L4)
SKBS2213 Selected Literary Works

14. Tone DESPAIR, DEPRESSED, ANXIOUS
Suffer from the dispossession and cultural disinheritance which results into lost of identity, spirituality, way of life, happiness and freedom
Loss of hope
Confused and worried
SKBS2213 Selected Literary Works

15. MELANCHOLY (A Deep And Long-lasting Sadness) & GLOOMY
Mood
MELANCHOLY (A Deep And Long-lasting Sadness) & GLOOMY
Results from:
The pain of dispossession of the aboriginals’ right to cultural acceptance.
Ownership of their homeland
The whittling away of the traditional aboriginal
ways

16. SKBS2213 Selected Literary Works
What we can learn
We must have enough courage and self-confidence to voice out our opinions and thoughts when someone is trying to overtake our roles, power and rights.
We must uphold and maintain our traditions and culture and build a strong unity among each member of the community
We must be patient no matter how hard the obstacles are
We must love our country
SKBS2213 Selected Literary Works

17. Other poems: Municipal Gum- pg 61 Last of His Tribe- pg 62 Gifts- 62
The past- 63