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AbstractHistoryArchive Description
'The friendship between an Aboriginal boy and a white girl raises issues of race in a touching story of two families who seem to have nothing in common, until danger strikes, forcing them to face their prejudices. (Source: Publisher's blurb)
Production Details
-
- Play with music.
- First produced in the Come-Out Festival at the Ardrossan Area School, SA, 29 April 1985.
-
CAST:
Shane Abdullah, Melissa Bickerton, Leslie Dayman, Lynette Narkle, and Michael Watson.
DIRECTOR:
Richard Tulloch
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Nostalgic Return for Honey Spot
2010
single work
review
— Appears in: Koori Mail , 30 June no. 479 2010; (p. 60)
— Review of Honey Spot 1987 single work drama -
Davis Play Hits the Spot
2010
single work
review
— Appears in: The West Australian , 21 June 2010; (p. 2)
— Review of Honey Spot 1987 single work drama -
y
Creating Frames : Contemporary Indigenous Theatre : 1967-1990
St Lucia
:
University of Queensland Press
,
2004
Z1109707
2004
single work
criticism
From publisher's blurb (back cover): Creating Frames provides the first significant social and cultural history of Indigenous theatre across Australia. As well as using archival sources and national and independent theatre company records, much of this history is drawn from interviews with individuals who have shaped contemporary Indigenous theatre in Australia - including Bob Maza, Jack Charles, Gary Foley, Justine Saunders, Weley Enoch, Ningali, and John Harding...
Creating Frames traces the history of production of texts by Indigenous Australian artists from 1967 to 1997. It includes productions in theatres of texts by Indigenous Australian artists, collaborations between Indigenous and non-Indigenous artists, and adaptations of texts by Indigenous artists. The focus is public urban commercial productions and includes national and international premieres and tours. 'Commercial' is used here in the sense of public presentations open to any potential audience member as distinct from closed community productions. The focus does not include radio plays, millennia of traditional practices, performances devised and performed within communities, or community outreach/education theatre initiatives such as HeatWorks in the Kimberley. Even within these limits the constraints of space have affected the number of productions that can be covered in detail.
Throughout this thirty year period, particular themes recur, these themes relate to the ways in which the external framing of the work either facilitates or blocks production. These themes often relate directly or indirectly to concepts of 'authenticity' and/or 'Aboriginality' - in effect the 'acceptable' face of Aboriginality within government and social narratives at any point in time. The strength and power of these themes as frames for the work has drawn on generally accepted understandings of Australian history and the ways in which these are manipulated in the service of political agendas. These frames fall into three main categories within the thirty year period - assimilation, multiculturalism and reconciliation. This production history reveals that, rather than Euro-Australian theatre practitioners creating an environment that enabled Indigenous theatre practice, Indigenous artists have taken their own initiative. An initiative they continue to take whilst simultaneously contesting the primarily external frames that define their work and affect their production possibilities.
(Abstract courtesy the author.)
-
`Talking Country' : Place and Displacement in Jack Davis's Theatre
1994
single work
criticism
— Appears in: Jack Davis : The Maker of History 1994; (p. 60-71) -
Untitled
1989-1990
single work
review
— Appears in: Australasian Drama Studies , October/April no. 15-16 1989-1990; (p. 187-189)
— Review of Honey Spot 1987 single work drama ; The Dreamers 1982 single work drama ; No Sugar 1980 single work drama
-
Davis Play Hits the Spot
2010
single work
review
— Appears in: The West Australian , 21 June 2010; (p. 2)
— Review of Honey Spot 1987 single work drama -
Nostalgic Return for Honey Spot
2010
single work
review
— Appears in: Koori Mail , 30 June no. 479 2010; (p. 60)
— Review of Honey Spot 1987 single work drama -
Untitled
1985
single work
review
— Appears in: The National Times , 31 May-6 June 1985; (p. 33)
— Review of Honey Spot 1987 single work drama -
Untitled
1985
single work
review
— Appears in: The Advertiser , 15 May 1985; (p. 33)
— Review of Honey Spot 1987 single work drama -
Untitled
1985
single work
review
— Appears in: The National Times , 31 May-6 June 1985; (p. 33)
— Review of Honey Spot 1987 single work drama -
y
Creating Frames : Contemporary Indigenous Theatre : 1967-1990
St Lucia
:
University of Queensland Press
,
2004
Z1109707
2004
single work
criticism
From publisher's blurb (back cover): Creating Frames provides the first significant social and cultural history of Indigenous theatre across Australia. As well as using archival sources and national and independent theatre company records, much of this history is drawn from interviews with individuals who have shaped contemporary Indigenous theatre in Australia - including Bob Maza, Jack Charles, Gary Foley, Justine Saunders, Weley Enoch, Ningali, and John Harding...
Creating Frames traces the history of production of texts by Indigenous Australian artists from 1967 to 1997. It includes productions in theatres of texts by Indigenous Australian artists, collaborations between Indigenous and non-Indigenous artists, and adaptations of texts by Indigenous artists. The focus is public urban commercial productions and includes national and international premieres and tours. 'Commercial' is used here in the sense of public presentations open to any potential audience member as distinct from closed community productions. The focus does not include radio plays, millennia of traditional practices, performances devised and performed within communities, or community outreach/education theatre initiatives such as HeatWorks in the Kimberley. Even within these limits the constraints of space have affected the number of productions that can be covered in detail.
Throughout this thirty year period, particular themes recur, these themes relate to the ways in which the external framing of the work either facilitates or blocks production. These themes often relate directly or indirectly to concepts of 'authenticity' and/or 'Aboriginality' - in effect the 'acceptable' face of Aboriginality within government and social narratives at any point in time. The strength and power of these themes as frames for the work has drawn on generally accepted understandings of Australian history and the ways in which these are manipulated in the service of political agendas. These frames fall into three main categories within the thirty year period - assimilation, multiculturalism and reconciliation. This production history reveals that, rather than Euro-Australian theatre practitioners creating an environment that enabled Indigenous theatre practice, Indigenous artists have taken their own initiative. An initiative they continue to take whilst simultaneously contesting the primarily external frames that define their work and affect their production possibilities.
(Abstract courtesy the author.)
-
`Talking Country' : Place and Displacement in Jack Davis's Theatre
1994
single work
criticism
— Appears in: Jack Davis : The Maker of History 1994; (p. 60-71)