Book lists and reviews

Here are my lists, discussions and reviews:

https://missshipp.wordpress.com/book-lists-reviews/

The authority on this topic is Anita Heiss, with the Macquarie PEN Anthology and Black Words database – https://www.austlit.edu.au/blackwords

Key publishers include:

Magabala books: www.magabala.com

UQP:  www.uqp.com.au/books/~/category_fiction_indigenous  

Fremantle Press: www.fremantlepress.com

IAD Press: www.iadpress.com

Indij Readers: www.indijreaders.com.au

Black Ink Press: www.blackinkpress.com.au

Aboriginal Studies Press: www.aiatsis.gov.au/asp/welcome.html

 

Book posters

 

Exciting new podcast!

“Extraordinary Voices for Extraordinary Times is a monthly poetry podcast brought to you by UQP in collaboration with the Copyright Agency’s Cultural Fund. Hosts Ellen van Neerven and Omar Sakr will be joined by guest poets as they take up the challenge to write new responsive poetry in a short amount of time”.

Extraordinary Voices for Extraordinary Times

 

 

How do I verify authentic resources when planning units of work with Aboriginal and Torres Strait Islander perspectives?

Use the Queensland Curriculum and Assessment Authority’s  ‘Checklist for Selecting and Evaluating Resources’

https://www.qcaa.qld.edu.au/downloads/approach2/indigenous_g008_0712.pdf 

Use the Queensland Curriculum and Assessment Authority resources: https://www.qcaa.qld.edu.au/about/k-12-policies/aboriginal-torres-strait-islander-perspectives

 

Questions to ask about texts:

Who wrote it?

Whose perspectives is it representing?

What history does it require an understanding of? (missions, stolen generations – whose timeline?)

What languages are used? (slang, Aboriginal English, traditional language)

 

Questions to ask about service providers:

Where are they from? (First Nations country/community)

Who are they connected to in the community?

What are the local elders’ relationships with these providers?

How many other local First Nations community members are they connected with?

Are they open to working with other community members or do they demand sole partnership with your school/context?

(if these questions are answered relatively easily or are self-evident after you have spent a little bit of time talking with the provider, then you are probably working in an authentic space).

Ask your community contacts. Listen to their advice. If they become annoyed that you have engaged someone they don’t feel is authentically connected with the local community, simply apologise, take their advice and either stop working with the provider or seek guidance to implement parameters around the school’s relationship with them (e.g. they can talk about their personal experience as an artist but are not to share language or personal political views as per local elders’ advice).

 

Other good general authentic resources:

Victor Steffensen (fire man)

http://www.livingknowledgeplace.com.au/

Prof Marcia Langton, Uni of Melbourne – project – comprehensive teacher resource

https://indigenousknowledge.research.unimelb.edu.au/

Dreaming is in us all, is everywhere (doesn’t neatly fit into Western knowledge disciplines) – http://www.aboriginalastronomy.com.au/

Trusted institutional resources:

 

Why casual racism hurts

Would you like to know what happens to my insides when you say a word like ‘Abo’, or some other insult to my people?

My body temperature rises and I get heart palpitations. My heart breaks and my head throbs. I feel sick and my mind goes blank and I don’t know where to begin processing what’s just happened. I tremble with rage and deep, deep, sorrow.

Is it a panic attack?

Panic knowing that I now have to decide whether to address the incident. How much is at stake? Is it worth it? Do I have the energy?

Panic knowing that I’ll have to explain myself, justify, and possibly have it diminished by those too uncomfortable or ignorant to really understand how it made me feel.

Panic knowing that how I respond will be watched and judged. Will I be seen as the typical angry Aboriginal? Will I cry and make a fool of myself, accused of playing the victim? Will I be seen as a militant bitch? Uptight? No sense of humour? Playing the Aboriginal card? Shoving my opinion down everyone’s throats? Will my reaction be challenged because I don’t look like an Aboriginal and I’ve got a good job and a nice life, so what’s my big problem?

Is it a panic attack knowing that the offending white person is actually more fragile than me in this situation, and I now have to be the strong one and carry them through their embarrassment, discomfort, insecurity and shame?  Step over my shattered heart and carry them.

For a moment I am 7 or 8 again, gulping with confusion as a teacher tells the class that Aborigines died out…I’m 14 and my neighbour yells at my dad calling him a black c*#t as he waters our front yard (“he’s just jealous, love,” dad would say to me, “I’ve got the best garden in the street!”)…I’m 17 and a boy I like stops talking to me when he finds out I’m Aboriginal.

For a moment I just want the earth to swallow me up.

It’s the same reaction, every time.

But I am strong. We are strong. My dad, my nan, my aunties and uncles have shown me the way. I compose myself and find a way to politely call out the behaviour, drawing a boundary around myself and my family and closing myself off for protection. We are strong. We have had to do this our whole lives.

I want to get up and walk out now. I want to never speak to you again. I want to refuse to support anything connected to you.

But I am strong. I am not removing my voice from this table. I put my mask on and continue working with you, joking, agreeing, so as to make sure everyone feels comfortable. Don’t want things to get too heavy, now.

I postpone my tears until I’m safe at home.

I’ve been through this before. My ancestors have been through much worse.

This is why I am stronger than you could ever imagine.

AATE 2019 Conference Reflections

To be ‘outside the square’ is to be OTHER

The square restricts, ticking boxes becomes the main game

We lose focus on what matters

To be made to sit in a square is to be assimilated: the square controls.

The square limits what you can become

It squeezes teachers and they become paranoid about transgressing boundaries

The square is lodged inside us and remains even if/when we return to our circle way of life

Round peg in a square hole.

 

In today’s AATE Pre-Conference Institute about Selecting and Teaching Indigenous Texts in the English Classroom, poet Ali Cobby Eckermann invited a response from the audience to her poem ‘Circles and Squares’ from her first collection, A little bit long time.

She asked us what we interpreted the squares in her poem to represent. She suggested that this may explain something about the hesitation teachers feel about introducing Indigenous texts into the classroom.

It struck me that not only do the squares represent the dominant colonising culture that Aboriginal and Torres Strait Islander people have had to contend with since 1788, but that the squares actually colonise us all:

– teachers are pushed into squares by government syllabi and standards, by timetables, by colleagues, by the families they work with, by social commentary about what is and is not acceptable in talking about Indigenous peoples, cultures and histories.

– Indigenous students are pushed into squares – disengaged, disadvantaged – the deficit rhetoric.

There is enormous value in slowing down awhile to resist the squeeze of the squares.  I urge teachers to make the time in their classrooms for this to happen.

Some of the key messages from acclaimed Aboriginal authors and academics at today’s Institute are collected at the bottom of this post.

The day ended with the official conference opening. It was an opportunity to mark and mourn the current reality facing Aboriginal and Torres Strait Islander people: children are being removed from Indigenous families at a higher rate than when the Bringing them Home report was tabled in 1997 and Kevin Rudd said ‘Sorry’ in 2008. This is something that the Family Matters Campaign is working to address.

I cried as I enjoyed Uncle Archie Roach’s performance and I cried for Barbara and Audrey in Larissa Behrendt’s After the Apology.  But I was also inspired and proud of the contributions so many Aboriginal and Torres Strait Islander people, such as those presenting today for AATE, make every day, in every community.

Larissa Behrendt reflected in her Garth Boomer Keynote Address that self-determination of Aboriginal and Torres Strait Islander people can sometimes be achieved by leading the way and speaking/acting for those most vulnerable in our society when they can’t for themselves; however, it is often more powerful to facilitate self-determination by creating the space for those vulnerable voices to come out on their own terms.

I immediately connected Larissa’s reflection with a comment in today’s workshop, where a teacher shared the story of a shy, young Aboriginal girl in her class who did not speak in class discussions and was too shy to deliver oral presentations. Emboldened by the class study of Ali Cobby Eckermann’s poem Grade One Primary, this young girl wrote her own story about her totem and shared it with the class, reciting it and then explaining its meaning. This girl was inspired and given courage to share her talents as a writer in a class where she would otherwise have remained silent. How simple it is: valuing your students’ voices in the classroom by representing their cultures in the texts you teach.

As Larissa Behrendt concluded tonight, the silences are as important as the words. Listen for the silences in your classroom and in your school. How can you take an wholistic approach to addressing those silences as a community?

Key points from speakers at the AATE Pre-Conference Institute

Tony Birch

  • Aboriginal and Torres Strait Islander writers are remarkably generous in sharing their work with audiences at festivals and in classrooms – they want to engage with readers
  • A classroom without Indigenous texts is bereft – the Aboriginal and Torres Strait Islander voices and points of view provide a reference point for students, with which to engage in political and social conversations
  • As a writer, Tony seeks to provide positive representations of Aboriginal people – he does not want to see them demonised, nor pitied. To feel sorry for someone is not an equitable relationship – you are still in power and the person you pity is placed in the position of feeling grateful for your pity. Birch doesn’t want to leave people at the end of a book wondering ‘where does this leave us?’; rather, he wants readers to find value in Aboriginal people
  • Saying we’re all the same devalues all of our stories – however, talk with students about the similarities and specificity of their contexts in relation to that of the contexts presented in Indigenous texts
  • Students generally approach Indigenous texts, and challenging topics, with courage and resilience – Birch has confidence in young people’s ability to engage with Aboriginal writing
  • If using a non-Indigenous author’s text on Indigenous topics, be aware of how they represent the topic, whose voice is heard, etc – and if possible complement with a text or point of view by an Indigenous person

Marcia Langton

  • SE QLD have closed the gap on Year 12 matriculation for Aboriginal and Torres Strait Islander students through individual case management, setting goals for districts and schools to work towards, and strong departmental leadership. SUCCESS IS POSSIBLE.
  • While we discuss great literature by Indigenous authors, remember that music is the key storytelling tool for Aboriginal and Torres Strait Islander people (as is the case for most oral cultures). Start to bring music into the English classroom as a way to hear Indigenous voices, too. Marcia recommends studying Djapana, Sunset Dreaming which is discussed by Aaron Corn here.
  • Marcia’s latest project is a comprehensive teacher resource: https://indigenousknowledge.research.unimelb.edu.au/
  • Also recommended: http://www.aboriginalastronomy.com.au/
  • Marcia’s latest resource for youth would be excellent professional development for teachers wanting to understand more about Indigenous cultures and histories. It comes with comprehensive teacher’s notes.

welcome

Ali Cobby Eckermann

  • Indigenous writing is a manifestation of our hopes and a declaration that we are still here and thriving.
  • Challenge for teachers is to become wholistic practitioners and take an wholistic approach to incorporating Indigenous voices (understand histories and cultures, engage with community, connect personally and spiritually)
  • Engage with world Indigenous poetry to enrich the experience of reading the Australian Indigenous viewpoint – see parallels in other nations’ experiences of colonisation
  • Teacher’s role is to bring out the conversation that students offer – listen, respond, make space for student voice – young people are confident and are speaking out and they want to discuss the hard issues, they want to challenge

 

My presentation and handouts are available here: AATE 2019 Pre-Conference Institute.

 

 

 

Science cross-curriculum perspectives

I know this is primarily an English teachers’ blog….but wanted to share this great work led by Joe Sambono, a Jingili man working with ACARA:

https://www.australiancurriculum.edu.au/media/5086/ccp-tbi-7-10.pdf?fbclid=IwAR176VHs-oUwI6lMSme5LCFDrmznCsMCnJED7mH-1AINFzBb1OFZZuhcqj0

http://www.aeufederal.org.au/news-media/news/science-works

No excuses! Aboriginal perspectives in schools

Here is another great article challenging teachers to get outside their comfort zone and learn about Aboriginal and Torres Strait Islander peoples, cultures and histories. A good summary of top resources too. I would also add Victor Steffensen’s The Living Knowledge Place (http://www.livingknowledgeplace.com.au/index.php)

‘But I am NOT ABORIGINAL I don’t know how to do this stuff!’

 

 

8 Ways Aboriginal Pedagogy

An integrated HASS/Science unit applying the 8 ways Aboriginal pedagogy

This unit is designed around 6 full-day excursions with local Aboriginal rangers and cultural interpreters. Each lesson sequence describes one excursion and the related information and activities that can be delivered in the classroom. Contact details for the relevant traditional owners, rangers and cultural interpreters are available at the end of this document; teachers cannot engage authentically with this curriculum without consulting and collaborating with these key people.

Campbell High School Unit planner land management

For more information, contact myself or Adam Shipp, Yurbay Consultancies (formerly Greening Australia) – yurbayconsultancies@gmail.com; M 0414 454 571

8 ways pedagogy was developed and is managed by the Western NSW Regional Aboriginal Education Team, NSW Dept. of Education: https://www.8ways.online

See Tyson Yunkaporta’s thesis on the 8 ways here.

I have mapped the 8 ways framework to Quality Teaching, AITSL Standards and ACT Directorate have added ‘Good Teaching by Design’, attached here.

ACT ED & Campbell High School 8 ways and QTM FA AITSL GTBD

 

Reading Australia resources

I have written several units for Reading Australia with Aboriginal & Torres Strait Islander perspectives:

Melissa Lucashenko, Too Much Lip, for Yr 11/12

– in publication

Ellen van Neerven, Heat and Light, for Year 10-12

Heat and Light

Sue McPherson, Grace Beside Me, for Year 8

Grace Beside Me

Ruby Ginibi Langford, Don’t take your love to town, for Year 12

Don’t take your love to town

Les Murray, Collected Poems, for Year 11

Collected Poems

Reading Australia now has a partnership with Magabala Books and there will be units of work on Magabala titles coming soon.