honey spot - Sydney Opera House

HOUSE:ED 2012honeyspotTEACHERS’ RESOURCESStages 2,3&4Photo: Jon Green

INTRODUCTIONSydney Opera House acknowledges the traditional owners of country throughout Australia andtheir continuing connection to land and community. We pay our respect to them and theircultures, and to the Elders both past and present.These teachers’ notes have been designed to assist you with classroom preparation in relation to theperformance of Honey Spot. We hope that this resource will assist your students to further enjoy andenhance their performing arts experience back in the classroom. The pre- and post-show activities aredesigned for students from years 3-8 and some ideas for extending the activities are included.The activities included in this resource provide opportunities for students to explore the themes offriendship, racism and Reconciliation. Through exploring the themes presented in the play studentscan learn about Aboriginal language, belief systems and culture. The activities featured are designed tohelp your students understand the importance of Aboriginal identity, history and culture and affirmthe important place that Reconciliation and a shared history holds in their learning.NSW Board of Studies Syllabi has been used as guides for the planning of these activities. You shouldadapt the activities to suit the student age and stage of your class and the curriculum foci andoutcomes used in your school.Some websites are suggested throughout this resource. It is recommended that you first visit the sitesand assess the suitability of the content for your particular school environment before setting theactivities based on these.PERFORMANCE DESCRIPTION AND SYNOPSISOne of Jack Davis' most celebrated theatrical works, Honey Spot is given new life by the highlyacclaimed Yirra Yaakin Theatre Company.A young girl makes friends with the new boy at school. Peggy is a budding dancer and daughter of thelocal forest ranger. Tim lives in a forestry owned house and dances to the rhythm of his cousin'sdidgeridoo. As their friendship grows, Tim agrees to help Peggy create a dance piece for the balletscholarship competition - and together, they blend the earthy feel of traditional Noongar dance and thefluid grace of classical ballet into one.Honey Spot is a play about friendship and its power to bring worlds and cultures together. First stagedin Western Australia in 1985 during the emerging reconciliation movement, is presents an optimistic,funny and moving story about the power of friendship to overcome racial differences and prejudices.With a striking original score performed live on cello and didgeridoo, Honey Spot is an iconic piece ofIndigenous theatre for adults and children alike.CLASSROOM CONTEXT & CURRICULUM LINKSThis performance provides the classroom teacher with opportunities for learning activities that link tothe following curriculum areas:STAGE 2 & 3STAGE 4HSIE, English, Creative Arts – Drama, Visual Art, DanceEnglish, Drama, History

HONEY SPOTSTAGE 2:OUTCOMES AND INDICATORSENGLISHCREATIVE ARTS: DRAMARS2.5INDICATORSDRAS2.1INDICATORSReads independently a widerange of texts on increasinglychallenging topics and justifiesown interpretation of ideas,information and events. Makes inference about ideas implicit in a text Contributes to a class summary after reading orviewing Reacts to texts that express a point of view,using supportive argumentsTakes on and sustains rolesin a variety of drama formsto express meaning in a widerange of imagined situations.DRAS2.3 Interprets a wide range of imagined situations throughthe use of a various drama forms Takes on both individual and group rolesINDICATORSTS2.1Communicates in informaland formal classroomactivities in school and socialsituations for an increasingrange of purposes on a varietyof topics across thecurriculum.INDICATORS Justifies a point of view with supporting evidence Discusses and reflects upon a variety ofresponses and views Participate in class discussions on a variety oftopics Engages in improvisation or role-play based ontexts read, heard or viewedSequences the action of thedrama to create meaning forthe audience.DRAS 2.4Responds to, and interprets,drama experiences andperformances. Relates to an audience in performanceINDICATORS Shares the process of shaping and making their owndrama and the reasons for their choices Forms and exchanges opinions with others aboutdrama experiences and performancesHSIECREATIVE ARTS: DANCECUS2.3INDICATORSDAS2.2INDICATORSExplains how shared customs,practices, symbols, languagesand traditions in communitiescontribute to Australian andcommunity identities Identifies the advantages and disadvantages ofliving within a communityExplores, selects andcombines movement usingthe elements of dance tocommunicate ideas, feelingsor moods. Mirrors, complements and contrasts shapes Constructs sequences of movements that combineshapes Uses the elements of space and relationships to createmovement sequencesCREATIVE ARTS: VISUAL ARTDAS2.3INDICATORSVAS2.1Represents the qualities ofexperiences and things thatare interesting or beautiful bychoosing among aspects ofsubject matter.INDICATORS Focuses on details of subject matter and areas ofbeauty, interest, awe, wonder and delightGives personal opinionsabout the use of elementsand meaning in their ownand others’ dances. Responds to imagery through movement Observes and discusses the movements, shapes andtransitions in a movement sequence Considers and discusses how the processes of groupdecision-making have contributed to the constructionof a dance

HONEY SPOTSTAGE 3:OUTCOMES AND INDICATORSENGLISHCREATIVE ARTS: DRAMATS3.2INDICATORSDRAS3.3INDICATORSInteracts productivelyand with autonomy inpairs and groups ofvarious sizes andcomposition, useseffective oralpresentation skills andstrategies and listensattentively. Use gesture, posture, facial expression, tone of voice,pace of speaking to engage the interest of anaudience as culturally appropriate Uses a variety of ways to seek relevant information Uses group interaction strategies to workcollaboratively Uses a range of strategies to participatecooperatively in small-group discussions, e.g. takingturns, asking questions to gain more information,adding to the group’s ideaDevises, acts andrehearses drama forperformance to anaudience.DRAS3.4Responds critically to arange of drama worksand performance styles. Devises drama in collaboration with others using scriptedand unscripted material as resources for dramaperformances Devises, rehearses and acts in drama using voice andmovement skills to convey meaning to an audienceINDICATORS Forms and communicates opinions about a range ofdrama works created by themselves and others Evaluate drama performances in order to reflect upon andenhance their own drama work and the work of othersCREATIVE ARTS: VISUAL ARTCREATIVE ARTS: DANCEVAS3.3INDICATORSDAS3.2INDICATORSAcknowledges thataudiences respond indifferent ways toartworks and that thereare different opinionsabout the value ofartworks. Talks about and writes about the meaning ofartworks recognising how artworks, can be valued indifferent ways by themselves as audience members,and by others Identifies some of the reasons why artworks aremade (e.g. the artist’s personal interest andexperience, a work commissioned for a site, a workmade to commemorate an event in a community) recognises that an artist may have a different viewabout the meaning of the work he or she has made, tothe view of an audience who responds to it recognises that views about artworks can changeover time and are affected by different theories andbeliefsExplores, selectsorganises and refinesmovement using theelements of dance tocommunicate intent.DAS3.3Discusses and interpretsthe relationship betweencontent, meaning andcontext of their own andother’s dances. Develops and refines movement sequences that areinfluenced by contemporary Aboriginal styles of danceINDICATORS Associates dance with the values and meaning ofAboriginal storytelling

HONEY SPOTSTAGE 4:OUTCOMES AND INDICATORSENGLISHOUTCOME 4INDICATORSOUTCOME 6INDICATORSA student uses anddescribes language formsand features, andstructures of textsappropriate to differentpurposes, audiences andcontexts.OUTCOME 10A student identifies,considers andappreciates culturalexpression in texts.4.6 use Standard Australian English, its variations anddifferent levels of usage appropriatelyINDICATORS10.1 recognise and consider cultural factors, includingcultural background and perspective, whenresponding to and composing texts10.2 identify and explore the ways different cultures,cultural stories and icons, including Australianimages and significant Australians, includingAboriginal Australians, are depicted in texts10.3 identify and describe cultural expressions in texts10.4 identify and describe the ways assumptionsunderlying cultural expressions in texts can leadto different reading positionsA student draws onexperience, informationand ideas toimaginatively andinterpretively respond toand compose texts.DRAMAOUTCOME 4.1.2Improvises and playbuilds through groupdevisedprocesses.6.1 compose coherent, imaginative texts that use andexplore students’ own experiences, thoughts andfeelings and their imaginings6.2 compose a range of imaginative texts includingnarrative, poetry, instructions, scripts, advertisementsand websites6.3 explore real and imagined (including virtual) worldsthrough close and wide engagement with texts6.4 use the features and structures of imaginative texts tocompose their own texts and engage their audience6.5 identify the ways characters, situations and concerns intexts connect to students’ own experiences, thoughtsand feelings6.6 use imaginative texts as models to replicate or subvertinto new texts6.7 use verbal, aural and visual techniques to createimaginative textsINDICATORS Use improvisation as a form as well as a key technique todevise play building Play build using a variety of stimuli Link play building scenes

LESSON TEACHING AND LEARNING ACTIVITIES RESOURCES REGISTERPRE-SHOW ACTIVITIES1 ABORIGINAL LANGUAGESAt the time of European colonisation there were hundreds of different traditional Aboriginal languages and severalgeographically defined Torres Strait Islander languages spoken in Australia. Historically, clan groups could speak notonly their own language but also the language belonging to their neighbours. This was very important when trade andtravel occurred across traditional language boundaries. Language helps us to understand and identify the manyIndigenous groups in Australia. While some languages are no longer spoken and have been lost, others are still spokeneach day. Even though English is widely used, many groups are still actively researching and reviving their traditionallanguages and are teaching them to their younger generations.In Honey Spot, the Aboriginal characters use many Aboriginal words. At the end of the play, Peggy, too begins to useAboriginal words to name things.Interactive Language Map ActivityAboriginal peoples have a special relationship with the land and the sea. Honey Spot is set in country WA in the 1980s.1. Show the students the Interactive Indigenous Language Map located at: www.abc.net.au/indigenous/map/2. Hover over the map and locate the Aboriginal language groups of the area in which the students live3. Hover over Western Australia, where Honey Spot is set.4. Locate the language groups in Western Australia.5. Ask the students to make a list of these language groups.6. Complete the Noongar Language Worksheet activity in the resources section.Tips for Pronouncing Aboriginal Languages Stress for most Australian languages is usually on the first syllable The letters t, p, & k, sound more like d, b & g a is as in father u as in put i as in hid ng “ as in singer tj has more of a dy sound ny is as ni in onion ly as lli in millionEXTENSION ACTIVITY Discuss the fact that before settlement over 250 Languages were spoken in Australia. Discuss Western DesertLanguage family and all of the languages spoken in Western Australia. Discuss and Share Information Create a mind map of the Aboriginal languages of Western Australia (see following page)Interactive Whiteboardand access to the internetPencilsPaperNoongar LanguageWorksheet (seeresources section)Website resources:www.clc.org.au/articles/info/aboriginallanguages

Western Desert language familyStretches from WA through northern SA into southern NT. Traditional dialectal regional distinctions are less definedthese days due to people's movement throughout the region, brought about largely by European contact, particularlythrough missionary contact, the cattle industry and the building of the railway.PitjantjatjaraThe main language spoken in the Pitjantjatjara Lands (commonly referred to as the 'Pit Lands') in the north-west of SAin communities including Ernabella (Pukatja), Fregon, Amata in SA, Wingellina (Irrunytju) in WA and around DockerRiver (Kaltukatjara), Mutitjulu and Areyonga (Utju) in NT.LuritjaSpoken to the east of the Pit Lands (see above) from Oodnadatta in SA (in the past) through Finke (Aputula), Maryvale(Titjikala), Kings Canyon area, Areyonga (Utju), Jay Creek, Imanpa and Mutijtulu in the NT. It has often been used as thelingua franca between Western Desert and Arandic and Warlpiri speakers. There are various ideas about the origin ofthe term Luritja, one being that it comes from the Arrernte word for non-Arrernte people, Ulerenye. At HermannsburgMission all the Western Desert speaking people were called Lurinya/Luritja and this label remains today (Heffernan andHeffernan 1999).Pintupi LuritjaThis is the name given to the Western Desert dialect as spoken from around Papunya to the WA border. It exhibitsfeatures of neighbouring languages such as Warlpiri and Arrernte, since once the Pintupi came out of the bush, relativelyrecently, they have often lived in close proximity at Hermannsburg Mission and Papunya and Haasts Bluffration stations.PintupiSpeakers of Pintupi tend to come from across the border in the WA desert region around Kiwirrkura community. Peoplewho identify as Pintupi tend to be from the west, whereas Pintupi Luritja speakers tend to have had more contact withthe mission at Hermannsburg and the ration stations at Papunya and Haasts Bluff.KukatjaSpeakers can be found around Kintore in the NT through to Kiwirrkura in WA and north as far as the Balgo region. Thislabel is confusing as it also refers to the original landowners around Haasts Bluff (Heffernan and Heffernan 1999:5), aswell as to dialects that were spoken in SA and QLD.NgaatjatjarraA dialect spoken by only a few families around the WA border communities of Tjukurla, Warakurna, Blackstone(Papulankutja) and Docker River (Kaltukutjara).NgaanyatjarraThe main language of the Ngaanyatjarra Lands communities in WA including Warakurna, Blackstone (Papulankutja),Jameson (Mantamaru), Wanarn, Warburton (Mirlirrtjarra) and Tjirrkarli. Speakers can also be found as far westas Kalgoolie.

2 ABORIGINAL BELEF SYSTEMS – TOTEMSA totem is an object or thing in nature that is adopted as a family or clan emblem. Different clans are assigned differenttotems and in some cases individuals are given personal totems at birth. Their totems can identify some Aboriginal andTorres Strait Islander people, which can be birds, reptiles (like turtles), sharks, crocodiles and fish. They are animportant part of their cultural identity and are especially significant in song, dance and music as names and oncultural implements. Some clans forbid their individuals from eating the animal that is their totem. All Aboriginal peoplehave totems, or animals that they care for.Read Read script excerpt 1 in the resources section about Bees (Plura) and the Nyoongah way.Discuss / Brainstorm Discuss the way that Tim looks after bees in the play. Ask the students to consider which animal would be their totem and how they would look after that animal. Ask the students to share their ideas with the group. Brainstorm a list of native Australian animals and record on white board or butcher’s paper.Visual Art Activity Ask the students to choose their totem and draw it in earth colours – browns, yellows, reds, or white Display the student’s work and lead a discussion with the students about their workScript Excerpt 1 (seeresources section)White board/blackboardor butcher’s paperPaperArt supplies- Charcoal orPaint, Textas, Pencils etc.EXTENSION ACTIVITY: Reading and DiscussionAboriginal people have a special relationship with the land through their totems. Ask a student to read out the following excerpt from the play. Discuss the ways in which the character of William suggests that we stop using and owning the land. Discuss how this speech represents Aboriginal beliefs and values. Discuss the differences in how Aboriginal people care for their land as opposed to Rangers, in National Parks aroundAustralia.WILLIAM:‘Give up using the land the way you white people do. Stop owning it and let it own you. Start with the children. When they’reborn, give them the names of the rocks, the trees, the rivers and the plains. The trees… wilyuwa, the wattle- kudden, the redgum-jarraly, the jarrah. The animals… yonga, the kangaroo – kumal, the possum – tjutidj, the native cat. The birds…kulbardi-the magpie – waitj, the emu-gnwirlak, the black cockatoo. Then your children will learn to love and guard theirnamesakes for the rest of their lives.’Honey Spot, (1987). Currency Press, Sydney (page 48).

POST-SHOW ACTIVITIES3 COMPOSING A DANCEIn Honey Spot Tim and Peggy work on a dance where elements of Aboriginal dance and modern dance are incorporated.At the end of the play, Mother shows the children how to beat the ground on their own footsteps and chant.This activity is designed to be practised and performed outside. In this activity you will first prepare your students fordancing work by completing a physical warm-up.Warm Up Ask the students to remove their shoes. Ask the students to stand in a circle, bare foot and close their eyes. Encourage them to listen to the sounds aroundthem. Ask the students to share what they heard (birds, cicadas, voices). Ask the students to walk around the space and become particularly aware of their bare feet on the ground. Begin to tap the sticks. Vary the tempo and ask the students to move in time with the rhythm of the sticks. Ask the students to tread lightly and then heavily; slowly and then quickly. Ask the students to slowly begin to stamp their feet into the earth as they have seen in the performance.Discussion Circle Bring the students into a circle and discuss the warm up. How did the students feel working without their shoes? How did the students feel stamping the earth? What was it like to work outside?Creating a Dance Give each student a copy of the chant in the resources section. Ask the students to repeat the chant after you and as a group. Explain the translation. Ask the students to work in small groups of 4-6 and using the Aboriginal chant, and stamping, work on a groupdevised dance. The students may like to include a representation of the bee, or any of the characters or themes in theplay. In the play, the character Tim performs a short emu and goanna dance. Whilst William and Tim dance akangaroo hunt. The students may like to incorporate some of the movements that they observed during theperformance and add them to their own dance. If your school has a class set of clapping sticks, the students may liketo use them in their dance. Share each dance and ask students to reflect on what they see.Space to move –preferably outside – onthe oval, in anamphitheater or in theplaygroundClapping sticks or 2pieces of wood to taptogetherA class set of tap sticks(optional)Photocopy of theAboriginal words of thechant (see resourcessection) for each student

EXTENSION ACTIVITY In pairs, research Bangarra Dance Theatre through the web. Watch some excerpts of their dances on You Tube. Write a paragraph describing one of their dances. Report back to the class with a verbal report. Students may like to show some dance excerpts through You Tube.www.bangarra.com.au/www.youtube.com/watch?v=_YLJOyjhBTMwww.youtube.com/watch?v=84pnW-eHBjswww.youtube.com/watch?v=IcrQZEISK8wComputers with internetfor students to accesswebsite resources4 THEMES OF RACISMHoney Spot is a play that explores the themes of racism and prejudice in a small town. It presents ideas about smalltown gossip and the dangers of stereotyping, or labeling people and judging them by what other say about them. Itshows how friendships can grow despite the obstacles of bigotry and intolerance.Discussion Ask the students if they can write down what racism is. Share the definitions. Using an Interactive Whiteboard, access the ‘Racism No Way’ web site: www.racismnoway.com.au Click on Teaching Resources and then Anti Racism Activities Year 4-12 and then click on Comics. Choose several of the comics from the Fair Game examples (Fair Game from Reconciliation courtesy of Streetwisecomics 2000) and read through the comic. Discuss the themes explored by the comics and ask the students to share their opinions about the themes andimages presented. Ask the students to break up into pairs and spend five minutes sharing examples of racism that they may haveexperienced or seen. Share examples as a large group.Honey Spot Shared Reading As a class, read through script excerpt 2 from the play, in the resources section. Brainstorm and record the themes explored in the conversation between Peggy and her father (Ranger).Pens and paperInteractive Whiteboardwith internet accessWhite board/blackboard/butcher’s paperStudent copies of theScript Excerpt 2 (seeresources section)

EXTENSION ACTIVITY Ask students to break up into pairs and work on an improvisation, or imagined piece based on the excerpt. The students may like to change the setting, the names and gender of the characters. They may like to set it in theirschool, their hometown, on a sports field or at the local swimming pool. The improvisation needs to show aconversation between two people showing that one person is racist. Ask the pairs to perform their improvisations to the larger group. Discuss the performances.5 RECONCILIATION ACTIVITYFirst staged in Western Australia in 1985, Honey Spot was written during the emerging Reconciliation movement andReconciliation is an important theme in the play.Reconciliation Fact Sharing Download a copy of Five Fast Facts – Reconciliation and National Reconciliation Week:www.reconciliation.org.au/getfile?id=1092&file=5+Fast+Facts+-+Reconciliation+and+NRW+25052010.pdf Share the information with the students through student copies or Interactive Whiteboard. Discuss the Bridge Walk of 2000. See here for more information:www.reconciliation.org.au/home/resources/factsheets/q-a-factsheets/bridge-walk-anniversaryWeb site Resources:www.reconciliation.org.au/www.reconciliation.org.au/nrw2012/Reconciliation Bridge Walk InterviewOn May 28, 2000 more than 300,000 people walked across the Sydney Harbour Bridge in support of IndigenousAustralians and reconciliation. This improvised interview is set on this historic day.In preparation for this activity students may access facts about the walk from Reconciliation Australia’s web site:www.reconciliation.org.au/home/resources/factsheets/q-a-factsheets/bridge-walk-anniversary Ask the students to group themselves into groups of four. Ask the students in each group to select one character from the following list:- a Reporter- an Aboriginal Elder- a non-Aboriginal supporter of the Reconciliation movement- a non-Aboriginal politician who opposed the Bridge Walk Ask the students to build a scene around the reporter interviewing the three characters Ask the students to rehearse their work. Ask the students to present their interviews to the larger class. Build a scene where a reporter interviews:- an Aboriginal Elder about her/his experiences of the day- a non-Aboriginal person who participated in the day and a politician who did not support the walk

EXTENSION ACTIVITY: Designing a PosterEach year, National Reconciliation Week has a different theme. Some past themes have been Communities workingTogether (1998), Walking Together (1999), Sharing our future: The next steps (2000), Reconciliation: Keeping the FlameAlive (2001), and Reconciliation: It’s Not Hard to Understand (2003). The theme for 2012 is Let’s talks recognition!. witha focus on how Australians can better recognise each other, and recognise the contributions, cultures and histories ofAboriginal and Torres Strait Islander peoples. Individually, in pairs or groups of three, design a Poster Advertising National Reconciliation Week 2013. Students must create a theme for the week and this theme must be featured on the poster. The 2012 poster can be accessed through: www.reconciliation.org.au/nrw2012/Large paper, textas,pencils and paints.TEACHER’S OVERVIEW AND UNIT EVALUATION

REFERENCES AND RESOURCESOther plays by Jack DavisKullark (1972)The Dreamers (1982)No Sugar (1985)Moorli and the Leprechaun (1986)Burungin (1988)Plays from Black Australia (1989)In Our Town (1990)Further readingsContemporary Indigenous Plays by:- Vivienne Cleven- Wesley Enoch- David Milroy & Geoffrey Narkle- Jane Harrison- David MilroyHoney Spot Reviews (2010)http://au.news.yahoo.com/entertainment/a/-/entertainment/7431268/theatre-review-honey-spot/http://poetsvegananarchistpacifist.blogspot.com.au/2010/07/review-of-honey-spot.htmlwww.youtube.com/watch?v=HM_BNowF1LoAdvice for working with Aboriginal PeoplesWorking with Aboriginal People and Communities is an excellent document containing advice forworking with more traditional Aboriginal people. It can be downloaded at:www.community.nsw.gov.au/docswr/_assets/main/documents/working_with_aboriginal.pdfAdvice about Improving Outcomes for Aboriginal StudentsWhat Works, The Work Programwww.whatworks.edu.auInformation about RacismInformation about Reconciliationwww.racismnoway.com.auwww.reconciliation.org.auHelpful information about the culture and histories of our Aboriginal Peopleswww.humanrights.gov.au/racial_discrimination/face_facts/

STUDENT WORKSHEETNOONGAR LANGUAGEHoney Spot is set in a National Park near a country town in Western Australia.The Aboriginal language used in the play, usually called Noongar, literallymeans ‘man’ but has become a general term for Aboriginality in the SouthWest of Western Australia.Through the Aboriginal words that the characters use in the play, theaudience gains information about the birds, animals and trees in the area. Inthe play language is an important part of the way that we learn about thesetting. Over 70 different Noongar word are featured in Honey Spot and onthe next page is a table, which shows some of them.ACTIVITY ONE: Speaking LanguageAs a group, say the Aboriginal words in the table. (Tips for pronunciation arefeatured below)ACTIVITY TWO: Cut, Paste & Draw‣ Choose 5 of the Noongar words shown in the table.‣ Cut them out and paste them onto a large sheet of paper‣ Draw an image next to the Aboriginal word to show what it means.‣ Display your work in the classroom.Tips for Pronouncing Aboriginal Languages Stress for most Australian languages is usually on the first syllable The letters t, p, & k, sound more like d, b & g a is as in father u as in put i as in hid ng “ as in singer tj has more of a dy sound ny is as ni in onion ly as lli in millionFor more information on Aboriginal Languages, visit the Central Land Council website:www.clc.org.au/articles/info/aboriginal-languages

NOONGAR WORD TABLESTUDENT WORKSHEETNoongarYongaJarralyKuddenWilyuwaYorgaGnwirlakBungarraWaitjMoorditjWadjellaKumalPluraWaitjTjutidjEnglishAnimalsRed GumWattleTreesGirlThe black cockatooGoannaEmuGoodWhite fellasPossumBeeMagpieNative Cat

HONEY SPOT: SCRIPT EXCERPT 1TIMPEGGYTIMPEGGYTIMPEGGYTIMPEGGYTIMThey don’t sting meStep on it!No, they’re my brothers. (He cradles the bee in his cupped hands,then releases it into the air)Who?The bees. They’re my totem.Your totem?When I was born, a bee came and dropped some honey in myhair. Now I am brother to the plura.What’s the plura?The bees. That’s our law, Nyoongah way.Honey Spot, (1987). Currency Press, Sydney (page 5).

PEGGYRANGERPEGGYRANGERPEGGYRANGERPEGGYRANGERPEGGYRANGERPEGGYRANGERPEGGYRANGERPEGGYRANGERPEGGYRANGERPEGGYRANGERDaddy…Yes?Are you racist?Am I what?Are you a racist?Good Lord, whatever made you think of a thing like that?Well, you don’t seem to like some people.Go on.You don’t seem to like AboriginesHONEY SPOT: SCRIPT EXCERPT 2Some of them are all right, I suppose. It’s just some of them can’t be trusted.Do you know any?Not personally. Now look, I know what you’re getting at and its got nothingto do with it. If anyone, black or white, is damaging the forest it’s my job to…If you don’t know any Aborigines how do you know they can’t be trusted?Because everybody says so.White people say so?Yes, now listen young lady, I’m not going to talk about this any longer. All this talkabout racism and me not liking people- its ridiculous…stupid….just plain dumb.I’m glad you think it’s dumb.Why?Because my friend is coming over here to help me with my dance.Oh, I don’t know about that, love.PEGGY And his mum and his cousin, ‘cause they can play Aboriginal music. RANGER Coming here? The whole flaming tribe? PEGGY Daddy! RANGERPEGGYRANGERNow look, Peggy, you really shouldn’ get too friendly with these people.Why not?PEGGY Yes? RANGERPEGGYWell, its not their fault…we’ve done some bad things to them in the past….Well, some things just don’t mix. They’re not like us. They have differenthabits, they live differently…and I’m sure they wouldn’t feel comfortablecoming to this house. How do you know? You don’t know any Aborigines.Honey Spot, (1987). Currency Press, Sydney (p. 25-26)

HONEY SPOT: CHANTCHANTGnuny nooning tijinna barminyTjinna barminy tjinna barminyNoonuk warrah yorga warra nopGnuny nooning tjinna barminyTjinna barminy tjinna barminyNoonuk warrah yorga warra nopGnuny nooning tjinna barminyTjinna nooning tjinna barminyTjinna barminy tjinna barminyCoooooooTranslationI will beat your footstepsBeat your footsteps beat your footstepsYou are a bad girl and a bad boyI will beat your footstepsBeat your footsteps beat your footstepsYou are a bad girl and a bad boyI will beat your footsteps beat your foot stepsBeat your footsteps beat your foot stepsWoeHoney Spot, (1987). Currency Press, Sydney (page 56).