National Black Theatre (Australia)
The National Black Theatre (NBT) was a
The company ran the Black Theatre Arts and Culture Centre from 1974 to 1977.
History
Precedents
After working in the United States as a director and actor, Brian Syron returned to Sydney and held acting classes in 1969 for Indigenous actors, including Gary Foley and Denis Walker at the Foundation for Aboriginal Affairs.[3][4] Paul Coe, a law student, approached Jenny Sheehan (aka Jenni(e) van de Steenhaven),[5] a non-Aboriginal drama student, to run classes for young people in 1971. They were given a grant of A$870 to continue the workshops and play readings in February 1972.[6]
An art workshop was involved in the printing of posters (including those for the N'ingla a-na rallies) and in
Beginnings
Coe, Foley, Sheehan and
In mid-1972 Maza was invited to come to Sydney, to share his experience,[1] which had included some time working and studying with the National Black Theatre of Harlem, New York City, and experience writing his own material.[17] His "professional" status attracted the funding that was needed, and A$5,500 was granted by the Australia Council.[18] They rented a house at 174 Regent Street, and for workshops were given use of the hall named Murawina behind a church by Wayside Chapel and the Aboriginal Women's Action Group who operated the children's breakfast program. Maza ran the workshops when Coe and Sheehan had to resume their studies.
When Johnson went to
First performances
The first formal and publicly acknowledged performance by Black Theatre was street theatre in 1972 to publicise the
The next performance was to lead the Aboriginal land rights demonstration, held on 14 July across the country
Six days later, on 20 July,[24] the Aboriginal Tent Embassy in Canberra had been removed. At the re-erection of the tent embassy, on 30 July 1972, the Black Theatre performed the Dance of the Embassy, also called The Challenge,[25] which was a symbolic re-erection of the tent embassy but portrayed the whole history of Aboriginal / European conflict and gave powerful expression to the emotions of that event.
On 7 September, the dance group performed a public concert at the
Basically black
When Maza came to Sydney, he undertook an apprenticeship program for directors and actors with the Nimrod Theatre Company. In the absence of a performance space, the political revue Basically Black was performed at the Nimrod Theatre Company's Stables Theatre, directed by Ken Horler. The cast included Aileen Corpus, Gary Foley, Zac Martin, Bob Maza and Bindi Williams. The revue was a biting satire, continuing the response to the High Court ruling against a traditional claim to land ownership.[28][1] Premiering 27 October, a successful season of five or six weeks ran until 3 December 1972.[citation needed]
The final performance coincided with a
Also at this time, certain advertising agencies began offering work to local Aboriginal people. This interest led to the formation of Ebony Profile, a part of NBT established as a black
By the end of 1972 NBT, as it was known, was based at 181 Regent Street, an umbrella organisation for a range of groups.[citation needed]
1973
The Metropolitan Local Aboriginal Land Council was established at the Black Theatre in 1973, illustrating its value as a community hub.[31]
Basically black tour and television production
Proving popular with Aboriginal people, Basically Black toured the eastern statesthe following year.[1] The show was invited to the Innisfail Festival in Queensland. Trusting the assurances of funding, the Black Theatre troupe set off on tour – visits to missions and reserves considered important as there was a range of human rights issues in that state.
It was a white bus, and on the side of it had Black Theatre and Basically Black underneath it. And in those days we had a lot of looks and stares of people wondering what all these blackfellas in this bus here ... [Ted Maza, Bob Maza's nephew, was involved in the music side][32]
However, the promised funding from the Council for the Arts did not arrive, which put a lot of pressure on the shoestring budget. A new production had been planned for March, a musical, Millingurri. Thirteen out of the fourteen songs were original, and some were recorded.[33] However NBT did not continue operating. Lester Bostock carried on as administrator after the tour, followed by Tony Coorey. Funds were frozen for some time.[34]
After the cast reunited for the
"The first black television show by the ABC, which was a version of Basically Black, had some scripts culled by non-Aboriginal scriptwriters from the original production". Foley
The foundations were laid for a broad range of initiatives that followed – the possibility of Aboriginal-initiated theatre had been opened up. What was needed next, was a performance space.[35]
First National Seminar on Aboriginal Arts
The first National Seminar on Aboriginal Arts was held in Canberra in May 1973, sponsored by the
Carole Johnson returned in November to take up a consultancy position with the Urban Theatre Committee (UTC), a sub-committee of the AAB. This meant she worked more with helping to find a building for Black theatre than with dance workshops.[38]
For the first time, a theatre company used Aboriginal people to play Aboriginal people. Sydney Theatre Company produced The Story of Bennelong. Boddy's The Cradle of Hercules played at the Sydney Opera House Old Tote theatre.[39]
1974
The Black Theatre group reformed. Originally there were no financial resources, then funding was obtained from the Department of Aboriginal Affairs and AAB to establish and manage a centre.[40][41] As Casey said:
One of the major problems facing Aboriginal artists was the battle to be taken seriously as artists rather than as social issues to be supported. To this end, the Black Theatre's achievement of establishing its own performance space was an important step. The resulting exposure of their theatre work to a wider audience was another major step.[42]
Black Theatre Arts and Culture Centre
The Black Theatre Arts and Culture Centre was established in a hall at 27-31 Cope Street (then called Botany Street), adjacent to the
The centre opened officially on 26 July 1974,
By November 1974, it was up and running.[46]
A theatre provided seating for 100 in a semicircle built up on scaffolding, with cushions spread across.[47] The focus was again on training and workshops. Casey tells the story of a Koori parent leaving his child, overheard outside the centre
You go in there and get what I can’t give you. Those theatre people can give it to you.
Functions included: skill development • outlet for artists and the community • theatre centre • exhibition space • exhibited the work of Aboriginal fashion designers sykes and smith Mum Shirl • drop in and meeting place for local and international visitors • focal point for the community • youth centre • starting point for Stolen Generations with the task of beginning the search for their family, at that time known as "lost generation"[48] • bridge between non-Aboriginal producers and directors and Aboriginal actors, such as film director Peter Weir and some television producers doing casting interviews there
The first play staged at the theatre, The Chocolate Frog, was written by non-Aboriginal playwright Jim McNeil. While on the executive committee of the Foundation for Aboriginal Affairs, Bettie Fisher initiated its use as the subject of workshops conducted for inmates of Sydney prisons.[49]
Syron and Johnson worked on a workshop program to upgrade black theatre across Australia. Johnson returned to the United States in May, but returned in 1975 committed to "get dance on solid ground".
1975
After sixteen months of lobbying the centre was given minimal government funding ($9200) from the Department of Aboriginal Affairs. [ADB]
Dance showcase
A joint dance program with the Sydney dance group, Queensland's Yelangi Dance Company and Torres Strait Island Dancers was presented in February, and a short performance on 6 April, to introduce funding bodies to the work being done by the Black Theatre[50]
The Cake Man
The first serious play to be produced at the centre was "It is a poignant fragment of latter day mythology and a powerful Australian play which traces white man's devastation of Blacks over the 200 years to 1974" [Brian Syron][53]
"about a Bible-loving mother and an alcoholic father, and how a small boy's innocent faith transforms the life of a white Scrooge. But the identification with the characters which the cast immediately made gave the performed work a compelling emotional drive." [Brisbane.]
The play was directed by Maza. It was mainly cast in the Redfern community and starred Justine Saunders, Zac Martin,[1] Teddy Phillips and an eight-year-old Lisa Maza, plus non-Aboriginal actors Max Cullen and Danny Adcock.[citation needed] Gerry Bostock tells how, during the performance of one scene in which a group is set upon by two white thugs, visitors from Elcho Island became incensed and tried to climb on to the stage to offer their assistance, yelling "I'll help ya, brother!".[54]
After initial refusal, Merritt was finally permitted to attend opening night under guard. The cast refused to go on stage until the
After this success, NBT continued to expand, receiving a grant for A$86,000 in June 1975.[1]
Six-week training program
The first national performing arts training for Aboriginal people had a profound effect, on the participants, and as a catalyst for performing arts in Sydney. Syron and Johnson, as members of the UTC, devised a continuing training scheme – to nurture new interests and new ideas, increase visibility and participation, and demonstrate the need for a permanent course or school. It was funded by the Commonwealth Department of Education and the Aboriginal Arts Board, and supported by the Black Theatre.
28 students were selected nationally through mini-workshops held in the capital cities; Brisbane and Melbourne (Adelaide postponed). This "travelling theatre" would also build networks. Syron taught drama, Johnson and Nicol taught dance, Ande Reese (aka Ande Evan Maddox) taught writing, and Tom Rosser taught karate.[55] The intensive six-week course took place at the Black Theatre in Redfern in June and July. Students included Maureen Watson, Jack Davis, Lillian Crombie, Andrew Jackamos, Hylus Maris, Wayne Nicol, Christine Donnelly, Aileen Corpus, Zac Martin, John Bayles, Lorraine Mafi.
On the last night, the group staged plays and dances they had written or choreographed. Over 300 people came from all over the country with no advertising.[56]
Syron met with Carole Johnson and Ande Reese to discuss the production of a film record of The Six Weeks Workshop because he believed that history was being made by all those involved and they needed to record the historic events to realise their value. Reese, like Johnson, was an African American residing in Sydney, with experience in film and television production in the United States. She had been a screenwriting fellow at the American Film Institute, so she began work on a film (which would be completed in 1976).[57]
Outcomes
After the six-week training program, people could, for the first time, see possibility of employment.
Members of the dance group requested more specialised training, and a Careers in Dance course commenced in October. It moved to Bodenweiser Dance Studio in Chippendale, the breakaway causing some grief in the Redfern community. This was the forerunner of the
Christine Donnelly applied for a grant to continue dance workshops at the Centre, but was initially refused.[59]
In August, Johnson and Syron were terminated as consultants to the Aboriginal Arts Board (Urban dance and Urban Theatre), the only consultants for the UTC with experience in the performing arts. (Chicka Dixon was a member who became increasingly active.)
While the dance group focused on further education, the drama group saw most of its students gain work. Many excelled in other areas of the performing arts as well. Yvette Isaacs was awarded a Conservatorium of Music scholarship. Known now as Maroochy Barambah, a successful musician, she has performed in leading roles and established a recording and publishing company Daki Budtcha.[60] Jack Davis developed as a playwright, Cheryl Stone became a booking agent, Maureen Watson became a well-known storyteller and started Radio Redfern. Christine Donnelly founded the Aboriginal Dance Theatre Redfern (ADTR) in 1979 to serve the Redfern community. Lucy Jumawan has worked there for many years as a senior dance teacher.
Performances Jack Davis presented for a performance his second one-act play, The Biter Bit.[61]
Bettie Fisher continued to invite touring international black artists to perform at the Black Theatre. Despite resistance by a number of non-Aboriginal entertainment managers, visitors included the band, Osibisa, and the Ghanaian drummers.
1976
A subscription season was planned of "black plays by black artists" including works by Gerry Bostock, Wole Soyinka, Ione elder and Archie Shepp.[62] Black Theatre Arts and Cultural Centre's director Bettie Fisher died of coronary arteriosclerosis on 12 May 1976, still in her thirties,[citation needed] and the company struggled to secure funding after this.[1]
Funding withdrawn A proposed grant from the Federal government of $86,000[63] for the 76–77 financial year was withdrawn in June 1976. (Dance and drama were funded separately.) The Board (under the new Liberal government) didn't support the organisation, and was critical of Lester Bostock's appointment as Fisher's replacement.[64] Ironically the Board was planning to spend $197,000 to send 30 Aboriginal performers to Nigeria to take part in the second World Black and African Festival of Arts and Culture.
Marcia Langton believed that the difficulties faced by the black theatre in this period occurred because their work challenged the "accepted" expectations of Aboriginal people.[65] Justine Saunders agreed – "challenging stereotypes, presenting real human beings dealing with conflict".[66]
Here comes the nigger To deal with the financial crisis a fundraising committee was established. The company used their limited resources[citation needed] to produce the play Here Comes the Nigger, written by Gerry Bostock, in 1976.[1] This was the final production at the Redfern Black Theatre and Cultural Centre in 1976. It was directed by Jack Charles, then Bob Maza, who withdrew for other commitments. It then became a cooperative affair with Gerry Bostock and
Film: Tjintu Pakani – Sunrise awakening
Syron noted in Kicking Down the Doors that
One of the items was the Embassy dance, performed this time with traditional movements.[68]
In an interview with Reese for a paper entitled "The Australian Film Commission" written in September 1977, Reese said that when she made Sunrise Awakening
Aborigines wanted to know why they couldn't make their own films about themselves and how and what they were doing. They asked why films about Aborigines were invariably made by the white middle class[69]
As Syron commented in his book Kicking down the doors, "We would ask that question for many years to come."
1977
Prime Minister
With no grants for over a year, the burden of supporting the centre plus making a living burnt people out .[73]
By the end of 1977, the Black Theatre had closed.[1]
1990/1: building demolition
The building was eventually demolished in 1990 or 1991, along with the adjacent
Offshoots and developments
In 1979 Christine Donnelly, a participant in the six-week program, founded the Aboriginal Dance Theatre to serve the Redfern community. It was situated next to the Black Theatre site.[citation needed]
In 1980 Bostock and
In 1982 The Cake Man (by
Merritt went on to become the first Aboriginal screenwriter to co-write a feature film, originally entitled Running Man and released in the UK as The City's Edge (1983)[76] and the first Indigenous screenwriter of feature film Short Changed (1986).[77]
In 1984 Merritt set up the
In 1987 the First National Black Playwrights' Conference was held under the artistic directorship of Brian Syron, thanks to a push from people like Chicka Dixon, Gary Foley and Rhoda Roberts.[citation needed]
The
In 1988 Carole Johnson was a foundation member and first director of the
Johnson also played a pivotal role in the establishment in 1989 of the Bangarra Dance Theatre. She was founder and foundation member of the theatre which began in the Police Boys Club, Pitt Street, Redfern. The Bangarra Dance Theatre performed their first professional performance in 1990 in Brian Syron's feature film Jindalee Lady, the first feature film to be directed by an Indigenous Australian.[83]
Impact and legacy
Aboriginal Dance Theatre Redfern (1979), NAISDA Dance College, Bangarra Dance Theatre, and Boomalli Aboriginal Artists Cooperative were all born out of Black Theatre, as were the careers of Bob Maza and many others.[84]
The
Black Theatre had a profound impact on the Australian arts scene of today. It was also the place where many well known Aboriginal performers got their break. And its legacy is still apparent in today’s arts scene.
It was also true that
The centre also functioned as an informal meeting-place for Redfern Blacks who previously had few places in which to gather, save for the local pubs where they encountered prejudice from the Whites and aggression from the police.[85]
Bettie Fisher:
The centre for me is my blood, my guts, my heart and my soul, for my people and their culture. I’m a very emotional person as far as this centre is concerned. Because there is a helluva need for it.[86]
It was a major step in breaking down barriers, as for many people attending Black Theatre, it was their first visit to Redfern.
Its whole emphasis was to put the points across to its own community. That was the first step. By the people, for the people. All those other things that happened are secondary.
Black Theatre is no longer in Redfern, but in a spiritual sense, as a philosophy of an ideal, it's still alive. The dreams and aspirations of those people are still carried on. When you see people like the Page boys, and you see programs like ICAM, and all these other things, those ideals are still there. The people are still called by the community the Black Theatre people. Even though it's an empty lot now, it's still called the Black Theatre site.
It developed a state of mind and it was also a focus of energy, because it became part of Redfern, where the Kooris and Murries knew their grass roots and knew their artistic endeavours. Many individuals have gone onto radio, television, dance or drama and now contemporary Aboriginal culture is recognised throughout the world.
Kevin Smith:
It inspired a confidence in the community, that things could be done, and a message could be given. Black Theatre itself was a message stick. It was also a refuge, a smart option, a vehicle and a place [to go] without being harassed by police and police dogs, being set upon and attacked and then having a criminal record.[87]
It was very much a community centre. During rehearsals lots of people would come to watch how things were done in the theatre. It was one of those periods when a group of people with amazing backgrounds came together, Maza, Foley, Merritt and Syron, and it worked. It was a hothouse.
It gave the possibility of life... It was wonderful. .. the best thing I ever did, it fine-tuned me. It gave the chance to touch base with my culture. It was a blessing to a people.[87]
Moving on
The future of the site
The Black Theatre building was handed over to the Redfern Aboriginal community, to a group called the
The future of black theatre
In 1986, Brian Syron, on behalf of the Australia Council's
In 2007 a new black theatre group formed in Redfern:
In 2012 The Black Theatre's origins were commemorated in the Sydney Festival's Black Capital program.[91]
See also
- Nindethana Theatre, Melbourne, Australia's first Aboriginal theatre company
References
- ^ The Dictionary of Sydney. Retrieved 7 August 2022. Text may have been copied from this source, which is available under a Attribution-ShareAlike 2.0 Generic (CC BY-SA 2.0)licence.
- ^ "Nindethana". AustLit. 17 October 2019. Retrieved 7 August 2022.
- ^ 'Aboriginal actor makes good' Archived 4 September 2007 at the Wayback Machine in New Dawn April 1972
- ^ Foley, Gary; Howell, Edwina (2017). "Performing Political History: An interview with Gary Foley". Commons Social Change Library.
- hdl:1959.4/53187. Retrieved 2 September 2022.
- University of Western Sydney. p. 26.
- ^ Casey (2004). pp. 44–45
- ^ Bostock, Gerry 'Black theatre', in J Davis and B Hodge, eds, Aboriginal writing today, Australian Institute of Aboriginal Studies, Canberra 1985, pp 67–70
- ^ Alessandro Cavadini and Carolyn Strachan N'ingla a-na Sydney Filmmakers Co-op, 1972. (16mm film, 72 minutes). Distribution booklet
- ^ "Ningla A-Na". Smart Street Films. 12 December 2019. Retrieved 7 August 2022.
- ^ Robinson pp 15–20
- ^ "Euphemia Bostock". AustLit. 8 April 2021. Retrieved 28 August 2022.
- ^ Robinson p 26.
- ^ "Redfern Oral History: Dance". Redfern Oral History. 29 August 2022. Retrieved 30 August 2022.
- The Dictionary of Sydney. Retrieved 26 August 2022.
- ^ Paul Coe interview in N'ingla a-na quoted by Casey, p 47
- ^ Eckersley. M.(ed.) 2009. Drama from the Rim: Asian Pacific Drama Book. Drama Victoria. Melbourne. 2009. (p7-9)
- ^ Casey p 52
- ^ Robinson pp 34–36
- ^ Bostock, Lester 'Black theatre in New South Wales' Archived 5 September 2007 at the Wayback Machine in New Dawn September 1973 [possibly a paper from the first National Seminar on Aboriginal Arts]
- ^ In Sydney Bob Maza of Nimrod Street Theatre conducts a street theatre workshop at Redfern. It performed in Sydney on 14 July. 'Rediscovering Aboriginal arts' in New Dawn Sept 72; Robinson p 29
- ^ Goodall, Heather Invasion to embassy; land in Aboriginal politics in New South Wales 1970–1972 St' Leonards; Allen & Unwin, 1996 quoted in Robinson p 30
- ^ Lester Bostock Black theatre in New South Wales Archived 5 September 2007 at the Wayback Machine
- ^ Aboriginal Tent Embassy Chronology Archived 21 December 2007 at the Wayback Machine
- ^ Robinson p 28
- ^ Robinson p 32
- ^ McCarthy, Anne Performance by National Black Theatre – Dance Groupe Report for AAAC:5.1.12, 6 October 1972 quoted by Robinson pp 32–34, Appendix pp9-10
- ^ Brisbane The future is black and white Archived 24 October 2007 at the Wayback Machine Currency Press
- ^ Foley, Gary Black power in Redfern in The Koori History Website Archived 28 September 2007 at the Wayback Machine 2001
- ^ 'Basically black' Archived 17 July 2011 at the Wayback Machine in New Dawn December 1972
- ^ Aboriginal organisations in Sydney Archived 26 January 2008 at the Wayback Machine in Barani
- ^ Bob Maza [and family] on Messagestick 2004
- ^ 'Basically black' Archived 17 July 2011 at the Wayback Machine in New Dawn
- ^ Robinson p 50
- ^ a b c Casey
- ^ McGuinness, Bruce A time to dream [film)] 1974, quoted by Casey
- ^ Australia Council for the Arts First annual report 1973 North Sydney: Australian Council for the Arts, 1974 p36 quoted by Casey
- ^ Robinson p 48
- ^ Johnson, quoted by Robinson Appendix pp. 70–77 scheduled November December 1973, reviewed 4 March p74
- ^ Lester Bostock Black theatre pp14-15
- ^ "NATIONAL BLACK THEATRE". Tharunka. Vol. 20, no. 6. New South Wales, Australia. 10 April 1974. p. 15. Retrieved 17 July 2016 – via National Library of Australia.
- ^ Casey p125
- ^ a b "Black Theatre Arts and Culture Centre". AusStage. Retrieved 10 December 2021.
- ^ a b Kicking Down the Doors: A History of Indigenous Filmmaking 1968 – 1993: 29
- ^ Bettie Fisher Australian Dictionary of Biography
- ^ A phoenix in Redfern. SMH 11 January 1975
- ^ Black Theatre's debut SMH 13 January 1975
- ^ Whaley a city’s place for dreaming
- ^ ADB
- ^ Robinson p 60
- ^ "The Cake Man". AusStage. Retrieved 10 December 2021.
- ^ Syron / kearney, " Kicking Down the Doors: A History of Indigenous Filmmaking 1968 – 1993 " 31–32. 36
- ^ Syron / kearney Kicking Down the Doors: 31–32
- ^ Adam Shoemaker Aboriginality and Black Australian Drama in 'Black words, white pages; Aboriginal Literature 1929–1988'
- ^ Robinson pp 60–74
- ^ Haugh, How Bettie Fisher forced black theatre on the map quoted by Casey
- ^ "Kicking Down the Doors – A History of Indigenous Filmmaking 1968 – 1993" Syron / kearney : 30
- ^ NAISDA History of the college; Dreamtime to dance
- ^ Robinson p 77-78
- ^ Maroochy Barambah in Australian Women
- ^ Casey p133
- ^ Aboriginal Black Theatre, subscription season brochure, 1976.
- ^ Bettie Fisher ADB]
- ^ Casey p. 66.
- ^ Casey pp. 68–69.
- ^ Casey p. 109.
- ^ Casey p. 269.
- ^ Bostock, Lester, "The Black Theatre" in GUWANYI; Stories of the Redfern Aboriginal community An exhibition at the Museum of Sydney 21 December 1996 – 4 May 1997 reproduced in Redfern Oral History
- ^ briann kearney, "The Australian Film Commission", 1977: 13.
- ^ Merritt, Robert, The Cake Man Currency Press, 1989
- ^ Casey p 118
- ^ [Guwanyi]
- ^ Langton, quoted by Casey
- ^ "Radio Redfern & Koori Radio". Redfern Oral History. Retrieved 29 March 2023.
- ^ Walton, Alastair (1 December 1985). ""This'll Get 'em for Sure": An Interview with Bob Merritt". Aboriginal Law Bulletin 16. 1 (17). Retrieved 15 December 2021 – via Australasian Legal Information Institute (AustLII).
- ^ David Stratton, The Avocado Plantation: Boom and Bust in the Australian Film Industry, Pan MacMillan, 1990 p205
- ^ Kicking Down the Doors – A History of Indigenous Filmmaking 1968 – 1993: 125/157/165/505
- ACMI. Retrieved 9 December 2021.
- ^ Le Moignan, Michael; Gulpilil; Lucas, Larry; Sokol, Yuri; Eora Centre for the Visual and Performing Arts; Miningida Dancers (1985), Eora corroboree: a film, Corroboree Films, retrieved 9 December 2021
- AIATSIS. Retrieved 9 December 2021.
- The Weekend Australian. Retrieved 9 December 2021 – via Debbie Kruger's website.
- ^ The Koori History Website.
- ^ Syron / Kearney, KDTD : 30 /306
- ISBN 978-0-85575-712-0. Retrieved 16 November 2022.
- ^ Cole and Lewis Bettie Fisher
- ^ SMH, 1975 quoted by Robinson
- ^ a b Hindsight
- ^ "NIT". Archived from the original on 24 October 2007. Retrieved 21 April 2008. National Indigenous Times
- Aboriginal Arts Board (1986), [Questionnaire regarding a proposed National Aboriginal Theatre Company], Australia Council, retrieved 8 August 2022
- ^ "Redfern Oral History: Moogahlin Performing Arts". Redfern Oral History. 10 May 2020. Retrieved 11 May 2020.
- ^ "Black Capital". Archived from the original on 6 January 2012. Retrieved 6 January 2012.
Sources
- Casey, Maryrose (2004). Creating Frames: Contemporary Indigenous Theatre 1967-1990. University of Queensland Press. ISBN 978-0-7022-3432-3.
Further reading
- The Koori History Website.
- Foley, Gary The development of black theatre in the 1970s in The Koori History website
- Milne, Geoffrey Theatre Australia (Un)limited: Australian Theatre Since the 1950s
- The Mudrooroo / Mueller Project – A Theatrical Casebook; edited by Gerhard Fisher, 1993
- Robinson, Raymond Stanley (2000). Dreaming tracks: history of the Aboriginal Islander Skills Development Scheme, 1972-1979: its place in the continuum (MA (Hons)). Western Sydney University – via WSU ResearchDirect.
- Syron, Brian and Kearney, Briann. Kicking Down the Doors – A History of Indigenous Australian Filmmakers from 1968 – 1993, (Australian Council 1993 Literary Fellowship), Second Edition, Lulu Inc., USA, ISBN 978-1-84799-364-9
Film and television
- 1972: Cavadini, Alessandro (dir.). N'ingla a-na 72 min.
- 1973: Basically black ABC television, 1973
- 1974: Damjanovic, Milena (dir.). Sharing the Dream
- 1976: Reese, Andre Sunrise awakening
External links
- National Black Theatre at AusStage
- Black Theatre site, Redfern, NSW (2012)
- Stills from 1973 ABC-TV production of Basically Black on The Koori History website