Hi Lauren and anybody willing and able to assist,
I will post an essay here for the purpose of feedback and criticism, I understand that there is an 'English Work Submission' page. Alas, I have attempted this before, and hardly received any replies - hopefully I can be excused this one time???
The stage drama ‘No Sugar’ set in Northam, Western Australia during the Great Depression in 1929-1934 by Jack Davis, presents indigenous issues in a potent manner by using inventive staging, themes and characterisation. Davis juxtaposes the verbal language used by Nyoongar-Aboriginal families, commonly referred to as Nyoongah in this theatrical production, and the European Australians colloquial language through conflictual values of power and cultural identity. ‘No Sugar’ challenges the readers’ values by providing a voice for the Aboriginal people, confronting European Australians with the past, restoring Aboriginal culture and exploring the importance of equality due to the impact of government controls on Australian Indigenous peoples. The issue of power is an indomitable issue which is used as a way to convey its message to the audience.
The Nyoongah language forms the themes of cultural identity and power to alienate the audience and other characters in the drama to empathise with the Aborigines. “He’s my gnoolya, sir” is an example of Nyoongah language in the play. Sam uses this dialogue in the courtroom scene to answer the Justice of the Peace’s question, however, the Justice of the Peace fails to comprehend Sam’s statement and so too the audience. This places the audience in a state of temporary confusion until being briefed that “gnoolya” means brother-in-law. The theme of power is manifested as both the reader and other characters do not understand what is taking place. This is a reversal of the events the Aborigines had to endure in the sense that when the Europeans colonised Australia, the Aborigines hardly voiced a word of English. Sam later opposes conforming to the Western style of life when he says “Koorawoorung! Noyoohngahs corroboreein’ to a wetjala’s brass band!” The collaboration of “white mans” English and the Aborigines Nyoongah in Sam’s sentence, highlights the theme of cultural identity as the Aborigines have not completely conformed to the western lifestyle, having also kept their cultural heritage. This creates a unique culture of its own towards the audience as the Aborigines have not abandoned their traditional language and culture but have merely incorporated it into the Western style of life.
Australian’s colloquial language is used to construct the stereotypes of white Australians and also to help shape the theme of power and influence the Aboriginals way of life. Frank’s “No, there’s about ten other blokes” is quote that reveals an informal, laid-back use of language. The fact that he chose to use the word “bloke” instead of man or male constructs a stereotypical character, as bloke is predominately implemented within Australian society and hence reveals a laid-back type of character. Sergeant Carrol also uses colloquial language when he wants to say something of the record and on an intimate level. As the Sergeant uses phrases such as “next time I’ll nail him” and “The last bloke I nabbed for supplying is doing three months hard labour in Fremantle.” He loses his status of power and brings himself to a common hierarchy instead of one of authority. The fact that he uses this language when he wants to speak on a casual basis implies towards the reader, that the use of colloquial language is used to construct a character of equal power and at an informal level, the traits of a stereotypical Australian.
Auber Octavius Neville is the only character in the play that uses conventional language consistently. His use of conventional language shapes his character and forms the theme of power. “My dear Minister, herewith the information requested” is an example of the formal language he uses and creates a sense of detachment towards the audience, thus discouraging the reader to respond directly to authority. Furthermore, Neville displays an arrogant trait when he says “the proposed budget cut of three thousand one hundred and thirty-four pounds could be met by discontinuing the supply of meat in native rations”, Davis reflects Neville to be an individual who doesn’t care about the people he is affecting but rather wishes to benefit himself and a minority group. The fact that he possess this type of power, reinforces the audiences’ dislike of him as he is supposed to be the Chief Protector of Aborigines, and yet his ‘noble’ actions further disadvantage them. Davis uses colloquial language to shape authority and identity, as well as constructing unsympathetic characters such as A.O. Neville.
Characters such as Topsy and Billy are representations of those Aborigines who do not fight for their rights. These individuals essentially bow down to white authority, Billy who does not speak Nyoongah but mild English, is content to work for the white authorities tracking down members of his own race who escape their clutches. Milly’s response to the Sergeant when he tells her that her conundrum is she has three grown men budging off her, who are too lazy to work, is by asking him “Where they gonna get work?” she asks the Sergeant “Do you want em to work for nothing?” and Gran backs her up by saying “Their not slaves you know Chargent!” The staging is also used as an added technique to provide the Aboriginal people with a voice, against the arrogance and superiority of those in authority, such as Sergeant. Davis utilises Topsy and Billy to confront the audience with characters who prefer to stay within their comfort zone, and not challenge white supremacy. Thus, the audience is disinclined to respond towards the passivity of conscience Billy and Topsy ultimately adopt.
Throughout the play, Aboriginals are marginalised as they are told where to go, what to do and how to go about life. The play was staged on a perambulate model, meaning that the action of the play shifts between many locations. There is the town of Northam with the Police Station and two Cells, the Main Street and the Government Well Aboriginal Reserve. Further away, there is the Moor River Native Settlement with the Superintendent’s office, the Millimurra family’s tent and the Aboriginal camp at Long Pool. There is also the Chief Protectors Office and the Western Australian Historical Society in Perth and an area by the railway line. This allows for Davis’ conception of marginalisation between the audience and the play. This can be perceived as an incumbent motivator for the marginalisation that the Europeans forced upon the Aboriginals. Marginalisation is a major issue that develops throughout ‘No Sugar’, and Davis successfully brings to life this concerning issue, that still applies today throughout modern society.
Davis uses conventional, colloquial and Nyoongah language to shape the themes of power and cultural identity as well as constructing characters both stereotypical and non-stereotypical. These evoke the audiences’ views of equality and challenge our attitudes when it comes to injustice, violence, racism, identity, dispossession, poverty and ultimately family. Moreover, the inventive use of staging assists the play’s emphasis on promoting the Aboriginals cause for justice and provides Australian Indigenous peoples with a collective voice against the government.