Post Colonial Discourse
One might be inclined to suggest that Aboriginal writing is the 'new genre,' offering its own syntax, appealing to those who would like to situate the 'Aboriginal book' as the representative of Aboriginality: the written and purely 'factual' notion that 'this is what it means to be home-grown - the Indigenous Other.' However to bracket-off Aboriginal writing as a socially progressive fact is, perhaps, illusory; with Aboriginal writers previously unheard of (and of course representing what was once unmentionable) will we see signs of a cultural, pluralistic buoyancy? The once silenced voices that can now be circulated and 'understood' seems to suggest that white Australia has relaxed its position, welcoming among its literary ranks those with something important to say. To suggest, however, that Aboriginality in print form can only be good is an innocent mistake. For all that is seen as a contemporary license to express one's cultural and personal 'take' on what being Aboriginal means by way of the text, is merely confirmation of mainstream Australia's white-refusal to meet Aboriginality on its own terms - that is, 'understanding' or cultural pluralism cannot be published. And certainly not when the Aboriginal text is an artifice t
And is this not what we do once the quasi-Aboriginal text has been published? Are we not applauding the 'polite expressions of bitterness?' Is it not with a sense of national 'pride' that once Aboriginality coincides with something euro-centric, i.e., a book, with which more 'receptive' Australians sit back, comfortable in the belief that 'at last they are speaking out?' Yet had nobody ever realized that the 'bitter text' was (and is) so thoroughly misplaced, the 'living lie?' Where Kim Scott archives, in Benang, the breeding out of skin colour, the breeding out of what is now left of Aboriginal cultural practices takes place through this new discursive formation: 'Aboriginal writing.' And what appears to be an avenue for self-representation and a voice might well turn into historical accounts of a culture that once was. The only difference is that the represented demise of Aboriginality comes from the aesthetic/ethical subject. However, in every Japanese domestic airport there are souvenir shops (many) - a tradition somehow. In every airport in Japan you will find among the shops at least one selling wooden carvings of a head that can be stood on either end and still maintain the image of a head as a double image (a bit like the head on 'Guest Ginger Ale'). This is all that is left of the Ainu, along with a sticker written in Japanese that says 'Chugoku sei' - made in China.
Some common words found in the essay are:
Kim Scott, AO Neville, Indigenous Other', Aboriginality Discourse, American Dampier, Mongo Mongo, Australia Aboriginals, Marcia Langton, Indeed Aboriginals, Australia Holland's, aboriginal writing, aboriginal text, aboriginal writers, italics mine, kim scott, writing aboriginality, aboriginal performers, ao neville, 'aboriginal text', demise aboriginality, aboriginal cultural practices, course aboriginal writing, university course aboriginal,
Approximate Word count = 3281
Approximate Pages = 13 (250 words per page double spaced)
|
