Mapping the Australian archaic: reflections on black medea

Wesley Enoch’s Black Medea is explicit about what is, and what is not, its project: the chorus implores the audience not to read the narrative of its infanticidal heroine as one that demonises black women. Instead, the play affirms that its narrative can be understood differently and in a way that has a wider social significance. Taking my cue from the claim that the story is somehow ‘about everyone,’ I would like to begin unravelling the play’s relevance to contemporary contentions of Australian and indeed ‘Unaustralian’ subjectivity, particularly in relation to the discourses that seek to construct ‘Australian’ identity through an appeal to antiquity and what I describe as ‘the archaic.’ It seems to me that Black Medea presents an opportunity for thinking about the ways in which the discourses of aboriginal and classical antiquity operate to inform contemporary, contesting definitions of Australian identity. Regardless of whether these discourses of antiquity are claimed as ‘Australian’ or abjected as Other or ‘Unaustralian’ – and they have been used in both ways – they remain, I argue, formative to current conceptions of Australian identity and are positioned in the economy of discourses that comprise that arena. As will be seen, the mixed reception or ambivalence with which these complementary discourses of antiquity are treated in Australian culture gives Black Medea the potential to be situated among them in subversive and questioning ways, and in ways that may highlight the reasons for their ambivalent status.

Power plays : Australian theatre and the public agenda

Power Plays capitalises on this moment of renewed and heightened interest by investigating the why and the how of eight contemporary Australian playwrights: Andrew Bovell, Patricia Cornelius, Reg Cribb, Ben Ellis, Wesley Enoch, Hannie Rayson, Stephen Sewell and Katherine Thomson. These writers are passionate about the theatre as a forum for public discussion and they interrogate current issues in their work. Their plays reflect the passing show of cultural, political and economic life in Australia, telling audiences something critical about what is going on: this is the state of play, this is what we are.

The author has conducted extensive interviews with these writers and offers an extended analysis of some of their recent plays.

The modern Medea : Euripides, anti-imperialism and infanticide

Euripides' Medea has been reinvented several times in the twentieth century. This paper uncovers the impetus that informs the lineage of Medeas that are overt in their politicisation of the problems of colonialism and/or institutionalised gender dissymmetry: the Medeas of Pier Paolo Pasolini, Heiner Mller, Brendan Kennelly, Liz Lochhead, Christa Wolf, Diana Wakoski, Tony Harrison - and more recently Wesley Enoch. What, however, lends the Euripidean narrative to such politicisations? To answer this question, the paper looks back to Euripides' play, offering a reappraisal of its representation of infanticide. The paper argues that while this motif is routinely dismissed in the scholarship as a demonising representation of the cultural and sexual Other, the infanticide motif is also the key to understanding Medea's radicality and politicisation of rights-bearing subjectivity in its ancient and modern incarnations.

Infanticide and anti-imperialism in Pasolini's Medea

Euripides’ Medea has been reinvented several times in the twentieth century. While some modern Medeas reiterate conservative tropes of the monstrous feminine or the evil of the cultural Other, the infanticidal figure of Medea is also open to more politically progressive usages. Indeed, several modern versions of Medea are overt in their politicisation of the problems of colonialism and/or institutionalised gender dissymmetry: the Medeas of Pier Paolo Pasolini, Heiner Müller, Christa Wolf, and more recently the indigenous Australian version by Wesley Enoch, for example, enact resistance to the interpretative closures that construct Medea as a caricature of the evil Other. But what lends the Euripidean narrative to such politicisations? And what role does the infanticide have in modern politicisations of the narrative?

To answer these questions, the paper examines Pier Paolo Pasolini’s 1969 film Medea from his Trilogy of Life series. Focussing on Pasolini’s representation of Medea’s signature act, maternal infanticide, the paper outlines the complex ways in which this motif is integral to the film’s contestation of imperialist ideologies, values and practices, and its affiliations with Marxist and feminist criticism. Drawing upon theories of subjectivity and postcolonial discourse, the paper argues that the infanticide motif is politically enabling precisely because it exalts the politics of the ways in which subjectivity is defined. That is, the apparent blessing of the sun god over Medea’s murderous act speaks to the ways in which subjectivity is formed by the symbolic order: a point recalling Medea’s earlier articulation that society systematically demonises and oppresses foreigners and women. The films representation of infanticide, then, can be read in the light of the narratives politicisation of the discourses that define subjectivity and the hegemonic practices that subjugate and dominate the subaltern. So, while Medea’s infanticide is sometimes dismissed as a demonising representation of the cultural and sexual Other, it can also be read as the key to understanding Medea’s political radicality, drawing attention to the discourses of rights-bearing subjectivity in both its ancient and modern incarnations.

Pasolini’s project of anti-colonialism, however, is fraught with certain paradoxes. To politicise the predicament of imperial subjugation, Pasolini’s Medea places the burden of authenticity on the cultural and sexual Other, on Medea - and on Medea’s culture of origin, Colchis. In this way, Pasolini’s Medea mobilises the problematic discourses of ‘First World’ modernity that define the ‘Third World’ as the carrier of the symbolic burden of authenticity as well as of ‘the sacred.’ Pasolini’s Medea thus offers an overly schematic and abstract representation of the relationship between coloniser and colonised. However, Pasolini’s Medea is not simply or finally a reification of these discourses; rather it strategically mobilises them – just as it strategically mobilises the monstrous act of infanticide – to make its political point.

Your genre is black : indigenous performing arts and policy

In February 2008, Prime Minister Kevin Rudd apologised to the Stolen Generations on behalf of the Australian people. Now what? In this Platform Paper, mid-career Indigenous performing artists think about their post-apology future. Indigenous theatre blossomed in the 1990s when it was grasped as a means to expose social issues and advance the goals of Reconciliation. Now that generation of artists questions these motives. For some, history and community are central; others are impatient with 'your genre is black' and demand the professional respect they have earned. "Indigenous artists", says director Wesley Enoch, "have been asked for decades to work at their slowest, to bring everyone along with them. It's the equivalent of asking Cathy Freeman to run slowly, so that everyone can keep up with her." Glow and Johanson provide a forum for practitioners like Rachel Maza-Long, David Milroy, Stephen Page and Rhoda Roberts. Together they call for an end to second-best; and for measures that respond with post-apology confidence to the vision and inspiration that, in the opinion of the Australia Council, "remain at the heart of Australia's culture" .

"Appear as crucified for me" : sight, suffering, and spiritual transformation in the hymns of Charles Wesley

Early Methodist laypeople often described their conversion experiences in terms of seeing the suffering of Christ. This article considers this theme within early Methodist culture by examining the relationship between sight, suffering, and spiritual transformation in the hymns of Charles Wesley. Many of Wesley's hymns depict the suffering of Christ in evocative detail, encouraging the singer or reader to imagine and respond to this suffering in particular ways. I argue that Wesley presents the sight of Christ's suffering as having profound transformative power, at the heart of Christian experience. In doing so he constructs Methodist spirituality in a way that draws upon both the ancient Christian tradition of Passion devotion and contemporary eighteenth-century convictions about the power of the sight of suffering.

'The suffering members sympathise' : constructing the sympathetic self in the hymns of Charles Wesley

For the first time in history, this timely landmark volume brings together contributions from the leading scholars working on the life and work of Charles Wesley.

Pain, passion and faith : revisiting the place of Charles Wesley in early Methodism

Pain, Passion and Faith: Revisiting the Place of Charles Wesley in Early Methodism is a significant study of the 18th-century poet and preacher Charles Wesley. Wesley was an influential figure in 18th-century English culture and society; he was co-founder of the Methodist revival movement and one of the most prolific hymn-writers in the English language. His hymns depict the Christian life as characterized by a range of intense emotions, from ecstatic joy to profound suffering.

An exploration of the staffing choices, recruitment, skills shortages and retention issues of Australian based multinational corporations in China

The purpose of this paper is to explore the staffing choices, recruitment, skills shortages and retention issues that Australian based multinational corporations (MNCs) in China face. A qualitative research methodology was utilised, where 20 case study organisations were investigated. The firms investigated were all Australian owned and headquartered, and utilised Foreign Direct Investment and Joint Venture modes. It was found that Australian MNCs used an ethnocentric staffing model; they had issues with recruiting willing expatriate staff, and difficulties in finding skilled, qualified local nationals. They experienced significant skills shortages problems, and also reported retention issues. A number of strategies to improve these issues were articulated throughout the paper.

Talking it up! Project report : Aboriginal voices in the formulation of health policy that works : short report

Initially, there were three separate strands to the work of the project: a series of forums involving group interviews/discussions with community members; a policy analysis that reviewed policies relating to Aboriginal health at federal and state level; and a literature review. The results of these three separate strands of analysis were then brought together in a fourth strand to the work, a process involving community members to discuss and agree the overall recommendations contained in this report.

Through this structure, the project employed a participatory methodology as the basis for individual and collective empowerment in relation to health outcomes. As mentioned above, the need for the project was identified by Aboriginal people, through their own processes of healing. The need was presented by appropriate figures within their communities, namely community elders. They invited other Aboriginal people to take part through their own communication channels, thus ensuring that responsibility for engagement in the project, and in formulating action for improvement, remained with Aboriginal people and their families. However, the project design also recognised that Aboriginal people exist within broader structural and policy constraints which impact on their ability to manage their own lives successfully or otherwise. Thus the project sought to combine indigenous and non-indigenous knowledge through bringing together the three strands of work in the way described.

A Community Reference Group guided the work of the project at all stages, endorsed the findings and drafted the recommendations. The two elders who had identified the need for the project formed the core of the group, and worked on the project from start to finish. At different times during the project, other community members joined the group to assist in its work, including training Aboriginal researchers, letting others know about the forums, discussing findings and drafting recommendations.

Talking it up! Project report : Aboriginal voices in the formulation of health policy that works : full report

Initially, there were three separate strands to the work of the project: a series of forums involving group interviews/discussions with community members; a policy analysis that reviewed policies relating to Aboriginal health at federal and state level; and a literature review. The results of these three separate strands of analysis were then brought together in a fourth strand to the work, a process involving community members to discuss and agree the overall recommendations contained in this report.

Through this structure, the project employed a participatory methodology as the basis for individual and collective empowerment in relation to health outcomes. As mentioned above, the need for the project was identified by Aboriginal people, through their own processes of healing. The need was presented by appropriate figures within their communities, namely community elders. They invited other Aboriginal people to take part through their own communication channels, thus ensuring that responsibility for engagement in the project, and in formulating action for improvement, remained with Aboriginal people and their families. However, the project design also recognised that Aboriginal people exist within broader structural and policy constraints which impact on their ability to manage their own lives successfully or otherwise. Thus the project sought to combine indigenous and non-indigenous knowledge through bringing together the three strands of work in the way described.

A Community Reference Group guided the work of the project at all stages, endorsed the findings and drafted the recommendations. The two elders who had identified the need for the project formed the core of the group, and worked on the project from start to finish. At different times during the project, other community members joined the group to assist in its work, including training Aboriginal researchers, letting others know about the forums, discussing findings and drafting recommendations.
Initially, there were three separate strands to the work of the project: a series of forums involving group interviews/discussions with community members; a policy analysis that reviewed policies relating to Aboriginal health at federal and state level; and a literature review. The results of these three separate strands of analysis were then brought together in a fourth strand to the work, a process involving community members to discuss and agree the overall recommendations contained in this report.

Through this structure, the project employed a participatory methodology as the basis for individual and collective empowerment in relation to health outcomes. As mentioned above, the need for the project was identified by Aboriginal people, through their own processes of healing. The need was presented by appropriate figures within their communities, namely community elders. They invited other Aboriginal people to take part through their own communication channels, thus ensuring that responsibility for engagement in the project, and in formulating action for improvement, remained with Aboriginal people and their families. However, the project design also recognised that Aboriginal people exist within broader structural and policy constraints which impact on their ability to manage their own lives successfully or otherwise. Thus the project sought to combine indigenous and non-indigenous knowledge through bringing together the three strands of work in the way described.