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Oodgeroo – Bloodline to Country
She was Oodgeroo of the Noonuccal people.
She was Kath Walker, poet and activist.
She was mother to her two sons...
Sam Watson's play tells the true story of Oodgeroo Noonuccal and her son, Denis Walker, co-founder of the Australian Black Panthers.
Oodgeroo - Bloodline to Country is Oodgeroo's personal and cultural life with her time on a BOAC aircraft hijacked in Dubai by Palestinian terrorists in 1974.
Sam Watson tells the previously untold story of the tensions that tore at the fabric of one of Australia's most prominent families.
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- 7 total
- 4 female identifying, 3 male identifying
- history, people of colour
- 16 to 18, 18+
- all ages, children, teen
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OODGEROO NOONUCCAL: A BRIEF BIOGRAPHY
UNIVERSITY OF QUEENSLAND
Born Kathleen Jean Mary Ruska on 3 November 1920, Kath Walker was a poet, children's author, educator, artist, political activist and member of the Noonuccal people of North Stradbroke Island, Queensland.
THE LEGACY OF A TRUE NATIONAL TREASURE
DROPBEARITO.COM
From an interview conducted in May 1981 by Bruce Dickson, on the eve of the first public exhibition of her art at the Brisbane Community Arts Centre (now Metro Arts Centre), staged as part of NAIDOC Week.
FIRST AUSTRAIANS: OODGEROO NOONUCCAL
NATIONAL FILM AND SOUND ARCHIVE
A video clip from the documentary series and website 'First Australians', produced in 2008 by Blackfella Films for SBS Television. Includes background information, classroom activities and resources.
A KEEPER OF THE LAW, A TELLER OF STORIES
J. MCILROY & C. WYNTER, GREENLEFT, JULY 2009
"This moving portrayal of scenes in the life of Australia's most famous Aboriginal poet consists of a dreamtime-style series of flashbacks to events in her past, centring on a dramatic incident in which Walker was a passenger on a British aeroplane seized by Palestinian hijackers in 1974."
REVIEW: LA BOITE THEATRE COMPANY, 2009
JASON WHITTAKER, AUSTRALIANSTAGE.COM.AU, JULY 2009
"Visually, Oodgeroo captures the imagination. Placing this vast story under a starry sky, designer Helen Jacobs creates a dreamtime world simply but emotively."
REVIEW: LA BOITE THEATRE COMPANY, 2009
NIGEL MUNRO-WALLIS, ABC BRISBANE, JULY 2009
"It is to Sam Watson's credit that he has managed to compress so much into the ninety minutes of this very important piece of theatre."
KATH WALKER SPEAKS FROM THE GRAVE IN OODGEROO
LISA YALLAMAS, THE COURIER-MAIL OCTOBER 19, 2009
"Within Aunty Kath's heart, she always saw herself primarily and most importantly as a teacher, an educator."
HEADSTART: OODGEROO NOONUCCAL
LISA YALLAMAS, THE COURIER MAIL, 2009
Video interviews, from the Courier Mail, with actor, Roxane McDonald and playwright, Sam Watson.
ONE DREAMING STILLED
FLORENCE SPURLING, ABC ENCOUNTER, MARCH 2010
AUDIO AND TRANSCRIPT: This Encounter tells the story of the play and Sam Watson's own experience of Aunty Oodgeroo for her time and his own.
INTERVIEW: SAM WATSON
A. SMITH & D. MCCOY, ABC RADIO NATIONAL - ARTWORKS, JULY 2009
Playwright, Sam Watson, talks about the events that inspired his play, when a British aircraft was hijacked in Dubai by Palestinian terrorists in 1974.
WE ARE GOING, 1986
AUSTRALIAN SCREEN ONLINE
In this clip, Oodgeroo Noonuccal reads her poem ‘We Are Going’ in full to an appreciative audience at the Harold Park Hotel in Sydney in 1986. Warning: contains names, images or voices of deceased Aboriginal and Torres Strait Islander people.
'DREAMTIME, MACHINETIME', 1987
AUSTRALIAN SCREEN ONLINE
In this three part series, Oodgeroo Noonuccal tells of the inspiration for her poetry, and its role in personal and political resistance to white oppression.
THE AUSTRALIAN WOMEN'S REGISTER
NFAW)IN CONJUNCTION WITH THE UNIVERSITY OF MELBOURNE
A comprehensive collection of published, archival and digital resources covering the life and work of Oodgeroo Noonuccal.
ATSI GUIDELINES FOR DRAMA/THEATRE EDUCATION
DRAMA AUSTRALIA
The preparation of this document was commissioned by Drama Australia to foster access and participation in learning, taking in the broader context of Indigenous educational perspectives and redefining their relevance in the study of Contemporary Indigenou
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