Judy Watson Flame Tree Pods Analysis

This disregard of culture is accomplished through the use of Appropriation. Appropriation in Andrews’s artwork leads to irony. Irony is found through the form of cultural patterns, traditionally placed on natural walls, found on a new medium of a man-made wall. The patterns references Andrews’s historical culture of his mother’s tribe of the Wiradjuri people, which, when placed onto a man-made wall loses its cultural significance, symbolising the suppression of Aboriginal culture. Andrews exposes Australian society’s forgetfulness of the basic foundation of Australian art and history in favour of the current art and political scene.

Dixon uses this poetic device to make abstract or unfamiliar ideas concepts more concrete and easier to understand, visualize and remember. This encourages the reader to realize that Indigenous Australians saw people like A. O. Neville, who presided with the policy to remove Aboriginal children from their families, as the devil. This device helps communicate the message by showing how much members of the Stolen Generations have suffered. This also makes the audience understand why this practice has had such a negative and ongoing impact on First Nations

Lisa further criticises the lands council for their thirst for riches, evident in lines 22-26: "nothin'but first-class travel, where to now Canberra?" This highlights the disrespectful and horrific treatment of indigenous, provoking anger and irritation towards the land’s council. The theme of land destruction and resulting misery among first nations people are powerfully conveyed through imagery, emotional techniques, and supporting evidence. She has been able to identify atleast two main reasons which invite the reader to accept the subjects identity these include, the lack of protection the lands council is putting in toward this country aswell as how mining not only affects the aboriginals but their future chilldren and generations to come. Throughout the poem, the poet employs vivid imagery, emotional techniques, and enjambment.

The Australian outback acts as a significant cultural symbol that embodies the essence of Australian life. The outback takes centre stage in both Wake In Fright and Picnic At Hanging Rock, standing as a powerful backdrop against which both narratives unfold. Through their portrayal of the outback, Wake In Fright and Picnic At Hanging Rock communicate themes of isolation, danger, and the unknown. The vastness and unforgiving nature of the outback represent the physical and emotional isolation experienced by Australians. It reflects the immense challenges faced by those in remote areas, emphasising the sheer resilience and resourcefulness required to survive.

The quote ‘I did not have the power to build a memorial, so i wrote a play instead’ reveals to us John Misto’s view on the forgotten heroes of the war, that the POWs deserve just as much respect as the soldiers do. The play was also written to criticise the British and Australian government actions and how they responded to the POWs “Just keep smiling”. This statement that was sent to the POWs reveal to us how out of touch the government is. The composer engages with the concept of distinctively visual using a powerful image of comradeship, friendship and loyalty through Bridie and Sheila’s interactions.

Christian Thompson’s series Australian Graffiti involves staged images of the artist wearing Australian flora as a headdress. Thompson has arranged the flowers and leaves into intricate headbands that partially or fully cover his eyes from the viewer. ‘I carry the flowers with me like the most quintessential Australian symbol, a return to a more pagan and traditional symbiosis between man and the natural world. Perhaps the flowers are an extension of this visceral response to my surroundings. Sometimes when I am talking with people I visualise clusters of Warratahs or Banksias protruding from their shoulders or coming out of their mouths, it is with that degree that they are present in my everyday life’.

Through the use of imagery, Richard Wagamese highlights the need to mend one's connections to oneself, others, and the natural environment in his writing. Images of the natural world, especially those of forests and rivers, highlight how everything is connected and how important it is to live sustainably. It symbolizes the process of reestablishing a connection to nature, which is necessary for building resilience on an individual level. Reestablishing a connection with nature is crucial for fostering resilience in people. Modern culture often neglects our relationship with nature, even though it is essential to our health.

Those artworks explore relationship between painterly and autobiographical languages; interpersonal relationships and female subjectivity; explores the materiality of images and explores gender identity. “Spectra of Birds” an artwork explore the materiality of the images. The artwork represent an abstract images of different species of Australian birds formed by the cartons. “…object suggesting the continual commodification of nature, a world gradually destroying itself, and the transformation of rubbish” in this context, environmental contingencies is her topic. “It is well documented bird populations are in serious decline across the country … including common birds like lorikeets thornbills and honeyeaters have declined dramatically in the past five years, and they 're warning a wave of extinctions could follow.”

In her book Nanberry, Jackie French portrays colonial life as a very confusing and perplexing time for both the Indigenous Australians and the White British Settlers, albeit in different ways. With the Indigenous Australians confused by the sudden invasion of the white settler (ghosts), and the British Settlers becoming confused by the new sights, smells and culture of ‘Sydney Cove’. Through the characters of Nanberry, Surgeon White and Bennelong, the viewer is shown just how confusing their life was at the time of the first settlement in Australia. Nanberry is one of the main characters in French’s book, and is a prime way through which she portrays colonial life as perplexing and confusing. Nanberry was born into, and partially raised by an Indigenous Australian family, however he was adopted by Surgeon White at the tender age of eight or nine.

Mary Hill creates a tone of despair in Excerpts from the Trail of Tears Diary by using sensory imagery. In the text, the author uses sensory imagery when she

250). However, a lack of labels in the artworks at The Forks impeded the degree to which I was able to learn about indigenous culture. Labels can provide contextual information like the artists’ name, the background, the date of creation and insight into the cultural significance of the piece (Forbes, 1940). Additionally, labels assure that the artist is accredited (Forbes, 1940). This is especially important for Indigenous artists, who have historically been underrepresented (Southwest Ontario Tourism Corporation, 2023).

The narrator describes how the Indigenous Australians in the area were forced to leave their land, saying, "The black people are gone, and so are the dingoes" (Ottley, 2007, p. 5). This quote highlights the displacement of Indigenous Australians by white settlers, as well as the impact of their absence on the environment. Moreover, the artwork in the text portrays the Indigenous Australians as dark and shadowy, emphasizing their marginalization and exclusion from mainstream society. Together, these examples demonstrate how power imbalances are present not only between humans, but also between humans and animals, and between different racial groups. The text serves as a commentary on the

This piece of art may have been made to document the unauthorised development and use of native lands following British colonisation. Elisha and William might've directed this artwork to bring awareness to how indigenous Australians and their land

It depicts the Indigenous people's losses of land, culture, and identity, as well as the loss of their traditional way of life. The writer has a connection to the struggles they faced as a result of the consequences the Indigenous faced and indicates that challenges will arise in the future. Moreover, in the research source "[t]hese are tough conversations and we have to get to a point where we are willing to make mistakes because we are going to make mistakes along the way" (Larson, online). It conveys reconciliation and difficult conversation, similar to loss, loneliness, and healing. The text and the real world demonstrate the complexities of historical injustices.

Alice Walker uses imagery and diction throughout her short story to tell the reader the meaning of “The Flowers”. The meaning of innocence lost and people growing up being changed by the harshness of reality. The author is able to use the imagery to show the difference between innocence and the loss of it. The setting is also used to show this as well.