Cirrus@Austlit

'The subject of English offers a unique context to embed Indigenous perspectives for the benefit of all students through its availability and variety of text choices. Currently, the New South Wales (NSW) English Syllabus requires teachers to include texts which provide 'insights into Aboriginal experiences in Australia' (NESA, 2012). With no structured auditing method for this inclusion, there is room to further understand how teachers select texts to include Indigenous perspectives. This paper will present some factors influencing text selection when including Indigenous perspectives through four teacher profiles. It presents four teacher profiles to explore some influences on their text selections when including Indigenous perspectives. It is a snapshot of decision-making for class texts identified from semi-structured qualitative conversations with four Western Sydney English teachers. The study aims to provide some insight into the process of embedding Aboriginal and Torres Strait Islander perspectives through text selection in Years 7-10 English.' (Publication abstract)

‘All Australian children deserve to know the country that they share through the stories that Aboriginal people can tell them,’ write Gladys Idjirrimoonra Milroy and Jill Milroy (2008: 42). If country and story, place and voice are intertwined, it is vital that we make space in Australian creative writing classrooms for the reading and writing of Australian Indigenous story. What principles and questions can allow us to begin? We propose six groundings for this work:

1. Indigenous story is literary history, literary history is creative power.
2. We do culture together: culture becomes in collaboration, conscious or unconscious.
3. There is no such thing as Indigenous story, and yet it can be performed and known.
4. Country speaks, to our conceptions of voice and point of view.
5. History and memory are written in the land and on the body in bodies of practice.
6. Story transmits narrative responsibility. Narrative responsibility requires fierce listening.

'This two-part paper discusses each of these groundings as orienting and motivating principles for work we do as teachers of introductory creative writing units at the University of Canberra. Part 1 discussed the first three groundings and was published in TEXT Vol 21, No 2, October 2017. Part 2 discusses the remaining three groundings.'  (Publication abstract)