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'Apekathe follows the story of two Aboriginal women and their families and how they identify with their Aboriginal heritage. Using Priscilla Collins' family as the vehicle, this documentary explores this identity crisis in a contemporary environment. Her family is made up of shades from black to white skin. There is no doubt within the family that they are Aboriginal, but there is doubt in society at large. Maureen McGregor is an Aboriginal from the Daly River region of the Northern Territory. Maureen does not have to contend with sceptical remarks about her identity as she possesses the characteristics and pigmentation of an Aboriginal person. Her children however are fair with red hair. As with Priscilla, these children will grow up to be ridiculed for proclaiming they are Aboriginal. Through this film we show the diversity which makes up the Aboriginal nation of Australia and why there are people with fair skin who call themselves Aboriginal.'
'Straight From the Yudaman's Mouth is the story of the 1930s' shooting of the white administrator of Palm Island Aboriginal Mission. Through the eyes of Peter Prior, then one of the island's Aboriginal residents, and now a 91-year-old, the film revisits the life and times of the old mission and the extraordinary events that surrounded the death of its Administrator, Robert Curry.' (Source: Screen Australia website)
'This documentary looks at BRACS, the Broadcasting for Remote Aboriginal Communities Scheme. It follows the Jigalong BRACS operator, Keith (Joog) Lethbridge on his travels across the vast Pilbara and Kimberley of Western Australia. On the way it reveals the extent of Indigenous broadcasting throughout the region and the use of local media by remote communities to tell their stories and keep their culture strong.' (Source: Screen Australia website)
'Milerum, an initiated man of the Coorong, recorded significant details of the Tanganrkuld culture. His material is now stored in the South Australian Museum. The question is: whose story is it?'
Over 192 episodes have been produced since 1987, with the series' primary aim being the maintenance of Aboriginal languages and culture. Nganampa Anwernekenhe is broadcast in Aboriginal languages, and is the only Aboriginal language program produced by and broadcast to Aboriginal people. The series is subtitled so that it is accessible to people who do not speak the Indigenous languages used in each program.
'Early episodes focused on traditional law and culture stories and many of these are no longer available for public viewing. Social issues including women's welfare, health management and language change became central after about 5 years, followed in subsequent series by individual meditations on different Aboriginal identities.' Contemporary historical accounts have come to prominence in the early 2000s (Lisa Stefanoff, 'CAAMA: From the Heart,' p.19).
All programs selected for inclusion in the Nganampa Anwernekenhe series must meet the CAAMA critieria. Included is the requirement that each show must:
contain 50% traditional and 50% mixed and regionally spread content;
be 90% indigenous language with English subtitles; and
have an indigenous Australian in the key creative roles, which include writer, director, cinematographer, and sound recordist.
Among the shows produced since 1987 are 'Bush Tucker is Everywhere' (ca. 1987), 'Benny and the Dreamers' (1992), 'Tennant Creek - Sacred Dances' (1999), 'Teddy Briscoe' (2000), 'Smoking the Baby' (2001), 'Dog Dreaming' (2001), 'Beyond Sorry' (2003), 'Karli Jalangu - Boomerang Today' (2004), 'Crook Hat and Camphoo' (2005), 'The Art of Healing' (2005), and 'Wirrangul Women: Always Have, Always Will' (2006).
