Performance Description 

Bullang Mobo (Yugambeh for Strong Tomorrow) is an invitation to Kumi’s home. As well as tea, Kumi offers conversation around language diversity in Australia and identifying intersectionality within the group. Actively engaging the audience to a point where they become participants, Kumi and her family bring topics to the table which shape not only the direction of the show, but the physical seating arrangement. If Kumi doesn’t like your answer you will politely be asked to switch with another participant, and away from your friends. Seating is limited in the home and without the participants knowing it, the questions Kumi asks, and the answers she hears, will determine who gets to sit at the table, and where. Kumis home is a site-specific applied theatre piece. Kumi opens up her home to the public to support them in understanding the everyday challenges faced by community members. (O’Connor & Anderson, p28) 

Kumi, the host of the home, is sick. She is the grandmother of the Yugambeh language and she is dying. Her family, named with local indigenous animal names, seem to be in the care of Kumi, however, as the show progresses, we find that they are caring for her. Kumi is modest and mentions nothing about her illness, she simply wants to learn more about the languages being spoken in place of the traditional Yugambeh language which was spoken here by countless generations. It is her family who brings her critical condition to attention during the finale. a concept replacing a story (Bleeker) 

Performance Guiding Company/Practitioner 

Kurtjar / Kunjen man, Jack Sheppard, and his culturally activated intersectional demonstration Wild Australia was the inspiration for my piece. Also, Big hArt’s Ngapartji Ngapartji project, like mine, focuses on the concern for lost language, ‘Australia has already lost half of its 300 indigenous languages; and 110 of the 145 surviving are on the critically endangered list.’ Trevor Jamieson. Nothing Rhymes With Ngapartji is a follow up trans-medial conversion into the film by Trevor Jamieson. (Kattenbelt, p5) 

The stunning works of Ilbijerri, Aboriginal Torres-Strait islander theatre company have also inspired me to use transdisciplinary theatre as an educational tool for indigenous language survival. Jill Sigman’s Ten Huts was an encouragement to create this project, with similar ideas around creating a home for people to use in a public space while drawing attention to a particular cause. ‘The huts do this. They lead us to re-see objects that we normally perceive as dead, ugly, not useful, or don’t perceive at all, in new ways that are more alive.’ (Sigman, p10). Quentin Clark n9985336 3 

 

During the progression of my research into Indigenous site-specific performance work by contemporary theatre companies in Australia, Stalker Theatre Co from Sydney drew many similarities to Strong Tomorrow in their performance Incognita. 

“Incognita is a site-based performance that directly engages with the site as non-place. Set outdoors on a flat, level, cleared surface, the performance is about the leveling of the lie of the land and the creation of dislocated subjects who experience significant difficulties in belonging to these nonplaces. Incognita presents a profoundly unsettling picture of life in contemporary Australia. One wonders whether Yulidjirri had in mind a Gothic horror show when he encouraged Swain and Stalker to tell their own (non-Indigenous) story? Is this nightmare the (white) Australian story? Incognita leaves the question hanging. The suggestion is that this dystopia of people radically separated from themselves, others and the place-world is the endgame of colonisation. The performance projects a vision of a possible future.” ( Schaefer p.209) 

Multimedial site-specific ‘performance’ works like Wild Australia, (Hamilton p.4) which are using various art forms to highlight a political message as performance art have inspired me. Jill Sigman’s Ten Huts uses site-specific recycled found materials to build a shelter for people to use. The placement of the artwork into the view of the public recreates its form into theatre. (Kandinsky, p1922) 

Drawing attention to the critical state of Australian indigenous language has become a fascination of mine since moving to Alice Springs to work in Aboriginal communities in central Australia from 2013-2015. “As it stands, only a few languages currently have enough material in a useable form for adults to begin learning the languages.” (The Conversation, Jane Simpson.) Having spent my life growing up in urban Australia and considering myself fairly cultured and educated, I found my education to be just about to begin when I discovered that Australia has a present, prominent and alive indigenous culture. I was surrounded by street signs in Australian indigenous language’s. A review of Ngapartji Ngapartji addresses the effectiveness of delivering language content through performance “I saw the play in 2008 and I still remember the Pitjantjatjara names today.” (Crikey.com) 

Performance Content 

By facilitating an interactive experience for participants to explore intersectionality through process drama the participants co-direct the action by reflecting on & sharing personal experiences in the safe environment of Kumis home. 

Within Kumis home the performance is driven by investigation and the script is co-created with participants, not for them. (Denzin p 28) Kumis text is primary and cues the other characters. By Quentin Clark n9985336 4 

 

using parataxis, Kumi reorganising the participants depending on their responses to her questions creates a de-hierarchisation. (Lehmann & Juers-Munby P86). The environment abandons dramatic principals of providing order and provides options and choices for the spectators. They decide on the events to focus on. (Lehmann & Juers-Munby P89) 

The group will be facilitated into engaging with Kumi and her family and encouraged to share personal opinions surrounding the importance of observing intersectionality within the community & process their opinions on preserving Yugambeh, and other Australian indigenous languages. 

The positioning of the Audience 

In Kumi’s home, active engagement by audience members is vital to directing the action. The participants will be changing seating positions up to a maximum of four times during the tea time. Just like entering a home, you will be greeted by the family and asked to make yourself comfortable. The marquee is set up cute as a button, like home. Couches, a set dining table and chairs, a tea set with cushions on the floor. Initially, everyone will choose their seating arrangements, with their friends they came along with. However, during the 45 mins, the family will help them move wherever Kumi’s requests. 

Performance Space in Brisbane 

To capture a true representation of Brisbane’s language & cultural diversity, four marquee sites will host Kumi’s home. Cultural festivals in Brisbane like, Mosaic Festival, Quandamooka Festival, IndOz & Scandinavian Festival will host Kumi. Over a month Kumi’s home will be set up at these cultural celebrations around Brisbane. All festivals are running during September & October 2019 in CBD locations. Open for guests to come and look around and chat with us, make bookings and learn more about local languages, Kumis home will provide a relaxed meeting place for guests. Quentin Clark n9985336 5 

 

Script/Storyboard example 

Bullang Mobo – Strong Tomorrow. 

The Hosts; 

Kumi - Grandmother 

Muni - Kangaroo 

Buneen - Echidna 

Pigin - Turtle 

Steve - Joey 

A small marquee home is set up, a picket fence and a small garden out the front and a sign that says ‘welcome home’. The home has open doors from 12-5 pm, only closing for tea times. People are welcome to enter the home and look at the flags and read the comments left by participants, and make bookings for the tea times. At the tea time shows 20 people can enter the home and the doors will be closed for 45 mins. They will be welcomed in by Kumi and her family. Participants can take a seat where they like, on a couch or at the table, or the cushions on the floor. Drinks and bickies are offered and served by the family while Kumi does her monologue. 

Kumi: 

Welcome my friends to your home in the street 

Today we have many delightful friends for you to greet 

There is Muni, Buneen, Pigin & Steve 

And I am the homeowner and Kumi, or Grandmother …to these 

Beautiful lost souls who have found a home with me. 

We welcome you to this home with coffee and or tea. 

Buneen makes the best-boiled water in the home 

Pigin stirs in the yumminess with an old dingo bone 

Muni will serve the cups all on her lonesome 

Cause Steve is just a joe (Steve) “I’m playing Pokémon son” 

So look around and find a seat, gaze at the walls 

Find comfort in knowing others safely left these halls 

For no harm is meant and none will be delivered, 

Only warm drinks and biscuits offered under no conditions…. 

As long as you’ve all filled in the waivers, taken off your shoes, wear your hair nets, agree to being filmed secretly and adhere to all the T&C’s we haven’t told you about due to not knowing what people will complain about, stroke a dingo Quentin Clark n9985336 6 

 

three times backward and see how much he likes it, file the report about your dingo findings, and… 

Steve: NO FARTING. 

Kumi: … yes, we good. 

So what is it you came home for, why did you step unknowingly into these doors? 

Steve: Hopefully not to fart 

Muni: Steve! 

Steve: Nah, what? I’m sick of it,…always smelling other people’s farts 

Kumi: I’m sure no one came in through these doors, paid money to come in these doors, to fart, Steve. But thank you for reminding me, there is a fart flap just here, Buneen will demonstrate. 

Buneen demonstrates how to; 

Buneen: Lift the flap and place your arse at the hole and wait to launch 

Steve : Yeh, so use it, stinkers! 

Kumi: Without any more delaying, 

ALL: Shut the hell up, we want to hear what you’re saying! 

Kumi: I would like to tell you all a story 

so open your ears 

It begins in the nowhere 

and ends right here 

though to say it ends 

is quite incorrect 

and misleading, at best 

this tale that I tell 

is best left to song 

so strike up the band, Steve. 

Steve: Yeh, I’m just battling, it won’t be long. 

Kumi : So while we wait for Steve, I will ask Pigin to begin the ceremony. 

Pigin: Shnarpl swerp. That is turtle for Welcome Home. Would you like to try it? Shnarpl swerp. 

Muni: Nassbit tna tna. That is Kangaroo for Welcome Home. Try it with me? Nassbit tna tna 

Buneen: OOOOOFFFFF FOO FOO. That is Echidna for Welcome Home. OOOOOFFFFF FOO FOO. 

Kumi: Does anyone here speak a language other than English at home? 

Excellent, please join me at the table here. 

Kumi asks if anyone at the table speaks another language at home and if not they are move to the spare seats left by the chosen ones joining the table. Quentin Clark n9985336 7 

 

Right, well I will just ask you to make room up here at the table for these bilingual beauties. 

Buneen, Muni, Pigin assist the shuffling people to a seat. 

Now tell me what language is it that you speak at home? 

Asks participants one by one. 

Great, that’s wonderful of you to share. Would you mind just making a little flag for the wall? Here are some pens and paper, you can have some fun now. A little reward for being thrust into the spotlight, there you go enjoy. 

Buneen assists with flag making and wall pinning. 

How we going with the music there, Steve? Steve? Steve? Steve? 

Steve: What? 

Muni: The music, Steve. 

Steve: Oh what? Nah I’m not done yet, I have to beat this guy, Mum. 

Kumi & Muni exchange a held look, both turn away and let out a quiet sigh. 

Kumi: Never mind, let us continue with this lovely conversation. 

Do you speak more than two languages fluently? Does anyone? 

Participants will be shuffled once again with Kumi’s direction. The conversation continues to be facilitated by Kumi. When the participants have been given their flags to colour in, Kumi continues. Steve, how are we going with music, love? Do you think we might be able to sing for our guests now? 

Steve; Yeh, I’ve been ready for ages. 

Music plays, Kumi & family sing. 

‘Strong tomorrow’. 

Welcome dear souls to our cosy home 

A bit late for that now isn’t it 

all look at Steve who isn’t paying attention 

You have found me now, though I never left 

I welcome you back safe to my breast 

Your soul has chosen and driven you here 

I have been calling you all, my dears. 

But my language you will not know 

Do not be embarrassed, for you can’t have known 

That you speak a foreign language here, in my home. 

Born here, moved here, just passing through? 

Yugambeh is the local language, this is true. 

Not just here in my little place, 

Southeast Qld is Yugambeh speaking place. Quentin Clark n9985336 8 

 

It's ok if you did not know, many don’t 

But promise me, forget this, you won’t. 

Kumi, Kumi, Kumi, Kumi 

Do you speak any Australian Indigenous languages at home? 

Muni: Kumi didn’t know who she was. Born in Brisbane growing up speaking English she would take off her shoes, feel the earth underneath her, she walked these lands, blistered her feet on the burning black summer bitumen. She couldn’t shake it. 

Buneen: Shake what? 

Steve : The feeling like she was missing something. 

Pigin: The feeling just grew. 

Buneen: it turned into a pull. 

Pigin: Or was it a push? 

Buneen: Whatever it was it took her out bush. 

Muni: Kumi, that was not her name at the time, followed the calling like it was a line. 

She walked it brave, though she knew not where it led. 

She followed the voices that whispered in her head. 

And she found her feet to be on walkabout. 

She traveled north east-west and south. 

She found her track was not about her feet, 

It was about the people she would meet 

The Anangu, Warlpiri, Arrernte in their homes. 

They spoke in differing sounds and used different tones. 

Pigin: That’s when it happened. 

Buneen: Yes! Wait, what? 

Pigin: That’s when it hit her and she stopped in her tracks. 

She realised that was the feeling she couldn’t pin before. 

The feeling that, back home, there was something more. 

Kumi: Yes that’s right, that was when, 

I turned my feet around and I headed home again. 

It was the language, the voice of my homelands I missed. 

And not the English so familiar to my ears. 

It was an unspoken language, ancient in years, 

a language spoken more often than not, 

right here, where you sit in this spot. 

 

 

Bibliography 

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www.australianstage.com.au/200801141029/reviews/sydney- festival/ngapartji- ngapartji-%7c-big-hart.html, accessed 10/10/2018 

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6. Hamilton, Margaret. ‘Post dramatic Theatre and Australia: A 'New' Theatre Discourse’. Australasian Drama Studies, No. 52, Apr 2008, p.4. Accessed 26 Oct 18. 

 

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http://ilbijerri.com.au/about/. Accessed 1/10/2018 

8. "Intermediality in Performance and as a Mode of Performativity." In Mapping Intermediality in Performance, edited by Kattenbelt Chiel, Bay-Cheng Sarah, Kattenbelt Chiel, Lavender Andy, and Nelson Robin, 29-37. Amsterdam University Press, 2010. 

 

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www.uq.edu.au/news/article/2015/02/wild-australia-photos-brought-light, accessed 8/10/2018 Quentin Clark n9985336 10 

 

 

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http://ourlanguages.org.au/indigenous-languages-in-the-theatre, accessed 10/10/2018, www.ourlanguages.org.au/ethnologue-language-family-tree, accessed 8/10/2018 

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15. Racism No Way, Anti-racism Education for Australian Schools, ‘Diversity of Language’, www.racismnoway.com.au/about-racism/australias-cultural- diversity/diversity-of-language/ accessed 8/10/2018 

 

16. Schaefer, Kerrie ‘This is my country! This is my country?’ Stalker Theatre Company's Incognita and the auto-ethnographic turn in post-dramatic, site-based Australian theatre, Studies in Theatre and Performance, 2008, p 209 

 

17. Sigman, Jill. “Ten Huts”. Hanover: Wesleyan University Press, 2017. 

 

18. Simpson, Jane, ‘Reviving Indigenous languages – not as easy as it seems’ 

 

November 18, 2016, www.theconversation.com/reviving-indigenous-languages- not-as-easy-as-it-seems-68977, accessed 11/10/2018 

19. Yunkaporta, Tyson, “Wild Australia, reliving the Shocking Story of Indigenous Slave Performers”, The Guardian online, 14/01/2008. 

 

www.theguardian.com/artanddesign/2017/may/06/wild-australia-reliving-the- shocking-story-of-indigenous-slave-performers, accessed 10/10/2018