Aliwa Wadjella! Staging a Nyoongar Play Using Ensemble Theatre: Applying Culturally Respectful Conventions for Working With First Nations Content in Drama.

Introduction

This article draws on a key finding from a broader practice-led PhD study investigating culturally respectful approaches for Drama teachers to engage with Australian^[1] First Nations theatre texts through embodiment. It specifically examines how ensemble-based theatre can deepen pre-service teachers’ understandings of local First Nations histories and cultures, leading to powerful and transformational learning. Additionally, it outlines two critical phases of this creative inquiry, introducing a set of conventions for respectful embodied practice with Australian First Nations texts in Drama.

I begin by acknowledging the profound privilege and responsibility of conducting this research, situated within the framework of learning from and alongside Australian First Nations peoples and their histories and cultures. Following First Nations protocols, I introduce myself and my journey into this research. As a non-Indigenous Australian, I was drawn to this field through fifteen years of engagement with Australian First Nations communities in educational settings nationwide. Thirteen years ago, I co-founded Deadly Arts, a program connecting schools with local First Nations artists to teach their histories and cultures through the arts. In 2021, I co-founded Boss Arts Creative with Nyoongar colleagues, a First Nations-led not-for-profit organisation training emerging First Nations performing artists and delivering arts programs to Perth/Boorloo schools and youth detention centres.

Through these experiences, I have witnessed the significant benefits for non-Indigenous teachers in collaborating with First Nations artists. As a practitioner in education, I feel compelled to advocate for respectful and culturally responsive collaborations. I recognise that Drama, my specific area of focus, is complex; while it provides access to rich histories and cultural perspectives through First Nations play texts, my previous research has highlighted Australian Drama teachers’ hesitancy to work with these texts within their Drama classes (Williams & Morris, 2022).

Before this project, I conducted a pilot study on how pre-service Drama teachers from Edith Cowan University in Western Australia planned to integrate First Nations histories and cultures into their future Drama classes (Williams & Morris, 2022). The study revealed they were unprepared to teach Australian First Nations texts, as their training did not cover this, and practicum mentor teachers discouraged teaching First Nations content due to fears of cultural appropriation. These findings align with broader concerns about teacher confidence in engaging with First Nations content (Bishop et al., 2021; Stanesby et al., 2012), as well as the ethical considerations of embodied practice when working with First Nations texts in Drama (Hradsky & Forgasz, 2023). Hradsky and Forgasz (2023) advocate for a deep respect for cultural authenticity, emphasising the need for sensitivity, collaboration, and an understanding of power dynamics. However, they also caution educators against cultural misrepresentation and exploitation, underscoring the complex intersection of embodied drama practices and First Nations content.

The project was conducted during 2019–2020. At that time, there was limited empirical data available on how Drama teachers could engage with First Nations texts in an embodied manner, or whether this approach was culturally acceptable or safe. Since the publication of the PhD, other valuable studies and resources have emerged (Bell-Wykes et al., 2020; Hradsky et al., 2021) that offer significant insights. However, questions still remain about how and whether the active, participatory, and dynamic methods inherent in Drama education, could be applied respectfully and safely to working with First Nations theatre texts, in order to promote better understanding of the themes and histories conveyed in these stories. A recent systematic review of literature in this field (Hradsky & Forgasz, 2023) highlighted that such practices can be both “powerful” and “risky and unpredictable” (p. 965). However, the review also highlighted the significant potential of embodied learning in engaging with First Nations perspectives, justifying further exploration and research (Hradsky & Forgasz, 2023). The findings of this study contribute to this discourse by offering a culturally safe framework that mitigates risk while prioritising respectful protocols alongside Drama-based methods for working with First Nations texts in the Drama classroom.

Overview of the PhD Study

Using the arts-based methodology of a/r/tography, in collaboration with a Nyoongar artist, and under the supervision of a Nyoongar Elder, my research took the form of a creative project in which I directed an ensemble theatre performance of an Australian First Nations play text—the historically rich Nyoongar story of Aliwa! by Dallas Winmar (2002), with a group of pre-service drama teachers. Aliwa! translates to ‘look out!’ in English and tells the true story of playwright Jack Davis’s family as they fled from the government during the era now known as the Stolen Generations and journeyed through the southwest of Western Australia, staying in hiding and protecting their children (Winmar, 2002). The culmination of the research resulted in an edited and reimagined performance, which was videoed and serves as an artifact of the study. It’s crucial to emphasise that the final performance was not meant for public presentation. Instead, the project aimed to assess the learning process of the pre-service teachers as they engaged in embodied drama pedagogies throughout the investigation and in the creation of the performance, so an external audience was not necessary. During the final showing, members of the third-year pre-service Drama cohort, who were not part of the study, observed the performance as witnesses.

The process of dramatic text exploration and embodiment reflected requirements outlined in the national Australian Drama curriculum and the Western Australian Drama curriculum (ACARA, 2014b; SCSA, 2014). The planning and delivery of the creative project was guided by an advisory group of First Nations playwrights, theatre directors and educators whom I interviewed at the start of the study. As participants in the research, their responses and advice, which I followed over the course of the project, contributed to a set of conventions for the respectful embodiment of an Australian First Nation’s theatre text in secondary and tertiary Drama education. These conventions became one of the key findings from the study and will be examined in this article.

Background to the Study

The research was conducted during a period of resounding educational policy reform for Australian First Nations young people (Shay & Oliver, 2021), when First Nations voices were calling out for “a better future for our children based on justice and self-determination” (First Nations National Constitutional Convention, 2017, para. 9). Despite successive government interventions, educational outcomes for these children reveal significant underachievement (Lowe, 2017). However, a paradigm shift is evident; now, Australian schools and teachers are required to meet professional standards for the quality teaching of First Nations students and standards promoting reconciliation and intercultural understanding between First Nations and non-Indigenous students (AITSL, 2011). Similarly, the Australian Curriculum Assessment and Reporting Authority (ACARA, 2014b) has included Aboriginal and Torres Strait Islander histories and cultures as a cross-curriculum priority (CCP), making teachers responsible for embedding learning about First Nations histories and cultures throughout their praxis.

However, educational researchers have warned that Australian schools are ill-equipped to effect change (Eckersley, 2019; N. Harrison & Greenfield, 2011; Lowe, 2017; Phillips, 2021). Across Australia, despite varying approaches nationwide, there is significant concern about teachers not being adequately trained to effectively achieve curriculum goals (Bishop et al., 2021; Moodie, 2019; Nakata, 2011) as well as issues surrounding teachers fears of getting it wrong, leading to many teachers avoiding this content altogether (Morrison et al., 2019). Gunditjmara educator Mark Rose (2019) claims that, in their effort to protect Indigenous communities from offence, Australian non-First Nations teachers are contributing to “racism by cotton wool” (p. 100). Rose (2019) argues that this is a dangerous form of political correctness that is resulting in the widespread suppression of First Nations content material in schools.

As a solution, researchers have stressed the importance of providing pre-service teachers with the opportunities to engage with First Nations knowledges and perspectives as a priority in initial teacher education (Baynes, 2016; Moodie & Patrick, 2017; Nakata, 2011). Such opportunities should help pre-service teachers develop the critical skills needed to navigate complex and contested knowledge spaces and authentically integrate First Nations perspectives in their teaching (Nakata et al., 2012). Drama is a subject in the arts learning area of the curriculum, and within Drama, there are many opportunities to learn about, engage in and connect with local First Nations perspectives (Bell-Wykes et al., 2020). However, in many Australian schools Drama teachers are still hesitant to teach First Nations content in Drama even though a number of guidelines have been published to address this (Bell-Wykes et al., 2020; Casey & Syron, 2007; NADIE, 1995). Despite valuable advice from these guides, hesitancy remains in working with First Nations texts in an embodied way due to fears of causing harm or offense. Hradsky and Forgasz (2023, p. 983) highlight this concern, stating, “The thought of students stereotyping First Nations peoples, or embodying racist attitudes is disturbing.” Sharing this concern, the PhD study at the centre of this paper focused on finding respectful and culturally safe methods to work with First Nations texts in drama classrooms.

The Australian Curriculum and the Aboriginal and Torres Strait Islander Cross-Curricular Policy

The Australian Curriculum strongly emphasises teaching First Nations content in the drama curriculum. As well as the Aboriginal and Torres Strait Islander CCPs in Year 7–10 secondary Drama, two content descriptors out of a possible seven convey recommendations to include First Nations “Dramatists and viewpoints” (ACARA, 2014a, para. 8). Despite these recommendations teachers in Australian schools struggle to deliver effective learning in First Nations content (Phillips, 2021). The main reasons for this phenomenon include teachers’ lack of understanding of First Nations histories and cultures due to poor education in their own schooling (Moodie & Patrick, 2017; Nakata, 2011), as well as their wariness of cultural appropriation and inadvertent perpetuation of stereotypes (Baynes, 2016; Rose, 2019). As a result, students are denied the outcomes of rich experiential learning; in addition, important knowledge of the critical contribution of Australian First Nations peoples to the fabric of our national culture is not being passed on (Nakata, 2011).

Within the specific subject area of Drama, there is limited practice-led research exploring how non-Indigenous Drama teachers can engage with First Nations texts through embodied practice in a manner that is both culturally respectful and safe. Further investigation is needed into the application and integration of First Nations texts in practical Drama classrooms. The findings from this study offer one potential framework for Drama educators to facilitate this essential learning.

Australian First Nations Play Texts as Critical Teaching Materials in Drama

While there is a shortage of empirical studies on the teaching of Australian First Nations theatre texts in initial teacher education, much evidence demonstrating the effectiveness of these plays in centring Australian First Nations perspectives can be found, making them crucial to the study of Australian Drama (Bell-Wykes et al., 2020; Casey, 2005, 2012; J. Harrison, 2012). In their resource for teaching First Nations content in Drama classes, Bell-Wykes et al. (2020) proposes that engaging with Australian First Nations plays can help students face difficult and uncomfortable truths regarding First Nations and non-Indigenous peoples’ shared histories. As Casey (2005) explains, First Nations histories and cultures have a complex place both within the Australian society and the national identity, and this complexity can make them difficult to teach, regardless of the cultural background of the teacher. However, studying these plays could play a vital role in intercultural understanding and communication between First Nations and non-Indigenous students (J. Harrison, 2012). As Casey (2005) points out, Australian First Nations peoples have historically been denied their right to speak. Casey (2005) contends that First Nations plays can “contribute to filling the silences of the past” (p. 7).

Since the plays of pioneering Wiradjuri playwright Kevin Gilbert (1988) in the late 1960s, Australian First Nations theatre has sought to redress the presence of Australian First Nations peoples in history. According to Casey (2012), early First Nations theatre texts increased public awareness of issues affecting First Nations peoples, as they illuminated the daily realities of racism and socioeconomic challenges inflicted on them since colonisation. These plays also served the vital purpose of bringing First Nations Australians to the theatre, and, with First Nations communities now recognised as audience, the stories began to be told from a shifting perspective and for a different purpose (Casey, 2005).

Today, First Nations theatre companies such as Yirra Yaakin in Western Australia attract large First Nations audiences, and the company is shifting its focus on the kinds of stories it tells, moving on from producing plays that serve, among other things, to educate non-Indigenous audiences on First Nations issues. As previous artistic director and Yamatji woman Eva Mullaley (2020, as cited in Australian Broadcasting Corporation, 2020) affirmed;

it’s time we stopped making theatre for white audiences… The more we think of Aboriginal theatre as issues-based, the more I feel we become an issue, and we’re not an issue. It’s the way we’re perceived that is the issue (para. 11).

Recent productions such as Black is the New White by Nakkiah Lui (2019) and FIFO — Fit In or F**K Off! by Melody Dia (Yirra Yaakin Theatre Company, 2020) are examples of new First Nations plays that have been written for a First Nations audience and celebrate First Nations characters as “three-dimensional…astute and evolutionary” (Mullaley, 2020, cited in Australian Broadcasting Corporation, 2020, para.12). They portray the perspectives and lives of contemporary First Nations people living in a contemporary world. Stories that deal with change, family conflicts and the struggle to survive in today’s world have a message for everyone, yet privilege the realities for First Nation’s peoples, which is why they should be essential components of the Australian Drama curriculum (J. Harrison, 2012).

Methodology

This research was shaped by First Nations ontologies, which emphasises the interconnectedness of people, land, and spirit— a metaphysical foundation that informs Australian First Nations peoples’ ways of knowing, being and doing (Martin, 2008). The Japanangka Teaching and Research Paradigm, articulated by palawa teacher and philosopher Japanangka errol West (2000), provided significant theoretical underpinnings for this study. West’s (2000) framework offers a comprehensive approach integrating social, political, and spiritual dimensions for teaching Australian First Nations students and conducting meaningful research within First Nations contexts. In my practice-led investigation, I employed a mixed methods approach that adhered to an interpretivist framework, utilising a/r/tography along with practice-led and qualitative data gathering methods.

A/r/tography

The a/r/tography research methodology integrates the identities of artist, researcher, and teacher (a/r/t) with ‘graphy’, emphasising communication (Leggo et al., 2011). This practice-led approach explores the intersections and fluid boundaries among these identities (Carter, 2014), fostering organic evolution within inquiry cycles. Central to a/r/tography is the exploration of meaning through rhizomatic inquiry, inspired by Deleuze and Guattari’s concept of rhizomes (1988), likening knowledge creation to the spreading of crabgrass in multiple directions. This is a framework that resonates well with ensemble theatre making. Throughout the creative project, ensemble decisions were collaborative rather than directive, with my role alternating between an artist, a data gatherer and an educator. Arts-based methods, including data gathering through action research inquiry cycles (Altrichter et al., 2002) and the John’s model of structured reflection (Johns, 2009), facilitated reflection-on-action throughout the phases of inquiry (Barrett & Bolt, 2010).

Throughout the creative project, I remained conscious that, as a non-Indigenous researcher making meaning from a First Nations text under the guidance of First Nations artists, it was essential to respect First Nations ways of knowing, being and doing. My aim was not to frame facts as theory but rather, as the a/r/tographer Leavy (2018) described it, to be “led by theorising potential as it moves beyond the boundaries of theory” (p. 37). It was critical that my living inquiry sought to explore possibilities in response to my research questions, rather than assert definitive facts. As Hradsky and Forgasz (2022) stipulate when working with First Nations content, “Certainty is impossible and likely only to reinstate colonising practices and norms” (p. 967). The project revealed to me that there is no one way to work with First Nations texts; rather, as we observe cultural protocols and work deeper within the respectful boundaries set by the First Nations community, we begin to uncover the potential for transformation. As Triggs et al. state, “Potential is inexhaustible, and once submitted to, Massumi (2002) described it as striking like a force, with a momentum that drives an unfolding series of events” (2014, cited in Irwin et al., 2018, pp. 37–38).

Borrowing from Qualitative Methods

To obtain data on how non-Indigenous Drama teachers can work with First Nations texts respectfully and without misrepresentation, I also utilised methods from phenomenological inquiry. This included standardized open-ended interviews with the First Nations Advisory Group participants and focus group interviews with the pre-service teacher participants. These interviews provided crucial context for the investigation.

Ethical Considerations

The research described here adhered to the National Health and Medical Research Council’s ethical guidelines (2018). Following the Australian Institute of Aboriginal and Torres Strait Islander Code of Ethics (AIATSIS, 2020), the study was guided by a First Nations supervisor, a Traditional Owner and Elder on the Country in which the research took place. Ethical approval was granted by the Edith Cowan University Human Research Ethics Committee^[2]. Pseudonyms were used for pre-service teacher participants, although the First Nations Advisory Group participants were happy to be named in the study.

The Process of Investigation

There were two sets of participants in this study. The first set was a group of four leading Australian First Nations playwrights, theatre directors and educators, whose interview responses helped to guide me on the planning and execution of the creative work, and I refer to them as the First Nations Advisory Group. The second set of participants was a group of fourteen non-Indigenous third-year pre-service secondary Drama teachers at Edith Cowan University who took part in the creative project. I refer to these as the pre-service teachers. There were no First Nations students enrolled in that cohort at the time of the study; different outcomes might have resulted had they been present. I conducted interviews with the pre-service teachers before and after their involvement in the creative project to assess its impact on their knowledge and understanding of Nyoongar history and culture, as well as their competence and confidence in incorporating similar teachings in their future praxis.

The PhD study was conducted over several phases of inquiry; however, the following provides an overview of two key phases; the planning and consultation phase, and the embodied workshop phase. The key findings from these two phases will be illuminated.

Phase 1 – Planning and Consultation

The first phase involved gathering the necessary data to plan, position and scope my creative investigation. The project began with setting up and interviewing the First Nations Advisory Group participants, whose advice and feedback influenced the research design, methodology and process of investigation. The group members - Dallas Winmar (2002) (the writer of Aliwa!), Eva Mullaley, Simon Stewart, and Dr. Liza-Mare Syron - came from the Nyoongar, Yamatji, and Gooniyandi nations of Western Australia and the Biripi nation of New South Wales. The group members were selected based on their significant contributions to Australian First Nations theatre and Drama education, they gave their time freely and were not paid for their contributions towards this empirical research study.

The questions to the First Nations Advisory group were designed to elicit advice on culturally sensitive and respectful ways for non-Indigenous Drama teachers to work with First Nations texts. The members of the group were interviewed separately several weeks before the creative project was due to start. This gave me time to reflect on their responses and design the project based on their recommendations. The interviews consisted of the following four open-ended questions:

1. Describe some ways that non-Indigenous drama teachers can respectfully approach working with First Nations themes in drama.

2. What are some ways that non-Indigenous drama teachers can avoid insensitivity and cultural appropriation when working with First Nations theatre texts?

3. In your opinion, how can the study of First Nations plays help to teach students about First Nations perspectives, histories and cultures?

4. Do you believe non-Indigenous students can act in First Nations plays portraying First Nations characters? Can you explain your answer?

The members held a range of complex and diverse perspectives regarding the incorporation of First Nations content within Drama education, with some responses revealing diametrically opposite views. These diverse viewpoints illustrate the challenges and tensions that Drama educators, regardless of their cultural background, may encounter when engaging with First Nations theatre texts (Bell-Wykes et al., 2020). Throughout the duration of the project, I acknowledged and respected these tensions, recognising them as indicative of the profound significance for First Nations communities and cultures when such essential content is integrated into the Drama class.

Before starting the project, it was crucial to gather insights from the pre-service teachers too so that I could tailor the workshops to meet their needs. Two focus group interviews were conducted which aimed to establish baseline data regarding their attitudes, knowledge, and confidence in working with First Nations texts in Drama. The data from the interviews mirrored those of my pilot study (Williams & Morris, 2022), revealing that they were hesitant to teach these texts due to limited understanding of First Nations histories and cultures, and a lack of exposure to Australian First Nations texts in their Drama training. Many expressed concerns about cultural appropriation and potentially offending First Nations peoples, leading most to indicate they were unlikely to include this content in their future teaching praxis.

Phase 2: Embodied Workshops

The workshop phase encompassed six two-hour sessions along with three weeks of rehearsals with the pre-service teachers, during which I collaborated with Marcelle Riley, a Nyoongar community artist. Marcelle, a Wilman Nyoongar woman sharing the same Country and language group as Dallas Winmar (2002), has a family history that is very similar to the characters in Aliwa! (Winmar, 2002). Marcelle, born in 1970 as one of the last babies on the Mogumber Mission in Western Australia, is known for creating Nyoongar dolls, which she refers to as Story Dolls (Riley, 2019). These traditional dolls, which she first learnt to make while on the mission, represent her personal story, expressing both her past memories and dreams for the future. As part of the first workshop, the pre-service teachers went out on Country to a place they felt a connection with and brought back a small item from nature. Marcelle then held a yarning circle where they shared that item with the group and talked about how and why the Country it came from was important to them. Marcelle then shared with the group the Nyoongar tradition of doll making and they wove these items into their dolls. What ensued was a heartfelt yarning and making session that helped the participants to build an understanding of the First Nations notion of connection to Country, which is at the heart of the story of Aliwa! (Winmar, 2002).

During the yarning circle the pre-service teachers sought Marcelle’s advice, as a Nyoongar community leader, on whether they should perform the play or create a devised theatre piece in response to its themes, which had been one of our earlier options. Although the playwright Dallas Winmar (2002) had given us permission to perform the play, we remained concerned that doing so might cause offence to some communities.

At this stage in the project, I still felt unsure about directing the text of Aliwa! (Winmar, 2002) despite having received approval from three out of the four Advisory Group members. My primary concern was the possibility of offending the Nyoongar community, a community I deeply respect. Going into the creative project, I had not made a decision on this and, instead, I brought it to the pre-service teachers to consider as part of their learning experience. The participants shared my uncertainty. One the one hand, performing the text and engaging with the worldview presented by the characters offered a powerful learning opportunity that could deepen their understanding of the experiences of the Nyoongar community during the Stolen Generations. On the other hand, even if approached with utmost respect – following Marcelle’s guidance and adhering to the conventions established by the Advisory Group – there was concern that the project could be misinterpreted, leading to public criticism or controversy. However, Marcelle reassured us by referring to her Story Dolls, explaining that she had created them to share her story with the world. She emphasised that sharing her experiences was both necessary and healing, not only for herself but also her community. If Dallas Winmar (2002) had entrusted us with her story, Marcelle affirmed, it was our duty and our privilege to share it with honesty and respect.

This marked a significant turning point in our creative project, as we collectively decided to proceed with staging the play. It required us to approach the portrayal of First Nations characters and the storytelling process with great care and respect. Leading on from this we decided to use ensemble theatre as a framework for mounting the production. Choosing ensemble theatre allowed the participants greater artistry in applying the advice from the Advisory Group on working respectfully with First Nations texts to their staging of the play. This decision also gave the participants more creative input into the processes of editing, blocking and performing, because ensemble theatre, unlike other forms of theatre, is created collectively by a group rather than by a director who is often outside the group (Oddey, 2013). In this research, I became part of the ensemble and, at times, led from within rather than directing from the sidelines. This was where my three identities of artist/researcher/teacher often became blurred (Carter, 2014) as I allowed the work to find its own shape, resisting controlling the outcome, yet building learning experiences into the character work so that the participants were learning through “living inquiry” (Springgay & Irwin, 2005, p. 897).

Another notable revelation that occurred during the workshop phase was when Marcelle generously shared her family’s file from the State Record Office of Western Australia with the pre-service teachers. This pivotal moment parallels a scene in Aliwa! where the character Jude retrieves her family’s file from “Family and Children’s Services” (Winmar, 2002, p. 2) which causes much distress for herself and her family. Reading Marcelle’s file and hearing about the frustrations and indignity she endured dealing with the various government departments to locate it and bring it home, had a profound impact on the participants. It enabled them to get a first-hand sense of the strict government restrictions for Nyoongar families during the Stolen Generations and how palpably the traumas of these years live on. This perspective also had revelations for the creative work as Marcelle’s moment of retrieval became a starting point for the show, and the use of archive boxes became a key storytelling device.

It was during this phase, through working rhizomatically (Deleuze & Guattari, 1988) that the ensemble discovered central dramatic devices that they as non-Indigenous performers used to tell the story of Aliwa! (Winmar, 2002). The most important of these was to set the play within the Brechtian frame work of Epic Theatre (Brecht & Willett, 2001). Brecht’s Epic Theatre is a style of Drama that aims to provoke critical thinking and social awareness by distancing audiences, urging them to recognise the play as a construction (Brecht & Willett, 2001). This encourages analysis and questioning of social issues, a goal we pursued by creating a truthful yet non-representational performance and avoiding mimicry or stereotypical portrayals of the First Nations characters. At the outset, the ensemble introduced themselves to the audience as performers taking on roles as First Nations characters. Our intention was to explicitly inform the audience that they were watching a play, aiming not merely to entertain but to educate them through the storytelling. To do so, we employed the Epic Theatre convention of “Lehrstucke” (Fischer, 1988, p. 372), which translates from the German as performing a “lesson-play”. In line with Brechtian tradition of breaking the fourth wall (Brecht & Willett, 2001) and directly addressing the audience, we also placed narrators among them to elucidate our interpretation of the play, offering commentary on the action and our dramatic choices.

The process of making these key staging decisions empowered participants to take on a dramaturgical role. As noted by leading dramaturg Maaike Bleeker (2003), “Dramaturgy directs the audience’s attention toward specific meanings” (p. 165). Central symbolism, like the use of archive boxes both physically and metaphorically, emerged during this phase. These boxes not only symbolised the archives holding Nyoongar family histories but also reflected the Davis family’s journey: their constant movement, homelessness, and the resilience in rebuilding their lives amid government pressures. During our workshops we explored the dramatic device of object transformation and during the performance the archive boxes became key set and prop pieces which we used in our story telling, they became a waterhole, seats on a train, a house, a cart and finally a coffin.

Throughout this phase the pre-service teachers applied a dramaturg’s approach to their theatre-making process through ensemble theatre, translating their understanding of Nyoongar histories and cultures into dramatic action. As part of this process, they thoroughly analysed the script of Aliwa! (Winmar, 2002) and conducted extensive research into its characters, themes, and historical and political contexts. This research informed a theatrically rich piece filled with symbolism and imagery that reflected their evolving perspectives.

Directly after the creative project a final focus group interview was held with the pre-service teachers. Using the same questions as the baseline focus groups, this aimed to assess the project’s impact on the pre-service teachers. Significant findings, presented below, highlight the effectiveness of ensemble theatre in conveying understanding of First Nations histories, cultures, and perspectives.

Interview data was coded using NVIVO software, employing thematic analysis to identify, analyse, and report patterns within the data, allowing for the emergence of key findings through iterative cycles of coding, categorizing, and refining themes. Several conventions for respectfully working with First Nations texts in Drama emerged from the interviews with the First Nations Advisory Group, and these conventions were applied by the pre-service teachers throughout their embodied text exploration. The pre-service teachers experiences and developments in learning while following these protocols, as reported in their final focus group interview, are included below. Some of the conventions align with and add to existing guidelines available for drama teachers (Bell-Wykes et al., 2020; Casey & Syron, 2007; NADIE, 1995). However, in this embodied, practice-led investigation, adhering to the Advisory Group’s conventions and staging the text of Aliwa! (Winmar, 2002) resulted in transformative changes in the pre-service teachers’ knowledge, confidence and praxis, strongly supporting the utility of these conventions. The findings underscore the powerful outcomes of using ensemble theatre to engage with First Nations histories, cultures, and perspectives. These conventions along with findings from the final focus group interview with the pre-service teachers will be outlined below.

Findings from Phase 1 and 2: Conventions for Respectful Embodied Practice with First Nations Texts in Drama

Convention 1: Acknowledgment

The First Nations Advisory Group agreed that a respectful approach to working with First Nations content in Drama should always begin with Acknowledgment. As one group member summarised, ‘it starts with acknowledgment. Acknowledgment of the work and where it comes from. Acknowledging the writers, their Country, their language group, respectfully approaching the work and dealing with the things that the writers are trying to communicate’. This process of acknowledging the themes that the writer was communicating through the story of Aliwa! (Winmar, 2002) and translating these into ensemble theatre enabled the participants to connect with First Nations perspectives in a more embodied way which had a transformational effect on their developing teaching praxis. One participant Josie had a revelation about the way post-colonial history is taught;

I think changing [the language of] colonisation to invasion is something we’ve really touched on and explored … And telling a kid that there’s two different perspectives and we have to acknowledge and respect and understand the invasion — the way we teach it, instead of just looking at it from a traditional perspective.

During the ensemble theatre making, participants’ worldviews evolved from naive to informed, recognising colonial perspectives in Western Australian school curricula. In yarning circles, they reflected on their growing understanding of Nyoongar perspectives, highlighting the power of embodied investigation in shifting standpoints.

Convention 2: Understand the Context

The importance of researching the histories, cultures, peoples and themes portrayed in First Nations plays for students and teachers was reinforced by the First Nations Advisory Group. One member advised that teachers must be clear on the level of research required to work with a First Nations text in Drama. They explained:

I think, with teachers, they don’t have a lot of time to research, they’re just on the go, but with this kind of work, they’ve got to do as much research as they would, say, a Shakespeare … so they are not just any works … They are works of significance.

Taking this advice into the planning of my creative project, I first conducted my own in-depth research into the history of Nyoongar Country, its peoples and its cultures. From this, I developed learning materials to use in the workshops with the pre-service teachers. The learning materials included readings published by local Nyoongar writers (Southwest Land and Sea Council, 2021) and government documents (Aborigines Act of 1905, 1905) that provided valuable information on the context surrounding Aliwa! (Winmar, 2002). As well as these readings, the participants also conducted their own research into their characters which helped them build an understanding of the political, social and emotional environment that their characters were living in and responding to (Haebich, 2000). This multilayered character work is a critical element of the study of Drama that provides an authentic opportunity for students to learn about First Nations histories and cultures. In the final focus group interview, participant Jacob, who portrayed A. O. Neville, the “chief protector of Aborigines” (Winmar, 2002, p. 38), articulated a significant finding regarding the educational value derived from an embodied investigation that fosters a deeper connection to the character. He expressed:

Drama, it really just allows you to feel, compared to other subjects. So if you’re up there playing such an awful antagonist, say you’re playing A.O. Neville and [you’re thinking] ‘man, this guy’s just a nob!’ … But by stepping into someone’s shoes or just trying to get an understanding of what he was like … you can get ideas of his humanity … And I think you can really connect with that by watching him play it out … trying to portray those feelings of ‘I’ve lost something’ or portraying feelings of like, ‘I’m taking that away from you’.

Convention 3: Connect with First Nations Community

The group suggested that the community could advise Drama teachers and their students on local history and cultural practices to help them to understand and connect with First Nations narratives. As one member explained, ‘This is to gain a better insight into the relevance of the storyline, and an understanding of characters. It also enriches the work—if what is being portrayed is honoured’. One member suggested:

The easiest thing is probably to go through the families that are already at the school … Talk to them about it, make them feel involved in the decisions that are being made about how students engage with or understand our history and cultures. They have to have a say in it, too … So that they’re recognised for their Aboriginality and their place in community.

I applied this crucial advice in my creative project, collaborating with Marcelle Riley, whose workshops transformed participants. Marcelle’s kinaesthetic approach involved making Story Dolls and yarning about Country. Participant David noted that this helped him begin to understand the Nyoongar notion of connection to Country. He recounted:

… the knowledge did improve, and I got a better understanding when you brought in Marcelle. I thought that was a very great moment where we actually learned something physical while we were learning something more mentally, as well, because she was talking it through to us.

This concept of embodied learning appeared important to the group, and they believed it significantly influenced their ability to discover their own connection to Nyoongar culture. As Lisa explained:

It helped us connect a lot more as well because especially as Drama kids, we tend to connect with things that are more physical. I think, just sitting there and listening to her, it might not have sunk in as well.

Marcelle’s introduction of the yarning circles garnered positive reception among participants, leading to its incorporation as a central element of our ensemble process. Following each workshop and rehearsal, yarning circles were convened to encourage participant reflections on their learning, facilitate collective decision-making, and ensure inclusive participation among all ensemble members. These circles also fostered a supportive and cohesive atmosphere, significantly aiding participants emotionally, particularly during the portrayal of scenes depicting traumatic events in post-colonial Nyoongar history.

Convention 4: Play for Truth

One of the questions I asked the advisory group was whether or not it was acceptable for non-Indigenous students to portray First Nations characters in secondary Drama. While this drew a variety of responses, three out of the four members agreed that in the education sector, non-Indigenous students should be allowed to play First Nations roles because there are simply not enough First Nations students in Australian schools to play these parts. They were concerned that this could prevent First Nations plays from being taught in schools. Various members however, warned of playing First Nations characters as stereotypes, as doing so inevitably leads to misrepresentation and cultural appropriation, instead they championed respect, consideration and care. At the beginning of the process, I was hesitant to perform the text of Aliwa! (Winmar, 2002) however, the writer of Aliwa! Dallas Winmar (2002) was a member of the Advisory group and she urged me to direct the play with the non-Indigenous pre-service teachers performing the characters. She responded:

I would have no problem, in students, learning my pieces, would not care, if they were black, white, red, pink or green. It is about telling a story, and honouring a story. Acting a piece with love and integrity.

This blessing gave the pre-service teachers the opportunity to experience the narrative from the perspective of a character in Aliwa! (Winmar, 2002) providing vital insight into the reality of the Stolen Generations for the Nyoongar community. Learning from this sense of perspective made them aware of the importance of embedding First Nations perspectives in drama education. Participant Brianna’s revelations typified the group’s experiences learning about Nyoongar history and culture through characterisation:

I think it [Drama] gives, not just ourselves, but students a chance to actually, really connect with that character, to really understand their story and what they’ve been through. And I think it gives you a deeper understanding of their history and their culture … you put yourself in that situation and think, well what if someone just rocked up to my parents’ house and decided to take me away when I was seven? … And you get really angry and passionate about it. So I think to not only understand it, but to have a personal response to it, I think that’s so important to actually feel something about these issues as opposed to just know about them.

The interview findings showed that after participating in the ensemble investigation, participants felt significantly more confident about teaching Australian First Nations theatre in their future practice, with many indicating a ‘100 percent’ increase in confidence. Participants expressed that the process was directly related to a secondary classroom setting, and, as a result, they felt they could almost replicate it when teaching their own class. As participant Suzie stated:

I think I would very happily teach this in my first year … I’ll be doing exactly what we did here, only using this play and seeing how that goes, and then in future years changing and building on that … I feel like you could easily make this a 10-week program.

Discussion: The Importance of Transformational and Experiential Learning for Pre-Service Teachers at the Cultural Interface

Building on the experiential learning from the creative project and the key findings of this study, this discussion explores the transformative impact of embodied and experiential approaches in preparing pre-service teachers to engage meaningfully with First Nations perspectives. The findings highlight how these learning experiences not only deepened pedagogical understanding but also challenged and expanded participants’ worldviews, fostering greater cultural responsiveness. By examining the role of ensemble theatre in this process, this section considers its potential as a pedagogical tool for navigating the complexities of teaching at the cultural interface. Ultimately, this discussion leads to a key recommendation for advancing the decolonisation of both secondary education and initial teacher education in Australia.

The findings from this study demonstrate that the pre-service teacher participants experienced significant changes over the course of the study, not only to their Drama pedagogy but also their worldviews and standpoints. These shifts were facilitated by learning experiences that were experiential, embodied, and transformational, aligning with Moreton-Robinson’s (2012) framework for understanding how First Nations perspectives can drive such change. By embodying characters from First Nations texts, the pre-service teachers gained critical insights into notions of power, identity and sovereignty, reflecting Moreton-Robinson’s (2012) emphasis on the transformative potential of centring First Nations women’s standpoints to address social issues. Phillips (2011) specifically documented the potential for non-Indigenous pre-service teachers’ standpoints to evolve when engaging with First Nations content. Nakata (2011) suggests it is a condition of the cultural interface to acknowledge the presence of First Nations and non-Indigenous standpoints so as to embrace the complexity of knowledge that exists within this space. Standpoint theory, originating from feminist theory, indicates that standpoints are not necessarily chosen but are shaped by social and political context (Harding & Hintikka, 1983).

During the creative project, the participants learnt about the postcolonial context of the Nyoongar community by living that context via their characters in Aliwa! (Winmar, 2002). Built into the workshop and rehearsal phases were yarning circles which became a crucial part of the investigation and a powerful way to “bring Indigenous ways of knowing, doing and being into education research” (Shay, 2021, p. 63). The yarning provided a critically reflexive framework whereby participants could reflect on both their own cultures and the culture of their characters. In these circles, they could communicate and analyse shifts they were experiencing as their worldviews were beginning to change. The more they physically and emotionally inhabited their characters, the more they began to interrogate their standpoints and world views (Bessarab & Ng’andu, 2010).

By following the conventions for respectful and authentic exploration established by the First Nations advisory group and using ensemble theatre to recreate the story of Aliwa! (Winmar, 2002), this interrogation occurred in stages throughout the creative project. The participants engaged in experiential learning because acting and Drama are kinaesthetically based, which encouraged them to reflect on and take charge of their learning. This finding is in line with Hradsky and Forgasz (2023) who found that using Drama to interact with First Nations content can powerfully engage non-Indigenous participants in “developing empathy, experiencing shifts in perceptions and understandings and working toward reconciliation” (p. 981). As the project deepened and the pre-service teachers began the process of ensemble theatre, they became co-authors of their production as they experimented with forms and styles of theatre to translate their shared understandings. This experimentation was a transformational and empowering experience; through being immersed in the world of Aliwa! (Winmar, 2002) they were able to see from a perspective different to their own — a perspective difficult to access as non-Indigenous people. From this position, they relearned history, saw the devastating effects of colonisation through their characters’ eyes, experienced the weight of it and felt deeply changed. This transformation empowered them politically, ethically and empathically; going through this experience and following the pedagogy used in the creative project gave them the tools to similarly empower their future students.

Conclusion

Leading Australian First Nations educators have argued for the development of alternative pedagogical approaches for pre-service teachers when learning about First Nations content (Nakata et al., 2012; Phillips, 2021; Rogers, 2018). These authors have urged initial teacher education to provide opportunities for pre-service teachers that go beyond engaging and reflecting on their complicity with colonialism to include learning experiences that require them to develop the analytic thinking and language skills to engage their future students—both First Nations and non-Indigenous—in a safe and supported way at the cultural interface (Nakata et al., 2012). As Drama resource authors Bell-Wykes et al. (2020) convey, facing the difficult truths and dark histories shared by First Nations and non-Indigenous communities in Australia can be confronting and may bring up uncomfortable emotions, yet this history must be acknowledged and studied from a First Nations perspective. Training pre-service teachers who have had the opportunity to develop the critical reflection and language skills needed to navigate such intricate and complex content areas provides a strong foundation for teaching both First Nations and non-Indigenous students together (Nakata et al., 2012).

Based on the findings outlined above, my recommendation is that initial teacher education develops pedagogies for pre-service teachers to experience First Nations ways of knowing while also providing opportunities to practically apply these ways of knowing and thinking to their own context. As the findings from this study convey, it is now becoming necessary to train teachers with the skills, knowledge and understanding to develop a curriculum that prioritises First Nations peoples as knowledge holders and position this knowledge as continuing both pre- and post-invasion (Phillips, 2021). The Pre-service teacher participants of this project, who experienced transformational learning and who are now working as graduate teachers in schools, are, hopefully, practitioners of this new way of teaching.