Nancy E. Wright, 'Models of Collaboration in the Making of Ten Canoes' Reading

Who is Nancy E. Wright?

Executive Dean of the Faculty of Arts, University of Queensland, with research in Indigenous collaboration in film and literature.

What does Nancy E. Wright say about the nature of film as a collaborative art form?

Film is inherently collaborative, but the commercial film industry and ethnographic practice use a vertical hierarchy that often privileges the director's authority, control and decision making.

What distinguishes the production of Ten Canoes from other similar films?

Ten Canoes differs from other features focused on Indigenous communities and peoples like Where the Green Ants Dream (Werner Herzog, 1984) and Walkabout (Nicholas Roeg, 1971) as there was significant areas of overlapping control and decision making between key collaborators like Peter Djigirr. Djigirr was more than an interpreter and intermediary (as routinely occurs in ethnographic filmmaking) he was extensively involved in casting, location, logistics and a key liaison between the Yolngu community and Balanda (non-Indigenous) crew.

The production was a collective process that distributed authority, control and decision-making among Indigenous and non-Indigenous collaborators horizontally at various stages of the film's production process.

How does Ten Canoes credit its collaborators?

It credits the film as 'a film by Rolf de Heer and the People of Ramingining.' However the directorial credits for the film are offically listed as Rolf de Herr and Peter Djigirr

Where was Ten Canoes filmed?

In the Northern Territory of Australia, specifically Arnhem Land.

What was the goal of the collaborative model used in Ten Canoes?

To 'decolonise' relationships between Indigenous and non-Indigenous collaborators.

What is Yolgnu law?

The customary way of life governing the Yolgnu people, encompassing spiritual, social, and environmental rules as well as rules about kinship.

What was the initial story proposed for Ten Canoes?

A story ending with the massacre of Yolgnu characters by European invaders.

What narrative focus did De Heer ultimately choose for Ten Canoes?

A pre-contact story about goose-egg hunting, avoiding themes of colonial violence.

What was the cinematic inspiration for Ten Canoes?

A photograph by anthropologist Donald Thomson depicting a goose-egg hunt.

What challenges did De Heer face in the production of Ten Canoes?

Shooting location difficulties, creating a dramatic plot, and ensuring cultural accuracy.

How did De Heer address the need for dramatic tension in Ten Canoes?

By incorporating an inset narrative that included conflict while keeping the main narrative conflict-free.

What role did David Gulpilil play in Ten Canoes?

He served as the narrator, guiding the audience into the film.

What was the community's view on the film's representation?

They saw it as a means to revive cultural practices and engage in self-representation.

What was the consensus process like within the Yolgnu community?

It involved lengthy discussions to reach agreement on the film's direction and content.

How did the film Ten Canoes aim to bridge cultural gaps?

By creating a narrative that did not evoke white guilt and aimed to connect Indigenous and non-Indigenous audiences.

What was a key decision made to please both the Indigenous community and the non-Indigenous filmmakers regarding the film's aesthetic and narrative?

The Yolgnu community preferred the monochrome look of Donald Thomson's photographs and the goose-egg hunt storyline, aligning with their cultural history and their ancestors in the photographs.

De Heer was contracted to make a colour film however, and was worried the goose-egg plot wouldn't contain the conflict and resolution that non-Indigenous audiences expected.

A compromise was met resulting in a frame narrative in monochrome with the goose-egg hunt and an inset one in colour with more conflict.

What was the outcome of the collaborative process in Ten Canoes?

The film was successfully made, representing both Yolgnu culture and appealing to a non-Indigenous audience.

What does the phrase 'This is actually us looking to our future by preserving the past' signify?

It reflects the Yolgnu community's view on the importance of cultural preservation through the film.

What was the significance of the goose-egg hunting narrative in Ten Canoes?

It allowed the community to revive traditional practices and share their cultural history.

How did De Heer balance commercial and cultural imperatives in Ten Canoes?

By ensuring that the film appealed to both Indigenous cultural values and non-Indigenous audience expectations.

What was the role of Peter Djigirr in the production of Ten Canoes?

Peter Djigirr is credited as the co-director and his role was important to the cultural integrity of the film. He was extensively involved in casting, logistics, and acted as a liaison between the Yolngu community and the crew. He also appeared himself in the film as a canoeist and warrior.

What was a major concern of the Yolgnu community regarding the film's content?

Some members worried it focused too much on the past and risked portraying them as primitive.

What is the importance of kinship in the casting for Ten Canoes?

Casting followed Yolgnu kinship rules to ensure cultural authenticity in the film's representation. People with the best claim of relation to those photographed in Thomson 's photographs were able to play their ancestors in the film.

What is the significance of the ten men in Thomson's canoes photo?

They have been individually identified, and many are related to the community in Ramingining.

How did the community influence the film's production schedule?

The community's decisions were prioritized over the schedule-driven practices of the industry.

What role does storytelling play in the film's production?

Storytelling was included as an aesthetic decision, allowing flexibility in filming and bridging narrative gaps.

What language is predominantly used in Ten Canoes?

The film is made predominantly in Ganalbingu, with some Mandalpingu.

How does Yolngu storytelling differ from Western storytelling?

Yolngu storytelling reflects a different cosmology and cultural perspective, requiring guidance for non-Indigenous viewers.

What is the purpose of the narrator's joke at the beginning of the film?

It highlights the differences between Yolngu and Western storytelling norms and encourages the audience to engage with the narrative.

What does the narrator compare the audience to in the film?

The narrator compares the audience to Dayindi, the young hunter learning about law and kinship.

What was De Heer's goal in making Ten Canoes?

To create a film that worked for both the Yolngu community and global cinema audiences.

Who acted as the key spokesperson for Ten Canoes during its film festival run and premiere screening?

De Heer served as the key spokesperson, representing the film and its Aboriginal cast who often did not speak English.

What are 'Eleven Canoes' and 'Twelve Canoes'?

'Eleven Canoes' is an educational filmmaking program for young community members, and 'Twelve Canoes' is a digital media project showcasing Yolngu art and stories.

How does the Yolngu community maintain control over their stories in new media?

They retain collective ownership and management of stories, focusing on community representation rather than individual voices.

What does De Heer say about the motivation behind 'Twelve Canoes'?

It was created to include everything the Yolngu wanted to express about themselves and their culture.

What does the term 'embedded cultural production' refer to in the context of Ten Canoes?

It refers to the collaborative effort of the Yolngu community in producing cultural narratives through film.

What shift is observed in Indigenous filmmaking according to the reading?

There is a shift towards creating works primarily for Indigenous communities rather than for educating non-Indigenous audiences.

What role does new media play for the Yolngu community?

New media serves as a tool for inter-generational communication and cultural maintenance.

What is the impact of the collaboration between Yolngu and non-Indigenous filmmakers?

It allows for interesting creative endeavours and fosters understanding and collaboration between non-Indigenous and Indigenous peoples. The Yolgnu community are able to take part in self-representation and cultural preservation.