The “Gripping Dramatic Yarn”

Abstract

AbstractThis chapter presents further findings from our study on the five health education works led by Kamarra Bell-Wykes and produced by Ilbijerri Theatre Company from 2006 to 2019. These findings draw on interviews conducted with eight practitioners who were involved over the years as performers, production staff, and advisors, a research yarn conducted between co-authors Sarah and Kamarra, and Kamarra’s own critical reflections while putting together this volume. We also analysed documents and data from Ilbijerri’s corporate archive and published works such as those by Clare Keating (‘Chopped Liver’ Evaluation Report. Effective Change Pty Ltd. Melbourne: Ilbijerri Theatre Company. Supplied,2009) and Blayne Welsh (The Hepatitis C Trilogy: A Case for Indigenous Theatre as a Contemporary Manifestation of Traditional Healing Business. Australasian Drama Studies 73: 20–41. https://search.informit.org/doi/abs/10.3316/ielapa.146479491877297, 2018). Utilising a quote from Isaac Drandic (one of the study’s interview subjects), this chapter explores the second of three prominent themes within the data: the framing of the works as “gripping dramatic yarns” that centred cultural storytelling infused with authenticity, engaging characters, humour, and strong acting and performance skills. As we explore in Chap. 6, these elements enabled the works to deftly walk the line between entertainment and education, effectively promoting audience engagement and connection and supporting the health education and messaging. As such, we continue to argue that the works progress the dramaturgies of wellbeing, strength, and resistance that characterise contemporary First Nations theatre in Australia.