Act 2 Scene 1 – After the Flood

 Techniques: metaphor; dramatic irony; symbolism; pathetic fallacy;

stage directions; dialogue; symbolism
 The literal reflection on what needs to be done as the tempest
recedes, clean up begins, mopping up, beginning again
o the idea that the flood is a source of destruction which
symbolises the overwhelming nature of loss experienced by
Aboriginal peoples
o ironic allusion in the title to biblical flood
 receding waters may lead to new beginnings
 a further loss of autonomy
o scene asks questions of how blame and stereotypes are
formed when individuals are subjected to the memories of the
past
 ongoing impact they have and will continue to have on
future generations
 context has been destroyed and reconstructed to something new
and different
o as a result of the loss of laws and traditions and morals
 scene resonates with the loss Dolly has experienced
o idea of women’s business - a concept not acknowledged in
white culture and but has such cultural significance
 Dolly is physically and psychologically frozen in time
 The realisation that the encyclopedias are destroyed is symbolic
o Both Nan and Gladys rage at Errol on Dolly’s behalf but she
tells them quietly that it was not him
 Nan is forced into realisation of the need to address their present
circumstances
 ends with the sound of bulldozers
o implying both destruction and change

Act 2 Scene 2 – Move to Rumbalara

 Techniques: paternalistic tone; symbolism; metaphor; cliché;
juxtaposition; stage directions; asides; dialogue; catalyst;
 anti climax
 move is a shift in autonomy
o symbolism of everything being white is confronting
 symbolic of the overrepresentation of expectations from
a white perspective
o move is evidence of further destruction and disrespect
perpetrated on Aboriginal Peoples
 Imposed housing, assimilation, paternalism - voice over provides
the context
o white house, white life, white ways
 lost ways all symbolising the consequences of discover
Act 2 Scene 3 – The Broadcast
 Techniques: allusion, irony, historical context, cultural inferences,
tone, stage directions, hubris, juxtaposition, symbolism, dramatic
irony, use of Aboriginal colloquialism, pathetic fallacy
 Suggests the silenced voice of representation
o evidenced through the scene when Gladys is ejected
o need to broadcast or let the broader society know and
understand the reprehensible conditions and impositions
o underpinnings of post colonial debate on impact of silencing
the voice of First Nations people
 Dolly metaphorically tells Gladys to get her house in order
o Fix the circumstances they now find themselves in
o arrival of the rent man is another imposition they did not have
to deal with previously
 irony of having to pay money to live on the land they
held, protected and sustained for over 60,000 years
 Nan and Dolly discover how brave Gladys has become
o She now represents an empowered voice for change
 voice of protest it is established, even if she is ejected -
she has challenged the boundaries of the world that she
has been confined to by European settlement,
colonisation and dispossession.
 Gladys discovers her own voice
o empowerment presents potential for the future.

Act 2 Scene 4 – The Contract

 Techniques: metaphor; irony; tone; coincidence; juxtaposition;
epiphany; tone; catharsis
o Errol is providing an out for Gladys for special circumstances
 demonstrates his growing sense of maturity and
empathy
o relationship between white and Aboriginal - contract that is
seen to be made and broken with dignity shows lack of treaty
or contract made between Aboriginal people and whitefella
 contract for the encyclopaedias has provided a clause to discontinue
payments if they can no longer be paid for
o encyclopaedias are lost to the floods and as there are no
means to purchase further, a letter needs to be written
 Errol represents the nature of all white men - of all of us who do not
know or do not understand - discovers that Gladys cannot write.
 long term impact of isolation and dispossession
o lack of worth felt by Aboriginal people
 Errol still wants to find out about Dolly
o Errol vows to change, he writes Gladys’ letter with her
o Gladys asks him to keep coming and to teach her how to write
empowering her further
Act 2 Scene 5 – Pay the Rent
 Techniques: tone; historical context; cultural inference; voice;
irony; metaphor; catalyst; epiphany; juxtaposition; dialogue; stage
directions; hubris
 Inference is highlighted through the rent man coming to the house
the inhabitants are under constant scrutiny
o ongoing paternalism is hurtful and resonates with the
judgemental attitudes of the colonisers
o the audience are further exposed to and urged to question the
imposition, the lack of respect, the lack of tolerance and the
stereotypical attitudes placed upon Aboriginal Australians as a
result of colonisation
 attitudes of the rent collector echo the accumulated fears of the
inspector - the management of Cummeragunja
 Time has passed - audience discover the stage of Dolly’s pregnancy
o rent collector comment reinforces the stereotypes that inform
the historical perspective of Aboriginal peoples
 discovers a new voice in Nan
o she reiterates the fears of Aboriginal peoples in relation to
taking children away exposing the ramifications of
paternalistic attitudes
 rules and regulations of Rumbalara are like imposed
prison sentences reinforcing that there is no life beyond
the rules of the whitefella world
 discover the source of Nan’s fears and personal experience
o She shares with Dolly her experience of being raped in the
same way as Dolly was
 explaining her fear of the cork trees
o Her marriage to Papa Fear after falling pregnant with Gladys
to a white fella taking advantage of her
 resonates as a shared experience in reverse
 reveals to Dolly that the man who took advantage
of her had the name of Fisher - the same surname
as Errol – so the risk of being related
 realises her fear of losing children as Gladys was half white
o need to be married to Papa Dear convinced the world that
Gladys was black
 Dolly’s discoveries about herself and Nan Nan’s discovery of the
courage and freedom to tell
 Nan asks Dolly to keep the secret from Gladys
o examine the impact this secret might have on Gladys.

Act 2 Scene 6 – Errol Spills the Beans

 Techniques: dialogue; duologue; contrast; cultural inference; irony;
foreshadowing
 we are informed of his ongoing respect and developing
understanding of Aboriginal peoples
 o encouraged by Errol’s willingness to embrace and respect
traditions beyond those of the white world
o challenged to examine whether we have embraced and
acknowledged or taken the time to listen to aboriginal stories
 Gladys’ council intervention was not welcomed by everyone in the
Aboriginal community
o reflecting the fear of further discovery and retribution
 relationship between Gladys and Errol is warm and friendly
o sense of familiarity - Gladys encourages him to call her Aunty
 We discover Errol’s’ feelings towards Dolly have not changed
o he still does not realise she is pregnant so secrets still exist

Act 2 Scene 7 – The Petition

 Techniques: irony; voice; cultural inference; paradox; dramatic
irony; dialogue; climax; resolution; denouement; revelation;
asides; satire; hubris
 the petition in relation to housing is only a first step in presenting a
voice of protest
o Gladys finding her voice is representational of the spirit of
protest that developed during this period in Australian history
and references the need to recognise the right to represent
the views of those who are oppressed
o the play highlights the need for every individual to be heard -
that the oppression and repression of Aboriginal voices needs
to be reversed
 so we can appreciate the ways in which we can develop
a greater sense of understanding in respectful and
appropriate ways
 Dolly asks Nan what men’s business is as opposed to women’s
business - Nan continues to keep secrets
o challenged here to examine the implications of Aboriginal
people becoming increasingly disparate in their environments
 Time has gone by - the baby has now been born, a girl
o Dolly has been accepted into a nursing course in Melbourne
and is taking Nan to help with the baby who will draw them
both into new discoveries and new worlds
 Errol arrives and heads towards them. Gladys draws Nan away
o Conversation leads to Errol’s discovery and realisation of what
has happened and why he has not been able to see Dolly
 Dolly reiterates they cannot be together - bearing in mind Nan’s
earlier concerns about his name
o First conversation between Errol and Nan - he is not a Fisher
 Realisation in the same instant on both Dolly and Nan
 absence of Papa Dear continues
 Gladys demands to take the stage to read the petition
o heartfelt and assertive
 o reads the petition - exposed to the fact that she has
discovered new authority, new confidence through reading
 her demand for action on behalf of Aboriginal people.
 the lack of education
 the lack of housing
o provide the theatre audience with an
awareness of the circumscribed nature of
protectionism and law made by whitefellas
on behalf of black fellas
 nan dream sequence
o presenting the idea that all will be well
 present a sense of hope and sense that happiness is
deserved and embedded with a dignity that should be
afforded Aboriginal people