SONGLINES ON SCREEN 7

Footprints
EDUCATION NOTES

ATOM 2016

A STUDY GUIDE BY MATHEW CLAUSEN

http://www.metromagazine.com.au

ISBN: 978-1-74295-990-0 http://theeducationshop.com.au

 7

Classroom Context
FOOTPRINTS The activities included in this resource, provide
opportunities for students to explore Indigenous
Australian cultures, language and stories.

Introduction The Australian Curriculum has been used as a

guide for the planning of these activities. You
should adapt the activities to suit the student age
These teachers notes have and stage of your class and the curriculum foci and
been designed to assist you with outcomes used in your school.

classroom preparation in relation Some websites are suggested throughout this

resource. It is recommended that you first visit the
to the viewing of the short film sites and assess the suitability of the content for
Footprints. This film is one of your particular school environment before setting
eight films that have been made the activities based on these.

to record, celebrate and share

precious historic and cultural
information from Indigenous
groups in remote Western, CONTENT HYPERLINKS:
Northern and Central Australia. We
hope that this resource will assist Curriculum Links
your students to further enjoy and
enhance their viewing.
Pre-viewing activities
The following link provides you with an overview of the
other films in the Songlines on Screen series:
NITV - Songlines on Screen Post-viewing activities
http://www.sbs.com.au/nitv/songlines-on-screen/arti-
cle/2016/05/25/learn-indigenous-australian-creation-
ATOM 2016

stories-songlines-screen-multimedia-features?cx_
navSource=related-side-cx#cxrecs_s
References and resources

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Curriculum Links
This film provides the classroom teacher with many op-
portunities for learning activities that link to the following
Australian Curriculum Content Descriptions:
English Years 7-8
Analyse how point of view is generated in visual texts
by means of choices, for example gaze, angle and
social distance (ACELA1764)
Compare the ways that language and images are used
to create character, and to influence emotions and
opinions in different types of texts(ACELT1621)
Media Arts Years 7-8
Plan, structure and design media artworks that engage
audiences (ACAMAM069)
Analyse how technical and symbolic elements are used
in media artworks to create representations influ-
enced by story, genre, values and points of view of
particular audiences (ACAMAR071)
Identify specific features and purposes of media art-
works from contemporary and past times to explore
viewpoints and enrich their media arts making,
starting with Australian media artworks including of
Aboriginal and Torres Strait Islander media artworks
(ACAMAR072)
English Years 9-10
Explore and reflect on personal understanding of the
world and significant human experience gained from
interpreting various representations of life matters in
texts (ACELT1635)
Investigate and experiment with the use and effect of ex-
tended metaphor, metonymy, allegory, icons, myths
and symbolism in texts, for example poetry, short
films, graphic novels, and plays on similar themes
(ACELT1637)
Media Arts Years 9-10
Plan and design media artworks for a range of pur-
poses that challenge the expectations of spe-
cific audiences by particular use of production
processes(ACAMAM076)
Evaluate how technical and symbolic elements are
manipulated in media artworks to create and chal-
lenge representations framed by media conventions,
social beliefs and values for a range of audiences
(ACAMAR078)
Analyse a range of media artworks from contempo-
rary and past times to explore differing viewpoints
and enrich their media arts making, starting with
Australian media artworks, including media artworks
of Aboriginal and Torres Strait Islander Peoples, and
international media artworks (ACAMAR079)
Pre-Viewing
Activities
1 Film Description
and Synopsis
Its 2014 and a group of young Aboriginal men from
a tribe on the verge of cultural extinction have just
discovered that a law boss from a neighbouring tribe
knows some of their cultural songs and dances. They
have not been performed for more than fifty years
and it was thought they had been lost forever.
The songs and dances are very significant they
were given to the mens tribe, the Djugun tribe, by
their creator during the Buguragarra (the Dreamtime).
They give the people their identity and set out the
laws they must live by. They are part of a broader
songline, a series of songs sung by tribes through-
out the region and beyond, that recount the journey
of the creator as he travelled the land giving the
people their law and culture.
Activity:
What do you know about songlines?
View the following clips and read the information that
can be found in the links below. Work with a partner
or in a small group and answer the questions below.
Youtube -What are Songlines?
https://www.youtube.com/watch?v=kVOG-RKTFIo
National Film and Sound Archive - Songlines
http://dl.nfsa.gov.au/module/1566/
Wikipedia - Songlines
https://en.wikipedia.org/wiki/Songline
ABC Starmaps and Science
http://www.abc.net.au/science/arti-
cles/2014/07/11/4043550.htm
Songlines are a library of information.
They are many things: a road map, a bible,
our history. The examples and stories in
songlines guide the way we live and give us
our unique cultural identities. But our culture
and history is an oral culture and history
and if it is not talked about its forgotten. In
order for our culture to survive it must move
from oral to documented. To record these
songlines to film is a natural progression.
We must use any devices at our disposal to
keep our traditions alive.
Cornel Ozies, Director
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1. What are songlines and where can they be found?
2. How are songlines created and how are they main-
tained over time?
3. What are some of the purposes of songlines?
4. Compare the information you have found about
songlines in the links to the information in the descrip-
tion and synopsis for the film Footprints. What connec-
tions can you make?
5. Read the explanation of what songlines are by the
director of Footprints, Cornel Ozies. Compare his ideas
about songlines with the information you have col-
lected from other sources. What are the similarities and
differences?
2 The Land
Activity: Where is Broome?
Using Google, search for maps and images of Broome. Try
to find information about the environment and the history
of Indigenous peoples in this area as many internet sites
promote tourism, a key industry in Broome. When you have
finished your research, answer the following questions:
1. Work out the distance in kilometers from where you live
to Broome.
2. What is the climate like in this location? How do you
know?
3. What are the similarities and differences when you com-
pare images of Broome with the environment you live in?
4. How might life in this area be different to your life? What
reasons can you give to explain these differences?
5. What are four things you think are appealing about this
area and the lives of the people who live there.
6. What are two questions you have about this area and
the lives of the people who live there?
Hold a class discussion and share your findings and
responses to these questions. Check to see if anyone from
your class has visited Broome. If they have, ask them to
share their memories and experiences.
3 Why Make This Film?
Activity: Understanding the Role of the
Director and Producer
Read the following statements by the director and the
producers of Footprints.
Listen to the ABC Radio National interview with Cornel
Ozies at:
http://www.abc.net.au/radionational/programs/awaye/
songlines-on-screen:-footprints/7558686
After you have read the statements and listened to the
interview, work with a partner and respond to the fol-
lowing questions:
1. What do you think the are the intentions or reasons for
making Footprints?
2. Why might the making of this film be important for the
producer, director, crew and performers?
3. What do you think might be the responsibilities of the
executive producer and the producer in the making of
Footprints?
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4. What do you think might have been some of the chal-
lenges of making this film?
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Executive Producers Statement
Footprints, the impression in the sand rising up to bring
forth a story of great importance to the Djugun people from
the township of Broome and local region. This story was
brought to life in the writing and development phase under
the directorship of Cornel Ozies and in the storytelling and
cultural permission of Roy Wiggan (Senior Bard Law Man)
and Brian Bin Saaban (Djugun Law Boss), with cultural re-
search and support from Donna Ifould, Patricia Torres and
the Djugun families of Broome.
short film will, I am sure, reinstate and instill in Djugun peo-
ple, young and old, their self-worth, pride in the township
of Broome in this reclamation and their sovereign connec-
tion to that land.
I would like to acknowledge the wonderful financial support
and advice during development and production from Penny
Smallacombe of Screen Australia and Jade Christian and
Pauline Clague of NITV.

Footprints is a film of the story, dance and culture of the
Djugun people that has been brought to life from the dirt
after 50 years, handed back to the Djugun people from its
caretaker Roy Wiggan.
Working on this short documentary has been of real im-
portance to me, as a Djugun woman, having the ability to
record this story with its important elements of reclamation
of the cultural essence, dances and songs to the Djugun
people that confirm Broome is their sovereign country. This
I would like to thank our wonderful creative crew and tal-
ent of: Cornel Ozies, Eloise Schnierer, Alison Torres, Joe
Pickering, Rusty Geller, Jinunyili Torres, Bella Kenworthy,
John Fairhead, Peter Clifton, Roy Wiggan, Brian Bin
Saaban, Johani Mamid, Thorvald Ozies, Aar- on Ozies,
Abdol Bin Saaban, Ingetje Tadros, Donna Ifould, Patricia
Torres, Jalaru Torres and the Djugun families of Broome.
Nganyamea Nagarra (Eileen) TORRES

Producers Statement
It was a rare privilege to work on this film where I was able There was great dedication and passion from our Djugun
to watch and, in some small way assist, people reclaiming dancers who spent weeks working with Roy learning how
their culture. Djugun people have suffered through many to make ilma and how to perform the dances. This activ-
waves of colonisation and disconnection from cultural ity would probably not have taken place if it were not for
practice in the Broome region. It was perhaps chance or this film and so we are thankful to the film funders, Screen
fate that our writer/director, Cornel Ozies, was working with Australia and NITV, for creating this opportunity. The chal-
Roy Wiggan on another project where Roy revealed his lenge now is to keep the momentum going, including more
knowledge of Djugun song and dance associated with the Djugun people in this reclamation process and keeping the
songline. Until this point in time it was thought the songs process moving along.
and dance practices had been lost.
Eloise Schnierer
We initially had envisioned the film go-
ing in a somewhat different direction
but after consulting with the appropri-
ate Djugun people realised that there
were many aspects of this songline
that should not be revealed publicly.
There was a robust process of consul-
tation during development of the film to
ensure we completed this project the
right way. Along the way we filmed a lot
of archival material that, while it could
not be included in the film, will be avail-
able for Djugun people to access.

It was a special moment to hear our field

sound recordist, himself a Djugun man,
singing Djugun songs for the first time.
This was particularly significant con-
sidering the Djugun language is spoken
fluently by just one or two remaining
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speakers.

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Directors Statement
I came to this project through Screen Australias
Songlines on Screen initiative. This initiative aims to
record Aboriginal songlines both for internal tribal archival
purposes and to create documentary shorts to be screened
for non-Aboriginal audiences.
When I first embarked on this project, I was sceptical my
tribe still had our culture intact. After weeks of research I
hit a game changer. It came in the form of an elderly man
by the name of Roy Wiggan. Roy, aged 89, is long time
resident of Broome, my hometown. He is a Bard songman
who was married to a Djugun woman. Through his wife Roy
was privileged to learn Djugun cultural knowledge. Sadly
many of Roys peers have since passed and he is now a
rare commodity in terms of cultural knowledge for both the
Bard and Djugun tribes. He considers himself a caretaker
of Djugun cultural knowledge and has been waiting to hand
the knowledge back to the right Djugun people.
The more time I spent with Roy through this project I began
to realise the importance of the work and knowledge we
were capturing. I always believed I had a good sense of
my own identity and who I was. However it was not until I
Activity: The Work of Cornel Ozies
Visit the following link that outlines Cornels experience as
a filmmaker. View one or two of his other short films. Write
or discuss the messages of these films. Choose one mo-
ment from each film that engaged you as a viewer. Explain
how these moments conveyed a particular viewpoint.
https://vimeo.com/cornelozies
met Roy that it occurred to me that a big piece of me was
missing.
I was quickly drawn into Roys world and his sense of
pride began to rub off onto me. It was contagious and
empowering. I wanted more of my people to share this
feeling so I gathered my nephew, cousins, uncle and
grandfather together to be involved. As I expected they also
gained an appreciation for their culture and history.
I wanted to make my people and Roy proud of the
final film, so I enlisted the talents of a mentor of mine,
cinematographer Joe Pickering. I wanted Joe to show
the beauty of Djugun country and its history. I wanted to
highlight the essence of the dance which speaks of the
land and the people it was entrusted to by the creator.
This project has set me on what I think will be a life long
journey of discovery. My hope is I can spark an interest in
our cultural knowledge in the next generation of Djugun
people.
Cornel Ozies
Post-Viewing Activities
4 Reflecting
on the Film
As Footprints is a short film, only 13 minutes in length, you
are able to watch the film more than once to better ap-
preciate the structure of the narrative and the choices that
have been made by the director, cinematographer, sound
designer and scriptwriter to realise the final film.
Activity:
Explaining Effective Filmmaking Choices
1. Write or explain to a partner the narrative of Footprints.
2. The film has used a particular visual style to commu-
nicate this songline. What are some of the features of
this style and how did they impact on you as viewer?
3. What impression did Cornel Ozies want to create about
the land, the Djugun people and their culture in this
film?
4. Watch Footprints a second time. Be conscious of how
the camera shots change to create different points of
view. Give examples of specific moments when a new
viewpoint is created. Explain how the camera shot
achieved this and why this viewpoint is important for
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the viewer.
5. How has Cornel Ozies used the symbol of footprints in
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 this film to convey messages to the viewer? Choose
and describe one example from the film to help ex-
plain your interpretation.
6. Think about how the editing of shots has been used
to select specific moments in the narrative, to convey
information and to compress time. Discuss how the
editing engages the viewer through a manipulation of
the pace of the narrative.
7. How did this film use post-production techniques
like opacity, superimposition, slow-motion and other
techniques to create particular images. Describe two
examples of the use of these techniques and explain
their purpose. Also consider the use of transitions
between shots and the purpose of these.
8. What layers of sound can you detect in the film? How
has the sound been manipulated to create mood
and atmosphere, establish location or progress the
narrative?
9. The film includes the use of camera movement at
various moments including aerial shots, tracking
shots, panning shots. Why did the director choose
to use camera movement? Choose one or two mo-
ments to describe and explain.
10. This film has elements of documentary style in
its structure and shot choices. Where do you see
evidence of this documentary style in Footprints and
what impact do these moments have on the viewer? 5 Perspectives on
Protecting Culture
Activity: But our culture and history is an oral one and if it is not
Write A Film Review talked about it is forgotten. In order for our culture to
survive it must move from oral to documented. To record
An extension activity for reflecting on this film is to write these songlines to film is a natural progression. We must
an 800 word review. Use the questions below to help you use any devices at our disposal to keep our traditions
structure your writing. alive.

1. What was the title of the film?
2. Where was the film made?
3. What was the film about?
4. If the film was representing a section of society, a
cultural group or community, who were they and how
well do you feel they were represented?
5. Describe one moment you remember where the
filmmakers used camera techniques to convey the
subjective view of the elder.
6. What were the key themes and messages in the film?
Who were these messages for?
7. What images were the most memorable in the film?
Why?
8. What other camera shots, camera movements and
angles were used in the film? How did the use of
these camera techniques help make the film interest-
ing or enjoyable to watch?
9. Describe the type of music/sound effects used in
the film. What sort of mood and atmosphere did the
music and/or sound effects create?
10. What criticisms do you have of this film? How did
Cornel Ozzies - Director of the film Footprint
For me, doing this documentary was one of the great-
est projects to do. It tells about my people, whose identity
was forgotten for a long time. It tells about how the law
was given to the people and how the songline was made
and how it travels through the country of other tribes. The
greatest feeling of doing this documentary is the connec-
tion to the land and how proud you feel inside yourself.
Brian Bin Saaban, Djugun Law Boss
Songlines on Screen have been produced to create a new
way for the oral traditions of Australian Aboriginal cultural
groups to be preserved and shared with others.
Go to the following links and learn about some of the
issues around adapting traditional stories and lore into
contemporary forms of communication.
SBS - APY Elders Share Sacred Songline with the World
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these weaknesses impact on the overall quality of the http://www.sbs.com.au/news/article/2014/02/27/

film? apy-elders-share-sacred-songline-world-0

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National Museum Australia - Protecting Aboriginal
Knowledge
http://www.nma.gov.au/exhibitions/yiwarra_kuju/essays/
listening_to_country/protecting_aboriginal_knowledge
The next link provides very detailed information about
protocols for working with Indigenous Australians if you
are a filmmaker. You may not need to read this very lengthy
document but to read some sections will help you develop
an understanding about the many points of view that were
considered when making Songlines on Screen.
Screen Australia - Pathways and Protocols: A Filmmakers
Guide to working with Indigenous People, Culture and
Concepts.
http://www.screenaustralia.gov.au/about-us/
doing-business-with-us/indigenous-content/
indigenous-protocols
Activity:
Why Cultural Protocols for Footprints?
Read the following statement from PAKAM and discuss
the reasons for the cultural protocols you can find in the
statement.
Archiving statement Footprints
As Djugun people do not have their own keeping place
where these recordings can be securely stored, it is our in-
tention to leave copies of the materials on hard drives with
two key Djugan people who already have responsibility for
holding certain Djugan artefacts and the Djugan Aboriginal
Corporation.
We will also deposit copies of key recordings made during
this production with AIATSIS (Canberra) and the National
Sound and Film Archive (Canberra), with appropriate re-
strictions set on access.
We will deposit DVD copies of the final film with the
Broome Public Library, other Broome-based educational
libraries (Notre Dame and Edith Cowan Universities) and
Baytte Library (Perth).
Activity: Circle of Viewpoints
Individually create two points of view that might rep-
resent perspectives on this issue from the perspective
of a particular individual. For example the perspective
of an Aboriginal Elder, the perspective of a young non-
Aboriginal film maker, the perspective of a person raised
in an urban environment or the perspective of a govern-
ment minister who makes decisions about the spending
of money in the arts. The individuals perspective is to be
framed by two questions:
What are positives about maintaining traditions?
What are the challenges about maintaining traditions?
When everyone has had time to write their responses, sit
in a circle. Each person introduces their perspective by
saying I am giving the perspective of . My
view on maintaining traditions is..and my view on the
challenges of maintaining traditions is
When everyone has had a turn to speak, open up the dia-
logue to the group to generate critical conversations about
the issues that are raised.
6 The Importance
of Cultural
Stories and Myths
Complete research that explains why myths are
found in all civilisations and cultures around the
world. In your research complete the following
tasks and questions:
Find three different myths from different
cultures.
What are some common themes or ideas in
myths from around the world?
What function do myths have in different cul-
tures? Give one or two examples.
Activity: Creating Your Own Myth
Using your knowledge of filmmaking, create a one
or two minute film that includes mythical beings.
The purpose of the myth is to explain a natural
land formation or event or to explain why a certain
tradition continues today. This task will take time to
develop ideas and to complete the storyboard.
Use the following steps as a guide for creating your
myth:
What is the natural event, land formation or way
of doing things that you would like to explain?
What is the importance of this natural event,
land formation or way of doing things to the
group of people who are connected to this
place?
What personal qualities will the mythical being/s
have?
What supernatural powers do they have?
What challenges will he/she/they face in the
films narrative?
Create a storyboard using digital software, your
phone camera or drawing to create the sequence of
shots for your film. Once you have finished, share
your ideas with the class. If there is time, work in
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groups and choose one to film.
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7 Indigenous Australian Film
Makers, Directors and Actors
In this activity you will research Indigenous Australian films
and learn about film makers, actors and directors.
Activity- The Evolution of
Australian Indigenous Filmmaking
In this activity you will work in a small group to research
the history of Australian Indigenous Filmmaking and
create a visual presentation, including music and sound
to communicate your knowledge and impressions. Some
of the links below provide clips and information from
directors, curators and actors.
Do not limit yourself to the links in these notes. Use your
library and other sources to enrich your understanding.
Watch movies and television shows made by Indigenous
Australians.
Your final presentation should be no more than eight
minutes in length. Use the film making process to create
References and resources
ACMI - Reclaiming Indigenous Australian Identity:
Filmmakers
http://generator.acmi.net.au/education-themes/indig-
enous-australian-voices/reclaiming-indigenous-
australian-identity-filmmakers
Australian Centre for the Moving Image
http://www.acmi.net.au/
Australian Film Television and Radio School
http://www.aftrs.edu.au/
Australian Government - Indigenous Film
http://www.australia.gov.au/about-australia/
australian-story/indigenous-film
Australian Screen - A Short History of Indigenous
Filmmaking
http://aso.gov.au/titles/collections/
indigenous-filmmaking/
ABC Radio National: Keeping Them Safe -Djugun
Songlines
http://www.abc.net.au/radionational/programs/awaye/
songlines-on-screen:-footprints/7558686
BBC Film Network Why Make A Short Film?
http://www.bbc.co.uk/filmnetwork/filmmaking/guide/
introduction/why-make-a-short
BBC Film Network What Makes A Good Short?
http://www.bbc.co.uk/filmnetwork/filmmaking/guide/
introduction/what-makes-a-good-short
Cornel Ozies
https://vimeo.com/cornelozies
National Geographic - Wade Davis - Songlines,
Dreamtime and the Visionary Realm of Aborigines
a concept, story board the ideas including images, text,
narration etc. Produce your presentation using you
preferred method (website, short film, powerpoint etc)
Remember to follow proper ethical protocols when using
images of Indigenous Australians and if you are unsure,
ask your teacher for advice.
SBS - Indigenous Filmmakers in the Spotlight
http://www.sbs.com.au/movies/blog/2012/05/14/
indigenous-filmmakers-spotlight
Australian Screen - A Short History of Indigenous
Filmmaking
http://aso.gov.au/titles/collections/indigenous-filmmaking/
ACMI - Reclaiming Indigenous Australian Identity:
Filmmakers
http://generator.acmi.net.au/education-
themes/indigenous-australian-voices/
reclaiming-indigenous-australian-identity-filmmakers
Australian Government - Indigenous Film
http://www.australia.gov.au/about-australia/
australian-story/indigenous-film
https://vimeo.com/33979224
National Museum Australia - Protecting Aboriginal
Knowledge
http://www.nma.gov.au/exhibitions/yi-
warra_kuju/essays/listening_to_country/
protecting_aboriginal_knowledge
NITV - Songlines on Screen
http://www.sbs.com.au/nitv/songlines-on-screen/
article/2016/05/25/learn-indigenous-australian-
creation-stories-songlines-screen-multimedia-
features?cx_navSource=related-side-cx#cxrecs_s
SBS - Indigenous Filmmakers in the Spotlight
http://www.sbs.com.au/movies/blog/2012/05/14/
indigenous-filmmakers-spotlight
SBS - APY Elders Share Sacred Songline with the
World
http://www.sbs.com.au/news/article/2014/02/27/
apy-elders-share-sacred-songline-world-0
Screen Australia - Pathways and Protocols: A
Filmmakers Guide to working with Indigenous
People, Culture and Concepts.
http://www.screenaustralia.gov.au/about-us/
doing-business-with-us/indigenous-content/
indigenous-protocols
Wiki How To Making A Short Film
http://www.wikihow.com/Make-a-Short-Film
Visual Story Telling and Narrative Structure The
History of Film Study Guide
ATOM 2016
http://www.cinematheque.bc.ca/education/pdfs/f_h_
guide03.pdf
9
 This study guide was produced by ATOM.
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ISBN: 978-1-74295-990-0
editor@atom.org.au

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