Small Business Online-nouse

DESIGN RATIONALE
Today many factors impact on visual communications in Australia, a land where independent small businesses formerly flourished. In this huge continent the logic of e-business is not yet accepted by most Australians. The design rationale of this presentation is to convey information that may be useful to the Australian small-business sector.

Connolly, Norman & West say: “in 2011… around 95 per cent of the 2 million actively trading businesses in Australia… were small businesses” (2011, p. 3). Liz Colley says “in ten years time, the workforce and working environment will look nothing like it does today” (cited by SGS Economics & Planning, December 2013, p. 6). The type of change Colley describes is already apparent as only around 40 per cent of small businesses operate online while 95 per cent of large Australian businesses do (digitalbusiness.gov.au, 2 July 2013).

Shaw says: “ the means of communication have been transformed… global communications systems… dominated like most other economic fields by Western corporations with global reach” (cited by Beynon & Dunkerley, 2000, p. 186). However, Cassells Duncan, Abello , D’Souza & Nepal, say “Australians [are] industrious… are a nation of inventors, born in part through our isolation from the rest of the world” (October, 2012, p. 3). So, the specific target audience for the presentation is Australians of any ethnic background, involved in any type of small business.

More than half of small businesses are sole operators (Connolly, Norman & West, 2011, p. 3, and personal family experience, 1954-2014). These are busy people, so the design decision was to use standard business communication in-print format. This is predominantly white space with sparse written text designed for a relaxed tone.

For legibility the font choice is fresh, clean sans serif Helvetica Neue, 35/17/14 point, ‘thin’ weight. To help retain key facts, occasional words or phrases are enlivened with Comic Sans MS, mostly 26 point, weight bold, in bright, quirky, ‘non-business’ colour combinations. For example, on page 3 the colours “red, orange and yellow… called by Kalmus the warm or advancing colours” are featured throughout the page, as they “call forth sensations of excitement, activity” (cited by Dalle Vacche & Price, 2006, p. 26).

Australia, possibly now the country with the greatest ethnic diversity (Our Country Our People, 2014) is today a puzzling place. Paul Maginn (27 January 2013), says Western Australians will soon… [be] increasingly diverse in terms of their cultural background”. Good visuals can slice “through the clutter” (Langton and Campbell, 2011, p. 16) and a big part of the design is in the choice of illustrations, especially the wry initial graphics on page 2, (Fig. 1) and page 3 (Fig. 2),

Langton and Campbell say In this melting-pot society “clever” and credible visual designs can masterfully exhibit many goods and services. Effective visuals can “establish a unique voice and brand” (2011, p. 16). Graphics like the artistic English-language vowel, ‘A’ on page 8 (Fig. 4) and the surreal orange/apple photograph (Fig. 6) on page 9, work in today’s complicated “language context“ Featherstone, 2006), where concreteness no longer exists.

In 2013 the internet was an accepted major communication mode with more than 80 per cent of Australian households (potential customers) connected to the internet (Dane, Mason and O’Brien-MacInally, 2013, p 9). Yet, while the internet is now the main communication channel, only about 37 per cent of Australians “used the internet on a monthly basis or more to… buy goods” (p. 17). Yet, as Derewianka (1946) says, humans “are constantly learning language, learning through language, and learning about language” (p.3).

Today many Australian small businesses have, as Connolly, Norman & West say, “a higher degree of volatility… [than medium and large] businesses with more diversified customer bases” (2011, p. 8). The design rationale is to return to what Trilling (2001) explains are two of the “seven pairs” of the “framework for … visual appreciation”. These, “determinacy versus indeterminacy” and “comprehensibility versus complexity”. These are necessarily dialectic, as they continue to rely on each other (p. 11). Today they provide background for the “unfamiliar style” (p. 11). of current, and dynamic local and global visual communciations. As Shaw says:

Although less easily summarized… [and] intermeshing
with economic and political globalization, people are
coming to see their lives in terms of common expectations,
values and goals. These cultural norms include ideas of
standard of living, lifestyle, entitlements to welfare,
citizenship rights, democracy, ethnic and linguistic rights,
nationhood, gender equality environmental quality, etc.
Many of them have originated in the West, but they are
increasingly , despite huge differences in their meanings in
different social contexts, parts of the ways of life and of
political discourse across the world. In this sense, we can
talk of the emergence of a global culture.
(cited by Beynon and Dunkerley, 2004, p. 186)

Imagery can assist. On page 3, this image is from the cover of a recent best-selling novel for Western readers by an ethnic Chinese writer. The picture shows a gentle, Western-user-friendly ‘bird in a tree’ (Fig. 2) The written text reminds about other invaluable visual tools – like cross-cultural dictionaries. On page 6 (Fig. 3) is chosen to demonstrate how California, USA, like Australia, is now a global, world society, which as ‘the West’ no longer exists needs to develop a “unity of working and learning” (McCullough, 1996, p. 9).

One visual communications tool in this difficult new world is photography. Sturken &
Carwright (2001), explain the subjective and objective combine in photography, whose
“details… can show off textures ” (Langton and Campbell, 2011,p. 8). For example, with
Australia’s extraordinary range of climate and terrain and associated lifestyles, photography can, when “ top-notch… [increase] the perception of a premium product” (p. 21) and elicit heightened audience response.

For small businesses like B&Bs, boutique hotels, farm and home-stays, camping grounds, trekking, restaurants, cafes, bars, etcetera, images like the two ‘Vintage Trailer’ photographs (Figs. 6 & 7), page 8 can, as Lilly Schonwald says, quickly “show how the building looks from daybreak to nightfall.” Schonwald explains as designs are “based on the light and the air…[they relate] back to nature and its surroundings and how it changes during different time periods throughout the day” (cited by Langton and Campbell, 2011, p. 12).

The presentation is designed to assist Australia’s small business sector to understand how visual communications in business in Australia today are affected by current major social changes The design rationale focussed on Australia’s now diverse, ‘world’ local community and engaging small-business operators in a dialogue about the internets’ ability to deliver visual communications locally and globally. Instead it became a personal learning experience. This allowed me to gain some understanding of how to use PowerPoint. While the initial design decision was to link engaging illustrations and small functional blocks of text to present these complicated, and possibly new ideas, I am unsatisfied with my result.
REFERENCES
Beynon J, Dunkerley D. (Eds.) (2000). Globalization. Hoboken: Taylor and Francis. From:
http://ecu.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwY2BQSDMsjQxTO1MSlwTDVOt-
DRNSTQ2tTS2ANYlQJZJLnwhJmjlHK0dxNiYErNE2WQcXMNcfbQTU0ujYeOYcQnAWtZYxNg48JQjlEF2C901-WBQMDQGpr9ko8m0TjZwjNKCU1OcnEONnSMC01GQCYTiFd

Cassells R, Duncan A, Abello A, D’Souza G and Nepal B, (2012) Smart Australians: Education and Innovation in Australia, AMP.NATSEM Income and Wealth Report, Issue 32, October 2012, Melbourne, AMP. From:
http://www.natsem.canberra.edu.au/storage/AMP.NATSEM%2032%20Income%20and%20Wealth %20Report%20-%20Smart%20Australians.pdf
Connolly, E., Norman, D., & West, E. (2011). Small Business: An economic overview. From:
http://www.abs.gov.au/websitedbs/d3310114.nsf/4a256353001af3ed4b2562bb00121564/ d291d673c4c5aab4ca257a330014dda2/$FILE/RBA%20Small%20Business%20An%20economic %20Overview%202012.pdf
Dalle Vacche, A. and Price, B. (Eds,) (2006). Colour: The film reader. New York, NY: Routledge.

Dane, S. K., Mason, C. M., and O’Brien-McInally, B. A. (2013).Household internet use in Australia: A study in regional communities. CSIRO Report: EP1310907. From: http://www.csiro.au/content/ps6d0

Derewianka, B. (1946 & 2000). Exploring how texts work. Newtown, Australia: PETA

Digital Business Online. (2 July 2013). ABS statistics. From: http://www.digitalbusiness.gov.au/2013/07/02/lat est-abs-statistics-many-australian-businesses-still-not-engaging-online/

Featherstone, M. (2006). Genealogies of the Global. Theory Culture Society 2006 23; 387 doi: 10. 1177/0263276406062704

Geoscience Australia. (2014). Australia’s size compared. From:
http://www.ga.gov.au/scientific-topics/geo-graphic-information/dimensions/australias-size-compared

Langton, D., and Campbell, A. (2011). 99 proven ways for small businesses to market with images and
design. Hoboken, N.J: Wiley-Blackwell. From:
http://ecu.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwY2BQMAZVEsBq2cwkJcXUMi01MR-
WYigxSkkzMUpKN0gxS4QsxQUPmSKW5mxADU2geKlOMm2uls4duanJpPHQMlz4PEDGypmJoZiD-
CzAfnGqBINCkkGacapRkpRmomFCBCes0i1NE9OM00BNpktlQzNjQGH2CCD

Maginn, P. (day/2014) Western Australia must embrace its new diversity. The Conversation. From:
http://theconversation.com/australian-census-booming-wiestern-australia-must-embrace-its-new-
diversity-7832
McCullouch, M. (1996). Abstracting Craft: The practiced digital hand. Cambridge, Massachusetts: The MIT Press.

Our Country Our People. (2014). From: http://australia.gov.au/about-australia/our-country/our-people.
SGS Economics & Planning. (December 2013). Valuing Australia’s Creative Industries. From:
http://www.creativeinnovation.net.au/ce_report/webapp/static/pdfs/CIIC-Valuing-Australias-Creative- Industries-2013.pdf
Sturken, M., and Cartwright, L. (2001). Practices of Looking: An introduction to visual culture. Oxford, England: Oxford University Press.
Trilling, J. (2001). The Language of Ornament. London, England: Thames & Hudson Ltd.

Small Business Online-nouse

The Salt Way 2014

The Salt Way – copyright 2014 Susanne Lorraine Harford

Consider these FACTS:
1. Australians are an interesting lot. During their lifetime 75% of the current +23 million Australians, ( that is, +17 million individuals), work without pay, in something they believe in. Many of these people are (now) senior citizens, and often grandparents.

They Volunteer.

Damningly, although it benefits enormously by their efforts, Australia does not (generally) fully acknowledge , thank, or reward its volunteers.
2. Recently 93% of Australians expressed deep concern about the current state of Australia’s natural environment, and 98% about Australian water.
Many of these people are part of a “major popular cultural shift of the last decade: sustainable living” (The Forever Project brochure, 2014, p. 6.) The majority of these concerned people must surely also be the hordes of Australian volunteers described above.

3 . Most Australians engage in two types of love-of-country; the first with a familiar .

The ocean, the beach.

More than 90% of Australians live, on freehold land, in cities situated along the coastlines. They play in their cities, and they feel familiar with the coast.

They volunteer in their cities, and towns                  .
.

4.Yet urban areas comprise just over 1% of the Australian landmass.
5. So the Australian Government, and The Crown, are long on land.

Thus also, most committed volunteers (as described above), are urban-dwellers
– as most Australians do not live in the bush.

  1. Only just over 20% of Australian jobs are mining sector, yet this is currently where most ‘rural’ jobs are found in Australia today. Many of these are fly-in fly-out.

  2. Yet Australians love their bush

When provided with clear opportunities to visit the bush individuals do so with gusto . Bush remains a big part of their idea of themselves, as Australians.

  1. Australians visit the bush intermittently and
    most Australians do not go to the bush, do not volunteer in the bush ,
    do not know much about how to engage with, or enjoy the bush. We believe these are major reasons why decentralisation has not worked in Australia.
    *Some successful examples show :
    • the Australian bush attracts campers. El Questro Station successfully handles tens of thousands of campers per annum.
    • The Great Barrier Reef, and surrounding ‘bush’ field more than 2 million visitors per annum.
    • Tasmania’s Cradle Mountain provides us with a superb, world-recognised model for the light ecological footprint

  2. Conversely, while most Australians do not live in, and are unfamiliar with the
    bush, or the country’s interior, approximately 35% of Australian land is, or has for long periods, been used for pastoral purposes.

Almost none of this land is or was freehold.

  1. The rate of salt incursion on pastoral lands may now be 5% per annum, and is part of “the harsh reality faced by WA” (The Forever Project brochure, 2014, p. 10).

  2. In 2015 all pastoral leases are to be reviewed.
    This idea will provide Australian classic, low-key bush experience; solar power/desalinated water/ community radio/communal outdoor movies/campfires/commune with nature/stars/wind/water/wood/stone
    no telephones/ TV/ computers

Five Points of an idea: The Salt Way:
1 – Conditional Purchase.

Australia has a colonial tradition of ‘conditional purchase’ land systems and historic examples of often-extensive, successful, programmes are available. They provided ways for financially less-fortunate individuals, and others, to earn freehold land.

Then people can earn individual freehold ownership of 5ha lots of bush.

While this land cannot be harvested for the first 25 years, it will be used to collect data, and for research, and for development of the uses and benefits of Australia’s natural species of flora and fauna.

These 5ha blocks of bush cannot be fenced, and no structure can be built on these blocks of land. Further caveats apply over the individual’s rights to sell, or manage and use their freehold land, and these continue unabated.

This land-earning is central to this idea, with the major impetus being public concern about the state of Australian nature. Its success depends upon individuals’:
– desire to assist to care for the land to acquire the land and willingness to enter into the conditional purchase contract.
– agreement with all the various conditions and timeframes of the conditional purchase contract.
2 – ‘Fair go’

This means any individual may register, regardless of financial standing, to be granted one 5ha block of land.
In addition:
– to facilitate their labour, families may apply for adjoining blocks, yet still on the basis of one block per individual.
– while the Way will provide agronomist services and individual planning for each block of land each land owner may elect to have final say in the design and planning.
– the conditions are $70 per annum membership fee, plus one month working on their block, per annum, per individual.
each individual may choose to work during two periods each year. For four months of the year, in Spring and Autumn.
accommodation will be provided in TENT CITY.
– while founding membership caps at 500,000 blocks/individuals, per stage, per state, further stages will begin with demand.
– those individuals with the inclination and time may volunteer further work for their communal benefit.
– a moratorium on government rates, taxes and other charges for 25 years, while the land recovers.
– successful land applicants also may register to purchase ownership of one individual TENT CITY site.
after the first 3 years the block owner may request re-sale of their land at current value.
– for a further 4 months of each year TENT CITY will function as eco-tourism accommodation.

Thus, others, visitors will “be inspired and empowered to survive, and even thrive, in a changing climate” (The Forever Project brochure, 2014, p. 10).
3 – First Australian land management

Australia is a land with a big disjunct between indigenous and other inhabitants.
The Way will:
– develop and provide a cultural environment that engenders mutual and exchanges of learning
– create day-to-day exchanges between the two groups.
– show respect to the indigenous landowners
– continue, and provide fresh avenues, for the expansion of custodian work recently begun
– create local employment for regional indigenous groups.

This idea will also showcase, over the very long life of the project, the unique and positive environmental synchronicity between indigenous peoples and nature.
4 – The Legendary Australian ability to manage

This idea is a huge natural resource project that will build decentralisation on a massive scale
So it carries all of the associated and diverse factors of these two types of project.
This idea will:
– find and identify all land targets in each state
– convince government to agree to the Way
– convince government to freehold the land – free of charges
– structure the funding
– create and commence the separate and different marketing programmes
– raise funds
– explore, map, survey
– undertake feasibility of the agronomy, geology, hydrology
– commission each 1st Stage 1
– commission each 1st TENT CITY Stage 1
– open the 1st public Invitations in each State for Stages 1
– underpinning: constructi/accommodate/transport/etc
– all other or new associated opportunities

Axiom 5 – the first new SALT LAND carers
THIS PROJECT IS BASED ON A DIFFERENT VIEW – AND ON
Australia, give thanks, and give back – to your great people:
Offer First. To Grandparents and their Grandchildren:
It is they who have made, and will continue to make, Australia what it is today.

Offer Second: to Australia’s Army of Volunteers, past and current.

END

The Salt Way 2014

The Uncommon Un-Heritage of Man-Unkind. A 2013 letter.

20 April 2013.
Dear Mr Harrison,

This communication is a PR tale of ECU study I respectfully present to you.

In semester 2, 2013, I studied my first editing unit, WRT3123, Production, Editing and Design.

Assessment 2 Activity 8 was to copy-edit, format, and proofread approximately five pages of manuscript to be published in 2013 as a book, The Common Heritage of Mankind.

Unit WRT3123 was complicated and convoluted. PR, and its valuable pro-active role did not feature in the unit.

The ethnicity of the author, Douglas Randall, was not disclosed. Marketing and readership was not disclosed.

The lack of PR in WRT3123 particularly concerned me.

The Common Heritage of Mankind manuscript was an approach to some extremely important, complicated, diverse – and sensitive – concepts.

If fully realised, these concepts will extend infinitely into the future and their reality will ultimately concern every human.

This author also attempted to apply these sophisticated concepts to a huge body of extremely important natural, and cultural, artefacts, of many types. Each unique artefact is of inestimable value.

The writing appeared startlingly limited, dated and colonial, uncaring, non-inclusive, deeply superficial, trivial and lacking in empathy.

It seemed possible that the author’s work was at a formative stage and not ready for publishing.

From a PR point of view, it seemed to me, as student studying to gain a PR major:

• the author might not have considered any PR-consequences of his handling of the subject matter

• the author may not be conscious of the vitality and sensitivity of the material

• the author may not perceive how in diverse ways the concepts and subjects were important – to diverse people.

• the subject of the manuscript, and the written language of the manuscript, separately and together, carried potential for substantial and negative, even angry, reader-response

The Common Heritage of Mankind author Douglas Randall’s ideas, if carefully presented, may be of real interest and enduring value to many readers

Douglas Randall’s manuscript may eventually be published, may thus become a public communication, possibly, as Tomlinson (cited in Pickering, 2001, p. 51) describes, a “cultural transmission [that] involves an interactive process of negotiation, incorporation and resistance”.

Writings of Jonathon Pickering kept coming back to mind, along with other writers, such as Mark Nolan and Kim Rubenstein, who, in 2009, described relevant issues including “the relationship of mutual influence” between “citizenship law and psychological identity” (p. 39).

One primary focus of Nolan and Rubenstein’s 2009 paper is the production of “a strong sense of who we are”. This seems to have a strong relationship to the subjects of The Common Heritage of Mankind manuscript, especially as Nolan and Rubenstein explain the “psychological experience of blended identities can often be in tension” (p. 39).

Yet currently The Common Heritage of Mankind manuscript could be described, using other words of Nolan and Rubenstein’s, as “a suffocating… parochial cultural paradigm” (2009, p. 40).

Exposure to the work of Nolan and Rubenstein, and other theorists like Pickering (2001), who then analyses some effects of globalisation, may assist Douglas Randall develop effective tone and style tools.

For example, by considering Nolan & Rubensteins’ 2009 discussion of how individual “relevant self-definitions [are] shaping social existence and belonging… [and how] single national identification sits uneasily… in diverse societies” (p. 29), Douglas Randall may find ways, say, to give to his writing a more sensitive, attuned rhythm to today’s diverse global society.

Thus, in describing his complex subjects this author may be guided by Nolan and Rubenstein, together with Pickering, who cites Tomlinson in saying “there are many aspects of culture that remain highly resistant” (cited in Pickering, 2001, p. 51).

From a ECU-learned PR-perspective, with theoretical assistance the author might consider how in The Common Heritage of Mankind manuscript the massive subject is set – within and between two major and “contradictory” characteristics of globalisation, as described by Manuel Castells (2004, p. xv).

These characteristics are globalisation’s “cultural identity” and “programmed networks”. Castells and other writers may assist the author perceive how, as presented, the subject of his proposed book, and also his manuscript, may separately and together actually be capable of creating substantial conflict.

The short, sad and cautionary book by Albert Memmi,(1990), may also provide to Douglas Randall, for his consideration, a powerful and relevant image of colonisation’s “unbearable relationship”.

Also useful may be the introduction of Memmi’s book. There Liam O’Dowd describes Memmi as issuing challenges to “collective amnesia” and the associated dangers of “global interdependence”.

In addition, by reading Flavia Monceri’s 2003 philosophical paper “The Transculturing Self”, in conjunction with Memmi’s book, Douglas Randall may perceive some of the dangers in the current form of his The Common Heritage of Mankind manuscript.

The Monceri (2003) theories may show the WRT3123 manuscript author, how, in today’s Western culture, “the ‘Other’ is [still] needed to properly define the ‘Self’ (p. 108). In particular, Monceri describes how the ‘Self’, as ‘subject’, views the ‘object’.

In the case of The Common Heritage of Mankind the ‘objects’ are the natural and cultural artefacts Douglas Randall discusses and deals with. Monceri’s (2003) description may provide knowledge of how the ‘Self’, in viewing the ‘object’ ” explicitly individuate[s the ‘object’] in the reconstruction and explanation of the ‘truth of the object’… attempt[ing] to grasp… [the ‘object’s’] essential nature once and for all” (p. 108).

With assistance of access to these theorists and others, and professional PR guidance, Douglas Randall’s ideas and short manuscript may be a grand scale, on-going with extendable vitality.

Below are further, related, PR thoughts

• The author may see benefit in the Nolan and Rubenstein thesis; “that true recognition of blended identity may sometimes reduce social tension” (2009, p. 39)

• the manuscript’s author could construct and present his subjects to the public, the community, in ways that create “stronger awareness of the cultural ties that bind humanity together” (Pickering, 2001, p. 55)

• An actively positive aspect to the author’s work may be achieved by considering and exploring how Nolan and Rubenstein say “true celebration of blended identity could create stability in a diverse society” (p. 39)

• Perhaps this author’s ideas could become a major and positive project, one that may be capable of achieving what John Urry describes as “seem[ing] to take the ‘whole world’ into a different dimension” (2002, p. 57)

• Douglas Randall’s manuscript is already involved in the “global complexities” of John Urry’s “‘material worlds’ implicated in the apparent ‘globalisation’ of economic, social, political, cultural and environmental relationships” (2002, p. 58)

• Perhaps in turning the manuscript into a larger project positive metaphors could be sought – of the type Urry (2002) discusses – so the community may examine, in a uplifting framework, what is in effect a truly global undertaking

From the Australian-born, white, English-as-native-language, old, female student perspective.

Yours truly
Susanne Harford
Your M35 Batchelor of Communications student number 10043898
Reference

Castells, M. (2009). The Information Age: Economy, Society & Culture. Vol. 11. The ​power of identity. (2nd. Ed. ). Maldon, USA: Blackwell Publishing.

Commonwealth of Australia. (2002). Style manual. (6th. Ed.). Canberra: John ​Wiley & Sons Australia, Ltd.

Memmi, A. (1990). The Coloniser and the Colonized. London: Earthscan ​Publications Ltd.

Monceri, F. (2003). The Transculturing Self: A Philosophical Approach, Language and Intercultural Communication, 3: 2, 108-114
DOI: 10. 1080/1470847038668094

Nolan, M. and Rubenstein, K. (2009). Citizenship and Identity in Diverse Societies. Humanities Research Vol XV. No. 1. 2009

Pickering, J. (2001). Globalisation: A threat to Australian culture? Globalisation and Australian culture. pp. 46-59.
Journal of Australian Political Economy No. 48

Urry, J. (2002). The Global Complexities of September 11th. Theory Culture Society 2002: 19:57-69
DOI: 10. 1177/0263276402019004004
1
Student 10043898 Susanne Harford

Aside

Strategic Event Event Plan – Executive Summary 2014

 

  1. Executive Summary 小美女 – Xiǎo měin (XM)

This Strategic Event Plan is to hold an Australian launch of women’s apparel designed by 小美女Xiǎo měin (XM). XM is Chinese and her business works from Shanghai, and online. As the briefing paper’s objective is to “make inroads into the Australian fashion market… beginning 2015” and the budget is small a compact and integrated mainly-online campaign will be run by two paid publicists. The event goal is to establish XM in the growing Australian fashion marketplace. Current research did not reveal any Chinese women’s fashion designer with an established presence in Australia today.

The communication goal is to incentivise individuals from the target audiences sufficiently “during and after the launch, [to visit] XM’s website… [to place] internet orders… directly from Shanghai”.

Demographics demonstrate a potential primary target audience pool of around 63,000 girl and lady customers, between 18 and 35 years of age, in the greater Perth region. A key secondary

audience is the Australian online shopper. This is a booming market, and is good as this IMC objective-based mainly-online campaign is based around XM’s already-successful, global e-business site.

So creating pre, during, and post-event environments for external and internal target audience members to exchange information about XM, and mingle with internal publics of key stakeholders; staff, volunteers, consultants, sponsors, and partners. The key stakeholder groups contain key secondary audiences: Chinese-Australian residents and visitors, fashion, design, media and drama students, etc.

The event concept, is that XM’s Australian launch, a photo-shoot at sunrise & sunset, will also work to welcome Chinese New Year (19 February 2015). At the second of the world’s top 10 beaches, Cottesloe Beach, WA, and regardless of on-the-day weather paid professionals, a beach and design

specialist photographer and a fashion photo stylist, will create a uniquely outdoor-Australian beach tableau, to showcase the designer’s recent garments and accessories, across several seasons.

Event planning was constrained by the small initial budget of $15,000 AUD cash. This figure was increased to $30,400 by in-kind contributions of $15,400: ECU equipment-lend, $400, S’Vow PR’s   services $5,000 and $10,000 marketing communication assistance, primarily by ECU,, The WA Chinese Consul office, Town of Cottesloe Council and Surf Life Savers. By November 2014, the publicists will create XM’s Australia Facebook, Flickr & Wiki sites aiming for fifty Australian 3rd-party Facebook visits and fashion blogger 3rd-party entries between 17 November 2014 and 17 March 2015. Regular press releases will be sent to general media publics, and important stakeholders who issue newsletters – ECU, the Chinese Consul office, Cottesloe Shire Council and Surf Life Savers.

Sponsor Edith Cowan University (ECU) will gain exclusive 2014/5 online and physical, badging/branding and total media rights to create, own, use media, and digital recording pre, on-day and post-event. ECU’s substantial communication network will inform their global student body about XM’s event and run the competition where students participate. ECU CareerHub will advertise for the publicists.

To begin inter-action with the Australian community, and create good-will, XM will sponsorCottesloe Surf Life Savers. For an initial period between November 2014 and Chinese New Year February 2016., XM will contribute to Cottesloe Surf Life Savers 10% of profit of online Australian sales and promote this worthy group on her Facebook & website. Only small twice-weekly ads will run in The West Australian. As this newspaper is another, major Cottesloe Surf Life Saving Club sponsor it may be possible to request some editorial about the XM’s event and her sponsoring of the Club.

Aside

2 page Strategic Event Plan – Strategy Development 2014

  1. Strategy Development 小美女 – Xiǎo měin (XM)

Your team is to develop a strategic event plan to guide the implementation of a special corporate event supporting the business goals of a corporate client. You will also develop a brief Sponsorship Proposal for an identified potential sponsor of this event.

  • Event and Communication Goals

Event Goal: The event goal for the Xiǎo měin 19 February 2015 launch event is to establish Xiǎo měin in the Australian physical and online fashion marketplace.

Xiǎo měins associated corporate goal is for her women’s fashion apparel business to be commercially successful in the burgeoning Australian physical and online marketplace.

Communication Goal: The communication goal is for Xiǎo měin’s cultural commodities to be understood, accepted and desired by the Australian physical and online marketplace.

  • Target Audiences and Key Stakeholders

Target Audiences: The Xiǎo měin event’s primary target audience is approximately 4 million middle-class Australian girls and ladies aged 18-35. Xiǎo měin is currently totally unknown in the Australian women’s fashion marketplace, so details and key features of this audience will emerge in time.

It is anticipated that this 2015 Perth event will generate interest in the approximately 60,000 members of that primary target audience who reside in the greater Perth region. In particular the key target market sectors of Chinese-Australians, students of fashion, design, media, and drama, humanities, and residents of the affluent suburbs that surround Cottesloe Beach, the area where the launch will be held. It may be possible to also attract affluent, in-bound Chinese fashion-loving travellers. Other key audiences are the media, and the huge, global, online audience, including via Wiki, Facebook, Flickr, Instagram and similar others.

Key Stakeholders: The key stakeholders of the Xiǎo měin are, firstly, Xiǎo měin herself, her business and those of her Shanghai business that become involved, her e-business site. In-coming sponsor ECU is important, and the student of ECU, both local and global, in particular all students who enter the competition and specifically the competition winners . Further key stakeholderss are Xiǎo měin’s personal sponsor-recipient the Cottesloe Surf Life Saving Club, The Office of the Chinese Consul in Perth, the Cottesloe Council, the 2 publicists employed to rung this campiagn, the photographer and photographic stylist. The freighting office and insurance company Xiǎo měin decides to use, and any in-situ Council operatives that oversee Cottesloe Beach, including emergency, fire and police services.

  • Primary & Key Secondary audience demographics & psychographics

Primary & Key Secondary audience demographics & psychographics: Are analysed in the initial pitch document, thereafter in the second presentation document. Details of the source information can be found in Appendices 1 & 2.

Strategy Development 小美女 – Xiǎo měin (XM)

  • Event Concept

The event concept: Simply put, this event concept is create a gentle ‘tableau’ of garment design fusing with nature: to present Chinese women’s fashion designer Xiǎo měin to the Australian women’s fashion market on the iconic Cottesloe Beach, WA, on a Chinese festival date that is well-accepted by Australians, and to invite the Australians to participate. T

Event Planner; what, where, who, when and how (3-page format as provided)

Aside

CMM113 Week 3. Discursive Pillars

In Western post-modern/modern society of Australia, Foucault’s model of discourse can be applied. One discursive pillar is provided by Australia’s powerful media. Australian government policy provides a second. The true intent is always hidden.

Foucault said western post-modern society created “discursive formations” to send highly structured, hidden messages to their populace. Hall’s definition of discourse is that which: “represent[s] the West, the Rest, and the relations between them”, and also “a particular kind of knowledge … [which] also limits the other ways in which the topic can be constructed” (Hall cited in Hall & Geiben Eds., 1992, p. 291).

Two media opinions, “School meals go halal in London” (Brown, The Australian, August 6, 2010. p. 11.) from The Times, London, describe firstly, the “forced adoption of foreign [Muslim food laws or ] religious practices” in certain London high-schools. The second, “Veil a relic of repressive culture” (Ali, The West Australian, August 6, 2010. p. 21), is a longer, critical analysis of some Muslim dress, stating: “Philosophically, Islamism is a revolt against modernism” This media creates Foucault’s ‘discursive formation’.

An outline of the writer, Dr Ameer Ali, is provided at the end of the article. The garments are described as:

the burqa and the niqab along with the male turban and long beard

are the representative symbols of this new threat, part of the “Islamist

intrusion… [whose] ultimate objective of establishing an Islamic world

order, [whereby] political Islam promotes the growth of parallel societies

in the West that are excluding Muslims from mixing with others ….

Dr. Ameer Ali is a former head of the Muslim Community Reference Group,

hand-picked after the London bombings to address Islamic extremism

and promote tolerance.

Although Dr. Ali concludes positively by challenging the ‘West’ to rise to the occasion and provide answers, the major tone of the article is ominous and negative.

Both dwell upon the spectre of the “Other” (Hall, 1996, p. 238). Currently Australian government –endorsed Muslim immigration, combined with the arrival of Muslim ‘boat people’, is a major negative form of ‘the Other’. Common collective knowledge includes threats of ‘Other’ to valued nationalist traditions, and associated freedoms. Policy caused conflict between already-established Anglo-Celts, and Italians, Yugoslavs. These were conflicts between Christians. Only small migrant numbers of other religions were allowed. By reporting new ‘Others’ may force change in areas as fundamentally important as freedom of choice – of food – and religion, the media become what Croteau and Hoynes calls “key sites where basic norms are articulated” (2003, p. 163).

Historically Anglo-Celt Australia has accommodated change, but not without anger and fear – and violence. Running important English-opinion at this time – clearly demonstrates the strong Anglo-Colonial power in Australia, but – perhaps since the ‘world global financial crisis, Australia has been sold off: the traditional Anglo-colonial control has changed. No longer the preferred Christian 53rd American state, – now Muslim Saudi Arabian vassal.

Reference:

Ali, A. (Friday, August 6, 2010). Veil a relic of repressive culture: The burqa and niqab are the products of a misogynist and patriarchal tribal system. Opinion: The West Australian. p. 21.

Brown, D. (Friday, August 6, 2010). School meals go halal in London. The Australian. p. World 11.

Croteau, D. & Hoynes, W. (2003). Media Society: Industries, images and audiences. London: Sage

Hall, S. Ed. (1997) Difference: Cultural representations and signifying practices. London: Sage.

  1. Hall, S. & Gieben, B. Eds. (1992). Formations of modernity: The West and the rest: Discourses and power. Cambridge: Polity Press.
Aside

CMM113 Week 10 blog. Right where they began to erode our rights in earnest.

CMM1113. Tutor James Hall. Student 10043898 Susanne Harford. Blog 4, Week 10

The Twain Shall Meet. Part 11.

Or

The Society and State that protect the rights of the individual to think and embody thought.

Just as Christianity followed the flag into the Orient during the colonial era, today political Islam is entering the Occident not only through its religious institutions such as the mosques and madras, but also through personalised symbols such as the female burqa and niqab and the male turban and long beard.

Ali, 2010, August 6, p. 21.

How then to recognize individuality and to reconcile it with its intelligent and by no means passive or merely dictatorial, general and hegemonic context?

Said, 1978, Introduction, p. 9.

Today’s Western societies learn much about themselves, about their western world, and about the East or Orient, via western mass media. The Western press is relatively free, and thus it is extremely easy, on any day, to find outstanding examples of major differences between East and West. This blog will concentrate on just one of the many, many underlying, key differences between today’s “West”, and one sector of the East, the world of Islam – the rights of the individual. This difference is a cornerstone of Western societies. This blog will specifically discuss some of the rights of the individual citizens currently living in Western society; freedom of speech, the right of legal representation, and freedom of dress. By subjecting the reading by Said and some current Australian mass media articles to the theories of Giddens, Durkheim, and Thompson & Haytko, and others, this blog will argue that although Said’s 1978 version of “The East, or Orientalism” is now somewhat dated, the East of Islam is still very different to the modern/postmodern Western world of Australia. The blog will argue there are countless differences between the two States, and as the number of Islamic people taking up permanent residence in Australia increases, this important dilemma must be properly, and continuously considered and discussed – by the State, the institutions and the public.

Said’s East, or Orient, is not “disappearing … it’s time is [not] over” (1978, Introduction, p. 1). On the contrary the Eastern world of Islam remains vitally real, to continue as “one of [the West’s] deepest and most recurring images of the Other” (Introduction, p. 1). Today, differences between the Western world and the Islamic East remain sharp. Islam continues as a real (as versus imagined) “contrasting image, idea, personality, experience” (Introduction, p. 2). When Giddens discusses some of Durkheim’s western political concepts, he says they “only come into being with the development of the modern form of society” (1986, Introduction, p. 1), Giddens is discussing a world different to that of Islam. The Giddens/Durkheim world-views contrast starkly with the snapshot put forward by Ali and reported in the western mass media; that “Philosophically, Islamism is a revolt against modernism” (2010, August 6, p. 21).

The articles and the theory discussed in this blog highlight the modern/postmodern Western path of profound change and “evolution … [that Western society is now on and how the West] embodies conflicting factors, simply because it has gradually emerged from a past form and is tending towards a future one” (Giddens, 1986, Introduction, p. 26). The writings used describe a major and fundamental difference between the West and Islam; as Ali states “For more than 1,000 years, the pulpit with the support of Muslim governments has ruled over the minds of Muslims unchallenged, and has singularly remained the chief obstacle to any religious reform and cultural change” (2010, August 6, p. 21).

Countless facets of this difference – between the dynamism of the West and the sedentary nature of Islam – show up by Western mass media – every day. Giddens uses Durkheim’s “political theories” to describe the West (Durkheim, 1986, Introduction, p. 1). Durkheim says the West has gradually moved, over time, from a ‘mechanical’ to an ‘organic’ … type of society” (p. 2), and the “latter [the organic] refers mainly to the large-scale, industrialized form of society characteristic of modern times” (p. 2).

A supporting media example in The Australian, August 6, 2010 article entitled “Stoning lawyer flees Iran” (p 11) updates the Western public about a tragic saga of great general interest to the populace. This story of an Iranian woman who has already received a legal, public punishment of 99 lashes, and is awaiting a death by either stoning or hanging is foreign. The male lawyer representing the woman fled from one Islamic society to another – he is currently in solitary confinement in an infamous prison. This vibrant story of the East, of Islam, one that is foreign to the West of today, signals caution to new-readers in Australia.

The caution comes about, because, although similar punishments were common in the West as late as several centuries ago, today the woman’s “alleged” crime – adultery – is no longer punishable in this modern world of the West No woman, no matter what she had done, can be stoned, or scoured, and nor be deprived of legal representation. In the West, lawyers cannot receive treatment like this from the authorities, no matter whom they represent. Today Australia regards most forms of capital punishment as horrifying and barbaric.

Recently in Australia the rights of the individual to continuing legal representation, and the role of the western State in this process has been considered and the situation has been amended to ensure this occurs. This review was mainly brought about by the case of David Hicks. Giddens provides some insight, when he explains Durkheim further: “the tyranny of the conscience collective, through the growth of organic solidarity, [has been, in the West] gradually dissolved in favour of a cooperative order” (1986, Introduction, p. 5).

Previously Western society was, as is Islam today – “mechanical … [and] individuals [were] dominated by the conscience collective – the set of collective beliefs and values upon which the continuity of social life depend[ed]” (p. 2). Western mass media regularly demonstrates how far Western society has moved onto the current “organic” postmodern Western position. The West no longer holds fast to many of its earlier collective beliefs and values of the “mechanical” order. It is unlikely any similar set of punishments would occur in the West, by any judiciary, for any crime, or the lawyer thus compromised.

Another supporting example is James Jeffery’s recent snippet/article for Strewth! The Weekend Australian (April 3-4, 2010, p. 8). Australia is still ostensibly a Christian society and Jeffery publicly defends atheist’s rights to their beliefs, against attack by two foremost Christian leaders. It is interesting to consider Jeffery’s article in the light of Giddens’ further explanation of Durkheim’s views; that the organic society “produces the progressive emancipation of individual thought and action from subordination to the conscience collective” (Giddens, Introduction, 1986, p. 2).

In the article, Jeffrey pours irony over the Sydney Anglican Archbishop Peter Jensen, and Anthony Fisher, the Catholic Bishop for Parramatta – for their verbal attacks on atheism. In the Australia of the past, Jeffrey’s words would have been considered a crime, both against the country’s religious leaders, and against Christian society. Returning to Giddens’ analysis of Durkheim helps explain why Jeffrey is able to openly criticise Christian leaders in the Australian press today. Giddens says: “The ‘normal’ tendency of the advancing complexity of society is to produce … a decline in the intensity of coercive sanctions” (1986, p. 5).

Thus, in modern/postmodern, Christian/secular Western-world Australia, the society dealing with Jeffrey is very differently to that punishing the woman in the current, Eastern world of Islam. Giddens words describe this difference:

a crime against strongly held collective values,

against ‘transcendent beings’; the same act which, when

it concerns an equal, [Jeffery versus the bishops]

is simply disapproved of, becomes blasphemous when it

relates to someone who is superior [as in the case of the woman]

the horror which it stimulates can only be assuaged by violent repression.

(1986, p. 6).

The regular Islamic “violent repressions” the Western mass media relay to the Western public are part of a process of preventing societal change. This is explained by Durkheim, who talks about how “the absolutist State is ‘closed in upon itself’, cut off from the people … [and how this situation in Islam] tends to inhibit the effective occurrence of change” (Giddens, 1986, Introduction, p. 7). Ali says that Muslim leaders of Islam are “prepared to accept the material products of modern science but reject the metaphysics that underpin this science … [and at the same time are engaged in] spread[ing] globalising political message of Islamism” (2010, August 6, p. 21). If Ali is correct, this goes against that which Said calls the enormous power and productivity that historically came about by close relations between the Occident (the West) and the Orient (Said, 1978, Introduction, p. 4).

Said describes the “relationship between Occident and Orient is a relationship of power, of domination, of varying degrees of a complex hegemony” (1978, Introduction, p. 5), and Giddens explains that the actions of “such States are indeed all-powerful against the individual” (1986, Introduction, p. 7). Actions like these bring the Islamic East into direct friction with the Australian West, where everyone is an individual, with individual rights. One major component of Islam’s entry into western societies is restrictions in the way its members dress. Ali calls this an “intrusion … confronting” and says that these modes of dress “represent a mindset … [and] create an “otherness” by the Islamists” (p. 21).

Thompson and Haytko state the absolute freedoms of dress of the West are all parts of a key way that Western individuals have the right to engage in “ongoing social dialogue … [via the] concrete issues of dress, clothing tastes, and public appearance” (1997, p. 15). These issues include “self-worth: the pursuit of individuality; the relation of appearance to deeper character traits; the dynamics of social relationships, gender roles, sexuality, standards of taste, economic equality, and social class standing” (p. 15). In addition, this individual right is a microcosm of how Said’s Orienatlism acts still acts as a counter-point to the way the West views itself, and as he says “Orientalism lives on academically through … doctrines and theses [originating in the West] about the Orient and the Oriental” (Introduction, p. 5).

Thompson and Haytko continue “consumers use … fashion discourse to address a series of tensions and paradoxes existing between their sense of individual agency (autonomy issues) and their sensitivity to sources of social prescription in their everyday lives (conformity issues) … in a number of creative and procreative ways that do not reproduce a single hegemonic outlook” (1997, p. 16). Thompson and Haytko’s words highlight how severely restricted forms of dress, especially public dress, such as in the Islamic world of the East, also restricts the individual’s freedoms.

In contrast, the right to choose how to dress, and the freedom to constantly change the appearance and the mode of dress allows the Western citizen to freely engage in and to develop “countervailing meanings manifest in complex ideological systems”. The Western citizen is thus able to “engage in novel juxtapositions and creative reworkings of dominant meanings” (Thomas and Haytko, 1997, p. 16). Thompson and Haytko state this freedom/s “run against the grain” of the prevailing mindsets and assist the society to consider many issues.

A “fashion discourse … [is an] intertextual affair (Scholes 1982) that incorporates a wide array of cultural viewpoints” (Thompson and Haytko, 1997, pp. 16, 17).   Thus, many members of Western society may choose to engage in a hegemonic dialogue, can be involved in visually proposing change. These are key personal everyday freedoms that enable a Western individual to know they have some control over their own lives, and are “conscious of [them] it” (Giddens, 1986, Introduction, p. 9). This also provides positive reinforcement of the validity of their society – back to its individual members.

Ali points out that while “facial expressions are a means of communication and display the otherwise hidden character of one’s heart and mind”. In Islamic societies of the East insist on maintaining the strict imposition of specific modes of dress and appearance on individuals now forming part of Western societies, Muslims trying to integrate into Australia must “[deprive] not only themselves but also the rest of society an invaluable means of social communication and exchange”. (2010, August 6, p. 21). They will not allow their members to enter into the use of these “intertextual disjunctures” (Thompson and Haytko (1997, p. 17) that form key parts of the Western world, a society that Giddens and Durkheim see as

The State within a democratic polity is the main agency which

actively implements the values of moral individualism; it is the

institutional form which replaces that of the church in traditional

types of society” (1986, Introduction, p. 9).

Of relevance here also is Giddens’ statement:

the specific role of the democratic State is not to subordinate

the individual to itself, but in fact to provide for the individual’s

self-realization. The self-realization of the individual can only take place through

membership of a society in which the State guarantees and advances

the rights embodied in moral individualism.

(1986, Introduction, p. 9).

The current the Western world “guarantees and advances” (Giddens, 1986, p. 9) these rights of the individual. It provides ways and means to ensure this freedom occurs, even in the most difficult and controversial of cases, as with David Hicks. Conversely, the restrictions of the individual in Islamic societies do not appear to do the same, as in the case of the Iranian woman who received the flogging and now awaits the death sentence – without legal representation. Ali says that the maintenance by “political Islam” of strict dress codes is part of developing “parallel societies in the West” and that the Islamic societies “neither want to assimilate nor integrate” (2010, August 6, p. 21).

Australia is a Western society at the forefront of change, as discussed by Fisher and Sonn, who say The necessity to face up to major challenges, change that are entirely different”(2002, p. 599) is occurring as new arrivals are constantly arriving into Western society. Those arriving are considered different, and highlight their differences, and they still thus fill the role of what Hall describes as the Other of non-Western societies (1992, p. 291)

For new arrivals into Western societies like Australia to become accepted into that society, it is not only by the locals who must accommodate change. There must be generous assimilation and integration – by both the incoming and the established societies. Thompson and Haytko say:

Consumers interpretive uses of fashion discourses create emergent

meanings that reflect a dialogue between their personal goals, life

history, context-specific interests, and the multitude of countervailing

cultural meanings associated with fashion phenomena … [and

individuals use them to] transform, and in some cases, contest

conventional social categories, particularly those having strong

gender associations”

(1997, p. 17).

Vernon, in discussing empathy, says, “we are much more embedded in the social world of other people than we realise” (2010, September 24, p. 2). The mass media gives the societies of the Western world this ability, to decide, “how we will behave towards others” (p. 2). However, Vernon also goes onto say that, the modern concept of empathy can be ambivalent; that using empathy effectively “is a personal, political and moral challenge” (p. 2).

To arrive to live successfully in Western societies like Australia there must be generous assimilation and integration – by both the incoming and the established societies. Ali says that the maintenance by “political Islam” of strict dress codes is part of developing “parallel societies in the West” and that these societies “neither want to assimilate nor integrate” (2010, August 6, p. 21). Australia’s short history clearly shows the disasters that occur when one side or other does not accommodate change. The tragic result to the circumstances of the original indigenous Aboriginal people of Australia, the “inexcusable treatment of the original inhabitants” (Fisher and Sonn, 2002, p. 599), is a stark example. Their culture and their rights are only now – beginning – to be addressed by current Australian society-in-general.

Fisher and Sonn say: “Change in societies is one thing that cannot be avoided”(p. 598). That change to the plight of the Australian indigenous people can finally occur demonstrates the level of and the strength of the freedoms bestowed upon citizens of Western society, upon Australians. They say education and socialization (p. 604) provide major platforms for two-way assimilation, and that “Change may be slow and incremental, adaption to new environments, changing social mores (p. 598).

They are discussing” reformist rather than revolutionary” (p. 599), and are talking about personal freedoms. These freedoms contain certain responsibilities. Western individuals can, if they so wish, contribute to the ongoing hegemonic debate. They allow the individual the right to consider matters, challenge existing paradigms and established mores, and to personally represent ideas to the populace in general, and to the State – problems such as those presented by the entry of Islam into Western society.

The major way western societies learn about themselves, and others, is via the mass media. On any given day, countless examples are found in the free press. Today in Australia, each day the media deliver to the western masses messages that clearly display very important differences between the Islamic East and the West. This is because, as the 21st Century begins, the West is firmly fixed (one hopes) within the modern/postmodern world. In that world change occurs constantly and at great speed.

At the top of this blog stands Said’s question. Said is of the East, and his question asks how, while continuing to resist change in its own world of the East, Islam can continue to repress the development of many individuals within its ranks. This is an especially relevant question in Australia, where, at this time, many of Islam’s members are physically entering the modern, Western world of the individual – as citizens. Giddens states the Western world continues to move on from its own historic base and Australia’s short history clearly shows the terrible results that occurred in the past, when major changes to a society did not properly allow for all types of humans within the populace. Recently in Western mass media Ali described how the still-current, traditional Islamic mindset rejects fundamental Western individual freedoms; freedom of speech – as used by all the writers of the articles discussed, and all the theorists; the right to legal representation, as discussed in the article picked up from London’s The Times (which did not contain the writer’s name); freedom of dress – as discussed by Ali and Thomspson and Haytko. Although not specifically discussed in this blog the right to equality of all citizens, regardless of religion, gender and race, age, and so on, underpins everything discussed. The individual in the West owns the right to personally act or not, to worship or not, how to dress, to live, to eat, to drink, to have a dog as family companion, as they alone decide. All individuals in the West also have the personal right to change their mind, over and over again, about all of these facets of their way of life, including their appearance, their religion, as they alone decide. These are key freedoms that play major roles in the ways Western individuals views themselves and their Western world. They form essential components in an on-going hegemonic debate – between the State and society’s institutions and the people, in Australia and must not be compromised. The State of Islam and the West as in Australia differ markedly on these freedoms. The West will continue to embrace change, but it must be change that moves Western society and individual freedoms towards the future, not back to the past, which is where Islam is currently stuck. The West can only continue to successfully embody what Giddens calls conflicting factors, and successfully operate as a multicultural society – if the freedom of the individual continues to flourish.

Reference
Ali, A. (2010, August 6). Veil a relic of repressive culture: the burqa and niqab are the products of a

misogynist and patriarchal tribal system. Opinion: The West Australian. p. 21.

Fisher, A. T. And Sonn, C. C. (2002). Psychological Sense of Community in Australia and the

challenges of Change. Journal of Community Psychology, Vol. 40, No 6. Pp. 597-609.

Giddens, A. (Ed). (1986). Durkheim, E: Durkheim on Politics and the State. Oxford: Polity Press.

Hall, S. (1992). The West and the rest: Discourses and Power. In S. Hall & B. Gieben (Eds). Formations of modernity. Cambridge: Polity Press.

Jeffery, J. (2010, April 3-4). God squad hits out. Strewth! Focus. p. 8: The Weekend Australian.

Said, E. (1978). Introduction: In E. Said. Orientalism. (pp. 1-9). London: Routledge & Kegan Paul.

The Times. (2010, Friday August 6). Stoning lawyer flees Iran. World 11: The Australian.

Thompson, C. J., & Haytko, D. L. (1997). Speaking of Fashion Consumers Uses of Fashion Discourses

and the appropriation of countervailing cultural meanings. Journal of Consumer Research. Vol 24. Pp. 15-42.

Vernon, M. (2010, Friday September 24). What sets people apart. Review. p. 2: The Australian

Financial Review.

Aside

Short Animated Film: Australians in Paris

Screenplay: Australians in Paris

By Susanne Harford

Copyright 2011 Susanne Lorraine Harford & Donatella Felice.

Animation
(C) 30th October, 2011 Susanne Harford

mob: +61 427310523
email: susanneah@gmail.com

INT.APARTMENT – DAY
A single tin-pipe plays few bars of “Once A Jolly Swagman”.
In a tiny, stylish lounge-office-kitchenette-bedroom, two pretty QUOLLS, CAMILLE AND MICHELLE sit. A smart red typewriter sits on a desk, surrounded by neat stacks of typewritten pages, and a cute 24-hour digital clock shows 7am. In a beam of sunlight QUOLL Teenager CAMILLE spreads Vegemite down a long French baguette. Perched on a long window-seat under a lovely, old-fashioned picture window she wears koala and kangaroo-patterned payjamas. She calls out:
CAMILLE

Mama, today, at 7am on the fifteeth of April, 2011, may we now call ourselves Parisians?
MICHELLE, girlish, in romantic silk peignoir, matching nightie and fat rollers, uses a pretty teapot and cup. Wearing fluffy, heeled slippers,she aligns two elegant paintings; the Sydney Opera House and Ayres Rock. She sits daintily on window seat near CAMILLE, briefly picking up a 2011 “Australian Quoll Women’s Weekly”.
MICHELLE (thoughtfully)
Ah, Camille, my beautiful daughter. Although today is our fifth anniversary as residents of Paris, and French is now almost your native tongue, it will take more than time to really belong here… or anywhere.
Together in the sunlight the Quolls are a pretty picture. They quietly gaze out the big window at the Eiffel Tower.
CAMILLE (anxious)
So Mama, do we still celebrate?
MICHELLE But of course, my dear. In our
changed world, today is a very important celebration of our different life.

CAMILLE May I wear my lilac lace dress,
Mama? If you wear your pale green suit we will celebrate Spring, new growth, blossoms. Our new life!
MICHELLE (clapping her hands)

A perfect idea! Remember to bring a matching cardigan. While this is Spring for Parisians, we Australians still find it cold.
EXT. CHAMPS DES ELYSEES, PARIS, FRANCE – DAY Song like Cole Porter’s “I Love Paris in the Spring Time”.
Glorious Spring morning. MICHELLE and CAMILLE laugh, skip hand-in-hand through the Arc de Triomphe. Chestnut and Lilac blossoms shower down on them. Michelle has a Document.
Near Rustic Street Sign a French Male Cat Greengrocer and two Geese Flowerwomen greet them familiarly in French.
A Male Mole Newspaper Seller arrives. He draws their attention to the wall, and a large “Voulu!” (Wanted!) POSTER featuring a huge, evil-looking cat.
MICHELLE (hand to mouth)
Oh, no!
The poster reads: “WANTED – KING QUOLL – For the serious crimes of: Robbery With Violence. International Cat Trafficing. Cat Enslavement. Terrorising The City of Paris. Anyone with clues as to his whereabouts ring Préfecture de Police Information tél, .01 58 80 80 80”.
Strolling by, an Old Lady Poodle and impressive Older GENDARME 1 with Trainee GENDARME 2. They all join the group.
GENDARME 2 notices CAMILLE wears two tiny pins; an Australian flag, and a koala. CAMILLE shyly gives GENDARME 2 the flag pin. Everyone smiles.
MICHELLE still inspects the photograph. CAMILLE notices.
CAMILLE What is it, Mama?

MICHELLE (quietly)
When I was just your age, we met!
CAMILLE Mama! How ever did someone lovely
like you meet someone like him?
MICHELLE (softly)
Michelle, We must discuss this, but not now, not here. This man is from my past. Oh, what is the time?
MICHELLE consults her Cartier ’Tank’ wristwatch, approaches GENDARME 1 and GENDARME 2, smiles.
MICHELLE Please, is there a bank nearby?
GENDARME 1 and GENDARME 2 confer, then point out an impressive bank in the street. MICHELLE and CAMILLE thank them. They farewell everyone else, in French.
FADE
INT. BANK – DAY
In the grand bank, MICHELLE receives BIG BANK NOTES from a smiling, HUGE, MUSCULAR Lizard Teller.
CAMILLE (whispering)
Mama!
A skinny, dodgy-looking Bat unfolds impressive wings to reveal a HUGE REVOLVER while an unfit, silly-looking Owl carrying a BIG BAG peers around. No one else notices.
MICHELLE Oh, my goodness! Quickly, Camille,
outside. CAMILLE slides along the wall and through the door.
EXT. CHAMPS DES ELYSEES, FRANCE – DAY
MICHELLE escapes, looks urgently up and down the now-deserted street.

MICHELLE Oh, No! Another disaster! The Gendarmes have left!
Noise of scuffles and shouts; BIG STARS, DUST, OWL FEATHERS explode out through the bank door. An ALARM RINGS LOUDLY.
CAMILLE (giggling)
Sounds like the robbers are getting more than money at this bank!
MICHELLE Monseiur Lizard, our Bank Teller,
could single-handed thrash those two. Camille, we must go now, for a most important appointment with Giselle my Editor.
Parisian Taxi passes. Seeing MICHELLE and CAMILLE, Dashing Cougar Driver pulls over. CAMILLE and MICHELLE get into cab elegantly.
DISSOLVE TO:
INT. TAXI INTERIOR – DAY In the back of the cab MICHELLE and CAMILLE sit close
together. CAMILLE with tears glistening in her eyes, MICHELLE takes her mother’s hand and turns to look into CAMILLE’S eyes.
MICHELLE Camille, on this our most wonderful
day – to see that horrible face again. Then immediately witness (shivers) no, become involved in, a daylight bank robbery! There is danger here, I can feel it. I realise it is time to tell you everything. Why we left Australia. Why we can never go back.
Still speaking earnestly to CAMILLE, MICHELLE’S voice lowers. CAMILLE listens closely, and her eyes slowly widen.
EXT. ENTRESOL 6 PL ST GERMAIN DES PRÉS, PARIS – DAY
A chic street-side cafe, sign on awning: “Les Deux Magots”. MICHELLE, CAMILLE and GISELLE, a Sweet Young cat, sip Sparkling Perrier Water with lemon slices in tall, frosty glasses.

MICHELLE and GISELLE discuss a thick, type-written document. The cover reads: “Screenplay: TEENAGE SLAVE IN GANGLAND: Her Own True Story of Abduction and Enslavement by M.J. Quoll”.
MICHELLE signs and hands several forms to GISELLE, who stands up, kisses MICHELLE and shakes her hand.
GISELLE hugs CAMILLE.
GISELLE Camille, your mother’s true story
is about to open the eyes of the world, show that today horrible slave-traders exist in every society, threaten every child.
Looking pleased, GISELLE departs, taking all documents.
CAMILLE Oh, Mama! Look!
Bat and Owl swoop by. Flying low and erratically they carry their now-bulging BIG BAG. BIG BANK NOTES drop out, drift along the road. Nobody else notices.
MICHELLE So they got away! With money!
From quite a distance GENDARME 1 and GENDARME 2 chase the robbers, then see MICHELLE and CAMILLE.
Bat and Owl clumsily crash-land, quickly open a Manhole
Cover and Cover all
descend, pull bag after them, replace Manhole near the cafe where MICHELLE and CAMILLE sit.
CAMILLE (leaping up)
Mama! we must do something!
MICHELLE Sit down, Camille.
CAMILLE Mama, after what you told me, I now
see it is too dangerous to involve ourselves. What a nightmare.(sighs). Just when our dream of a new life in Paris is coming true.
Arms linked warmly MICHELLE and CAMILLE hail a Passing Taxi. GENDARME 1 and GENDARME 2 witness their departure.
INT. TAXI INTERIOR – DAY
MICHELLE To the Eiffel Tower, please!
Michelle looks at the Manhole from the Taxi window.
MICHELLE Yes, Camille, we must do something.
But what?
In the back of the taxi, MICHELLE and CAMILLE put their heads together and talk earnestly.
EXT. STREET – NIGHT
A darkening, smart street. The Eiffel Tower glows and sparkles in the background.
MICHELLE and CAMILLE, dressed in black, emerge from an elegant doorway. In a pool of light from a stylish street lamp they test torches fixed to helmets.
MICHELLE and CAMILLE catch a passing taxi.
INT. TAXI INTERIOR – NIGHT
MICHELLE San Germain des Pres, please.
The glistening Eiffel Tower appears to escort them.
EXT. ENTRESOL 6 PL ST GERMAIN DES PRÉS, PARIS – NIGHT
The taxi arrives at the “Les Deux Magots” sign. The cafe is closed. MICHELLE and CAMILLE alight.
They watch the taxi depart, walk to the Manhole. A clock strikes midnight. MICHELLE and CAMILLE open the Manhole.
Music like opening bars of Will Shiff’s “the Rise”.
CAMILLE Descending…
GENDARME 2 peeps around a nearby corner, is dragged out of sight by GENDARME 1.
INT. CATACOMBS – NIGHT
Vocals and song like “Down, Down, Down, I Don’ Wanna Go Down There Alone” from “The Rise” by Will Shiff.
CAMILLE and MICHELLE drop down from Manhole. MICHELLE closes Manhole. Darkness. CAMILLE drops helmets.An echoing noise.
MICHELLE What was that?
CAMILLE Our torches, Mama.
MICHELLE Oh, what is this lovely, flickering
glow?
CAMILLE I know! Glowflies! We learned about
them in Biology at Ecole Secondaire. They are really beetles. They live in parts of Paris, and in Spring, they glow prettily! Hello!
GLOW FLY FEMALE 1 Stand still! Look down!
CAMILLE and MICHELLE stand still. They look down. Pulsing Soft light pulses from two GLOWFLIES on the wall. Streaming up and around them is mist from a huge, deep pit right at their feet. At the bottom of the pit lie their helmets.
CAMILLE AND MICHELLE (clinging together)
Oooh!
GLOW FLY FEMALE 2 issues a shrill, piercing whistle. Larger GLOW FLY MALE 1 and GLOW FLY MALE 2 fly in, pulsing with a much stronger light, brightening everything.
CAMILLE Ah, these with stronger light are
male glowflies, Mama. The females are wingless. They cannot fly.
MICHELLE and CAMILLE see they are surrounded by stacked, cobwebbed skulls. They stand on a narrow structure across a chasm filled with countless bones.

CAMILLE Mama, where are we?
MICHELLE In the fascinating Catacombs under
Paris, which began as ancient quarries. Then people, including the rich, and thieves, kept rooms, homes down here! Finally they became repositories for bones.
GLOW FLY MALE 1 Are you two lovely cats? You descend to the
Catacombs. At midnight. Why?

MICHELLE We are not cats! But we are here to  locate
a Bat and an Owl.
GLOW FLY FEMALE 1 Owl are nearby.
CAMILLE We dropped our torches. Please light our way
MICHELLE squeezes CAMILLE’S hand.
GLOW FLY MALE 2 We will guide you. Look. There.
Ahead, a dim light glows around a half-open doorway.
GLOW FLY MALE 1 Bat and Owl are clumsy, often
thoughtless. They kill many glowflies. Get rid of them.
CAMILLE No, we cannot do that! But maybe we know
someone who can take them where they won’t hurt themselves.
CAMILLE looks at MICHELLE, who nods. GLOWFLIES, MICHELLE and CAMILLE arrive at door, peep around door.
INT. CATACOMBS ROOM – NIGHT
Whispering thanks to the GLOWFLIES, MICHELLE and CAMILLE slip into a dim, dusty, cobwebbed room. Light seeps in from a half-closed manhole. Money covers the floor.
Sleeping Bat snores and talks. Owl has a nightmare, emits little screams, sucks thumb.

CAMILLE holds up a BIG ROLL OF DUCT TAPE she finds inside the robber’s BIG BAG.
Completely trussed up calmer, sleep sweetly
DISSOLVE TO:
Bat and Owl are now tied up with duck tape completely. All money is packed in BIG BAG.
Total darkness. In the gloom, MICHELLE and CAMILLE each brush something off their faces.

KING QUOLL (deep, smooth voice)
Ah, Michelle Jane Quoll, even more beautiful now than at sixteen. When I stole you in Sydney and then sold you in the Timor Slave Market.
A match strikes. HUGE KING QUOLL sits in the gloom, lights an elegant thin cigarillo, again tickles CAMILLE’S face with his long whiskers. MICHELLE and CAMILLE look fierce.
KING QUOLL An equally beautiful young daughter. Purrrfect. A double fortune in the Paris
Slave Market.
MICHELLE snarls. KING QUOLL stands, flexes his enormous, razor-sharp claws, dwarfing MICHELLE and CAMILLE. Two Masked Cats drop down from the manhole, knock the wind out of KING QUOLL.

STARS, SPANGLES, DUST. THE SOUNDS OF CATS FIGHTING, KING QUOLL handcuffed, dust clears. Bat and Owl awake.
GENDARME 1 and GENDARME 2 remove their masks.
MICHELLE Oh, it’s You! How wonderful!
KING QUOLL, and confused Bat and Owl are arrested.
CAMILLE The Glowflies will be pleased!
EXT. ENTRESOL 6 PL ST GERMAIN DES PRÉS, PARIS – DAY
In a cafe, CAMILLE, MICHELLE, GENDARME 1 and GENDARME 2 eat croissants, drink chocolate, watch the 7am TV Breakfast News Broadcast of the capture of KING QUOLL.
GENDARME 1 (sternly)
Michelle. Why did you go to the Catacombs?
MICHELLE We decided our best chance of
proving our innocence was to find evidence, then locate you. As they were asleep, we thought we could secure them, and the banks’ money.
Sitting near the window, a shaft of sunlight CAMILLE. She squeezes MICHELLE’S hand.
CAMILLE Why did you follow us last night?
GENDARME 1 You distracted us while the bank
was robbed and later you seemed to help Bat and Owl get away.
GENDARME 2 Certain you were in Bat and Owl’s
gang we followed you.
MICHELLE (horrified)
Mama!
GENDARME 1 Yes, We never expected to find KING
QUOLL. Then because he focussed all his attention on the two of you we could defeat him.
MICHELLE We had a good outcome. Together.
The morning sun beams in onto MICHELLE’s face as she sees a newspaper ad through the window, reads aloud: “Les QUOLL-DOLLS KO KING QUOLL”. All laugh.
CAMILLE Mama: at 7am on the 16th. April,
2011: Are we now Parisians?

EVERYONE
YES!
Single tin-pipe plays the opening bars of the “French National Anthem”.
FADE

Aside

100TPC Event Today … Link in your poems, art, stories, film, music, videos for peace, sustainability and social justice with an emphasis on poverty and hunger

Source: 100TPC Event Today … Link in your poems, art, stories, film, music, videos for peace, sustainability and social justice with an emphasis on poverty and hunger

Aside

My Touch of Love. Copyright Donatella Felice & Susanne Harford, January, 2015

cover page January 2015
cover page January 2015

THE TOUCH OF LOVE By Susanne L Harford

Copyright January, 2015 by Susanne L Harford & Donatella Felice

SYNOPSIS

Inspired by Peter Cowan’s short story “A Touch of Love” this is the story of an ‘ordinary’ Australian girl and boy that demonstrates no life is ordinary, especially those touched by love. They use their time in the bush to learn about life’s journey, and to support each other’s difficult progress. The outback bookstore setting provides a metaphor of the enormous value, yet uncertain, transitory nature, of the modern era. Music forms much of their communications and their comedic ‘coming of age’ is a portal into how Australia’s traditionally multicultural society traverses, often elegantly even when in the most prosaic surroundings, life’s dangers and its advantages.

CHARACTERS

BOY: Aboriginal, early 20s, who has suffered serious physical injury some time ago

GIRL: Australian, mid-20s, mixed heritage, who has grown up in the Outback.

MUSICIAN: accompanist for both BOY and GIRL

PLACE: 2015

TIME: MIDDAY

(The stage is in darkness, quiet. Then GIRL’S voice is heard softly singing a chant, but GIRL cannot be seen.

(*Song 1).

GIRL’S song is punctuated by odd, puffing sounds.

At the same time, an excited cluster of bright Sparkles appear in the darkness, mid-stage.)

The Pilbara, WA Outback

1

“Bye, bye my dear friends dear book friends.

You have been to me. Can be to me

Sometimes Maybe again. (Puff)

“Catcher in the Rye” Now you tell me What’s that mean? What means that? Who knows, Nothing I need.

Not me, don’t like it, Don’t want it, Don’t need it, didn’t heed it (Puff)

“Emperor’s Children” Spoiled brats Need a good kick Up the bum, yes

Too much think, thinking No doin’ That lot.

Not me, didn’t like it, Don’t want it, Don’t need it, heed it (Puff)

“What She Saw”? Not much, that’s for sure! For sure! Take up with morons, morons Ten of ’em? Why? Nah Learning don’t take that long

Not for me.

2

Don’t like it, Don’t want it, need it, Don’t need it (Puff)

(A shaft of light pierces the gloom, Followed swiftly by sound of a door, creaks,slams. Then a sharp catch of breath is heard as the beam slides across the floor and highlights GIRL’S pretty figure through her löse thin muslin dress.

Then the beam, sprinkled with dust, moves across the peeling paint on a wall it picks out a big board with an ancient shop sign, a name “Clem Rogers”.

Then the beam abruptly cuts off.)

“Visit from the Goon Squad”? Yea, they’re alright Alright Gettin’ on with it

they are, are But

Not for me. Know this stuff Don’t want it, Don’t need it, need it. (Puff)

“The Group” – they lost me Lost me Why worry ’bout those things? They natural,

Just actual. No need to say them, none

3

Don’t need it.

(Puff)

(Big book on Roman era) Read ya, yes Sure learned stuff But you’re too big

Can’t take ya, Sorry. (Puff)

(Spanish title) And can’t read you So you can’t come. (Puff)

Hmnn, “a Touch of Love”? Neva read that one. Might have him.

(GIRL says brightly:)

“Don’t reckon we’ll see him ’round here anymore, Good Riddance!”

(Slowly BOY is revealed, squatting in the darkness.)

BOY: “Who’dya mean, girl?

GIRL: That daft Mahoney. He’s cleared out. Last night. D’ja see the Chev? He left it in the middle of the street.”

BOY: “Yeah. Why?”

GIRL: “couldn’t wait around – he owes everyone in town money, y’know? Heaps of it. Me included. Bastard. So he’s dun a runa.”

BOY: “Watcha goin’ to do?”

GIRL: “You know, been thinkin’! Allll mornin’. So Great….  I don’t have to sleep with him anymore – done my 3 years’ “service”… So great! – got plans, that’s for sure! Start in’ real soon.

4

And the rest of the town, they hate his guts. They know there’s nothin’ for ’em here. Nothin’ but these old books. Nobody’s cummin’ in here, now. You know that. Yesterday the last mine closed up. That’s why he’s left, of course… No more FIFOs…. buying books, in cash, to read on their plane rides, while they’re leavin’, or comin’.Oh, one good thing, Mahoney said we can give our community all these books of his, the whole store full of ’em! Their own Library. That’ll set a few cats among the pigeons!

So dusty in here… You hot? You feel hot, your skin’s real hot – so’s mine. Wanna go for a swim? Doncha know, I think that lil’ waterfall’l be runnin now. But only for a day or two, most. There’ll be a nice soak at the bottom – it’ll be sooo cool now, after that great big rain last few days. Let’s us get there first. Before the brats.

(BOY leaps up athletically, disappears out the door.)

GIRL: “Hey! Wait for me!”

(GIRL runs out, leaving the door ajar behind her and taking the “Peter Cowan” book with her. End Act 1.)

(Act 2)

BOY sits on a tree trunk, STAGE RIGHT BOY pulls his long-sleeved shirt over his head Leaves sleeves on his lower arms As he lies back down along tree trunk

GIRL is heard singing gaily off-stage (*Song 2). GIRL appears STAGE LEFT, but does not see BOY.)

“There’s that Minaricci So prickle-y So pretty

Ya told me

Don’t climb it It’ll get ya He’ll prick ya,

He’ll stick ya

5

Here’s Ol’ Mr Castor Oil He’s not from here He’s not for you

Ya told me

Don’t eat ‘I’m he’s ick-y Make you sick-ey

And Miss Stuart Pea So pretty Sneak’in ‘long ground Hardly eva found

Ya told me.”

(GIRL stops singing and, without pause, launches straight into conversation)

“D’ya know, I burned all Mahoney’s papers this morning. He told me to. Just after he gave up trying to get the truck going. No wonder, you shoulda seen how much he owes people.

And, I found out, in all his dodgy stories, he never, ever got round round to telling us about “Clem Rogers” – y’know – the old store name that he kept? That was a real, famous, American pioneer person. From Oklahoma. It was still the Wild West then, and part of the time he was a judge. His wife had Cherokee blood. Never knew any of that till today.

And Robert Mahoney himself? I found out stuff about him, too, from his papers. He’s got a posh family – maybe he’s what Dad used to call a Remittance Man. Paid to stay far away from his family. That’s what happens to those blokes – when they’re not the ‘first-born’ – some crazy Pommie idea called primogeniture, ‘s what Dad called it.

6

Seems blokes – like our Mahoney, go mad then, I guess, like they can’t deal with it.”

BOY: “Waddya mean?”

GIRL sees BOY

GIRL: “What? Oh, because they aren’t the first they get nothing, so they go wild. Crazy, black sheep, or something. Then their rich family wants to get rid of ’em – ’cause they can’t control how they behave, I guess.

Weird idea – happens all the time in our lot! We hardly ever turf anyone out, do we? Anywhichway e’s a long way from his family, and they sure want to keep it that way. That’d be right, I guess, he’s not that likeable, is he?”

BOY: “No.”

GIRL: “So – guess what, his family pay Mahoney a heap of money! Money every month, heaps of it, right on the same date. They are in London. His family, that is. No letters from them to him, though. A lawyer in England writes, tells him how much, same day each month – can you imagine what that’d be like?

Sod wastes it all on his stupid ideas. Like a bookshop in the middle of nowhere – here. Who knows why he doesn’t just enjoy a decent life? Over on the coast. How nice would that be? Get a flat – right on the beach – he can sure afford it. Surf every day.”

(BOY speedily leaves stage.)

” Hey! You wait for me! I wanna talk to you about the truck. Truck’s mine now. When Mahoney couldn’t get it started I told him he owed me. Then asked him – and he just said yes. How good is that?

I know you can fix all sorts of motors. Seen ya. Know you bought all the tools. Got a whole big box of ’em, haven’t ya? Nice. Shiny. You learned all that stuff, dincha, when you were away – after you left the hospital…

You did! I know you did! And now you’ve got all that gear you really need, too – finally. Waddtheycallut? Pro…. ( laughs) Do ya banking, remember? Saw the payments for extra lessons – mechanics, tools.. the, the – prosthetics – that’s it! .. go through. Just last week.

7

Mahoney’s not all bad. He wrote me a letter saying truck’s mine, just before he left. He was so desperate to leave and couldn’t. Then he got lucky – caught a ride to Hedland with that priest who came yesterday. Priest witnessed my letter – so it should all be fine!

Wanna share the truck? You fix the truck? We get it going? Then we go somewhere? Surfing?”

“Chug a lug Chug chug”

(GIRL exits Stage Right, singing (*Song 3) End Act 2

Act 3 BOY stands MID-STAGE, looks at waterfall. BOY is shirtless, back to audience. BOY’S arms are above his head, they rest on an overhead tree

limb.)

(GIRL enters STAGE RIGHT, goes to BOY, stands behind BOY. GIRL runs her hands over BIY’S back GIRL pushes down BOY’S shorts, stops GURL then slides her hands round BOY’S waist.

GIRL unbuttons BOY’S shorts, they fall to ground. GIRL turns BOY round GIRL looks down.)

“Well! You never showed me that before! – That’s pretty… smooth!

(BOY walks to waterfall. Audience now see BOY has no hands. BOY disappears into waterfall.)

“Gone to cool off. Must’ve been all my talk about the Chev got you so excited. Listen to this!

“the white quartz stones, the brown strands of weed”

8

(GIRL looks around)

“Sounds like that Pete Cowan’s been right here too, doesn’t it?..

“and… when he came up near the red bank she scooped her hand along..” ” of the water, the arc of spray lifting towards him, sharp in the broken light.”

“Beautiful.”

(GIRL carries out the same action.)

GIRL Puts down book. BOY reappears, gets out of waterfall, squirts a stream of water right at GIRL. Still clothed, GIRL stands up, walks into the waterfall. BOY watches, then joins GIRL.)

BOY: “You bring’in that book? One you were readin’ To me Just now?

Goodo”

BOY: (*Song 4)

” then. Got it all figured.

Doncha, doncha Goin’ far ‘way now

Can’t say I blame ya. Wanna go too With ya

Stay the same, tho Woncha, woncha?

9

How ’bout Broome first stop Catch some music With ya

Then Darwin – just another hop To Arnhem and Yothi Yindi?

You with me We go see Maybee even that “Never-Never”?

And Sail to Timor then Gamelans aren’t half bad Music (Neva make ya sad) Make lotsa new friend…

Have to leave the truck, tho And after Then – who knows?

Mars? Wherever, whenever, forever … We go together.”

(BOY removes GIRL’S dress BOY holds GIRL, kisses her slowly, then, as she manages a word or two, BOY picks up GIRL and walks, both disappear into the waterfall.

Then Sparkles re-appear as the stage slowly darkens.)

CURTAIN

10 minutes

Aside