Ahead of the second Shoalhaven First Nations Film Festival in Huskisson on 13 September, we spoke to Richard Frankland, filmmaker, playwright, poet and musician whose film, “No Way to Forget” is screening at the festival. Aboriginal and Torres Strait Islander people should be aware that this website may contain images, voices and names of deceased persons.
Almost 30 years since it was made, Richard Frankland’s short film, “No Way to Forget” still packs a wallop. Drawn from his own experiences as a field officer to the Royal Commission into Aboriginal Deaths in Custody in the late 80s, the eleven-minute AFI Award-winning film is an intense experience.
“It was intense to live it as well,” acknowledges Richard. “It’s still hard for me to watch.” As deaths of First Nations people still happen at an alarming rate, Richard says the intentions of the film and his art practice are the same, too.
“The purpose of the film was to humanise what’s been dehumanised. Humanising statistics. I always say, when you’ve got art, you’ve got a voice and when you’ve got a voice, you’ve got some type of freedom. And with that comes responsibility. Every artist has some type of obligation to be responsible with their art, to contribute to building a better place.”
Richard admits that art can take people to places of great pain – “No Way” is a cascading presentation of pain, he says the scars of yesterday will always be there and “the only way we can heal aspects of those scars is by looking at them” – but that he can see a lot of hope, too.
“I thought we would mature as a nation faster and better,” he says, commenting on the passage of 30 years since “No Way” was made, but adds, “I’m excited about many of the positives. Kids are being taught Language in school, and culture. Women are getting a stronger voice and being heard. There’s lots of things happening, but are they happening fast enough?”
Facilitating Voices
We talk about the value and importance of events such as the Shoalhaven First Nations Film Festival in helping to define a common vision of victory for our country.
“The nation likes to imply that we’ll lose 250-odd years of culture if we acknowledge the past. But in essence, we gain 120,000 years. We gain a further foundation to our identity.
“When I see First Nation people and their allies standing up, I see warriors and champions. I see safety and security for my kids and grandkids. I see us unravelling the cultural tapestry of a nation and weaving it all back together so that we’ve all got a home.”
Richard talks of impact on dehumanising to the visibility of First Nation people: “Very few people see the great courage and First Nation men and women of high degree and high character and high contribution to society because we dehumanise.”
He says festivals such as the SFNFF can challenge our moral compass and are vital for the essence of who we are as a nation and who we could be. “We need to hear all the stories, warts and all. We need to hear the wins and the losses. Every time we put on a festival like this, every time we include art in the dialogue, we advance.”
The Value of Art
Richard is clear on the role of art, storytelling and music, imagery and even brand logos, as part of everybody’s lore.
“We’re putting art, Gunditjmara First Nation symbols on some of our interior walls at the moment and everybody’s excited, it makes the place warmer and stronger,” Richard says.
“Stories, art, dance, visual arts, film, all of these things define who we are, and also who we were and who we can be. The imaginings of art, of the artist, I don’t think it will ever be recognised for what it’s truly done, but it’s changed nations.”
He expresses a view of AI in relation to art and artists: “People are worried that we’ll be replaced by AI. But to me, art gives us critical thinking, which is vital in establishing future identities. Artists pull apart things and put them back together with a different lens so we can see and appreciate it more. Stories are meant to aggravate, to inspire.”
Art for Youth
We asked Richard how we as a community can bring more young people into the arts.
“We need to not only rely on our NGOs and education systems. I think we need to have mentor programs. We need to embrace AI because it’s here and learn to manipulate and control it, rather than it controlling us.
“We need to let go of any doctrines we have about controlling art. We need to resource artists and arts administrators in an adequate manner. We need to contribute more to our education system into introducing the art of other cultures. And give authority, or opportunity to regional artists.”
He mentions an initiative by Regional Arts Victoria in establishing a First Nations Arts Directive Committee as a good example.
The Gift of Art
Richard’s words of encouragement to people to attend the SFNFF are powerful: “An artist creates to give a gift of themselves to an audience. When we do that, it’s something very sacred and deep within all of us.
“You’ve got a chance, as an audience, to share a sacred journey. I would encourage everyone, irrespective of race, creed or colour to come along as humans and share a sacred journey will all of these wonderful artists who have created and given a part of themselves to you.”
One Last Thing …
Richard the muso is releasing new songs, in fact a whole new album is hitting the internet as we speak, and I ask him to pick a song to share with our readers.
“‘Lawbreaker’, that’s a feisty one,” he says without hesitation. “That’s the naughty me.”
Tickets to the second Shoalhaven First Nations Film Festival on Saturday 13 September are now available for $15.
