Certain ideologies in the past still continue to have consequences in the lives of copious marginalised races of today. The stage play, No Sugar by Noongar author Jack Davis explores the endemic violence, brought upon by the exhibition of oppression by the White Australian supremacy towards the ostracised Aboriginals. No Sugar is set during the 1930s, a dark time in Australia where abusive treatment towards the Aboriginals was seen as a cultural norm. The context evokes the struggle for the Aboriginals to survive in dehumanising conditions, controlled by a domineering government that’s prevalent within the society during the time, such treatment was heavily implemented by the ongoing high unemployment rates manifested by the Great Depression.
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Such idea utilises humour and mockery to manifest the standardised Australian values, making it accessible to a broader audience, breaking down the binary between the indigenous and non-indigenous. Davis’ use of humour is conspicuous throughout the play, offering a sense of alleviation of hardship as the women exhibit strength against the calamity of life, set within the backdrop of the desolate Australian society. The idea of humour is credible through particular indigenous characters, namely through Milly and Gran. Humour is depicted through ‘You don’t want to shout like that Chergeant, you’ll ‘ave a fit, just like the dingo when get’s a bait’ (Act 1, Scene 2). One can’t help but to commiserate with Gran’s witty and snarky humour, mocking the ‘chergeant’ who deprives them of heavily consumed rations. Through the use of dialogue, the characters of both Milly and Gran challenges the conceptual view of Aboriginal as cold sober human beings, ponderously instigated by the preconceived notions of stereotype towards Aborigines. Relying upon the stereotyped notions given to indigenous women, one would expect vicious and impetuous attacked performed by both Milly and Gran towards Sergeant when rations were cut down, instead, the exchange of mocking and humorous dialogue between the clashing characters of Sergeant and the two women challenges the idea of Aboriginals as savage, rather as playful and whimsical individuals. Through exertion of humour in the play, Davis challenges the audience’s view of indigenous people through character complexity and depth, manifesting attitudes and values communal to a contemporary Australian audience. The challenging of notion is ostensible by portraying Gran and Milly as individual human beings with personalities, not as typecast characters. The use of humour and mockery throughout the play is further reinforced through the characters,
Such idea utilises humour and mockery to manifest the standardised Australian values, making it accessible to a broader audience, breaking down the binary between the indigenous and non-indigenous. Davis’ use of humour is conspicuous throughout the play, offering a sense of alleviation of hardship as the women exhibit strength against the calamity of life, set within the backdrop of the desolate Australian society. The idea of humour is credible through particular indigenous characters, namely through Milly and Gran. Humour is depicted through ‘You don’t want to shout like that Chergeant, you’ll ‘ave a fit, just like the dingo when get’s a bait’ (Act 1, Scene 2). One can’t help but to commiserate with Gran’s witty and snarky humour, mocking the ‘chergeant’ who deprives them of heavily consumed rations. Through the use of dialogue, the characters of both Milly and Gran challenges the conceptual view of Aboriginal as cold sober human beings, ponderously instigated by the preconceived notions of stereotype towards Aborigines. Relying upon the stereotyped notions given to indigenous women, one would expect vicious and impetuous attacked performed by both Milly and Gran towards Sergeant when rations were cut down, instead, the exchange of mocking and humorous dialogue between the clashing characters of Sergeant and the two women challenges the idea of Aboriginals as savage, rather as playful and whimsical individuals. Through exertion of humour in the play, Davis challenges the audience’s view of indigenous people through character complexity and depth, manifesting attitudes and values communal to a contemporary Australian audience. The challenging of notion is ostensible by portraying Gran and Milly as individual human beings with personalities, not as typecast characters. The use of humour and mockery throughout the play is further reinforced through the characters,