Aboriginal Charter of Rights
By Oodgeroo Noonuccal
We want hope, not racialism,
Brotherhood, not ostracism,
Black advance, not white ascendance:
Make us equals, not dependants.
We need help, not exploitation,
We want freedom, not frustration;
Not control, but self-reliance,
Independence, not compliance,
Not rebuff, but education,
Self-respect, not resignation.
Free us from a mean subjection,
From bureaucratic protection.
Let’s forget the old-time slavers:
Give us fellowship, not favours;
Encouragement, not prohibitions,
Homes, not settlements and missions.
We need love, not overlordship,
Grip of hand, not whip-hand wardship;
Opportunity that places
White and black on equal basis.
You dishearten, not defend us,
Circumscribe, who should befriend us.
Give us welcome, not aversion,
Give us choice, not cold coercion,
Status, not discrimination,
Human rights, not segregation.
You the law, like Roman Pontius,
Make us proud, not colour-conscious;
Give the deal you still deny us,
Give goodwill, not bigot bias;
Give ambition, not prevention,
Confidence, not condescension;
Give incentive, not restriction,
Give us Christ, not crucifixion.
Though baptized and blessed and Bible
We are still tabooed and libelled.
You devout Salvation sellers,
Make us neighbours, not fringe-dwellers;
Make us mates, not poor relations,
Citizens, not serfs on stations.
Must we native Old Australians
In our own land rank as aliens?
Banish bans and conquer caste,
Then we’ll win our own at last.
Understanding Oodgeroo Noonuccal’s “Aboriginal Charter of Rights”
Oodgeroo Noonuccal’s “Aboriginal Charter of Rights” stands as a powerful and enduring declaration, articulating a profound call for justice, equality, and self-determination for Indigenous Australians. This seminal poem, penned by a celebrated Aboriginal Australian poet and activist, resonates with a clear and unwavering voice, making it a cornerstone in the study of Australian literature and human rights advocacy. Its directness and emotional depth ensure its continued relevance and popularity, offering readers a vital insight into the historical struggles and aspirations of Aboriginal communities.
Summary of the Poem’s Core Message
The poem “Aboriginal Charter of Rights” powerfully contrasts the lived experiences of Aboriginal people with the ideals of a just society, highlighting critical issues of civil, political, and social justice. It opens with a stark presentation of the challenges faced by Aboriginal Australians, demanding equal rights and genuine relationships built on brotherhood. The speaker expresses deep frustration with what is perceived as unjust government policies designed to control, exploit, and subjugate Indigenous people. The insistent demands for fairness reveal a history of systemic discrimination across social, political, religious, and civil spheres. This treatment has fostered frustration, hopelessness, and a sense of enslavement. The speaker boldly demands protection and freedom from racist policies, protesting the injustice of being treated as aliens in their own ancestral land. Ultimately, the poem serves as a crucial articulation of fundamental human rights that have been historically denied.
Central Ideas and Noteworthy Knowledge
The central ideas of “Aboriginal Charter of Rights” revolve around the urgent need to dismantle racism, inequality, and prejudice. Oodgeroo Noonuccal unflinchingly presents the unfair treatment endured by the Aboriginal population of Australia, bearing witness to the suffering of her people. The poem aims to expose the systemic injustices perpetuated by the dominant society and government policies of the time. As a staunch advocate for Indigenous rights, Noonuccal skillfully employs poetic devices to highlight the profound power imbalance between the white majority and her community. Through this poem, she conveys a powerful message: injustice should not be tolerated, and a collective voice must be raised against oppressive conditions. The very title, “Charter of Rights,” frames the poem not merely as a lament, but as a formal, non-negotiable demand for recognition and change, akin to a legal document outlining fundamental entitlements. It serves as a historical document reflecting the aspirations of a people seeking their rightful place in their own country.
In-Depth Analysis of Literary Devices in “Aboriginal Charter of Rights”
Literary devices are the foundational tools writers employ to deepen meaning, evoke emotion, and create lasting impact. Oodgeroo Noonuccal masterfully utilizes a range of these techniques in “Aboriginal Charter of Rights” to convey her urgent message.
Antithesis and Juxtaposition
One of the most striking and frequently employed devices in the poem is antithesis, the direct contrast of opposing ideas or concepts. This technique is central to the poem’s structure and message, highlighting the stark differences between what is desired and what is experienced. The poem is built upon a series of these powerful contrasts, such as:
“We want hope, not racialism,
Brotherhood, not ostracism,”
Here, “hope” is directly opposed to “racialism,” and “brotherhood” to “ostracism,” immediately establishing the poem’s core demand for positive, inclusive values over negative, divisive ones. This pattern continues throughout, creating a relentless rhythm of protest and aspiration, as seen in “freedom, not frustration” and “love, not overlordship.” This constant juxtaposition underscores the profound injustice and the clear path towards a better future.
Anaphora and Parallelism
Anaphora, the repetition of a word or phrase at the beginning of successive clauses, is used to build a powerful, insistent plea. The recurring “Give us…” or “Give…” creates a rhythmic demand for fundamental rights and respect:
“Give the deal you still deny us,
Give goodwill, not bigot bias;
Give ambition, not prevention,”
This repetition, combined with the consistent “X, not Y” structure, exemplifies parallelism, where similar grammatical structures are used to express related ideas. This structural consistency lends a sense of unwavering determination and clarity to the poem’s demands, reinforcing the idea that these are not isolated requests but a comprehensive charter of rights.
Alliteration and Assonance
Alliteration, the repetition of consonant sounds at the beginning of words in close proximity, creates a musical effect and emphasizes certain phrases. For instance, “Banish bans” powerfully reinforces the idea of eradicating oppressive laws. Similarly, assonance, the repetition of vowel sounds within words, contributes to the poem’s sonic texture and emotional resonance. The long ‘o’ sound in:
“We want hope, not racialism,
Brotherhood, not ostracism,”
subtly links these contrasting concepts, drawing attention to the profound divide between the desired state and the current reality.
Imagery
The poem is rich in evocative imagery that appeals to the senses and creates vivid mental pictures. Lines like “Grip of hand, not whip-hand wardship” create a strong visual and tactile contrast between genuine connection and oppressive, violent control. This imagery makes the abstract concepts of freedom and oppression tangible and immediate for the reader.
Metaphor
Metaphor is used to convey abstract ideas by directly comparing them to something else, without using “like” or “as.” The poem employs powerful metaphors to describe the subjugated status of Aboriginal people. For example, the line “Citizens, not serfs on stations” uses “serfs on stations” as a metaphor for a life of forced labor and lack of freedom, drawing a parallel to historical systems of servitude. Similarly, the phrase “Give us Christ, not crucifixion” uses “crucifixion” as a metaphor for the extreme suffering, sacrifice, and injustice endured by the Aboriginal people, equating their plight with profound agony.
Simile
Simile is a figure of speech that directly compares two different things, usually by employing the words “like” or “as.” The poem uses simile effectively to draw a parallel between the governing authority and a historical figure known for strict and often unjust rule:
“You the law, like Roman Pontius,”
This comparison evokes the image of Pontius Pilate, who famously washed his hands of responsibility, suggesting that the legal system and authorities are similarly complicit in injustice and unwilling to act compassionately.
Symbolism
Symbolism is the use of objects, people, or ideas to represent something else. In the poem, “whip-hand wardship” symbolizes the brutal and controlling nature of colonial authority and its oppressive policies. Conversely, “homes, not settlements and missions” uses “homes” to symbolize self-determination, autonomy, and cultural preservation, contrasting sharply with the forced assimilation and control represented by “settlements and missions.” The term “fringe-dwellers” symbolizes the marginalization and exclusion experienced by Aboriginal people, pushed to the edges of society.
Rhetorical Question
The poem concludes with a powerful rhetorical question, a question asked not to elicit an answer, but to make a point or create a dramatic effect:
“Must we native Old Australians
In our own land rank as aliens?”
This question forces the reader to confront the absurdity and profound injustice of the situation, challenging the very notion of belonging and sovereignty. It leaves a lasting impression, demanding reflection and action.
Analysis of Poetic Devices in “Aboriginal Charter of Rights”
While literary devices shape meaning, poetic devices specifically address the form, sound, and structure of a poem, contributing significantly to its impact and memorability.
Diction and Tone
The poem’s diction, or word choice, is deliberate and precise. Oodgeroo Noonuccal employs strong, emotive language, coupled with stark contrasts (“hope” vs. “racialism,” “love” vs. “overlordship”), which contributes to its powerful impact. Words like “exploitation,” “frustration,” “subjection,” and “discrimination” are carefully chosen to convey the depth of suffering and injustice. This diction contributes to the poem’s urgent, demanding, and defiant tone, which is simultaneously accusatory and hopeful, articulating a clear vision for a more equitable future.
Rhyme Scheme and Meter
Contrary to some interpretations, “Aboriginal Charter of Rights” is not written in free verse. The poem adheres to a consistent AABB rhyme scheme throughout, where each pair of lines rhymes. For example:
“We want hope, not racialism,
Brotherhood, not ostracism,”
This regular rhyme scheme gives the poem a strong, almost song-like quality, making its message more memorable and accessible. Furthermore, the poem often employs a consistent meter, predominantly a trochaic rhythm (stressed, unstressed syllables). This creates a strong, marching, and insistent rhythm, reinforcing the declarative nature of the poem and the unwavering demands for rights. The rhythmic consistency lends an air of authority and determination to the speaker’s voice.
Stanza Structure
The poem is structured as a single, extended stanza. This continuous flow, without breaks into multiple stanzas, reinforces the sense of an ongoing, unbroken struggle and a sustained, comprehensive demand for change. It suggests that the issues are interconnected and the fight for rights is continuous until all demands are met.
Enjambment
Enjambment occurs when a sentence or phrase continues from one line to the next without punctuation, creating a sense of continuity and urgency. For example:
“Though baptized and blessed and Bible
We are still tabooed and libelled.”
The enjambment here creates a sense of breathlessness, mirroring the ongoing struggle for recognition and rights, and emphasizing the immediate connection between religious observance and continued discrimination.
The Enduring Legacy of “Aboriginal Charter of Rights”
Oodgeroo Noonuccal’s “Aboriginal Charter of Rights” remains a profoundly significant work, serving as both a historical document and a timeless call to action. Its direct language, powerful use of literary and poetic devices, and unwavering message of equality and justice continue to inspire and educate. The poem challenges readers to confront uncomfortable truths about discrimination and to champion the cause of human rights. By understanding its structure, themes, and artistic choices, one gains a deeper appreciation for its enduring power and its vital contribution to the ongoing dialogue about Indigenous rights and social justice.