S.I.

D: 17876490
ASSESSMENT 1

Table of Content

Page 1 List of Prescribed Texts

2–4 Rationale
5-6 References
Lesson 1 Lesson 2 Lesson 3
Prescribed Texts 7-8 25 35
Objectives 8 25 35
Outcomes 9 26 36
Resources 10 27 37
Procedures 11 - 21 28 – 33 38 – 41
Extension Work 22 33 41
Evaluation 23 34 41
References 24 34 42

Pgs 43 - 72 Appendix 1 - 12

My 5 Prescribed Texts

1. Song & Lyrics: “Building Bridges”.

Theme song performed by Conchita Wurst at the 2015 Eurovision. Music by

Dorothee Freiberger, David Bronner. Lyrics by David Bronner and David Malin.

Arrangement by Kurt Pongratz. Retrieved from

https://www.youtube.com/watch?v=6AQ73QirkKI
2. Images:
i) Sydney Harbour Bridge under construction.

Page 0 of 70
 S.I.D: 17876490
ASSESSMENT 1

Retrieved from

https://commons.wikimedia.org/wiki/File:Sydney_Harbour_Bridge_under_co

nstruction_(2742077871).jpg
ii) Building Bridges – We’re in this together. Retrieved from
http://www.franksonnenbergonline.com/posters/building-bridges-were-in-this-

together/
iii) Aboriginal Art Painting – Cave Rock. Retrieved from
https://au.pinterest.com/pin/380272762260101290/
3. Poetry: Heiss, A. (2007). What is the spirit of Australia? In I’m not racist, but…
4. A Short Comedy Film: The Translator. Retrieved from
https://www.youtube.com/watch?v=PA8HTX6CXBs
5. Speech: The Sorry Speech, by Prime Minister Kevin Rudd, 2009. Retrieved from
https://www.youtube.com/watch?v=tMl-Aenw8so

Rationale

The anthology of texts above has been strategically and carefully selected to study the

Building Bridges concept in the Stage 6 Preliminary English (Standard) course. The texts

collectively illustrate an osmosis of the Building Bridges concept in its literal praxis,

symbolic and figurative representation through cultural, gender, social, political as well as

economic lenses. The texts offer an efficacy of knowledge and skills that empowers students

to build bridges in “their personal, social and vocational lives” (Australian Professional

Standards for Teachers). In the course of enjoying the language richness of the prescribed

texts through reading, speaking, listening, viewing and writing students further develop

autonomous idiosyncrasies that are vital in their daily lives.

Page 1 of 70
 S.I.D: 17876490
ASSESSMENT 1

Just as it is important in a diverse world we live in, the Building Bridges concept is a

metaphoric representation that promotes a reconciled, an equitable and a sustainable

multicultural society such as Australia. While the concept appears to emanate a propriety of

dogmatic exegesis, the Building Bridges concept is the platform for reconciliation. In the

school context, the Building Bridges concept is an atheoretical approach that aims at

empowering students in being autonomous thinkers, critical learners, at the same time

considerate and compassionate human beings. (Australian Professional Standards for

Teachers, 3 & 4). The underlying value the concept posits is that “knowledge is used to build

bridges and break down imaginary walls that humans build” (Weststrate, 2003).

It was a controversial moment when Conchita Wurst, an Austrian “drag queen” competed in

the 2014 Eurovision Song Competition (Fricker & Gluhovic, 2013). But Wurst’s winning

performance pacifies the critics around the world with the enticing melody of the song that

delivers the powerful message to “two hundred million viewers” (Wurst, 2015). The song is a

product of Wurst’s experiences as a gay person, however, its moralistic essence is applicable

to resolving the many damaging social, political and cultural issues across the world. It is a

true form of activism to “break the silence” (Wurst, 2015) for the misrepresented gay

population. Indeed, “this is the moment…they’ve been waiting for” to “find a rhythm

divine”, “to build a bridge until it reaches across the borderlines” (Wurst, 2015). In this

sense, having an open discussion about gender issues in the context of the song and the artist

provides a bridge for understanding, acceptance and respect amongst students, especially

towards those who identify as gays or lesbians (NSW Professional Teaching Standards). In

Page 2 of 70
 S.I.D: 17876490
ASSESSMENT 1

effect, when evaluating and analyzing the song, students “yield new insights and inspiration

for learning” (Stage 6 English Syllabus) prompting a literacy of high order thinking.

A key element in analyzing the many hidden messages that an image portrays is that it does

speak a thousand words, metaphorically speaking. Students draw on their knowledge of

visual codes to interpret the image/s. At the same time the images evoke emotions that enable

students to draw connections between the images and the song (Gannon, Howie & Sawyer,

2009). In effect, it is another form of building bridges. But the image of the wall is a visual

code for imaginary walls erected by bricks of cultural incompetency, misunderstanding,

intolerance and ignorance.

The iconic Sydney Harbour Bridge plays a vital role in this lesson. In addition to its

economic significance, students will discover that the image is a representation of the

bridging role that the former Prime Minister Kevin Rudd’s Sorry Speech plays in the process

of reconciliation. It is vital therefore to encourage students to continue the exercise of

extrapolating in order to find the meaning imbedded in the texts, and expand the meaning so

that it serves a better purpose in life (Bergstesser, 2012).

Language in text can make or break bridges which the short comedy film, “The Translator”,

conveys. Students learn from viewing this comedy that language can manipulate

communication in the process of building bridges. Ultimately, it is the language of love and

reconciliation.

Page 3 of 70
 S.I.D: 17876490
ASSESSMENT 1

When on imagines the process of building a bridge, knocking off one brick may result in

catastrophic consequences. We see this in the historical context of Aboriginal people of

Australia. When students analyse the speech, they understand that the simple five letter word

– “Sorry” – is a powerful brick to bring a divided nation together. Effective techniques used

in the “Sorry Speech” clip still makes it emotional to watch, today (Rudd, 2009).

But not all people see it that way. Understandably, many people like Anita Heiss refuse to see

and/or feel the depth of this building bridges process. After all that was said and done vis-a-

vis the Sorry Speech, texts such Heiss’ “What is the spirit of Australia?” poem illustrate the

controversial nature of the speech. The structure and the language of the poem is cleverly

constructed with its message delivered in a satirical twist which the “responders” (Gold &

Michaels) will enjoy. Although different in modes, structures and forms the five prescribed

texts provide students with substantive knowledge on methods to respond to the themes,

patterns, motifs and meaning of the Building Bridges concept.

References

Board of Studies New South Wales, English Stage 6 Syllabus. (2009). Retrieved from

https://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/english-

syllabus-from2010.pdf

Bergstresser, P. R. (2012). Building bridges. The Journal of Investigative Dermatology,

132(5), 1309-10. doi:http://dx.doi.org/10.1038/jid.2012.70

Page 4 of 70
 S.I.D: 17876490
ASSESSMENT 1

Fricker, K. & Gluhovic, M. (2013). Performing the 'New' Europe identities, feelings and

politics in the Eurovision Song Contest (Studies in international

performance). Basingstoke: Palgrave Macmillan.

Gannon, S., Howie, Mark, & Sawyer, Wayne. (2009). Charged with meaning : Re-viewing

English (3rd ed.). Putney, N.S.W.: Phoenix Education.

Weststrate, J. (2013). Understanding each other's worlds. Kai Tiaki : Nursing New Zealand,

19(7), 2. Retrieved from Retrieved from

https://search.proquest.com/docview/1441291313?accountid=36155

Building Bridges. Theme song performed by Conchita Wurst at the 2015 Eurovision. Music

by Dorothee Freiberger, David Bronner. Lyrics by David Bronner and

David Malin. Arrangement by Kurt Pongratz. Retrieved from

https://www.youtube.com/watch?v=6AQ73QirkKI

Sydney Harbour Bridge under construction. Retrieved from

https://commons.wikimedia.org/wiki/File:Sydney_Harbour_Bridge_under

_construction_(2742077871).jpg

Heiss, A. (2007). I'm not racist but-- : A collection of social observations. Cambridge, Eng.:

Salt.

The Translator. Retrieved from https://www.youtube.com/watch?v=PA8HTX6CXBs

Page 5 of 70
 S.I.D: 17876490
ASSESSMENT 1

The Sorry Speech, by Prime Minister Kevin Rudd, 2009. Retrieved from

https://www.youtube.com/watch?v=tMl-Aenw8so

Lesson Plan 1

Topic Area of Study: Building Bridges

Stage of Learner: Preliminary/Stage 6 – Year 11 Standard

Page 6 of 70
 S.I.D: 17876490
ASSESSMENT 1

Time: 60 minutes Lesson Number: 1/3

Total Number of Students: 25

Prescribed Texts for Lesson 1:

1. Song & Lyrics: “Building Bridges”.

Theme song performed by Conchita Wurst at the 2015 Eurovision. Music by

Dorothee Freiberger, David Bronner. Lyrics by David Bronner and David Malin.

Arrangement by Kurt Pongratz.. Retrieved from

https://www.youtube.com/watch?v=6AQ73QirkKI

2. Images:
i) Sydney Harbour Bridge under construction. Retrieved from

https://commons.wikimedia.org/wiki/File:Sydney_Harbour_Bridge_under_co

nstruction_(2742077871).jpg
ii) Building Bridges – We’re in this together. Retrieved from
http://www.franksonnenbergonline.com/posters/building-bridges-were-in-this-

together/
iii) Aboriginal Art Painting – Cave Rock. Retrieved from
https://au.pinterest.com/pin/380272762260101290/

iv) The Wall. Retrieved from

https://www.google.com.au/search?

q=wall+donald&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjmqOuogtjSAhXms1Q

KHcPlAPAQ_AUIBigB&biw=1920&bih=963#tbm=isch&q=wall+&*&imgrc=sFbHQKuLf

mjpM:

Teacher Objectives for self

To…teach students the different forms, features and structures of texts; build on students’

existing knowledge and skills to critically engage with any/all form/s of text in order to make

a holistic meaning of the Building Bridges concept.

Page 7 of 70
 S.I.D: 17876490
ASSESSMENT 1

.To…teach students methodologies of examining, evaluating and critical analysis of the

prescribed texts in order for them to have an appreciation of the deeper meaning imbedded

within each text.

To...teach students visual and intellectual skills that support their inherent emotional, cultural

and social intellects – these are essential in interpreting meaning depicted in texts, and how

meaning is shared in distinctive ways amongst texts. Ultimately, students will learn and

appreciate the attributes of the Building Bridges concept.

Syllabus Outcomes for Students/Preliminary English (Standard) Outcomes

Preliminary Outcome 1:

 Students demonstrate an understanding of the relationships between composer,

responder, text and context

Preliminary Outcome 4:

 Students identifies and describes language forms and the features, and structures of

particular texts which shape meaning and influence responses

Preliminary Outcome 6:

Page 8 of 70
 S.I.D: 17876490
ASSESSMENT 1

 Students engage with a wide range of texts to develop a considered informed personal

response

Resources for Lesson 1

Resources for this lesson builds on the assumption that there is a smart board, internet access,

and students have own devices such as laptops, ipads and/or mobile phones. It is also safe to

say that this is where there is an exception to the rule in which mobile phones are permitted to

be used for students’ effective participation in their learning, subject to appropriate school

personnel’s approval.

Printed copies of the lyrics to the Building Bridges song Appendix 1

4 each - laminated A3 copies of:
Image 1: Sydney Harbour Bridge Appendix 2
Image 2: Building Bridges, We’re In This Together Appendix 3
Page 9 of 70
 S.I.D: 17876490
ASSESSMENT 1

Image 3: Aboriginal painting Appendix 4

PowerPoint Appendix 5
Kahoot Questions and Answer Sheet Appendix 6
Butcher papers, markers
A CD player and CD for playing music (optional)
Whiteboard & Whiteboard markers

Procedures

Time Organisation Teaching/Learning Activities

Pre-set Teacher  Place on students’ tables:

 sheets with lyrics/words of the Building

Bridges song on students’ desks

(Appendix 1)
 Sydney Harbour Bridge (Appendix 2);

Building Bridges, We’re In This Together

(Appendix 3) & the Aboriginal painting

(Appendix 4)
 Set up PowerPoint (Appendix 5) & YouTube clip
 Set up Activity Kahoot (Appendix 6)
 Play soft music (of your choice) in the

background. Playing music while students are

entering the classroom sets the environment for

the first stage of this lessons. The main purpose

Page 10 of 70
 S.I.D: 17876490
ASSESSMENT 1

for this method is to prompt students’ curiosity.

For the purpose of this lesson I will use “Heal the

world” by Michael Jackson. Music is to be played

in a low to moderate volume. Lyrics are not

required.

Welcome students, and as they are entering the

classroom teacher will instruct them to go to their groups.

These groups were allocated in the previous lesson. (If

2 mins Teacher & students have not been divided into groups, teacher will

Students allow students to settle down first before carrying out this

process by using own strategy. For the purpose of easy

flow of this lesson and the ones that follow, I would have

implemented the group format earlier on. The strategy I

have used however is structured in a way that I can rotate

and allow students to work within different groups and

with different peers. In effect it is an illustration of the

Building Bridges concept, which will be highlighted at

the conclusion of the three lessons in this module).

(Appendix 7)

 Allow students to settle down

 Switch off music.
 Have Powerpoint Slide 1: “Building Bridges”

Page 11 of 70
 S.I.D: 17876490
ASSESSMENT 1

(Appendix 5)

2 mins Teacher Build enthusiasm in the introduction phase of the lesson

by asking questions such as:

 Who loves music? What attracts you to listen to

music?

 How do you think about the lyrics or the words of

 the songs to which you listen?
 Why do you think people write songs?
 What messages do the songs you know promote?

(As this is only a prelude to the lesson, answers should be

limited to one for each question. It is ideal however, to

prompt and encourage students to contemplate on the

music to which they enjoy listening. Students to be

encouraged that there is no right or wrong choice of

music.

Introduce the “Building Bridges” song the students will

watch. (Note that the words songs and lyrics will be used

interchangeably in the lesson plan; both mean the same

in this lesson. It is assumed that the word song will

mainly be used by the students as it is the common term

Teacher & in their teenage vernacular.)
Students Refer to the “Building Bridges” slide on smart board.
2-3 mins
Elicit students’ thoughts on the phrase “Building

Bridges”. (At this point it is a phrase because the concept

is at its infancy and introductory stage.)

Page 12 of 70
 S.I.D: 17876490
ASSESSMENT 1

Questions:

 What do you think Building Bridges means? Or,

 What comes to your mind when you see or hear

this phrase?

Note: Students’ responses may be in the literal sense of

Building Bridges. Essentially, it is to invoke students’

deeper thinking/knowledge of the meaning imbedded in

the metaphor, as well as for the teacher to identify and

establish students’ prior and literacy knowledge. (Quality

Teaching Framework 1.1). It also sets a platform for

students to be effective observants in order to make

meaning of any material they see.

(Informal Assessment 1)

Setting the context: Briefly explain the Eurovision

Song Contest.

The Eurovision Song Contest is an international TV song

competition held annually that started in 1956 (Fricker &

Gluhovic, 2013). It has increased its members from seven

countries to forty-three. In its conception, the Eurovision

Song Contest was for European countries only. Today, its

Teacher multicultural effect sees countries like Australia and

2 mins Israel as active supporters and participants (Fricker &

Gluhovic, 2013). On this platform contestants from

various countries showcase not just their musical talents,

Page 13 of 70
 S.I.D: 17876490
ASSESSMENT 1

but their cultural and ethnic differences.

Articulate, that the Eurovision Song Contest is the

epitome of the concept Building Bridges; it is the

celebration, the honouring and the illustration of respect

for cultural, ethnic and, economic, political and social

differences. Music is the bridge on/in which people from

around the world have come together to celebrate their

talents and differences.

Explain to students that the You Tube clip they are about

to watch illustrates many aspects of the concept of

Building Bridges. (At this point the teacher will not

discuss the Building Bridges concept in detail, but allow

time for students to think about, predict and/or imagine

its meaning.)

Warn students that there will be a short quiz at the end of

the clip to ensure that they are listening and watching

attentively. Inform the students that although the clip

shows the lyrics to the song, it is also essential that they

observe the environment within the clip. These include

the props, visual effects, sound, artist, young singers and

so forth.

Page 14 of 70
 S.I.D: 17876490
ASSESSMENT 1

5 mins Teacher & Watch You tube clip: Conchita Wurst, Building Bridges –

Students 2015 Eurovision Song Contest opening performance:

https://www.youtube.com/watch?v=6AQ73QirkKI

10 mins Teacher & Group Activity 1: Kahoot (Appendix 6a)

Students https://play.kahoot.it/#/?quizId=3da2d179-b682-
480d-a69d-27d742fad1ba

Note: If link does not open, copy and paste onto

new browser. Username and password provided at
the end of Appendix 6a if required.

Informal Assessment:
 Assess students’ knowledge, understanding and

interpretation of the YouTube clip

 Interactive/Collaborative Group work
 Teacher and students to discuss each

question/answer in the Kahoot activity to probe

deeper meaning of the YouTube clip with

particular focus on the song (lyrics).

10 mins Teacher & Group Work:

Students Teacher to direct students to look at the sheet with the

lyrics of the Building Bridges song which are on their

Page 15 of 70
 S.I.D: 17876490
ASSESSMENT 1

desks. (Appendix 1)

 Challenge students to evaluate and analyse the

 song. Identify elements, words, lines and/or

phrases of the song which describe and illustrate

the concept of Building Bridges

 Identify and analyse the language forms, features

and the structure of the song which shape

meaning and influence their responses

 Direct their attention to also draw on the YouTube

clip, the artist Conchita Wurst, other artists, choir

members, the audience (national and

international) who participate in the Eurovision

Song Competition
 Allocate one group to concentrate on the image of

the Sydney Harbour Bridge. Find its historical,

social and economic significance in the Australian

context
 Students are encouraged to also draw on their

experiences, prior knowledge in order to promote

higher order thinking in this process

(Quality Teaching Framework 1.1 – 1.6)
 Give out butcher papers for each group &

markers
 Teacher to mark the roll call once students

commence their group activity

 Assess how students work together in their

groups; assist where and when necessary

Students: Engage in their task

Page 16 of 70
 S.I.D: 17876490
ASSESSMENT 1

 Use butcher papers & markers to mind

map their discoveries

10 mins Teacher/Students Each group will present their findings; allow and

encourage all students to contribute to class discussion.

Ask questions such as:

 How is the song representing the Building

Bridges concept? (Direct students’ attention to

words and lines in the song such as

 “break the silence we speak”
 “No turning back, we’re on our way”
 “build a bridge until it reaches out

across the borderlines”

 “We’re stepping into the light”
 “The future’s ours!”
 “We’re on the wings of heroes”
 “We’re on the edge of our lives”
 Why is this concept a necessary process in the

world we live in today? In their learning

environment? In families? In the Australia society

as a whole? In their own communities?

 Students may in their discussion look at gender,

political, social, cultural and economic issues that

are problematic in the world today. Draw on the

artist Conchita Wurst. How is Conchita Wurst a

representation of the Building Bridges concept?

Elicit positive as well as negative but respectful

responses from students by rephrasing the

question if it is not clear to them

 Juxtapose the song with the image of the Sydney

Page 17 of 70
 S.I.D: 17876490
ASSESSMENT 1

Harbour Bridge. The purpose for this is so that

students understand the different ways in which

text represents and illustrates meaning. By using

the Sydney Harbour Bridge image, it brings

meaning much closer to home, making it easier

for students to identify the key elements of the

concept in context
 Teacher to write on whiteboard any new

terminologies that students produce in their

discussion

(Informal Assessment)

 Show images of the wall in the PowerPoint

1-2 mins Teacher
(Appendix 5 & 8)

 Direct students to discuss

 the emotions that are invoked by the

 image
 Discuss/share the representation of the

wall image in their everyday life or in

their school environment

 Direct students to use the other side of their

butcher papers. Write ONE WORD that describes

the image of the wall to them.

5 mins Students Group work – brainstorm as directed.

5 - 7mins Teacher & Class discussion:

Students  Teacher to elicit students’ words or wall lexis

 Briefly discuss the similarities between their lists

Page 18 of 70
 S.I.D: 17876490
ASSESSMENT 1

and “For every teardrop that falls” line in the

Building Bridges song

 The problematic line for discussion:
(Quality Teaching Framework 1.1 – 1.6)
Students to evaluate and analyse the “only for

tonight” phrase in the song, and how that can be

depicted in the image of the wall. These

imaginary walls are socially constructed and

will/can get higher and thicker if we only have

superficial solutions
 Summarise and analyse what we have discussed,

shared and learnt today about the Building

Bridges concept. Briefly discuss ways each of us

as individuals can contribute in building bridges

and making other people’s lives matter

 Use PowerPoint slides/images - Sydney Harbour

Bridge, We’re in this together & the Aboriginal

painting. (Appendix 2, 3 & 4)

(Informal Assessment)

3-5 mins Teacher & Teacher: Homework for students (Writing Task)

Conclusio Students  Students to find a song and an image which

n of promotes the Building Bridges concept

 to evaluate and analyse their finding
Lesson 1  write a 250 word summary articulating the

meaning depicted in their song and/or image

(In/Formal Assessment 5)

Page 19 of 70
 S.I.D: 17876490
ASSESSMENT 1

Extension Work:

Additional Texts:

 Blogs: Retrieved from Good relationships don’t keep scores:

http://www.franksonnenbergonline.com/blog/good-relationships-dont-keep-score/
 Movie Trailer/Preview: The Book Thief. Directed by Brian Percival, 2013. Retrieved

from https://www.youtube.com/watch?v=exZVp60pFjU

Students to assess ways the two texts portray and advocate the Building Bridges concept.

Note for Teacher:

If student/s is/are musical, have them write a song about the concept Building

Bridges. Similarly, if students are good at painting or any other form of art, encourage

them to express themselves through their inherent talent/s. Students can do this as

homework as well.

Page 20 of 70
 S.I.D: 17876490
ASSESSMENT 1

Evaluation:

1. I am inclined to question the necessity to have too many images (Appendix 2, 3 & 4),

in addition to the wall image (Appendix 8), even though they have the visual effect of

the Building Bridges concept. Should have also allowed time to discuss the images in

a juxtaposition strategy, however, I am using these as just prompting and guiding

visual aids for Year 11 students.

2. There are too many resources on the students’ desks, therefore these are likely to

distract them during discussion, or may create confusion for the students. However, if

these resources will be used, the teacher will instruct students not to touch any of the

resources until instructed to do so.

3. I am not sure if the time allocations for each part of the lesson is practical.

Nevertheless, this lesson is structured in a way that encourages and promotes students’

use of metalanguage, substantial communication amongst themselves, higher order

thinking, deep understanding of the content they are learning within its respective

context – in this case the Building Bridges song. By evaluating and analysing the

song, then juxtaposing it with the image of the wall, students are able to experience

the meaning of Building the Bridge concept.

4. Perhaps put more emphasis on the Aboriginal Painting image (Appendix 4)

Page 21 of 70
 S.I.D: 17876490
ASSESSMENT 1

References

Fricker, K. & Gluhovic, M. (2013). Performing the 'New' Europe identities, feelings and

politics in the Eurovision Song Contest (Studies in international

performance). Basingstoke: Palgrave Macmillan.

Building Bridges. Theme song performed by Conchita Wurst at the 2015 Eurovision. Music

by Dorothee Freiberger, David Bronner. Lyrics by David Bronner and

David Malin. Arrangement by Kurt Pongratz. Retrieved from

https://www.youtube.com/watch?v=6AQ73QirkKI

Sydney Harbour Bridge under construction. Retrieved from

https://commons.wikimedia.org/wiki/File:Sydney_Harbour_Bridge_under_cons

truction_(2742077871).jpg

Board of Studies New South Wales, English Stage 6 Syllabus. (2009). Retrieved from

https://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/english-

syllabus-from2010.pdf

NSW Quality Teaching Framework. Retrieved from http://www.darcymoore.net/wp-

content/uploads/2012/02/qt_EPSColor.pdf

Page 22 of 70
 S.I.D: 17876490
ASSESSMENT 1

Lesson 2

Topic Area of Study: Building Bridges

Stage of Learner: Preliminary/Stage 6 – Year 11 Standard

Time: 60 minutes Lesson Number: 2/3

Total Number of Students: 25

Prescribed Texts for Lesson 2:

1. Poetry: Heiss, A. What is the spirit of Australia? In I’m not racist, but…
2. A Short Comedy Film: “The Translator”. Retrieved from
https://www.youtube.com/watch?v=PA8HTX6CXBs

Teacher Objectives for self

To…teach students the different forms, features and structures of texts; equipped with this

knowledge, students can then apply these techniques to any/all texts they use in their studies.

To…teach students that by examining, evaluating and critically analysing the prescribed texts

for this lesson they will have an appreciation of the meaning imbedded within each text, and

how meaning is shared between/amongst texts. In this lesson students will learn and

appreciate what constitutes the concept of Building Bridges.

To…help students respond to the concept of Building Bridges in its literal, emotional, social,

cultural and political sense allowing them to experience and appreciate the essence of

collaborative learning and group work which highlight the key aspects of the Building

Bridges concept. This is a continuum of students’ learning on identifying the key features in

texts that depicts the Building Bridges concept.

Page 23 of 70
 S.I.D: 17876490
ASSESSMENT 1

Syllabus Outcomes for Students/Preliminary English (Standard) Outcomes

Preliminary Outcome 1:

 Students demonstrate an understanding of the relationships between composer,

responder, text and context

Preliminary Outcome 2:

 Students identify and describe relationships among texts

Preliminary Outcome 4:

 Students learn about the ways that language forms and features, and structures of

particular texts, shape meaning and influence responses by

Preliminary Outcome 6:

 Students learn about the ways they can respond to texts

Preliminary Outcome 8:

 Students learn to compose imaginative, personal and critical texts

Preliminary Outcome 9:

 Students will develop skills in individual and collaborative learning.

Page 24 of 70
 S.I.D: 17876490
ASSESSMENT 1

Resources:

A printed copy of the “What is the spirit of Australia” poem for

Appendix 9
each student
Smartboard, internet connection
Whiteboard and whiteboard markers
Link to the Short Comedy film

https://www.youtube.com/watch?v=PA8HTX6CXBs
Students’ devices
Butcher papers & markers
A paper bag with rectangular/square/circular strips of different
coloured paper (for dividing students into groups)
Printed copies of the Formal Assessment Task for each student
Image: the-flying-building-bridge-kangaroo Appendix 10

Procedures

Time Organisation Teaching/Learning Activities

Page 25 of 70
 S.I.D: 17876490
ASSESSMENT 1

Pre-set Teacher 1. Set up the short comedy film - “The Translator”

https://www.youtube.com/watch?v=PA8HTX6CXBs
2. Display of students’ work from the previous lesson
3. Display images from the previous lesson
4. A Building Bridges Space (teacher to identify

appropriate space or use one side of the whiteboard as

a Building Bridges Terminology space)

5. Prepare rectangular/square/circular strips of 4

different coloured paper – eg: red, blue, green,

yellow(for dividing students into groups)

6. A PowerPoint if required

 Welcome students at the door. As students enter the

classroom get them to take a coloured strip from the

paper back
 Allow them to settle down
10 mins Teacher &  Have students to hand in homework
(In/formal Assessment)
Students  Revise and discuss previous lesson
Discuss topical issues that students know are

prevalent in their world and ways they think can be

utilised to build bridges that have been, and are being

created from today’s cultural, political, social, gender

and individual issues.

Discuss the congruent role/s of texts, particularly the

ones we analysed, in the previous lesson, in the

process of making meaning of life

 Teacher to remind students the importance of

respect for each other’s contribution to our class

discussion as this is the key ethical and moral

Page 26 of 70
 S.I.D: 17876490
ASSESSMENT 1

characteristic of the Building Bridges concept

 Give students an overview of this lesson. Direct

students to our Building Bridge Vocabulary Space

 Get students into 4 groups of 6 – get students to sit

with whom they have the same coloured strip - this

time with different members. The main purpose of

this exercise is to allow students to not only work

with a different cohort of students, but to experience

the differences in characters, academic and learning

cultures from each other – another aspect of the

Building Bridges concept.

Give groups Expert Names:

For example:
 Red – Experts 1 (Teachers)
 Yellow – Experts 2 (Mathematicians)
 Green – Experts 3 (Horticulturalists)
 Blue – Experts 4 (Scientists)

Alternatively, students can choose an area of expertise for

their group name. Students will work in in their collaborative

and individual formal assessment in these groups.

10 mins Teacher & 1. Watch You tube clip: “The Translator”

https://www.youtube.com/watch?v=PA8HTX6CXBs
Students

5 mins Teacher & i. Pair Activity. Teacher to explain the “Assume”

Students Exercise to the students beforehand. Explain to

students not to correct each other’s assumptions but

to appreciate the fact that this is a demonstration of

Page 27 of 70
 S.I.D: 17876490
ASSESSMENT 1

the wall/s that hinder/s the building bridges process.

Each student will tell his/her partner an assumption

about them by their appearance. Students to switch

roles.
ii. Teacher to pair with student who does not have a

partner. Ensure that everyone has a partner

10 mins Teacher & Expert Groups Activity:

Students Students to share their cultural backgrounds and

other languages, if any, that they speak, read and/or

write.

Class Discussion: Short Comedy Film that they watched.

 Focus on the language and film techniques

such as close ups and other different shots

that are utilised in the short film to produce

and highlight the meaning of the Building

Bridges concept.

Questions to prompt a deeper discussion: In what ways do

we see ourselves in Clare, Rachel and/or Ben? What

mannerism/s do/es each of these characters constitute to the

Building Bridges concept? What technique/s is the film clip

using to express the Building Bridges concept? How?

Refer to the setting of the film clip – library. What is the

significance of this?

Discuss the different forms in which the Building Bridges

concept is portrayed in, and delivered through literature

including films, art and poetry.

Page 28 of 70
 S.I.D: 17876490
ASSESSMENT 1

20 mins Teacher & Teacher: Give out the “What is the spirit of Australia?”

Students poem sheets for each student. Direct students to

 read quietly on their own

 critically analyse the poem with particular focus on

the underlying issues that are portrayed by the poet

Anita Heiss in her poem. (Mental Note for the

teacher – this is essential because the content and

context of this poem links into the last text of this

English module.)
 identify key features and highlight interesting lines

and/or stanzas
 research the poet/author Anita Heiss.
 work in pairs or in their Expert groups
 use butcher papers and markers if required

Students: as directed while teacher marks the roll call.

Class: Discuss, share and consolidate. Focus on ways the

four texts we have covered so far illustrate, portray and

transcend the Building Bridges concept. How do these texts

help them make meaning of, invoke empathy, reflect beliefs?

5 mins Teacher & Conclusion:

Students 1) Homework for students: Express their beliefs in the

significance of the Building Bridges concept through

poetry (In/formal Assessment)

Read the transcript of former Prime Minister Kevin

Rudd’s “Sorry Speech”

Page 29 of 70
 S.I.D: 17876490
ASSESSMENT 1

(Note: Distribute printed copies of the Speech to the

students.)
2) Teacher to distribute printed copies of the Formal

Assessment task; explicitly explain the process of,

and the expectations for their assessment:

i. Part 1: Using any genre, make a 5 minute film

illustrating the Building Bridges concept. It can

be a comedy, an action clip, or a documentary. It

is not a presentation. Students can pick any social

or human rights issue to focus on in their task

such as gender, cultural or political.

ii. Part 2 Essay writing: Students to write a 800

word essay on building bridges strategies which

are ideal to re/solve prevalent societal issues

today.

Extension Work:

The materials covered in this lesson is sufficient to cover the depth in which the content of

this lesson is to be learnt by students, therefore no extension activities is required. This also

allows for students to start looking into their Formal Assessment Tasks.

Evaluation:

Page 30 of 70
 S.I.D: 17876490
ASSESSMENT 1

What I would like to put great emphasis on in this lesson is the significance of Australian

texts in promoting the Building Bridges concept.

1) Perhaps in the Group Activity I can dedicate the task of investigating the “spirit of

Australia” (Heiss, 2007, p. 44-45) in the Aboriginal context to a particular Expert

Group. This group can use the image titled “The flying building-bridges-kangaroo”.

(Appendix 10)

Image: The flying-building-bridges-kangaroo

https://www.google.com.au/search?

q=the+flying+kangaroo+airline&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjw3

5jxxdzSAhWLXLwKHfKWCcAQ_AUIBigB&biw=1280&bih=865#imgrc=irV8Jnf

mlC8UWM:

References:

Heiss, A. (2007). I'm not racist but-- : A collection of social observations. Cambridge, Eng.:

Salt.

The Translator. Retrieved from https://www.youtube.com/watch?v=PA8HTX6CXBs

Lesson 3

Page 31 of 70
 S.I.D: 17876490
ASSESSMENT 1

Topic Area of Study: Building Bridges

Stage of Learner: Preliminary/Stage 6 – Year 11 Standard

Time: 60 minutes Lesson Number: 3/3

Total Number of Students: 25

Prescribed text for Lesson 3

i) Prime Minister Kevin Rudd’s Sorry Speech

https://www.youtube.com/watch?v=tMl-Aenw8so

Teacher Objectives for self

To…teach students the different forms, features and structures of texts; equipped with this

knowledge, students can then apply these techniques to any/all texts they use in their studies.

To…teach students that by examining, evaluating and critically analysing the prescribed texts

for this lesson they will have an appreciation of the meaning imbedded within each text, and

how meaning is shared between/amongst texts. In this lesson students will learn and

appreciate what constitutes the concept of Building Bridges.

To…help students respond to the concept of Building Bridges in its literal, emotional, social,

cultural and political sense allowing them to experience and appreciate the essence of

collaborative learning and group work which highlight the key aspects of the Building

Bridges concept. This is the finale of students’ learning on identifying the key features in

texts that depicts the Building Bridges concept.

Page 32 of 70
 S.I.D: 17876490
ASSESSMENT 1

Syllabus Outcomes for Students/Preliminary English (Standard) Outcomes

Preliminary Outcome 1:

 Students demonstrate an understanding of the relationships between composer,

responder, text and context

Preliminary Outcome 2:

 Students identify and describe relationships among texts

Preliminary Outcome 4:

 Students learn about the ways that language forms and features, and structures of

particular texts, shape meaning and influence responses by

Preliminary Outcome 6:

 Students learn about the ways they can respond to texts

Preliminary Outcome 8:

 Students learn to compose imaginative, personal and critical texts

Preliminary Outcome 9:

 Students will develop skills in individual and collaborative learning

Page 33 of 70
 S.I.D: 17876490
ASSESSMENT 1

Resources

Printed copies of the Speech transcript for each student

http://www.dhs.vic.gov.au/__data/assets/pdf_file/0004/582187/Transcript- Appendix 11
of-PM-Kevin-Rudd-Forgotten-Australians-apology.pdf

Smartboard and internet connection

Whiteboard and whiteboard markers
Link to Prime Minister Kevin Rudd’s speech on YouTube

https://www.youtube.com/watch?v=tMl-Aenw8so
My Cultural way of saying sorry Appendix 12
(old) magazines and newspapers
Scissors, glues, other materials as required by students

Procedures

Time Organisation Teaching/Learning Activities

Page 34 of 70
 S.I.D: 17876490
ASSESSMENT 1

10 mins Teacher & Teacher: Welcome students and allow them to settle down in

Students their seats.

Discuss previous lesson, and reflect on key aspects of the

poem and short comedy film that resonate with them.

Have at least 5-7 students read out their poems which they

did for homework.

Teacher may start so s/he will also create own poem.

Discuss in depth the underlying issues which prompted

Heiss’ poem “What is the spirit of Australia?” This would

lead into the “Sorry Speech”. Have students take out copies

of their transcripts that were distributed in the previous

lesson.

Teacher to introduce the topic by asking leading questions.

This should have already been discussed by students during

class and group activities in the previous lesson, as well as at

the beginning of this lesson.

3-5 mins Teacher & Teacher to put on the “Sorry Speech” YouTube clip.

Students Students to watch.

10 mins Teacher & Discuss clip in depth. Watch again (clip is only 3 minutes). It

Page 35 of 70
 S.I.D: 17876490
ASSESSMENT 1

Students is essential for students to identify key elements of this clip

which promote the Building Bridges concept. (Mind map

structure with teacher writing students’ answers on the white

board). Discuss why Kevin Rudd’s sorry speech evoked

emotions of empathy and unites the majority of Australians.

Discuss the effectiveness of Mr Rudd’s intonations, clarity

and deliverance of his speech. Discuss why this was such an

emotional time across the nation and the whole world.

Discuss how it is an important moment for the Aboriginal

community, and the government of the day.

Discuss the word “sorry” and the context in which it is used

in the speech. (Add to the Mind Map list)

Discuss and share stories of times when we had to say

“sorry” for something we have done to offend or hurt others.

In this instance I will share with the students my cultural way

of apologising or saying sorry in extreme cases of family

disputes. (Appendix 12)

What emotions did that evoke? Do they think saying sorry is

a bridging block in the Building Bridges process? Why, Why

not?

20 mins Teacher & Group work: Students will be instructed to go to their

Page 36 of 70
 S.I.D: 17876490
ASSESSMENT 1

Students Expert groups in which they were in the previous lesson.

Using the resources provided, students will be directed to

create a collage or any other form of art that depicts the

Building Bridges concept. Encourage students to use the

knowledge they have learnt from the lessons of this module.

Students can and may prepare their piece of art/collage from

the perspective of their allocated Expert Group.

Teacher to mark the roll.

Teacher to check students’ activity and assist if, and where

necessary.

10 mins Students Group collaborative presentations. Every member of each

group is expected to participate in their presentation.

5 mins Teacher &  Teacher to thank and congratulate students for their

Students exceptional work.

 Have a student or two from each Expert Group to

place their projects in the Building Bridge Space.

 Allow time for students to ask questions about their

upcoming assessments.
 Provide assistance as required.

Page 37 of 70
 S.I.D: 17876490
ASSESSMENT 1

Extension Work:

The materials covered in this lesson is sufficient to cover the depth in which the content of

this lesson is to be learnt by students, therefore no extension activities is required. This also

allows for students to start looking into their Formal Assessment Tasks.

Evaluation:

I would have liked to have a debate as the activity for this lesson, however, given that the

content is quite intense for students I decided to lighten up their learning environment with

the collage/art activity.

References

Rudd, K. (2009). The sorry Speech. Retrieved from

http://www.dhs.vic.gov.au/__data/assets/pdf_file/0004/582187/Transcript-

of-PM-Kevin-Rudd-Forgotten-Australians-apology.pdf

The Sorry Speech. (2009). Retrieved from

https://www.youtube.com/watch?v=tMl-Aenw8so

Page 38 of 70

ASSESSMENT 1
Appendix 1
Building Bridges"
(with Left Boy, ESC Hosts, The Suparar
Kids & The ORF Radio Symphony
Orchestra)
[Conchita Wurst:]
It’s only love that we seek
To break the silence we speak
To find a rhythm divine,
So we can shine!
For every teardrop that falls,
For every question that calls,
There is an answer out there, waiting
somewhere!
S.I.D: 17876490
[ESC Hosts:]
It’s only for tonight we’re building bridges
No turning back, we’re on our way
Lighting up the sky, we’re building bridges
That we might yesterday
It’s only for tonight we’re building bridges
And they will stand the test of time
We can build a bridge until it reaches out
Across the borderlines
We’ve got a show tonight!
[Conchita:]
We fly tonight!
Page 39 of 70
 S.I.D: 17876490
ASSESSMENT 1

been waiting for

[All:]
We’re building bridges alright, ba da daai
[Conchita:]
We’re on the edge of our lives!
[All:]
If only for tonight!
[Vienna Boys Choir & The Suparar Kids:]
We’re building bridges tonight
We’re stepping into the light
We’re reaching out to the stars
The future’s ours!
When they [?] come on!
[Kids:]
Left Boy!
[Left Boy (Kids):]
When the lights go on (lights go on)
We'll look neon (we'll look neon)
Who will do it? (who will do it?)
Celine Dion? (Celine Dion?)
When the lights go on (lights go on)
We'll look neon (we'll look neon)
Who will gonna do it? (who will gonna do
it?)

We’re building bridges tonight [All:]

We’re on the wings of heroes
So won’t you come on today?
For this could be your day!
[Left Boy:]
Two hundred million viewers,
I’d never thought I’d see the day
They asked me if I’d rep my city
I said okay
Yo this right here, when you walk up on
the stage and they all just disappear
Kiss me dear, make me feel like they love
me
Listen here, it’s the moment that they've all
Only for tonight we’re building bridges
And they will stand the test of time
We can build a bridge until it reaches out
Across the borderlines
We’ve gotta show tonight!
[Conchita:]
We fly tonight!
[All:]
We’re building bridges alright, ba da daai

Appendix 2

Sydney Harbour Bridge

Page 40 of 70
 S.I.D: 17876490
ASSESSMENT 1

Appendix 3

Page 41 of 70
 S.I.D: 17876490
ASSESSMENT 1

Appendix 4

The Aboriginal painting

Page 42 of 70
 S.I.D: 17876490
ASSESSMENT 1

Appendix 5

PowerPoint slides

Page 43 of 70
 S.I.D: 17876490
ASSESSMENT 1

Page 44 of 70
 S.I.D: 17876490
ASSESSMENT 1

Page 45 of 70
 S.I.D: 17876490
ASSESSMENT 1

Appendix 6

Kahoot Questions & Answers

1. What is the title of the song in the YouTube clip you just watched?
a. Let’s rock it
b. Building Bridges
c. Heal the World
d. London’s Bridge is falling down

Ans: (b)

2. Which art is mainly promoted in the Eurovision Song competition?

a. Music
b. Skiing
c. Painting
d. Eating

Ans: (a)

3. What do you think Building Bridges means?

a. Building Sydney Harbour bridge
b. Respecting, embracing and understanding each other’s differences
c. I don’t know
d. Arguments

Ans: (b)

4. Roughly how many people watch the Eurovision Song Competition?

a. About 200 million

Page 46 of 70
 S.I.D: 17876490
ASSESSMENT 1

b. Two-and-a-half
c. Ninety
d. Five thousand

Ans: (a)

5. Building Bridges is a ___________

a. Metaphor
b. Simile
c. Sentence
d. An argument

Ans: (a)

6. What is the name of the artist who sings Building Bridges?

a. Cindy Lauper
b. Michael Jackson
c. Conchita Wurst
d. Aniva Nickel

Ans: (c)

7. Complete this line…

We can build a bridge until it reaches out…..across ___________
a. the kitchen
b. nothing
c. the classroom
d. the borderline
Ans: (d)

8. How often is the Eurovision Song Competition held?

a. Once a month
b. Twice a year
c. Annually
d. Every Sunday
Ans: (c)

Page 47 of 70
 S.I.D: 17876490
ASSESSMENT 1

Appendix 6a

Kahoot Activity Demonstration

Page 48 of 70
 S.I.D: 17876490
ASSESSMENT 1

Page 49 of 70
 S.I.D: 17876490
ASSESSMENT 1

Page 50 of 70
 S.I.D: 17876490
ASSESSMENT 1

Page 51 of 70
 S.I.D: 17876490
ASSESSMENT 1

https://create.kahoot.it/login

Username: af.nickel24@gmail.com

Password: *Bridge*

Appendix 7

Group Allocations: 1, 2,3,4,5 Method

Step 1: Each student will be assigned a number from 1 to 5 in a systematic call off, either by

the teacher or let students call out their number sequentially from where they are seated.

Step 2: Groups are then formed by putting all the 1's, 2's etc together.

Page 52 of 70
 S.I.D: 17876490
ASSESSMENT 1

Appendix 8

The Wall

Page 53 of 70

ASSESSMENT 1
Appendix 9
What is the Spirit of Australia?
Anita Heiss
Is it the flying kangaroo?
Or an image of a young Australians –
in choir outfits strategically positioned at
the base of Uluru singing
“I still call Australia home”?
Can the ‘spirit of Australia’
be found in such commercialisation?
Is it basking in Winter Olympic glory
when an Aussie wins gold because
everyone else in the race falls over?
Is it demonstrated by a Prime Minister
who isn’t afraid to cry before the nation
when it wins the American cup?
Is it denying freedom for asylum seekers?
Is it feeling comfortable knowing
Palestinian, Iraqi, Moroccan, and Iranian
children
are detained because they thought
they’d find a less evil spirit here
than their own country?
S.I.D: 17876490
Is it found in accessories like
the Millenium collector’s item Akubra
adorned with a genuine kangaroo leather
plaited band
and the ‘exclusive Sydney 2000 bronze
filigree hat pin?
Can you capture the spirit of Australia?
by wearing clothes sporting
the so-called ‘Aussie Spirit’ logo of a
kangaroo?
Is it to be found on the ‘Capture the Spirit
of Australia’ website
owned by a US-based company?
These are all possible, however …
The spirit of Australia should be found
In its soul
Its character
Its courage and
Page 54 of 70
 S.I.D: 17876490
ASSESSMENT 1

Its foundation marketed

logoed
But it seems animalised
the ‘Spirit of Australia’ idolised
is an indefinable bastardised and
essence of Aussie-dom accessorised.
which can apparently be
bought

Appendix 10

The flying-building-bridges-kangaroo

Page 55 of 70
 S.I.D: 17876490
ASSESSMENT 1

Appendix 11

National Apology
Transcript of Prime Minister Kevin Rudd’s apology to the Forgotten Australians and
former Child Migrants
National Apology Monday 16 November 2009

Page 56 of 70

ASSESSMENT 1
Transcript of Prime Minister Kevin Rudd's apology to "Forgotten Australians" abused
and neglected in Australian institutional care.
Today, the Government of Australia will
move the following motion of apology in
the Parliament of Australia.
We come together today to deal with an
ugly chapter in our nation’s history.
And we come together today to offer our
nation’s apology.
To say to you, the Forgotten Australians,
and those who were sent to our shores as
children without your consent, that we are
sorry.
Sorry – that as children you were taken
from your families and placed in
institutions where so often you were
abused.
Sorry – for the physical suffering, the
emotional starvation and the cold absence
of love, of tenderness, of care.
Sorry – for the tragedy, the absolute
tragedy, of childhoods lost,– childhoods
spent instead in austere and authoritarian
places, where names were replaced by
numbers, spontaneous play by regimented
routine, the joy of learning by the
repetitive drudgery of menial work.
Sorry – for all these injustices to you, as
children, who were placed in our care.
As a nation, we must now reflect on those
who did not receive proper care.
S.I.D: 17876490
We look back with shame that so many of
you were left cold, hungry and alone and
with nowhere to hide and with nobody,
absolutely nobody, to whom to turn.
We look back with shame that many these
little ones who were entrusted to
institutions and foster homes instead, were
abused physically, humiliated cruelly,
violated sexually.
And we look back with shame at how
those with power were allowed to abuse
those who had none.
And how then, as if this was not injury
enough, you were left ill-prepared for life
outside – left to fend for yourselves; often
unable to read or write; to struggle alone
with no friends and no family.
For these failures to offer proper care to
the powerless, the voiceless and the most
vulnerable, we say sorry.
We reflect too today on the families who
were ripped apart simply because they had
fallen on hard times. Hard times brought
about by illness, by death and by poverty.
Some simply left destitute when fathers
damaged by war could no longer cope.
Again, we say sorry for the extended
families you never knew.
Page 57 of 70

ASSESSMENT 1
We acknowledge the particular pain of
children shipped to Australia as child
migrants – robbed of your families, robbed
of your homeland, regarded not as
innocent children but regarded instead as a
source of child labour.
To those of you who were told you were
orphans, brought here without your
parents’ knowledge or consent, we
acknowledge the lies you were told, the
lies told to your mothers and fathers, and
the pain these lies have caused for a
lifetime.
To those of you separated on the dockside
from your brothers and sisters; taken alone
and unprotected to the most remote parts
of a foreign land – we acknowledge today
that the laws of our nation failed you.
And for this we are deeply sorry.
We think also today of all the families of
these Forgotten Australians and former
child migrants who are still grieving,
families who were never reunited, families
who were never reconciled, families who
were lost to one another forever.
We reflect too on the burden that is still
carried by our own children, your own
children, your grandchildren, your
S.I.D: 17876490
husbands, your wives, your partners and
your friends – and we thank them for the
faith, the love and the depth of
commitment that has helped see you
through the valley of tears that was not of
your own making.
And we reflect with you as well, in sad
remembrance, on those who simply could
not cope and who took their own lives in
absolute despair. We recognise the pain
you have suffered.
Pain is so very, very personal.
Pain is so profoundly disabling.
So, let us together, as a nation, allow this
apology to begin to heal this pain.
Healing the pain felt by so many of the
half a million of our fellow Australians
who were children in care - children in our
care.
And let us also resolve this day that this
national apology becomes a turning point
in our nation’s story.
A turning point for shattered lives.
A turning point for governments at all
levels and of every political hue and colour
to do all in our power to never let this
happen again. For the protection of
children is the sacred duty of us all.
This is the motion that later this day this
Government will commend to the
Parliament of Australia.
Page 58 of 70

ASSESSMENT 1
Care leavers from around Australia and
abroad; Representatives of the Care
Leavers of Australia Network; the Child
Migrants Trust; the Alliance for Forgotten
Australians; the Leader of the Opposition;
my ministerial and parliamentary
colleagues; representatives of the state
governments of Queensland, New South
Wales and Victoria; Her Excellency the
High Commissioner for the United
Kingdom; His Excellency the Ambassador
of Ireland; His Excellency High
Commissioner for Malta; ladies and
Gentlemen; friends, one and all;
Our purpose today in this Great Hall of
this great Australian Parliament is to begin
to put right a very great wrong.
To acknowledge the great wrong that has
been done to so many of our children.
And as a nation, to apologise for this great
wrong.
And, as a nation, to resolve that such
systematic abuse should never happen
again.
The truth is this is an ugly story. And its
ugliness must be told without fear or
favour if we are to confront fully the
demons of our past.
And in so doing, animate, once again, the
better angels of our human nature.
S.I.D: 17876490
I believe we do a disservice to those who
have been the victims of abuse if in any
way we seek to gloss things over.
Because the truth is great evil has been
done. And therefore hard things must be
said about how this was all possible in this
country of the fair go.
Unless we are now transparent about what
has been done in our nation’s name, our
apology can never be complete.
Because let us be clear - these children,
both from home and abroad, were placed
in care under the auspices of the state,
validated by the laws of the land.
It is estimated that more than 500,000
children were placed in care under various
arrangements over the course of the last
century.
This is no small number.
Let us imagine that more than half of the
city of Adelaide was drawn from children
who had been placed in institutional or
foster care.
This is no small number.
In recent weeks, it has been my privilege
to meet some of these children, most of
them now middle-aged.
And some perhaps a little older again.
And I take the intervention from the floor -
some younger than that again. Here is
something of their stories as told to me.
Page 59 of 70

ASSESSMENT 1
Last week I sat down with Gary for a cup
of tea at his home here in Canberra.
Gary told me he had five brothers and
sisters. His father was an ex-serviceman
who, in Gary’s words, drank himself to
death. When Garry was four or five, he
remembers being taken to the steps of the
local police station with his brothers and
sisters and told to wait until his mum
returned, who had promised ice
creams for all.
She never returned.
As Gary recalls, “I never got my ice-
cream”. A fortnight later, he was
committed as a ward of the state.
He told me his twin brothers had been
fostered to a good family in Wollongong.
But he was taken to an institution and
separated from his sisters, who were
placed elsewhere. All this, at the age of
four or five. Alone, absolutely alone,
devastatingly alone in the world.
He told me that, at the age of six or seven,
he tried to hang himself from the swings
because he wanted to be with his brothers.
He was later placed in a rural home for
older boys where he remained until the age
of thirteen. He remembers being picked up
from the train station on a freezing night in
S.I.D: 17876490
a big red truck with a row of numbered
seats. He was told to sit in seat number 3.
He was given, a number.
As Gary said, “my number was always
three, it sticks in your head”.
The culture of this home, as Gary
described it, was one of institutional
violence as boys were made to beat each
other, to beat other boys to the ground, in
front of their peers. At 13, he was
transferred to an institution where he
remembers a kindly cook taking him
under her wing. But it was during this time
Gary says, he suffered sexual abuse from
other men. Gary later got into drugs to
help escape the psychological torture he
suffered through years of what was so-
called institutional care.
Gary has led a tough life. But Gary is a
survivor.
He proudly introduced me to his seven
beautiful children – all doing well at
school and the older ones already planning
for their future. And showed me with pride
the carpenter’s trade certificate he earned
through study in 2005. When asked by
CLAN (a community organisation
established to help survivors of
institutional abuse, and known to so many
of you here today) when asked by CLAN
Page 60 of 70

ASSESSMENT 1
to write down his story, Gary said, “what
am I going to write down, you can’t put
tears on paper”.
It has also been my privilege to sit down
with twins Robyn and Judy last Monday
when I was in Bathurst. They told me too,
that their mother left home when they too
were barely five years old. They were then
placed in a church home. Judy remembers
the day they were first taken to the home
and her sister Robyn bolted from the gate
and ran away. They later found her and
dragged her back. Robyn and Judy
remember that they kept waiting and
waiting for just someone, someone to
come and pick them up - but no-one, no-
one ever came. They recall being hit with
belt buckles and bamboo. They said the
place they grew up in was utterly, utterly
loveless. They said it always made them
feel like second-class citizens.
At the local school, they were described as
“Home Girls”. They looked with envy as
other children were picked up by their
parents after school. Robyn told me that,
forty years later, “it stays with you, I still
dream about it”.
But you know something? Both Robyn
and Judy too are fighters.
S.I.D: 17876490
While emotionally scarred by their
experience, they too have beautiful
children and partners who care for them.
But the wounds run deep. They run very
deep.
And then there was Gus.
I spoke to Gus on the phone, he is from
Queensland. Brought out to Australia from
Ireland, again at the age of four or five, in
the 1950s – as a child apparently born out
of wedlock, having earlier spent time in a
Catholic institution in Ireland. Gus’ story
was truly horrific. His was a tale of
physical and sexual abuse over more than
a decade. In Gus’ words, “that did me
terrible mental damage”. He finally
tracked down his mum, ten years ago.
She had gone to the United States. But he
then discovered she had passed away.
Gus had limited educational opportunities
and has been in and out of gaol a number
of times during his life. Gus, reflecting
back across the years, and in the great
tradition of Australian understatement,
said he had led a ‘colourful life’.
Gus too, is a fighter and survivor.
Whether it is Garry or Gus or Robyn or
Judy, there is an eerie similarity to so
many of the stories. Stories of physical,
Page 61 of 70

ASSESSMENT 1
emotional or sexual abuse. Stories of the
lack of love. Experiences which stay with
them to this day. Each told me that such
was the trauma they experienced in
institutional care that they suffered such
things as bed-wetting for many, many
years – while in care.
This, of course, is deeply personal. Deeply,
deeply personal.
But each wanted me to share this part of
their story too because it underlined the
trauma they had gone through.
But trauma with an ugly double-twist
because each time this happened, they
were publicly humiliated and publicly
punished by those supposedly responsible
for their care.
In the conversations I was privileged to
have with these great Australian survivors,
for each of them this apology today was
important. And for countless thousands
and tens of thousands besides, this apology
is important. Important because it does not
seek to hide that which they experienced.
An apology that acknowledges the very
personal pain that has been caused. An
apology which, it is hoped, will bring
some healing balm to wounded souls.
S.I.D: 17876490
And not just to the handful that I have
been so honoured to meet.But to all those
whose cases are reflected in the Senate
reports over many, many years. And
to those also whose stories will remain
forever untold. There are tens of
thousands, perhaps hundreds of thousands
of these stories, each as important as the
other, each with its own hurts, its own
humiliations its own traumas – and
each united by the experience of a
childhood without love, of childhood
alone.
For some, this has become a very public
journey of healing. For others, it remains
intensely private – not even to be
discussed with closest family and friends
even today. And such privacy must of
course, be respected.
Whatever your journey today, and whether
you are here in Parliament House in
Canberra with us or watching or listening
across the country or across the world, my
hope today is to reach out to you all on
behalf of this nation, Australia, and to
speak what has so often been unspoken.
And to offer you this profound apology.
To apologise for the pain that has been
caused.
To apologise for the failure to offer proper
care.
Page 62 of 70

ASSESSMENT 1
To apologise for those who have gone
before us and ignored your cries for help.
Because children, it seems, were not to be
believed.
Only those in authority, it seems, were the
ones to be believed.
To apologise for denying you basic life
opportunities; including so often a decent
education.
To apologise also, for just how long it has
taken for the Australian Government to say
sorry – so many Senate reports, nearly a
decade of deliberation, and a unanimous
recommendation that the Commonwealth
apologise.
And finally we do so today.
Today is also a day for all those who have
refused to remain silent.
The champions of this day.
Those driven by sheer tenacity.
By an unswerving sense of justice.
Those who kept the flame of hope alight.
People like Margaret Humphreys, people
like Harold Haig, people like Leonie
Sheedy and Joanna Penglase, people like
Bonnie Djuric, and People like Walter
Tusyn who campaigned tirelessly for this
day as Tasmanian representative of the
Alliance for Forgotten Australians,
only to pass away on the 30th of last
month.
S.I.D: 17876490
And people like former Senator Andrew
Murray, because Andrew Murray’s work
has simply been extraordinary.
I rang Andrew recently and asked him
about the importance of this apology.
His response was succinct when he wrote
in reply: “the Senate (and others) have
carefully examined these matters and
rightly and unanimously recommended an
official Commonwealth apology. As a
result, the states and the main churches,
charities and agencies have apologised
(although some are better apologies than
others...), Andrew Murray continued “it is
time for the Commonwealth to complete
the circle.”
It is also important today to honour the
advocacy groups who have stood by you
through thick and thin – advocacy groups
such as: Care Leavers of Australia
Network (CLAN); groups like The Child
Migrants Trust, advocacy groups such as
the Alliance for Forgotten Australians –
and many, many others.
But beyond these individuals and
organisations stand an army of people who
have quietly gone about their business over
the last decade or more to take this story of
sustained institutional and personal abuse
from the margins of government
deliberation to the very centre of
Government consideration.
Page 63 of 70

ASSESSMENT 1
For all victims of abuse, today, you are all
owed a profound debt of gratitude for
having stood by them with such solidarity
and strength. So what then is to be done?
The Australian Government has assembled
a comprehensive response to
recommendations contained in the two
Senate reports – “Lost Innocence” and
“Forgotten Australians revisited”.
This response will be tabled in the
Parliament in the coming days. The
overwhelming message I have received
and Minister Macklin has been receiving
has been the need to be heard, the need to
be acknowledged and the need for the
nation to apologise.
It is important however, that this not be
regarded as a single point in history. Our
view is that it would be helpful for the
nation, however painful, to properly record
your experiences, where you deem that to
be appropriate. This can assist the nation to
learn from your experiences. As a result,
the Australian Government is supporting
projects with both the National Library
and the National Museum which will
provide future generations with a solemn
reminder of the past. To ensure not only
that your experiences are heard, but also
that they will never ever be forgotten.
S.I.D: 17876490
And in doing so we must always
remember the advice of the sages – that a
nation that forgets its past is condemned to
relive it.
Second, we also know that you are deeply
concerned about practical support to help
survivors and their families negotiate what
can still so often be damaged lives. For
example, I know many of you are
concerned about living in aged care
facilities as you grow older and the need
for access to proper aged care. The
Government will identify care leavers as a
special-needs group for aged-case
purposes, to ensure that providers are
assisted to provide care that is appropriate
and responsive, and provide a range of
further counselling and support services.
Third, many Forgotten Australians and
child migrants continue to need help in
tracing their families. That is why we’ll be
providing a National Find and Connect
Service that will provide Australia-wide
coordinated family tracing and support
services for care leavers to locate personal
and family history files and the reunite
with members of their families, where that
is possible.
The service will provide a national
database that will collate and index
existing state identified records into a
Page 64 of 70

ASSESSMENT 1
national searchable data base, accessible to
state and other care leaver services and
also directly to care leavers themselves.
Fourth, to make sure you are well
represented, we have provided and
continue to provide funding to advocacy
groups such as the Child Migrant Trust,
the Alliance for Forgotten Australians and
Care Leavers of Australia Network, as
these organisations continue to work
hard to put your concerns front and centre.
Finally, governments must continue to
commit to the systematic auditing,
inspection and quality assurance of the
child protection services they administer
today.
Some 28,000 – 30,000 children are
currently in the care of State and Territory
Governments around Australia.
Governments must put in place every
protection possible to reduce the risk
of mistreatment in the future.
And, as Andrew Murray reminded me
recently, “if you hurt a child, a harmed
adult will often result...aggregate those
adults who were harmed in care and the
social, the economic, the personal cost is
huge”.
In Andrew’s words, we must do everything
possible to break the cycle.
I recognise this is a difficult, complex and
sensitive area of policy. But the nation
S.I.D: 17876490
must continue to lift its game in doing
whatever practicably can be done to
provide for the proper protection of little
ones, of children.
Let us, therefore today in this Great Hall of
this great Australian Parliament, seize this
day and see this national apology to our
Forgotten Australians and our Child
Migrants as a turning point for the future.
For child migrants, for many of you, your
mothers and fathers were alive and were
made to relinquish their right to be your
parents and to watch you grow into
adulthood.
Some of you have said you would like to
place the apology on the graves of your
mothers and fathers back in England and
on their graves here in this country as well.
Today we dedicate this apology to them as
well.
For the Australian-born care leavers, or
‘Homies’ or ‘State Wards’ or the ‘Foster
kids’, the Senate named you the ‘Forgotten
Australians’.
Today, and from this day forward, it is my
hope that you will be called the
‘Remembered Australians’.
However, whatever I might say today, the
truth is, I cannot give you back your
Page 65 of 70

ASSESSMENT 1
childhood. I cannot rewind the clock on
your suffering. Nor can I erase the past.
But what I can do with you is celebrate the
spirit that has lived within you over the
decades. A spirit that has stubbornly
refused to be beaten.
A spirit that has turned you into the
survivors that you are. The spirit that has
enabled you to serve your country in times
of war, even if you had been deserted by
your country.
The spirit that enabled you to bring up
families, despite the broken families from
which you came. The spirit that enabled
you to work and to make your own
contribution to this, our land Australia.
And the spirit that caused you to hold fast
that one day you would be heard, one day
you would be believed, one day you would
be acknowledged.
And that, one day, Australia’s sense of a
fair-go would finally prevail. That our fair
go would be extended to you, and that the
nation would offer you the public apology
that you deserve.
My message to you today is that that day
has finally come. Let me also say this.
S.I.D: 17876490
You were in no way to blame for what
happened to you because it was the nation
who failed you.
The institutions the nation created for your
care, failed you.
To all of you here today in this Great Hall.
To all of you watching around the nation.
Today is your day. Today is your special
day. Today is your achievement.
This morning, I spoke to a 98 year old lady
in my electorate in Brisbane.
Her name is Vera. If Vera is watching, ‘Hi
Vera’. I’m sorry that Vera can’t be with us
in Canberra today. She said that the pain
that she suffered having spent five years in
a Queensland orphanage was pain suffered
a lifetime ago. But her hope that today, as
a 98 year old lady is that finally this day
could herald a closing of the book on the
past.
Today is for people just like Vera.
And today let us now go forward together,
go forward with confidence, go forward
with confidence into the future – as equal,
as valued and as precious members of this
one great family that we call Australia.
Page 66 of 70
Appendix 12

My Cultural Way of Apologising: IFOGA (ritual apology).

(I/fo/ga is pronounced: I as in the word “ego” + fo as in the word “phone” + ga as

pronounced in the ending of To-nga). Ifoga is the noun form of bow; ifo means to bow.

Bowing ones head whether standing or sitting in front of others, particularly the elders, is a

cultural form of respect, appreciation, love and humility in the Samoan culture. Hence, every

time we walk in front of elders and/or other people in a gathering we bow our heads as a sign

of respect. If we cross the living room of another family’s residence, we bow our heads as a

sign of respect, appreciation and humility. When we have conversations with our elders, we

bow our heads to show our respect and love for them.

IFOGA is a formal and a traditional reconciliation ceremony involving the offender, the

offended, their families and their respective villages. The ifoga is a demonstration of remorse

by… (the) offender and a way of asking for forgiveness from the victim and their family/ies.

(Vital in this process) is the ietoga – a (significantly huge traditional hand-woven mat) made

out of pandanus (leaves). The ietoga is used by the offender, his family and the high chiefs

from his village to cover themselves in at the ifoga.

An ifoga can take place between individuals, families or even the whole village. Mere

apology may not be considered a big deal, but an apology with an ie-toga gives formality and

sincerity of the occasion. The involvement of a high chief may be indispensable depending on

the seriousness of the crime. If the offense is severe, the high chief of the offender’s village

will have to perform the ifoga. When the high chief (is) involved, he would take with him the

lower ranking chiefs of the village as a mark of a unity.

The offender and (his party) rise in the early morning...usually before the sun rises, then

quietly make their way to the offended’s village; carrying with them (their fine mats). They

usually do not announce or made known to the other party that they were coming on a ifoga.
(Once they reach their destination), the offender and/or the high chief would then sit or kneel

on the ground, heads bowed while covering (themselves) with fine mats…in front of the

family’s house or at the open space where major village functions (usually) take place. They

would wait (in that position) for hours (until) the chief of the victim’s village (accepts) their

apology. On a few occasions, the ifoga would remain in this position without food and/or

water, and in the hot sun or pouring rain until they are accepted formally. But this is very rare.

Once the (ifoga) acknowledged and accepted the offender, the offender’s family and the

chiefs will be taken inside the other party’s house where formalities will begin with verbal

apologies and talks for/of reconciliation between the families and individuals involved. A

sharing of meal by both parties usually follows the reconciliation discussion while all the

ietogas stay with the victim’s family.