May 13, 2024 • 24 mins
In this episode of the Pease Podcast, we delve into the world of acclaimed producer John Parke and his significant contributions to the First Nations community. Known for his multimedia company, 5word Productions, John has dedicated his career to capturing and preserving compelling narratives from disadvantaged communities. Our conversation sheds light on his unique methodology and his unflappable commitment to authenticity.
We delve into John's specific projects, such as his exploration into Lytton's fishing past and his ground-breaking work with Aboriginal communities. He shares his belief in storytelling as not just a means to educate but also to heal, and his approach to sensitively molding these narratives into film. Furthermore, John talks about his newest project—a producer's guide to telling authentic, compelling stories in First Nations communities.
This episode serves as an enlightening journey into the power of storytelling for community building and cultural preservation. John Park's passion and joy in creating communal bonds and documenting unique narratives make this a must-listen episode—one that underlines the importance of authentic, community-driven storytelling.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Welcome back to the Pease Podcast, the show where we delve into the captivating
world of Lytton's local legends.
I'm your host, Joan Pease, and I proudly serve as the state member for Lytton.
In this podcast, we celebrate the rich tapestry of our community by highlighting
some extraordinary stories of individuals,
(00:20):
businesses, and community groups who make up Lytton to be the truly really beautiful
place that it is that we call home.
From historic figures to contemporary heroes, we'll explore the diverse talents
and remarkable achievements that have shaped Lytton's identity.
Each episode, we uncover the untold tales and remarkable contributions of those
(00:43):
who have made a positive impact on our Bayside.
In today's episode, I'm really thrilled to have a fascinating guest with us, John Park.
Welcome. Thanks for having me. So John is a highly skilled and experienced producer
of First Nations community multimedia based projects and social outcomes. Congratulations.
(01:05):
No, it's a pleasure. In addition to running his own highly successful production
company, Five Word Productions, he is also a very experienced educator,
facilitator, mentor, author and consultant.
I'm going to be talking with John today about just some of his exceptional catalogue
of multimedia works, including works on the history of our Bayside fishing past
(01:29):
and of our First Nations peoples.
Plus, John will be giving me an early look at an exciting new project that he
has been working on to help producers create high quality First First Nations
multimedia stories, just like John does.
So sit back, relax and enjoy in us as we embark on this exciting adventure of
(01:50):
celebrating another one of Lytton's local legends.
Let's dive deep into history, inspiration and stories that unite us as a community.
Welcome to the Peace Podcast.
Music.
(02:21):
Thank you for coming in today, John. It's a pleasure. It's great to have you
here. What a fascinating career you've had. How did you get into all of this?
Goodness. I guess it's a matter of through your career path,
if opportunities are there, then to be able to pursue them.
And quite often they're out of left field in a complete surprise.
(02:44):
So I'd previously spent 30-odd years helping people start up their own small
business, especially disadvantaged people.
And I never would have guessed 15 years ago that I'd be making multimedia shows
with the Aboriginal community here.
So I think it's just being aware of the opportunities and being open to take them, I guess.
(03:04):
And what inspired you to get involved in the beginning of working with disadvantaged
people in their small businesses?
I'm not sure where that came from. No, I don't know. I've always had that interest, which continues.
So I don't know where that came from, but I'm glad I've pursued that.
So you obviously enjoy helping people and those that are vulnerable. Yeah.
(03:27):
And how did you get involved in multimedia?
Well, the family moved up from Canberra about 17 years ago when I was doing
the small business support work, and I continued that up here for four or five years.
But just out of chance, when we moved up here, We happened to live next to a
second-generation commercial fisherman.
(03:49):
And I went out fishing with him and his friends out on the bay.
And it was just clear that, like everywhere, the fishermen have great stories
to tell, but they'd never really been recorded before.
And so that started at Lloyd Kelk, who was a local who passed away some years ago.
He handwrote beautifully a couple of large volumes about the fishermen.
(04:13):
But apart from that, I wasn't aware of other people who'd recorded stories.
So then from there, I just used to spend time with the fishing families,
recording their stories and poems and writing them down.
And that just evolved into a book and films.
And then eventually to a multimedia show about the fishermen.
So it sort of evolved from there.
(04:35):
It's amazing. And I've got a copy of the book here. For some people,
listeners, you may have already seen the book. It's called Against the Tide,
Queensland Moreton Bay Fishing Industry since 1824.
And I know down here in Wynnum, Wynnum Creek itself, that was sort of like a
catalyst for the beginning of...
Western or colonial integration down here, but First Nations people had used
(04:59):
that for a fishing spot for multi-generations.
And did the fishermen talk about that themselves?
About which side? First Nations. Not a great deal. No, not a great deal.
It's interesting that you mentioned the name Kelk. It's a very well-known local name.
And I know that we have a very strong fishing community down here and have done
(05:22):
for many years and still some of the names, the Green Hills.
Yeah, there's still a lot of still around. Yes, they are.
And many of them still have the old boats. They remember the old boats fishing out of Wynnum Creek.
And you'd know the Fox Creek Bridge there that was actually put in place to
connect into Wynnum Central because it became such a bustling little town because
(05:46):
of the fishing industry.
Yeah, it was nice. So many of the families have got the old photographs and
their bottom drawers are there, their cabinets, that sort of thing.
But it was nice in a way to record the stories because when the old fishermen
go, often so many of the stories disappear with them.
So it was nice to have the chance to spend time with the families and to record them.
(06:08):
And what a privilege that would be to go into people's lives and hear their family's history.
And they would have been, were they delighted to be able to share it with you? Sure, absolutely.
And with this and the work with Aboriginal communities, there's something special
about hearing someone's story and then letting them share it because a number
(06:28):
of them can be quite quiet people who don't normally sort of talk about themselves much.
And so it is nice to see someone be able to record their stories and to share it with other people.
And how do you find you're able to, what's your best technique of talking to
particularly First Nations people to get them to open up and to talk with you?
(06:52):
I think the main thing is with all this sort of work, really,
whether it's the fishermen or the Aboriginal community, that your heart needs
to be in the right place because they've got a pretty sensitive nose if you haven't.
And so if you go in there with the right will and heart, then people are very
happy to share their stories.
(07:14):
But I think the other important one is that, particularly with the Aboriginal
community, they own absolutely everything that we produce, which I think is very important.
So, part of it is actually recording their story for future generations as opposed
to someone coming along, especially a non-Aboriginal person,
to say, well, I'll record your story and I'll show it.
So, it's really about empowering them to tell their story.
(07:38):
So, how does that work? Are you helping them to write it down or helping them
to produce it? Could you give an explanation about how that's all going?
Well, it's quite a long process.
I mean, like the shows can take about a year from go to woe.
I mean, it's not full-time to do that.
It just gives people the opportunity to think about it and talk about it and develop it.
But with all these cases, whether Aboriginal or non-Aboriginal,
(07:59):
the important thing really is that it's letting them discover what is the story
they'd like to share and then how to record it in their own words.
And then they have complete control of the process right through to the end.
So they could, at any stage, change it or, in fact, say this isn't going to
work. but you'll find that if you do actually empower them to tell their story,
(08:22):
then I've never had a situation where you come to an end of a project and say, oh, I don't like this.
So it is about letting them find their voice. It's difficult.
I mean, typically they're sort of three to five-minute films and it can be difficult
to, if you've never done it before, to write a script for the film.
And so that's one of the more difficult parts of the process is that I typically
(08:46):
assist them to develop the script, but it really has to be in their words and their voice.
So sometimes that's easy to tell, if they're tears and et cetera.
But you have got to be sensitive because it's very easy for them to say,
oh, that looks good, even if they're not particularly happy with it.
So it is their voice and their words which you need to capture.
(09:11):
And where do you do the filming? Do you do it at their place or in a location?
A lot of the work is done actually, it's called on country, in terms of developing
ideas and getting footage.
Footage but the actual most of the most
of the most films have sort of background narration and
we just record that in a in a room that has good
(09:33):
sound sound quality so the filming happens where the
story is that they're they're filming but the the actual script itself
we just record in a you know in a place that's suitable for for recording audio
and has has there been a lot of interest in doing in working with you well it's
just growing from one one thing to another really So it's mainly the Majurabah
(09:54):
community that I've been working with.
And the first project I did over there was about the fishermen,
the last Aboriginal fishing crew on the island.
And then it sort of went on from there.
And there are a lot of good and important stories to share.
So I've been lucky enough over
(10:15):
the last 10 years or so to help record a number of stories over there.
That's fantastic because particularly in this day of treaty where we're doing
the truth-telling, where can people get access to these stories?
Well, they're all owned by the family, so they're not on YouTube and the like.
(10:36):
So, yes, sadly, they tend to be more community-based for the local community
rather than the larger venues.
I used to put on shows down at the Redlands Pulmy Arts Centre,
But then with COVID, it changes everything in terms of, so it went from really
larger scale productions to in fact down to really home-based delivery.
(10:59):
So sadly, that's the one side of this work is that it isn't available very widely,
but that is because the materials are owned by the community.
So what's the history around the name Five Word Productions?
Yeah, that's an interesting question. It all comes down. So basically,
I help people record their stories.
(11:21):
And what you need to do is to help them distill their story down to five words.
That's a very big undertaking. It is a big undertaking. But unless you do it,
the project doesn't really work.
So a project at the start can have all the ideas and someone can sit down and
talk for an hour or two about their project.
But I guess as a producer, what you need to do is find what the storyline is.
(11:44):
So, for example, the multimedia show I did about the fishermen of Wynnum Creek
and also the island, it was really about loss.
It was not much about the industry but losing community, friends, lifestyle.
And that then once you've got the core of the story, then you can go ahead and
(12:04):
write the script for the play.
But if you don't have that, then it doesn't really hold together. Mm-hmm.
That's interesting what you say about the loss, because I can imagine the impact
that the closure of the fish markets and the impact that it had. Yeah.
Not just for all the fishermen that fished out of that creek.
(12:25):
I know that I've spoken to some friends of mine and they used to say the cry
would go up that the fish are running the tail or whatever and all the kids
would go running down to the trawlers and help on the day and they'd go and
take over the leftovers to cook up at home and have a feed for the week.
It was a lifestyle for everybody. It wasn't just a job.
(12:46):
It was a community. community.
So yeah, so you can understand why there is a sense of what was here before.
And I feel all of the houses pretty well along the waterfront are those long,
skinny, narrow little blocks where I understand the fishermen would throw out
(13:08):
their nets for repair at the end of the day.
Yeah, they'd tar their nets because back in the old day they had to,
because because there wasn't nylon there to tie these nets.
So it's very, very hard work, being a commercial fisherman.
But also there's time that they would be there together, and that's where the stories come from.
That's why it's hard to find a fisherman that's not a good storyteller,
(13:32):
is that they were there around their nets or waiting for the tide to drop to
catch their fish. That's where the stories come from.
It is lovely, that camaraderie. I still see that a little bit down at the boat
ramp down at Wynnum Creek on the northern side.
A group of the old fishermen hang around there at the gutting station and they
(13:55):
do a lot of talking. They do a lot of talking.
They're there, I think, most mornings. I know Harry and his mates are there
often. They're good fun. Yeah.
What else have you got in store? What's your new project that we're going to
talk about today? Well, I've been working with communities now for about 30 years.
And so I guess retirement isn't too far away.
(14:18):
And so because I've been involved with sort of capacity building,
whether it's small business or providing capacity to families or community to
put on multimedia productions, it's basically about capacity building.
To me, there's something wrong about stopping it and that knowledge being lost,
because it does seem to work.
(14:40):
So I'm putting together a guide, a practical guide for communities and also
people who are interested in making films with Aboriginal communities about
the approach I take to doing that.
And so that'll be made available for free to anybody who's interested in learning about that sort of area.
So the draft, the guide is done. I'm just finalising it now with elders and other people.
(15:07):
And once that's done, I'll get artwork around it and then it'll be made available electronically.
So it's easy to move around, but also in a format that people could print it out if they want.
That sounds fascinating and very timely with the Path to Treaty and working with that.
So there might be some great opportunities for people to make use of such a
(15:30):
wonderful resource. Yeah, yeah.
It is all about empowering people through letting,
share stories is really what I've been doing for, well, 10 plus years,
because a lot of good things can come from that,
not only educating people, but there's also a healing process in itself in terms
of letting people, because sadly,
(15:52):
as with a lot of Aboriginal families across Australia, there are sad stories there. Yeah.
But through telling it, there is that healing process and also potentially for
the audience themselves.
So I think in a way there's a lot behind that storytelling process.
I mean, you hope that it is entertaining itself, but it's all those factors
(16:17):
around it that I think are as important.
Yeah, it's intriguing, isn't it? Because that intergenerational grief is something
that many cultures have experienced.
I mean, I look at the Irish and the Scottish and the Spanish,
you know, like time immemorial, we've managed to go about not treating other
cultures very well. Yeah.
So that grief would be applicable across all cultures.
(16:42):
It is applicable. And also the important thing to remember is that,
as I mentioned, these projects take up to a year to produce.
So it's the process of getting there, which is as important as the show itself.
So in other words, getting community members together and particularly involving young people.
So for them to hear and learn from the elders, et cetera, and then to work as
(17:03):
a community to put on these productions.
I mean, they can typically have between 20 and 70 people of community involved with these shows.
So it is that lead-up time where people sit around and talk and come up with
ideas that really is as important as the final outcome. And also it can be a lot of fun itself.
(17:25):
One of the latest shows I put on was a multimedia cabaret show based on Elvis
Presley on the island because they loved their rock and roll over there.
So it was equivalent to like a parable. So it was a comedy.
Two of the elders had just found out the storyline is that they'd just found
out they're the illegitimate daughters of Elvis Presley.
(17:49):
And so you've got all the issues around it. So another's...
They never really felt that they fitted into the local culture.
Their culture is rock and roll.
They're going to move back to Graceland because that's their country and that sort of thing.
So it was a comedy, but there were cultural messages underneath it.
(18:09):
But partly to pull it together, I walked the length of Main Beach on Minjuraba,
which is about 33 k's, over about six days, and we camped for three or four nights.
And so we'd camp and talk and go fishing and listen to a lot of Elvis and read
(18:31):
the script and work in it.
So it's, as I say, it's the process to pull it together that's important.
So with the people that were involved in that, for example, did they write the
script themselves or did you write it for them or was there a lot of collaboration?
Again, I do a draft script and because I've known these people for 10 years
(18:52):
and we've talked about a lot of things.
So it was a matter of getting the framework of the show together and then bringing
in particularly the local anecdotes and things like that.
So it's a collaborative effort there. Oh, I really want to see the Elvis one now.
Well, everybody has to get dressed up in Elvis gear. And, yes, it's a lot of fun, yeah.
(19:13):
Well, it's fascinating the work that you're doing and you've obviously found
it very rewarding. Very rewarding and it's a privilege. glitch.
Really, every day I recognise that.
And you're well received by everyone that you deal with, whether it be the First
Nations people or the fishermen?
Well, because I've been around, there is a basis of trust,
(19:35):
but also it's been a relief in a way that I've been working with the the community
for 10 years now, and I don't seem to have hit any potholes,
which is a relief, I think.
So I think that sense that none of the projects are really sort of blown up
(19:55):
because they're quite often quite culturally sensitive stories,
and as with Aboriginal or non-Aboriginal communities, communities are complex.
And if you step on toes and it goes wrong.
Yes. But what's important there really is that.
They're really, it's guided by the elders. So as a non-Aboriginal producer or filmmaker, et cetera,
(20:22):
if someone goes in and tries to navigate this themselves without the guidance
of the elders, it probably would not work.
So even though communities can be complex, if you're there to listen to and
to be guided by the elders, it's not a complicated thing.
(20:42):
It must be a real honour for you that they trust you to take care of their stories
because storytelling is such a big part of Aboriginal people.
Yeah, well, trust is absolutely everything, especially as they are sensitive stories.
So sure, and you respect that. And they've entrusted you to turn their story
(21:06):
and put it into words about them. That's pretty amazing.
It is. I recognise what a privilege that is.
For anyone really, whether Aboriginal or non-Aboriginal, to take people's deepest
feelings and turn it into a story, it takes a special person to be able to do that.
(21:28):
Well, it's important that they, and that part of the process I use is all about
that, empowering them to feel comfortable to tell their story because it's important
to them, but also the stories are so much richer that if they didn't trust you, they'd give you a story.
But it's unlikely to be the actual story.
So I think that process of trust, and I think that's partly what we were talking
(21:54):
about earlier in terms of making it available to everybody,
I think to an extent because these stories are sensitive, I think a number of
people, this process would be a bit different if, in other words,
it was just going to be on ABC or whatever.
So in other words, if it is for community and family, then it's a different process.
(22:16):
And them owning that, you know, the community or family owning that particular, it's doc,
film it's like owning photo album that they only
show to people that they want to show it to yeah yeah and
that it's it's so important that
this this happens i've heard of different stories where people
(22:37):
have gone and and and recorded stories about
the elders etc and in a couple of cases they the elders
never actually saw the film that sort of thing so so it's a black and white
thing it's no there's no grayness or complicated contract by they they do need
to to own everything and it's just not appropriate if people don't record the
(22:58):
stories and then basically take the stories away. Yes.
Well, John, thank you very much for coming in today. Well, thank you for having
me. And what a wonderful life you've had. How interesting. It's been fun. Yeah.
And with your new project, I hope that goes well for you.
Have you had, is it finalised? Is it up and running yet or are you still working
(23:18):
on it? The draft is done. And so probably a few months away,
and I'll let your office know when it's done, if you like.
And so as I say, it's just available for free to the community for anybody who's
interested in that sort of work. It's fantastic.
John, thank you very much. You're a really inspiring man.
Thank you for your dedication to community and First Nations people and also
vulnerable people, as you said in the beginning. That's one of the works that you did.
(23:41):
So congratulations and thank you for your time. Thank you.
So thank you for joining us on this captivating journey through Lytton's Local Legends.
It's been an honour today to talk to John Park, and I know that we'll look forward
to chasing up with five words production or five word productions,
and I think I'll give you all a challenge to see whether you can put your story into five words.
(24:06):
I think that would be a very challenging thing to undertake. take.
So thank you again. And I hope that we get to see you. Look forward to seeing your work.
And I'm going to have a look at John's new project. He'll send me a copy of it coming up.
So I hope you enjoyed coming on today and talking to us and all the best.
(24:27):
Good. Thank you, Jane. Thanks very much.
Music.
Welcome back to the Pease Podcast, the show where we delve into the captivating
world of Lytton's local legends.
I'm your host, Joan Pease, and I proudly serve as the state member for Lytton.
In this podcast, we celebrate the rich tapestry of our community by highlighting
some extraordinary stories of individuals,
(00:20):
businesses, and community groups who make up Lytton to be the truly really beautiful
place that it is that we call home.
From historic figures to contemporary heroes, we'll explore the diverse talents
and remarkable achievements that have shaped Lytton's identity.
Each episode, we uncover the untold tales and remarkable contributions of those
(00:43):
who have made a positive impact on our Bayside.
In today's episode, I'm really thrilled to have a fascinating guest with us, John Park.
Welcome. Thanks for having me. So John is a highly skilled and experienced producer
of First Nations community multimedia based projects and social outcomes. Congratulations.
(01:05):
No, it's a pleasure. In addition to running his own highly successful production
company, Five Word Productions, he is also a very experienced educator,
facilitator, mentor, author and consultant.
I'm going to be talking with John today about just some of his exceptional catalogue
of multimedia works, including works on the history of our Bayside fishing past
(01:29):
and of our First Nations peoples.
Plus, John will be giving me an early look at an exciting new project that he
has been working on to help producers create high quality First First Nations
multimedia stories, just like John does.
So sit back, relax and enjoy in us as we embark on this exciting adventure of
(01:50):
celebrating another one of Lytton's local legends.
Let's dive deep into history, inspiration and stories that unite us as a community.
Welcome to the Peace Podcast.
Music.
(02:21):
Thank you for coming in today, John. It's a pleasure. It's great to have you
here. What a fascinating career you've had. How did you get into all of this?
Goodness. I guess it's a matter of through your career path,
if opportunities are there, then to be able to pursue them.
And quite often they're out of left field in a complete surprise.
(02:44):
So I'd previously spent 30-odd years helping people start up their own small
business, especially disadvantaged people.
And I never would have guessed 15 years ago that I'd be making multimedia shows
with the Aboriginal community here.
So I think it's just being aware of the opportunities and being open to take them, I guess.
(03:04):
And what inspired you to get involved in the beginning of working with disadvantaged
people in their small businesses?
I'm not sure where that came from. No, I don't know. I've always had that interest, which continues.
So I don't know where that came from, but I'm glad I've pursued that.
So you obviously enjoy helping people and those that are vulnerable. Yeah.
(03:27):
And how did you get involved in multimedia?
Well, the family moved up from Canberra about 17 years ago when I was doing
the small business support work, and I continued that up here for four or five years.
But just out of chance, when we moved up here, We happened to live next to a
second-generation commercial fisherman.
(03:49):
And I went out fishing with him and his friends out on the bay.
And it was just clear that, like everywhere, the fishermen have great stories
to tell, but they'd never really been recorded before.
And so that started at Lloyd Kelk, who was a local who passed away some years ago.
He handwrote beautifully a couple of large volumes about the fishermen.
(04:13):
But apart from that, I wasn't aware of other people who'd recorded stories.
So then from there, I just used to spend time with the fishing families,
recording their stories and poems and writing them down.
And that just evolved into a book and films.
And then eventually to a multimedia show about the fishermen.
So it sort of evolved from there.
(04:35):
It's amazing. And I've got a copy of the book here. For some people,
listeners, you may have already seen the book. It's called Against the Tide,
Queensland Moreton Bay Fishing Industry since 1824.
And I know down here in Wynnum, Wynnum Creek itself, that was sort of like a
catalyst for the beginning of...
Western or colonial integration down here, but First Nations people had used
(04:59):
that for a fishing spot for multi-generations.
And did the fishermen talk about that themselves?
About which side? First Nations. Not a great deal. No, not a great deal.
It's interesting that you mentioned the name Kelk. It's a very well-known local name.
And I know that we have a very strong fishing community down here and have done
(05:22):
for many years and still some of the names, the Green Hills.
Yeah, there's still a lot of still around. Yes, they are.
And many of them still have the old boats. They remember the old boats fishing out of Wynnum Creek.
And you'd know the Fox Creek Bridge there that was actually put in place to
connect into Wynnum Central because it became such a bustling little town because
(05:46):
of the fishing industry.
Yeah, it was nice. So many of the families have got the old photographs and
their bottom drawers are there, their cabinets, that sort of thing.
But it was nice in a way to record the stories because when the old fishermen
go, often so many of the stories disappear with them.
So it was nice to have the chance to spend time with the families and to record them.
(06:08):
And what a privilege that would be to go into people's lives and hear their family's history.
And they would have been, were they delighted to be able to share it with you? Sure, absolutely.
And with this and the work with Aboriginal communities, there's something special
about hearing someone's story and then letting them share it because a number
(06:28):
of them can be quite quiet people who don't normally sort of talk about themselves much.
And so it is nice to see someone be able to record their stories and to share it with other people.
And how do you find you're able to, what's your best technique of talking to
particularly First Nations people to get them to open up and to talk with you?
(06:52):
I think the main thing is with all this sort of work, really,
whether it's the fishermen or the Aboriginal community, that your heart needs
to be in the right place because they've got a pretty sensitive nose if you haven't.
And so if you go in there with the right will and heart, then people are very
happy to share their stories.
(07:14):
But I think the other important one is that, particularly with the Aboriginal
community, they own absolutely everything that we produce, which I think is very important.
So, part of it is actually recording their story for future generations as opposed
to someone coming along, especially a non-Aboriginal person,
to say, well, I'll record your story and I'll show it.
So, it's really about empowering them to tell their story.
(07:38):
So, how does that work? Are you helping them to write it down or helping them
to produce it? Could you give an explanation about how that's all going?
Well, it's quite a long process.
I mean, like the shows can take about a year from go to woe.
I mean, it's not full-time to do that.
It just gives people the opportunity to think about it and talk about it and develop it.
But with all these cases, whether Aboriginal or non-Aboriginal,
(07:59):
the important thing really is that it's letting them discover what is the story
they'd like to share and then how to record it in their own words.
And then they have complete control of the process right through to the end.
So they could, at any stage, change it or, in fact, say this isn't going to
work. but you'll find that if you do actually empower them to tell their story,
(08:22):
then I've never had a situation where you come to an end of a project and say, oh, I don't like this.
So it is about letting them find their voice. It's difficult.
I mean, typically they're sort of three to five-minute films and it can be difficult
to, if you've never done it before, to write a script for the film.
And so that's one of the more difficult parts of the process is that I typically
(08:46):
assist them to develop the script, but it really has to be in their words and their voice.
So sometimes that's easy to tell, if they're tears and et cetera.
But you have got to be sensitive because it's very easy for them to say,
oh, that looks good, even if they're not particularly happy with it.
So it is their voice and their words which you need to capture.
(09:11):
And where do you do the filming? Do you do it at their place or in a location?
A lot of the work is done actually, it's called on country, in terms of developing
ideas and getting footage.
Footage but the actual most of the most
of the most films have sort of background narration and
we just record that in a in a room that has good
(09:33):
sound sound quality so the filming happens where the
story is that they're they're filming but the the actual script itself
we just record in a you know in a place that's suitable for for recording audio
and has has there been a lot of interest in doing in working with you well it's
just growing from one one thing to another really So it's mainly the Majurabah
(09:54):
community that I've been working with.
And the first project I did over there was about the fishermen,
the last Aboriginal fishing crew on the island.
And then it sort of went on from there.
And there are a lot of good and important stories to share.
So I've been lucky enough over
(10:15):
the last 10 years or so to help record a number of stories over there.
That's fantastic because particularly in this day of treaty where we're doing
the truth-telling, where can people get access to these stories?
Well, they're all owned by the family, so they're not on YouTube and the like.
(10:36):
So, yes, sadly, they tend to be more community-based for the local community
rather than the larger venues.
I used to put on shows down at the Redlands Pulmy Arts Centre,
But then with COVID, it changes everything in terms of, so it went from really
larger scale productions to in fact down to really home-based delivery.
(10:59):
So sadly, that's the one side of this work is that it isn't available very widely,
but that is because the materials are owned by the community.
So what's the history around the name Five Word Productions?
Yeah, that's an interesting question. It all comes down. So basically,
I help people record their stories.
(11:21):
And what you need to do is to help them distill their story down to five words.
That's a very big undertaking. It is a big undertaking. But unless you do it,
the project doesn't really work.
So a project at the start can have all the ideas and someone can sit down and
talk for an hour or two about their project.
But I guess as a producer, what you need to do is find what the storyline is.
(11:44):
So, for example, the multimedia show I did about the fishermen of Wynnum Creek
and also the island, it was really about loss.
It was not much about the industry but losing community, friends, lifestyle.
And that then once you've got the core of the story, then you can go ahead and
(12:04):
write the script for the play.
But if you don't have that, then it doesn't really hold together. Mm-hmm.
That's interesting what you say about the loss, because I can imagine the impact
that the closure of the fish markets and the impact that it had. Yeah.
Not just for all the fishermen that fished out of that creek.
(12:25):
I know that I've spoken to some friends of mine and they used to say the cry
would go up that the fish are running the tail or whatever and all the kids
would go running down to the trawlers and help on the day and they'd go and
take over the leftovers to cook up at home and have a feed for the week.
It was a lifestyle for everybody. It wasn't just a job.
(12:46):
It was a community. community.
So yeah, so you can understand why there is a sense of what was here before.
And I feel all of the houses pretty well along the waterfront are those long,
skinny, narrow little blocks where I understand the fishermen would throw out
(13:08):
their nets for repair at the end of the day.
Yeah, they'd tar their nets because back in the old day they had to,
because because there wasn't nylon there to tie these nets.
So it's very, very hard work, being a commercial fisherman.
But also there's time that they would be there together, and that's where the stories come from.
That's why it's hard to find a fisherman that's not a good storyteller,
(13:32):
is that they were there around their nets or waiting for the tide to drop to
catch their fish. That's where the stories come from.
It is lovely, that camaraderie. I still see that a little bit down at the boat
ramp down at Wynnum Creek on the northern side.
A group of the old fishermen hang around there at the gutting station and they
(13:55):
do a lot of talking. They do a lot of talking.
They're there, I think, most mornings. I know Harry and his mates are there
often. They're good fun. Yeah.
What else have you got in store? What's your new project that we're going to
talk about today? Well, I've been working with communities now for about 30 years.
And so I guess retirement isn't too far away.
(14:18):
And so because I've been involved with sort of capacity building,
whether it's small business or providing capacity to families or community to
put on multimedia productions, it's basically about capacity building.
To me, there's something wrong about stopping it and that knowledge being lost,
because it does seem to work.
(14:40):
So I'm putting together a guide, a practical guide for communities and also
people who are interested in making films with Aboriginal communities about
the approach I take to doing that.
And so that'll be made available for free to anybody who's interested in learning about that sort of area.
So the draft, the guide is done. I'm just finalising it now with elders and other people.
(15:07):
And once that's done, I'll get artwork around it and then it'll be made available electronically.
So it's easy to move around, but also in a format that people could print it out if they want.
That sounds fascinating and very timely with the Path to Treaty and working with that.
So there might be some great opportunities for people to make use of such a
(15:30):
wonderful resource. Yeah, yeah.
It is all about empowering people through letting,
share stories is really what I've been doing for, well, 10 plus years,
because a lot of good things can come from that,
not only educating people, but there's also a healing process in itself in terms
of letting people, because sadly,
(15:52):
as with a lot of Aboriginal families across Australia, there are sad stories there. Yeah.
But through telling it, there is that healing process and also potentially for
the audience themselves.
So I think in a way there's a lot behind that storytelling process.
I mean, you hope that it is entertaining itself, but it's all those factors
(16:17):
around it that I think are as important.
Yeah, it's intriguing, isn't it? Because that intergenerational grief is something
that many cultures have experienced.
I mean, I look at the Irish and the Scottish and the Spanish,
you know, like time immemorial, we've managed to go about not treating other
cultures very well. Yeah.
So that grief would be applicable across all cultures.
(16:42):
It is applicable. And also the important thing to remember is that,
as I mentioned, these projects take up to a year to produce.
So it's the process of getting there, which is as important as the show itself.
So in other words, getting community members together and particularly involving young people.
So for them to hear and learn from the elders, et cetera, and then to work as
(17:03):
a community to put on these productions.
I mean, they can typically have between 20 and 70 people of community involved with these shows.
So it is that lead-up time where people sit around and talk and come up with
ideas that really is as important as the final outcome. And also it can be a lot of fun itself.
(17:25):
One of the latest shows I put on was a multimedia cabaret show based on Elvis
Presley on the island because they loved their rock and roll over there.
So it was equivalent to like a parable. So it was a comedy.
Two of the elders had just found out the storyline is that they'd just found
out they're the illegitimate daughters of Elvis Presley.
(17:49):
And so you've got all the issues around it. So another's...
They never really felt that they fitted into the local culture.
Their culture is rock and roll.
They're going to move back to Graceland because that's their country and that sort of thing.
So it was a comedy, but there were cultural messages underneath it.
(18:09):
But partly to pull it together, I walked the length of Main Beach on Minjuraba,
which is about 33 k's, over about six days, and we camped for three or four nights.
And so we'd camp and talk and go fishing and listen to a lot of Elvis and read
(18:31):
the script and work in it.
So it's, as I say, it's the process to pull it together that's important.
So with the people that were involved in that, for example, did they write the
script themselves or did you write it for them or was there a lot of collaboration?
Again, I do a draft script and because I've known these people for 10 years
(18:52):
and we've talked about a lot of things.
So it was a matter of getting the framework of the show together and then bringing
in particularly the local anecdotes and things like that.
So it's a collaborative effort there. Oh, I really want to see the Elvis one now.
Well, everybody has to get dressed up in Elvis gear. And, yes, it's a lot of fun, yeah.
(19:13):
Well, it's fascinating the work that you're doing and you've obviously found
it very rewarding. Very rewarding and it's a privilege. glitch.
Really, every day I recognise that.
And you're well received by everyone that you deal with, whether it be the First
Nations people or the fishermen?
Well, because I've been around, there is a basis of trust,
(19:35):
but also it's been a relief in a way that I've been working with the the community
for 10 years now, and I don't seem to have hit any potholes,
which is a relief, I think.
So I think that sense that none of the projects are really sort of blown up
(19:55):
because they're quite often quite culturally sensitive stories,
and as with Aboriginal or non-Aboriginal communities, communities are complex.
And if you step on toes and it goes wrong.
Yes. But what's important there really is that.
They're really, it's guided by the elders. So as a non-Aboriginal producer or filmmaker, et cetera,
(20:22):
if someone goes in and tries to navigate this themselves without the guidance
of the elders, it probably would not work.
So even though communities can be complex, if you're there to listen to and
to be guided by the elders, it's not a complicated thing.
(20:42):
It must be a real honour for you that they trust you to take care of their stories
because storytelling is such a big part of Aboriginal people.
Yeah, well, trust is absolutely everything, especially as they are sensitive stories.
So sure, and you respect that. And they've entrusted you to turn their story
(21:06):
and put it into words about them. That's pretty amazing.
It is. I recognise what a privilege that is.
For anyone really, whether Aboriginal or non-Aboriginal, to take people's deepest
feelings and turn it into a story, it takes a special person to be able to do that.
(21:28):
Well, it's important that they, and that part of the process I use is all about
that, empowering them to feel comfortable to tell their story because it's important
to them, but also the stories are so much richer that if they didn't trust you, they'd give you a story.
But it's unlikely to be the actual story.
So I think that process of trust, and I think that's partly what we were talking
(21:54):
about earlier in terms of making it available to everybody,
I think to an extent because these stories are sensitive, I think a number of
people, this process would be a bit different if, in other words,
it was just going to be on ABC or whatever.
So in other words, if it is for community and family, then it's a different process.
(22:16):
And them owning that, you know, the community or family owning that particular, it's doc,
film it's like owning photo album that they only
show to people that they want to show it to yeah yeah and
that it's it's so important that
this this happens i've heard of different stories where people
(22:37):
have gone and and and recorded stories about
the elders etc and in a couple of cases they the elders
never actually saw the film that sort of thing so so it's a black and white
thing it's no there's no grayness or complicated contract by they they do need
to to own everything and it's just not appropriate if people don't record the
(22:58):
stories and then basically take the stories away. Yes.
Well, John, thank you very much for coming in today. Well, thank you for having
me. And what a wonderful life you've had. How interesting. It's been fun. Yeah.
And with your new project, I hope that goes well for you.
Have you had, is it finalised? Is it up and running yet or are you still working
(23:18):
on it? The draft is done. And so probably a few months away,
and I'll let your office know when it's done, if you like.
And so as I say, it's just available for free to the community for anybody who's
interested in that sort of work. It's fantastic.
John, thank you very much. You're a really inspiring man.
Thank you for your dedication to community and First Nations people and also
vulnerable people, as you said in the beginning. That's one of the works that you did.
(23:41):
So congratulations and thank you for your time. Thank you.
So thank you for joining us on this captivating journey through Lytton's Local Legends.
It's been an honour today to talk to John Park, and I know that we'll look forward
to chasing up with five words production or five word productions,
and I think I'll give you all a challenge to see whether you can put your story into five words.
(24:06):
I think that would be a very challenging thing to undertake. take.
So thank you again. And I hope that we get to see you. Look forward to seeing your work.
And I'm going to have a look at John's new project. He'll send me a copy of it coming up.
So I hope you enjoyed coming on today and talking to us and all the best.
(24:27):
Good. Thank you, Jane. Thanks very much.
Music.
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