LYRICS:

MR BAKER:
If I didn’t work for The Grove School
Something else I’d rather be.
If I didn’t work for The Grove School
A Swimmer, me.
You’d hear me all day long, and this would be my song.
Breast stroke! Breast stroke! Then I do the crawl!
Breast stroke! Breast stroke! Then I do the crawl!

MISS MILLS:
If I didn’t work for The Grove School
Something else I’d rather be.
If I didn’t work for The Grove School
An Artist, me.
You’d hear me all day long, and this would be my song.
Mould it here, Mould it there. What a lovely pair!
Mould it here, Mould it there. What a lovely pair!

MR BAKER:
Breast stroke! Breast stroke! Then I do the crawl!
Breast stroke! Breast stroke! Then I do the crawl!

MRS SEALE & MS BONDS:
If we didn’t work for The Grove School
Something we would rather be.
If we didnt work for The Grove School
A Football Team we’d be.
You’d hear me all day long, and this would be my song.
Free kick! Form a wall! Cover up your nuts!
Free kick! Form a wall! Cover up your nuts!

MISS MILLS:
Mould it here, Mould it there. What a lovely pair!
Mould it here, Mould it there. What a lovely pair!

MR BAKER:
Breast stroke! Breast stroke! Then I do the crawl!
Breast stroke! Breast stroke! Then I do the crawl!

MRS ROWLAND:
If I didnt work for The Grove School
Something else I’d rather be.
If we didn’t work for The Grove School
A Doctor I would be.
You’d hear me all day long, and this would be my song.
Cut here! Stitch it there! Oh my God, he’s dead!
Cut here! Stitch it there! Oh my God, he’s dead!

MRS SEALE & MS BONDS:
Free kick! Form a wall! Cover up your nuts!
Free kick! Form a wall! Cover up your nuts!

MISS MILLS:
Mould it here, Mould it there. What a lovely pair!
Mould it here, Mould it there. What a lovely pair!

MR BAKER:
Breast stroke! Breast stroke! Then I do the crawl!
Breast stroke! Breast stroke! Then I do the crawl!

MRS JAMES & MRS FULLER:
If we didnt work for The Grove School [They Lose The Timing]
If we didnt work for the Grove School
Something else we’d rather be.
If we didn’t work for The Grove School
A Student we would be
And this would be our song
And this would be our song.
Ears in, Mobiles out!
Ears in, Mobiles out!

MRS ROWLAND:
Oh, its me!
Cut here! Stitch it there! Oh my God, hes dead!
Cut here! Stitch it there! Oh my God, hes dead!

MRS SEALE & MS BONDS:
Free kick! Form a wall! Cover up your nuts!
Free kick! Form a wall! Cover up your nuts!

MISS MILLS:
Mould it here, Mould it there. What a lovely pair!
Mould it here, Mould it there. What a lovely pair!

MR BAKER:
Breast stroke! Breast stroke! Then I do the crawl!
Breast stroke! Breast stroke! Then I do the crawl!

Duration : 0:3:36

[youtube Q3VugqxA_xQ]

Thanks to all the sponsors!

Duration : 0:2:58

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Duration : 0:1:18

[youtube f5MI24Jfmhc]

Duration : 0:10:10

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Duration : 0:2:25

[youtube NhA-fcdz3jI]

Curator’s notes
A short film written and directed by Tracey Moffatt, Night Cries is promoted as a possible sequel to Chauvel’s feature film Jedda. What would have happened had Jedda survived, and became the primary carer of her white mother? Moffatt, one of Australia’s most famous visual artists whose work is internationally acclaimed, continues her use of constructed environments, with no outdoor scenes filmed in this work. Shot entirely indoors, the design work of Steven Curtis in Night Cries can also be seen in Moffatt’s feature film BeDevil. The beautiful use of rich colours, reflections and sounds open up the indoor environment of the set, and suggests the grand expanse of physical landscapes.

Moffatt’s use of famous Aboriginal singer Jimmy Little, who sings ‘Royal Telephone’ in Night Cries, evokes the presence of Christianity, and its role in the assimilation of Aboriginal peoples. The haunting textures of the painted landscape can then perhaps be reflective of a gradual change in how Aboriginal people relate to the land as a consequence of assimilation. The haunted look in the eyes of the Aboriginal daughter (Marcia Langton), is loaded with a sense of what could have been. The final scene of Night Cries is reminiscent of a scene from Jedda, when the newborn infant is laid on the table next to the white mistress of the house, and both begin to cry. This scene in Night Cries revisits the pain and anguish of Jedda, as the now grown Aboriginal daughter lies in a foetal position next to her white mother, and once again cries. Assimilation, then, can be understood as a pain experienced by both the Aboriginal daughter, as well as the white mother.

Tracey Moffatt is an artist who continues to challenge the social construction of Aboriginality and how it is nationally and internationally viewed.

Romaine Moreton, curator http://www.ubu.com/film/moffatt_rural.html

Duration : 0:8:34

[youtube xqdK7gryXp0]

Duration : 0:3:6

[youtube 9ob8At5MPPM]

at dornoch academy on big heart day 2kaii8

Duration : 0:3:32

[youtube H1K-ti_1Vw0]

Curator’s notes
A short film written and directed by Tracey Moffatt, Night Cries is promoted as a possible sequel to Chauvel’s feature film Jedda. What would have happened had Jedda survived, and became the primary carer of her white mother? Moffatt, one of Australia’s most famous visual artists whose work is internationally acclaimed, continues her use of constructed environments, with no outdoor scenes filmed in this work. Shot entirely indoors, the design work of Steven Curtis in Night Cries can also be seen in Moffatt’s feature film BeDevil. The beautiful use of rich colours, reflections and sounds open up the indoor environment of the set, and suggests the grand expanse of physical landscapes.

Moffatt’s use of famous Aboriginal singer Jimmy Little, who sings ‘Royal Telephone’ in Night Cries, evokes the presence of Christianity, and its role in the assimilation of Aboriginal peoples. The haunting textures of the painted landscape can then perhaps be reflective of a gradual change in how Aboriginal people relate to the land as a consequence of assimilation. The haunted look in the eyes of the Aboriginal daughter (Marcia Langton), is loaded with a sense of what could have been. The final scene of Night Cries is reminiscent of a scene from Jedda, when the newborn infant is laid on the table next to the white mistress of the house, and both begin to cry. This scene in Night Cries revisits the pain and anguish of Jedda, as the now grown Aboriginal daughter lies in a foetal position next to her white mother, and once again cries. Assimilation, then, can be understood as a pain experienced by both the Aboriginal daughter, as well as the white mother.

Tracey Moffatt is an artist who continues to challenge the social construction of Aboriginality and how it is nationally and internationally viewed.

Romaine Moreton, curator
http://www.ubu.com/film/moffatt_rural.html

Duration : 0:8:16

[youtube Tv1IN-i1t5Q]