Introductory activities
Cultural sensitivity protocols
Establish appropriate cultural sensitivity protocols from the outset of this unit. For example, you might advise Aboriginal and Torres Strait Islander students that Maralinga: The Anangu Story contains the words (voices) and images of deceased persons. Acknowledge the hurt and intergenerational trauma that this text may evoke, and caution students accordingly. Give them the option to have a break from class if/when the content becomes too confronting.
Acknowledge the significance of the artwork and voices in this book – a traditionally Western style of communication – and how readers can appreciate and celebrate these forms of storytelling. Foreshadow that this unit will involve discussion and reflection on racism, dispossession, trauma, and graphic depictions of injustice. Warn all students that the content in Maralinga is confronting, and that any response warrants a great deal of maturity and respect. Ensure that the text is familiar to all relevant staff and that you prepare and deliver this unit carefully and sensitively.
Note that Maralinga refers to historical sources, some of which contain outdated terminology. These terms should be understood as part of the historical context but should NOT be repeated unnecessarily in class. Also bear in mind that individual creators and communities will use terminology that suits them and where they are on Country. Where possible, you should seek to have a conversation with the creator of a text OR a representative from your local community about which term(s) would be appropriate to use. For more advice on using respectful and inclusive language, consult Narragunnawali’s terminology guide.
Additional tips for building cultural empathy and respect can be found in Reading Australia’s teaching resource for Ghost Bird*. See More Resources > Teaching Strategies and Resources for even more useful content from Cara Shipp, SBS Learn, and AIATSIS.
* Reading Australia title
Contamination
Have students research and discuss PFAS contamination on the NSW South Coast. In 2023 the federal government apologised for contamination stemming from a defence base in Jervis Bay. The use of toxic chemicals over a period of more than 30 years had put Aboriginal lands, waters, and cultural practices at significant risk. This led to a class action and historic settlement for the Wreck Bay Aboriginal community, whose ability to live and conduct cultural activities on their lands had been severely compromised.
Students could reflect on the ethical, moral, social, spiritual, and cultural issues relating to this case study. Construct a grid to capture their ideas about each category, and consider the implications for both Aboriginal and Torres Strait Islander communities and Australia at large.
Atomic bombs and nuclear testing
Begin by cautioning students about the confronting nature of this period of history on a national and global scale. In particular, if you have Aboriginal or Torres Strait Islander students whose families or communities were impacted by nuclear testing, make sure you have relevant supports in place and engage with your Aboriginal and Torres Strait Islander unit/liaison officer as needed. Also work in collaboration with HSIE teachers to ensure that research and teaching are age and stage appropriate; this may involve scaffolding research activities with a list of appropriate and approved websites, images, etc.
By way of engaging with the context a Maralinga, students should form small groups to research and present information about relevant framing topics. These can include (but are not limited to):
- the Cold War
- atomic bombs
- nuclear testing
- the atomic bombings of Hiroshima and Nagasaki
- a timeline of nuclear tests in Australia
- the Maralinga site
Students should submit their research to you in the first instance so that you can review their notes. The presentations should acknowledge the hazards of exposure to nuclear weapons and testing. Encourage students to note key vocabulary and concepts related to the framing topics. These could be displayed on a class word wall and referred to regularly throughout the unit.
Connecting to Country
Ask students to locate Yalata and Maralinga on a map of Australia. Refer them to p. 68 of the text so they can orient themselves to these key locations and develop spatial awareness of this vast area. Then ask them to locate Yalata and Maralinga on the AIATSIS map of Indigenous Australia. The Maralinga Tjarutja (the traditional Anangu owners) have strong ties to the Pitjantjatjara, Yankunytjatjara, and Tjuntjuntara peoples of the Western Desert. Students will be able to spot the first two groups on the AIATSIS map; inform them that Tjuntjuntara is located north of Madura and west of Lake Maurice, and see if they can pinpoint it on the map (approximately in Ngaanyatjarra Country).
Students can then identify the Country on which they live and learn. Discuss the importance of the AIATSIS map and how awareness of and respect for Country can enrich our understanding of First Nations histories and cultures. To help students engage with the idea of connecting to Country, you can share and explore the following links:
- AIATSIS – Welcome to Country
- Common Ground – What is Country?
- Reconciliation Australia – Acknowledgement of Country and Welcome to Country: The distinction between ‘country’ and ‘Country’
- Evolve Communities – Connection to Country: Why is Country important to Aboriginal and Torres Strait Islander People?
Story and perspectives
Discuss with students the nature and concept of storytelling. Acknowledge that any event or issue in society will involve different stakeholders, perspectives, and reflections depending on who is affected by actions or outcomes. As a concrete demonstration of this, view and discuss the trailer for the 2005 animated film Hoodwinked. Students should list the different perspectives identified in the trailer and explore how the same event can involve different retellings and perspectives. The Australian Curriculum and History Skills websites have some useful information about perspectives on historical events.
Engage with the text’s title, Maralinga, and the subtitle, The Anangu Story. Consider the nature and use of the language associated with storytelling: this will be the story of Anangu people. Discuss what connotations are evoked by this, acknowledging that other groups may tell a different story. Building on their previous research (Atomic Bombs and Nuclear Testing), students can discuss and investigate different versions of events relating to Maralinga, and from what perspectives these stories are told.
Naming
Explore the meaning of the word ‘Maralinga’, including identifying its language of origin. In the dormant Garrik language, it means ‘thunder’. Students might connect this with some of the connotations of nuclear weapons (e.g. noise, cloud, power, might) and the irony invoked through this language.
Note that Garrik was spoken in the Top End of the Northern Territory, far from the Maralinga site in South Australia. As the text explains (pp. 36–38), the name was chosen by British officials; the local Anangu word for ‘thunder’ is ‘tuuni’. It may be worthwhile exploring the implications of this decision: this 2023 Architectural Review essay, and the introduction to this 2013 journal article, provide some insights.
Personal response on reading the text
Resilience
Discuss the concept of resilience: its connotations, connections, and meaning. Have students brainstorm synonyms for this word and discuss examples of resilience in Aboriginal and Torres Strait Islander cultures. Students should note that Maralinga ends by expressing resilience, hope, and opportunity; this provides great encouragement to the reader.
Headlines
Given the emotional and often shocking nature of the book’s content, it is a good idea to give students time and space in class to record their responses, questions, and thoughts both during and after reading.
Using the headlines thinking routine, students can write some newspaper headlines based on what they have read (this can include their personal reactions and thoughts). Consider, for example, the chapters titled ‘The Milpuddie Family’s Story’ (pp. 44–45), ‘Maralinga’ (pp. 54–57), and ‘Land Rights’ (pp. 58–59); note the sources used and the references to the McClelland Royal Commission. These may assist students to develop headlines that demonstrate the changes in the Australian government’s tone and attitude over time.
Purposeful text design: Yalata and Oak Valley artwork
Introduce students to some of the features of Aboriginal art. Emphasise that there is no singular style of Aboriginal or Torres Strait Islander art, owing to the multiplicity and diversity of cultures and individual artists. In the case of Maralinga, the artwork was produced in a series of workshops by Yalata and Oak Valley community members (see the Acknowledgements on p. 70 for a list of artists).
Consider Maralinga’s colour scheme, noting the rich, earthy tones. Also identify the key symbols and motifs throughout the text. Reflect on the textual synergy between the colours, the layout, and the words in yellow typeset – all reflective of a purposeful text design.
Working in pairs, students will identify TWO pages (or double-page spreads) that depict Yalata and Oak Valley artwork. They should comment on how the artwork relates to, and has been positioned to work with, the written text. To enhance this, they can watch excerpts from Maralinga Tjarutja (2020), directed by Euahleyai/Gamillaroi lawyer, writer, and filmmaker Larissa Behrendt. This documentary features highly engaging and visually stunning animated artworks; Margaret May, one of the artists, is also listed as a contributor to the book. You can find the artworks at the following timestamps:
| 01:04–01:11 | 02:31–02:36 | 08:36–08:44 | 13:07–13:17 |
| 13:33–13:40 | 19:17–19:24 | 21:36–21:46 | 31:12–31:18 |
| 44:05–44:08 | 49:14–49:19 | 51:14–51:23 |
Remind students that visual arts are a form of storytelling in Aboriginal and Torres Strait Islander cultures; it is significant that the Yalata and Oak Valley communities were so involved in the planning and production of Maralinga. Students can contrast the brighter sections (e.g. ‘Land Rights’, pp. 58–59) with the darker sections (e.g. ‘Maralinga’, pp. 54–57), and examine the use of symbols (e.g. bones on pp. 38, 41) in communicating the message of the text.
Key elements of the text
Plot
Discuss Maralinga’s narrative arc. This non-fiction text is very intentional in the direction it takes. The narrative complements a ‘safely in and safely out’ framework, bookended by Tjukurpa at the start and ongoing hope/survival at the end. Students should review the Contents and note the different elements of the Anangu story, presented chronologically with key aspects plotted clearly (pre-invasion, invasion, the railway, nuclear testing, aftermath, land rights, etc.). This provides an effective and complete introduction to the British nuclear tests at Maralinga and the experiences of Anangu during this period. Maralinga also provides an introduction to the wider narrative of invasion and colonisation in Australia, with the arc of destruction and dispossession beginning well before the nuclear testing.
Character
NOTE: Since Maralinga: The Anangu Story is a record of real events, the word ‘character’ has been used interchangeably with ‘figure’ or ‘person’.
Students can engage with the photographs in Maralinga and highlight what these add to the narrative (authenticity, realism, personalisation). They act as a reminder that this is a true story involving real people. Consider the impact and trauma of these events on both individuals and their communities. The text represents a range of voices and is a powerful example of collaborative storytelling.
Themes
The themes explored in Maralinga are quite diverse, ranging from an individual focus on courage, wisdom, and perspective, to broader themes relating to identity, race, culture, power, and prejudice. The Anangu story grounds these themes in a truthful and realistic way, with photographs (both archival and contemporary) and artwork drawing out and adding layers to the text. Allocate pairs of students ONE chapter from Maralinga and have them identify the theme being presented (you might like to remind them of the text’s structure). They should locate THREE quotes from their allocated chapter that illustrate this theme. For example, ‘Back to the Lands’ (pp. 60–63) focuses on connections to Country and culture.
Timeline
Refer to the map on p. 68, which shows the length of the Trans-Australian Railway between Kalgoorlie (Western Australia) and Port Augusta (South Australia). Students can read more about the railway on pp. 14–15. In constructing a timeline of events at Maralinga, emphasise that Anangu’s connection to the land goes back thousands of years, while the railway (which brought Anangu into contact with white construction workers) was only completed in 1917. Also note that it has taken decades to return Maralinga Tjarutja land to its Traditional Owners (pp. 58–61); most of the land was handed back in 2009, after the book was published, but the final site was not released until 2014. The events at Maralinga have affected multiple generations of people, not just those initially exposed to the nuclear fallout; the restoration and hand-back of land is only part of the healing timeline.
Symbols
Discuss the distinguishable features of the front and back endpapers. How are these effective in framing the narrative?
Maralinga is rich in symbols that speak to both Anangu culture and colonialism. Have students make a list of identifiable symbols in the text and their associated meanings. They can also reflect on the way in which some symbols have different meanings for different people. For example:
| Symbol | Meaning 1 (colonial) | Meaning 2 (Anangu) |
| the railway (pp. 14–15) | progress
connection opportunity |
restriction
invasion land destruction |
| introduced species (pp. 25) | nature
wilderness livestock |
land destruction
food destruction invasion |
| Country (pp. 36–37) | desert
‘empty’ space ownership |
culture
history tradition |
Synthesising task
Ask students to imagine that they are journalists planning an article about nuclear testing at Maralinga.
Begin by brainstorming potential sources of information. These will include accounts by Anangu, but also historical documents produced by colonial authorities and institutions. Examples may include:
| Anangu | Colonial |
|
|
Encourage students to think about the perspective being presented. Is it a colonial account defending the government of the day? Or an Anangu story about the impact of nuclear testing? Remind students that they should seek authentic and accurate information from reputable sources and cite them meticulously. It may be worthwhile to present them with some reliable options, such as:
- Maralinga Tjarutja (2020)
- Maralinga Tours – Historical Overview
- Yalata Aboriginal Community – Our History
- Black Mist Burnt Country:
- National Archives of Australia – Nuclear bomb test at Maralinga
- National Museum of Australia:
- EBSCO Research Starters – Maralinga
Finish by having students draft an introduction to their article using the five Ws of journalism. This could relate to the content of Maralinga, or the book itself. For example:
- Anangu living near Maralinga suffered devastating health effects due to British nuclear testing during the 1950s and 1960s.
- In 2009, Oak Valley and Yalata community members wrote a book to share their history and experiences of nuclear testing on Maralinga Tjarutja land.
It may be worthwhile sharing some tips for journalistic writing. Encourage students to identify the five Ws in their introduction. For example:
In 2009 [when], Oak Valley and Yalata community members [who] wrote a book [what] to share their history and experiences of nuclear testing [why] on Maralinga Tjarutja land [where].
Keep these draft introductions for future reference; students will revisit them at the end of the unit, once when they have deepened their understanding of the subject matter.
The writer’s craft
Structure and style
Point out that Maralinga is an illustrated non-fiction text. The combination of structural conventions gives the book a wider appeal. Students should draw up two columns in their workbooks and brainstorm the conventions, structural elements, and general features of illustrated and non-fiction texts. They could also identify examples of each to assist in their completion of the table. Some structural elements have been suggested below:
| Non-fiction | Illustrated |
|
|
Consider which of these features apply to Maralinga and how they work to present a clear, cohesive narrative arc with impact. Students can work in pairs to make notes about each feature, citing specific examples from the text and considering their effects. They can then present their findings to the class, adding relevant information to their tables as they listen to their peers.
Approach to characterisation
Students should create profiles for the key voices that they encounter in Maralinga. Some of these voices appear in other non-fiction accounts, and their images might be available online to enhance visualisation and personalisation for students (note that this may not be suitable for Aboriginal and Torres Strait Islander students; see Initial Response > Introductory Activities > Cultural Sensitivity Protocols).
Discuss the collective power of story. Students should consider how the voices in Maralinga (i.e. the Yalata and Oak Valley community members) elevate the narrative’s impact and authenticity as different people pick up on different ideas/issues, share their own anecdotes, etc. Refer students to captioned photographs to assist them to make connections to the people mentioned in the text (e.g. on pp. 62–63). Encourage them to reflect on how these connections enhance the narrative, and how else they might impact the reader.
Setting
Students should refer to aspects of setting and geography (see p. 68) to draw out their knowledge of Maralinga, Yalata, Oak Valley, Ooldea, and other points of interest in the book (you might like to review the Connecting to Country activity under Initial Response > Introductory Activities).
The opening chapters of Maralinga describe the land, its care, and the intimate relationship Anangu have with it. The land provides a sense of belonging as well as identity. Point out the tragic irony of this introduction, knowing that the story will turn to the devastation and contamination of traditional lands and the dispossession of its custodians. Although Anangu have survived and adapted in the decades following the nuclear tests, they continue to seek reparations for these injustices (remind students that, at the time of publication, they were still waiting for land to be handed back; see Initial Response > Key Elements of the Text > Timeline).
Discuss and brainstorm the impact of dispossession on Aboriginal and Torres Strait Islander peoples and cultures. If appropriate, you could have students research different aspects of dispossession such as terra nullius, the Stolen Generations, and/or missions, stations, and reserves. In doing so, acknowledge the ongoing trauma of forced removal and resettlement for Aboriginal and Torres Strait Islander peoples. You might like to point them to some reputable sources of information:
- AIATSIS:
- Common Ground:
- First Nations Legal Systems (terra nullius)
- The Stolen Generations
- The Healing Foundation:
- The Australian Museum:
- Big Talks Weekly – The Continuing Effect of Dispossession on Aboriginal Spiritualities
Carefully monitor the impact of this content on any Aboriginal or Torres Strait Islander students in your class; modify, omit, and/or intervene as/when appropriate to alleviate any distress. Then explore the nature and impact of dispossession in Maralinga, making connections to previous research and class discussions. Remind students that, despite systemic attempts at cultural erasure by successive colonial governments, the Anangu story is ultimately one of resilience, with the authors expressing hope for their communities’ shared future.
Reflect on the symbolism and significance of water as a cleansing and life-giving force. Discuss how the setting of the book highlights the importance of water to Anangu, and how life in the desert relies heavily on access to water sources (pp. 2–3). Why do the authors draw attention to this so early in the text? Point out that Anangu have called the desert home for many thousands of years, yet the government of the day chose to conduct nuclear tests there, viewing the land as largely uninhabited and unused (p. 36). These contrasting views should be highlighted.
Finally, consider how Anangu embody a reciprocal relationship with Country (i.e. if you look after Country, Country looks after you). What practices and protocols are students aware of when it comes to caring for Country in their own community?
Point of view
Maralinga tells the story of Anangu people, but the authors have also included colonial voices at certain points in the story. Students should consider how each point of view is presented in the text. Have them keep notes as they read to identify the different perspectives being shared in each chapter. They should unpack some of these, paying attention to any parallels and/or contrasts. Students can also consider how the artwork and images support the different perspectives within the story.
Language and voice
Discuss how individual and collective storytelling styles come together in Maralinga. Why is no single author acknowledged on the front cover? Students should identify and analyse examples of collective language that reflect distinct but unified voices in the text. What clues do we have that this is a collaborative community project? Can students think of any other texts that have been composed in such a consultative and inclusive way? What is significant about this?
Invite students to experiment with composing their own collaborative text in small groups. This will be easier if they focus on a common experience, such as a school camp, an excursion, a story from one of their classes, etc. They can share their work with the rest of the class and/or have a general discussion about the process of writing collaboratively.
Finish by asking students to identify aspects of the language in Maralinga that are suitable and relevant for a younger audience. Discuss the sophisticated way in which the authors present mature and distressing content both clearly and age-appropriately, enabling the reader to better understand and empathise with the Anangu story.
Text and meaning
Exploring themes and ideas
The reader cannot help but be moved by Maralinga. Its themes are rich and varied, and students should be able to identify and discuss them in order to engage effectively with the text.
It might be worthwhile to revisit students’ work from the Initial Response section (see Key Elements of the Text > Themes). Now that they are more familiar with the Anangu story, have them decide what they think are the main or major themes. You might encourage them to make a list of what they see as the three to five most important ideas or messages. Remind them to provide textual evidence to support their thinking.
Meaning in context
Without providing any context, show students Maralinga Bomb (2016) by Karrika Belle Davidson. Once they have had some time to engage with the artwork, scroll down and read the Australian War Memorial’s description. Discuss the artwork’s significance, purpose, and form. Ask students what connections can be made between Maralinga Bomb and Maralinga: The Anangu Story. Discuss how meaning is made by considering context. Students can then re-read Maralinga and reflect on how meaning is enhanced by revisiting ideas and drawing on information from different sources.
Refer to the Glossary on p. 69 to assist students to understand any unfamiliar Pitjantjatjara words.
Synthesising task
Working in pairs, students will choose ONE double-page spread from Maralinga for closer analysis. Each pair will need their own copy of the text. Using sticky notes or other tools for annotation, they will identify and comment on the significant features and textual elements of their chosen spread. They can then present their work to the rest of the class (perhaps highlighting a particular issue or theme), providing both a verbal explanation AND a visual display.
Ways of reading the text
Different perspectives
Explore the colonial narrative and abuse of power underpinning the dispossession of Aboriginal and Torres Strait Islander peoples. Identify the ways Anangu showed great resilience during and after the events of Maralinga. In connecting their reading with previous learnings about invasion and colonisation, students can identify the harmful narrative that was used against Anangu.
This enduring colonial perspective is layered with Cold War thinking, which drove the American, British, French, and Soviet approaches to the nuclear arms race. You could connect Maralinga with cross-curricular content to maximise student understanding; links to History, Geography, Society and Culture, and aspects of Numeracy, Science, and Technologies would be highly beneficial. Perspectives around spirituality and truth-telling are other key focuses.
You could also explore how the government considered and promoted this project at the time; this 2016 Conversation article by Liz Tynan, author of Atomic Thunder: The Maralinga Story, provides some insight.
Comparison with other texts
Screen adaptations
If you haven’t already done so, watch some excerpts from Maralinga Tjarutja (see Initial Response > Personal Response on Reading the Text > Purposeful Text Design). Students should research the director, Larissa Behrendt, and consider why she might have been motivated to direct this documentary. Look at the awards and nominations Maralinga Tjarutja has received, and consider reading a review together (ScreenHub and The Adelaide Review are good options). Discuss why it is important for this story to be told in different mediums.
Students can also research historical documents and archival material relating to Operation Buffalo, one of the major nuclear test series at Maralinga (footage of the tests is available from the National Film and Sound Archive of Australia). A comedy drama miniseries of the name same aired on the ABC in 2020. Students can watch the extended trailer and consider the angle/perspective being presented to the viewer.
Travel writing
Since Maralinga was handed back to its Traditional Owners, more and more people have wanted to visit and learn about its history. Maralinga Tours have been operating since 2015 according to the wishes of the Maralinga Tjarutja. Consider the phenomenon of tourism to this site, as well as tourists/visitors who create their own texts in response to what they see (this might include travel blogs or vlogs).
Dr Ben Stubbs, a creative writing and journalism academic, has written about his own visit to Maralinga in The Crow Eaters: A Journey Through South Australia. You can read an extract online via Inside Story, along with a shorter article he wrote in 2018 for The New York Times (reposted by SBS News).
Visual arts
There are many artistic representations of the events that transpired at Maralinga, most notably in the Black Mist Burnt Country exhibition that toured the country between 2016 and 2019. With artworks by more than 30 Aboriginal and non-Indigenous artists, the exhibition serves as a rich resource for student reflection and analysis. You can access educational resources online, along with the exhibition catalogue, which contains several of the artworks produced for Maralinga: The Anangu Story.
Other artworks – such as the Maralinga sculpture (1990) by Yorta Yorta painter, sculptor, and activist Lin Onus – are just as evocative. Students could research a range of pieces that depict or comment on the events at Maralinga, and report back to the class with their favourites.
Music
Several musicians have produced songs about the nuclear tests at Maralinga. Among them are Australian rock band Midnight Oil (in 1982) and Australian rock musician Paul Kelly (in 1986). Both Midnight Oil and Kelly are known for their activism, particularly in relation to First Nations rights and reconciliation. It would be worthwhile playing one or both songs while students read the lyrics. Kelly’s song is particularly notable for its references to Yami Lester (a Yankunytjatjara leader and anti-nuclear campaigner) and Edie Milpuddie, whose story is told on pp. 44–45 of Maralinga: The Anangu Story.
| ‘Maralinga’ (1982) by Midnight Oil | YouTube |
| ‘Maralinga (Rainy Land)’ (1986) by Paul Kelly | YouTube |
You could also listen to ‘Maralinga (Black Smoke)’ (2011) by Iwantja, a band from Indulkana in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. This rock track is overlayed with historical audio recordings about the nuclear tests, alternating with an Aboriginal man’s reflections on the ‘black smoke’. The song can be streamed via Spotify.
Other texts using similar approaches
Discuss how Maralinga, as an example of collaborative storytelling, could provide a model for other First Nations communities who might be interested in sharing their knowledge and experiences with a wider readership. Can students think of other examples of collaboratively-written stories?
Jandamarra and the Bunuba Resistance* is co-authored by Howard Pedersen, a non-Indigenous historian, and the custodians of Jandamarra’s story, who are given voice by Bunuba countryman Banjo Woorunmurra. Connecting with themes of dispossession, this text is an excellent example of a collaborative writing project with strong community figures and factual representation of Aboriginal experiences and histories.
Other examples of collaboratively-written stories by First Nations communities include Our World: Bardi Jaawi Life at Ardiyooloon* by One Arm Point Remote Community School, and Tamarra: A Story of Termites on Gurindji Country, a collaboration between more than 30 First Nations and non-Indigenous contributors.
* Reading Australia resource available
Evaluation
Significance within Australian culture
Have students reflect (in writing and through discussion) on the significance of Maralinga within Australian culture. Consider the wider impacts of storytelling, voice, and authority. Encourage students to engage with questions around truth-telling, reconciliation, narrative, and perspective as key aspects of Maralinga that capture cultural detail in a significant way.
Drawing attention to its literary accolades (which include being shortlisted for the CBCA Book of the Year, the Australian Educational Publishing Awards, and the NSW Premier’s History Awards), discuss the unique cultural and historical value that Maralinga offers, and why it could be considered essential reading for every Australian.
Use this 2023 ABC News article as stimulus to explore contemporary initiatives and practices aimed at preserving Anangu culture and reclaiming/returning to Country. Connect this with the information on pp. 60–66, which describes life for the people in Yalata and Oak Valley since the cessation of nuclear testing.
Also discuss the McClelland Royal Commission (1984–1985), which was established by the Hawke Labor Government to investigate the safety standards observed during the tests. You might like to establish the purpose and function of royal commissions at the outset. Students can discuss their responses to the commission’s findings, as well as subsequent government decisions around reparation, rehabilitation, etc. You can find some good summaries from the National Museum of Australia (NMA) and the Black Mist Burnt Country website. Cross-reference this discussion with evidence and quotes from the commission on pp. 40–45.
Consider Maralinga’s factual nature, accessible writing, and interwoven voices, and the impact these have on the reader in developing their personal response to the text. Discuss the writers’ choices – from how to structure the book, to what content to include – and how they work together to maximise reader impact and engagement.
If they haven’t already done so, students could work together to compose their own collaborative text. If you would like to differentiate this activity from the previous iteration (see Close Study > The Writer’s Craft > Language and Voice), invite them to focus on a historical event and research different facts, voices, etc. to interweave into their account. This will enhance their appreciation of the intentionality and complexity of Maralinga.
Rich assessment task 1 (responding and creating)
Students will prepare and deliver a multimodal presentation in response to the following stimulus:
What Maralinga: The Anangu Story has taught me today
Students may benefit from the ‘see, think, wonder’ routine as an entry point into this task. The stimulus allows for broad reflection on the text, ranging from how we can ensure that nuclear weapons are never tested on traditional lands again; to what we can do to care for Country; to meaningful acts of reconciliation in the local community. This task allows students to explore their personal responses to the text, as well as note any further questions it has raised for them.
Synthesising core ideas
Reconsidering the initial response
Students can reflect on their initial response to Maralinga, and how their knowledge and understanding has deepened with more intentional engagement throughout this unit. Discuss how meaning and value are augmented with context. Consider the text’s richness in detail and character, and its literary merit. A prompt like ‘what did I learn from studying this text?’ or ‘what was my biggest takeaway from the text?’ will be useful for scaffolding and drawing out responses.
As discussed previously, Maralinga ends on an optimistic note, focusing on Anangu’s hope for the future. Discuss the meaning of the final chapter title: ‘We Have Survived’ (pp. 65–67). Does this declaration carry more significance now that students have learned about what happened at Maralinga?
Revisit the Synthesising Task from the Initial Response section of this unit. Students should review their introductions and redraft/add to their work based on their newly developed understanding of Maralinga. The revised responses should comment on the importance of Anangu’s connection to the land and the physical, social, and emotional impacts of nuclear testing. Students should also draw on some of the testimonies from Maralinga to authenticate their work.
Due to the text’s highly emotive nature, you might like to give students time and space to respond imaginatively (through poetry or other artistic means) to what they have read and learned. For more tips on safely exiting the text, see Reading Australia’s teaching resource for The Secret River* (particularly the Informed Reaction section of that unit).
* Reading Australia title
Understanding Maralinga
As a fully informed reaction, students can develop a coherent, conclusive statement based on their understanding of the text’s themes, structures, and narrative techniques. They can do this as an informal writing task in class and share their work with others.
Wider cultural value
Due to the scale and global impact of nuclear weaponry, Maralinga has significant cultural value within Australia and beyond. Just as the NMA identifies the nuclear tests as a defining moment in Australian history, so too does Maralinga carry weight for its clear and accurate representation of what happened to Anangu as a result of wider global pressures and ongoing colonialism.
How else might the book’s cultural value be recognised? Brainstorm ideas together. This could include Maralinga being a mandatory text in every Australian school; Maralinga being studied in Year 7 History; or other national acknowledgements of its cultural value. Students could consider presenting and/or disseminating what they have learned via presentations, podcasts, posters, or letters within their school community.
Also consider other people who have told a story about Maralinga. Who shared their version of events first? To what extent is this text seeking to re-educate and clarify the truth about our history? Discuss how the narrative has changed as more people in Australia have sought out and celebrated First Nations voices.
Students can read The Rabbits*, written by John Marsden and illustrated by Shaun Tan, as an example of how the past can be examined through a new lens (note that The Rabbits is a story of colonisation from an Indigenous perspective, as presented by non-Indigenous authors). Students can then identify another historical event and brainstorm some of the ways that different stakeholders would view it. Such an activity highlights the importance of considering different perspectives – particularly those that have been historically marginalised or silenced groups – in different contexts.
* Reading Australia resource available
Rich assessment task 2 (responding and creating)
Literary judging
Discuss how literary accolades like the Eve Pownall Award (for which Maralinga was named an Honour Book in 2010) helps books to stand out. Acknowledge that texts have value regardless of whether they win awards, but that nominations do influence buyers and affect the overall appeal of a text.
Research the criteria for the Eve Pownall Award, noting that the books must document factual material and be appropriate for readers up to 18 years of age. Ask students to imagine that they are judges for this award and are considering Maralinga as a potential winner. Working in small groups, they will compose some comments to explain how Maralinga meets the award criteria. They can read p. 20 of the 2010 CBCA Judges’ Report for inspiration. This is an excellent opportunity for students to complete a collaborative writing task in which they make a case for Maralinga’s literary merit and enduring value as an exceptional text.
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