Debra Dank on family, culture, connection and the power of memory in ’Ankami’

Debra Dank had long been desperate to paint a fuller picture of her family, to add flesh to the name-bones and the few precious stories she possessed. Debra had been aware of her father's five siblings, some of whom had died before she could come to know them, but there were always whispers and gaps and silences. Her parents had experiences that affected how Debra grew up, but hers seemed to be one of the very few Aboriginal families who had escaped having children stolen, who had viewed this horror from a seemingly safer distance. What Debra discovered would shatter everything she thought she knew about her family and her past. The information she uncovered revealed that her paternal grandmother had given birth to ten children. Four had been taken from her. Ankami is written from the perspective of those left behind, those who search always for the faces of stolen and lost Aboriginal children, now known only through a few cruel, thoughtless words written by a violent pastoral manager and a paternalistic colonial administrator, a footnote in a yellowed letter. In this episode Gregory Dobbs chats to Debra Dank about the culture of silence she faced in uncovering her family history, the memories she relied on to tell this story and those she was compelled to imagine in the absence of the family she never knew, and the inadequacy of Australian standard english in describing, expressing and communicating Aboriginal culture and the words she invents to address that problem.