Anita Heiss River of Dreams Transcript Start of transcript Text on screen: Aboriginal and Torres Strait Islander viewers and listeners should be aware that this story may contain names, images and voices of deceased people. Description: Logan City Council Logo florals are the background with a Logan City Council logo on the bottom right hand corner. Text on screen: Winhangarra (Hear, listen, think) with Anita Heiss Join us as Anita shares the inside story behind her historical novel: Bila Yarrudhangaglangdhury (River of Dreams) Description: Anita Heiss is shown in the centre of the screen holding her book Bila Yarrudhanggalangdhuray. The background is of her book cover. Heiss is shown directly behind her with the title of the book below in white writing. The background is a fading teal colour and has some trees appearing in the right hand corner. Anita remains on this background holding the book for the duration of the video. Anita Heiss: Yiradhu marang. Anita greets listeners in the Wiradjuri language. Hello everybody, my name is Anita Heiss and I have Wiradjuri belonging from Erambie and Brungle missions in Central New South Wales and the Williams. I pay my respects to my elders, my ancestors, those who have passed over and Wiradjuri Country. But today I specifically pay respect to the Jagera, Yuggera and the Turrbal Peoples of Brisbane. Meanjin as we know it, where I am speaking to you from. I am super excited to be with you, joining you, having a yarn with you, thanks to Logan City Council and the amazing Library network there. I think there's nine libraries I've been to a couple of them and I think there is nine libraries in Logan which is just is extraordinary. And today I'm speaking specifically about my novel Bila Yarrudhanggalangdhuray. Bila Yarrudhanggalangdhuray can you say that? Bila Yarrudhanggalangdhuray. I hope you'll be having a go at it, it's not easy. I haven't counted but somebody told me there's like twenty two letters in this title. For those of you who don't know already the story, the book is a story of heroism and homecomings that begins with the great flood of Gundagai in 1852 and in particular two Wiradjuri legends Yarri and Jacky Jacky, who risked their own lives to save the lives of many others during the three day flood. Anita Heiss: Now post the flood, the story moves to Wagga Wagga. When Yarri's daughter Wagadhaany, she's fictional, I created her character is taken to serve a settler family, the Bradleys, and to be a companion to Louisa Bradley. And I'm going to unpack some of this as we go along. But this is just the summary. Now through the relationship of the two women, Louisa and Wagadhaany, we get an insight into the different lives for both Wiradjuri women and non-Wiradjuri women living on the land in New South Wales. Now, as Wagadhanny's new life unfolds away from her immediate family because they are back in Gundagai, she struggles emotionally, desperately sad and homesick until she forms a connection or relationship if you were with the local Wiradjuri people living behind the Murrumbidgee River or Murrumbidgee Bila in Wagga Wagga. And she learns that it's the river that can make or break dreams. Now, as with many of my novels, for those of you who have read other stories, you will know, I'm a big fan of a good love story, hopeless romantic, still believe at the age of nearly fifty three that I will meet my true love. And that is in Bila Yarrudhanggalangdhuray, see even I have problems saying it still, we witness a love between Wagadhaany and Yindyamarra. Now Yindy for short is her black knight, her black sweetheart who loves his woman unconditionally, as men should love their women. Anita Heiss: Theirs is a love story that demonstrates to me through my eyes when I wrote them a shared understanding through culture, through life experience and a sense of belonging to place particularly Wiradjuri country and Wiradjuri identity. Now, I know many of you are asking, yes, yes, yes, we know about great flood. I hope you do already know about the great flood. But you are probably asking where did I get the idea for this story and that's a valid question. Lots and lots of people ask me that. They always ask me, where did where was the seed planted for this story? Well, interestingly, in May 2017, I was actually in New York with my publisher from Simon & Schuster then, her name was Roberta Ivers and we'd worked on a couple of books together. We'd worked on Tiddas and we worked on Barbed Wire and Cherry Blossoms at Simon & Schuster as well. Now Roberta said to me, I want you I would really like to write an epic historical novel. I'll be honest with you I didn't even know what an epic historical novel looked like. Course I'd written historical fiction, I'd written Barbed Wire and Cherry Blossoms about World War two in Cowra in the Cowra breakout. I'd written, Who Am I? The Diary of Mary Talence. City 1937, which is a middle grade reader an early year seven, year eight novel about a young girl who was removed under the act of protection, but I didn't know what this epic historical novel would look like. Anita Heiss: And also I didn't know whether I had the capacity to actually write that novel. But you know what they say, I have always learnt if somebody believes you can do something, then chances are you can probably do it. So I said I'd give it a crack, but I had no idea, zero idea, what the story was going to be. All I knew was I wanted to look at life for women, Wiradjuri women and non-indigenous women, on Wiradjuri Country in the 19th century. I didn't even have a period of time that I was going to work in at this point, I just knew it was going to be a women's story. That's all I had when we had our first conversation. But a month later in June of 2017, literally four weeks later on the 165th anniversary of the Great Flood of Gundagai statues were unveiled on the main street, Sheridan Street of Gundagai of Yarri and Jacky Jacky and a canoe. And the story of that great flood and their extraordinary heroism, where over the course of those three days, it's believed between 80 and 100 people drowned. There was only a population of 250 that's a third of the town drowning. And that Yarri rescued 49 people and Jacky Jacky 20, they're the estimates. There were other, there were two other men out on canoes, Tommy Davis and Long Jimmy. But it's believed, I understand that they didn't save any lives, but they were out there searching as well. Anita Heiss: When I heard this story and I watched the unveiling unfold, I wasn't there, but I watched it on social media an my family from ??? Brungle and Gundagai were there. I thought, how is it that the whole country doesn't know about one - this extraordinary natural disaster. Which is one of Australia's I think, greatest natural disasters. I believe absolutely in terms of floods. And how don't they know about these extraordinary heroes, these men who risked their own lives to save the lives of other people that night. Now, in terms of recognition for Yarri and Jacky Jacky back then they were presented with engraved breastplates in 1878 and offered a lifelong pension, sorry 1875, which is actually 20 odd years after the event. Ok and then Yarri died only five years later. So I feel, as do many others, that they were not, in fact, appropriately or effectively acknowledged enough. Now, so I had this idea when I heard this story, I knew they had to be written about. People keep talking about how there needs to be a film of this of this great flood and I absolutely agree as well. But I still didn't have an idea for the novel. I knew that I would include it somewhere, I'd included flood though. In January of 2018, I started learning my language, what should have been my first language at the age of 50 on Country in Wagga as part of the Charles Sturt University Wiradjuri Graduate Certificate in Wiradjuri language. Anita Heiss: And I was being taught by the greatest teacher possible Uncle Stan Grant, and it was his work with Dr John Rudder that documented and recorded and created all these extraordinary resources that Wiradjuri Mob are incredibly lucky to have. And so I'm down there and I'm learning, I'm in the classroom with Uncle Stan and he and his graduates, Letitia Harris and Harry Lambshead and Lloyd Dolan, and I'm listening to the language just roll off their tongues like it's a completely simple thing to do. I can assure you it is not that easy. I mean, look at the look at the length of this word. I just so you know, Bila is Wiradjuri for river and Yarudhang means dream. Galang is the plural, so the many, many dreams. And Dhuray is the action of having the many dreams so Bila Yarrudhanggalangdhuray, the river of having many dreams or the river of dreams. So I'm down there and walkaround listening to this language. And I'm learning just every minute of the day that I'm there, I'm learning something new and extraordinary and mind blowing and empowering and life changing. And I wanted to share what I was learning. I wanted to, I realized I wanted to share. I want to acknowledge the heroes of the great flood and I also wanted to weave the history of life on the Murrumbidgee. The rest started to just fall into place every day that I was there it would fall into place of what I what I had to do, what I wanted to do. Anita Heiss: I went back to Wagga about eight times in two years, in the process of learning and writing. I went to Gundagai, I think four times in those two years, and Brungle as well. And each time inspiration just grew, as did the pressure on myself to write and create something that would speak to as big an audience as possible. And I cannot tell you how much anxiety I had in the months leading up to the release of this novel. I was sick with anxiety for two months until the book came out, hoping that I'd got it right, hoping that the elders would be happy, hoping that the descendants of those who drowned in the Gundagai flood, their families were happy with how I represented the story and so forth. So it was during my time when I was learning language down in Wagga Wagga that I also learnt that and many of you watching may have already thought this as well, that Wagga Wagga was often known as the place of many crows. But in fact, that's wrong. It's actually the place of celebrations which it's long been misinterpreted. Wagan the word for crow W-a-g-a-n. So it's very close to Wagga. So wagan wagan would have been many crows and only in recent years the Wagga local council or city council had to change all the collateral to acknowledge that it was that it had been wrong for many, many years. Anita Heiss: So actually, Wagga Wagga, cause Wagga means dance and Wagadhaany means dancer. When you read the story, you will see how that unfolds in her story in Wagadhaany's story and why dancing is so important to her. So I love that Wagga Wagga means you know place of dancing and celebrations, because every time I go there, it is like a celebration for me. Now continuing to learn language, I've learned more when I was writing the novel, sitting at my desk and trying to weave it into the story and so forth, but not being in the classroom. And of course, COVID prevented people traveling to Wagga last year and so forth. Even learning language remains a celebration and a connection for me to Wiradjuri Miyagan - It's family, to Wiradjuri Nguram-bang to country and to a culture that was once denied, my family. I mean I sat in a classroom learning language and cried one day because I realised the privilege that I have, learning that language that my mother couldn't learn, that it was outlawed, that my grandmother who was taken to Cootamundra Aboriginal Girls Home, couldn't speak even and so forth. So for me, speaking language is a reaffirmation of sovereignty and a chance to be part of the process of rebuilding our modern nation. But it's also a journey, I know that I'm fortunate enough that I can share with many others through things like this novel. Anita Heiss: So it was while I was wrapped in the love of being a yinagalang, yina is woman. So galang, as we know is plural, so yinagalang the women in my course. And I listen to the words and the wisdom's of Uncle Stan Grant and Letitia and Harry and Lloyd that I came to a deeper understanding of myself and how blessed I was to be able to listen and to gather and to share and to learn in a way that my mother couldn't. Now as part of that learning, I stood in the flood plains in Wagga, one particular song I never forget, I've got photos of me standing flood plains and I try to imagine life there for my ancestors and I realized very quickly I had to honour those ancestors who for millennia had lived and loved and nurtured the land and each other. I wanted to pay tribute to those who carry on culture, knowledge and language every day to still doing it today, and I felt that. I was the first in my family to go to that university, first Aboriginal person to graduate with a PHD from the University of Western Sydney, which is now a Western Sydney University. I had access to publishing because I'm an author and so forth, and I felt then, and I feel it every day that I have a responsibility as an author to write about our Wiradjuri heroes, our men and women. And to write them into the Australian literary landscape where we've either been ignored or forgotten for too long or misrepresented can I say. Anita Heiss Now I may be the author of this book, but it is filled with the love and the knowledge and the wisdom and support and the yindyammarra, the respect for Wiradjuri life and values of so many others. It was, you know my heart is so full of gratitude. You know I can't even find the words really to express my gratitude for Uncle Stan Grant and Dr. John Rudder, who have just given us this extraordinary gift, their work and in documenting our language. Now, I think I want you all there now doing really, ready Bila Yarrudhanggalangdhuray. Got it. Bila Yarrudhanggalangdhuray. I know you're doing it. I can hear you saying it. I wish you were in the same room today, but I'm glad that we can have a chat down the zoom lens, as it were. And, you know, it's really most of the story as we went on as the Wiradjuri were known as the people of Three Rivers, The Wombles of Macquarie, the Gallery, The Lochlan and the Murrumbidgee Bila, the Murrumbidgee River. And of course, most of the stories sit along the Murrumbidgee River. Now we live the story through Yarri's eyes, always through his daughter’s eyes, through Wagadhaany's eyes. Anita Heiss: And we also see the life and the landscape through the eyes of Wagadhaany's sweetheart Yindyamarra, his name, Yindyamarra is one of my favourite Wiradjuri words, I use it everyday. Sign my emails Yindyamarra because it means respect, it's respect and honour to be gentle and to be polite. So all our words have many meanings, it's a very complex language with our own grammar book as well. You literally have to stop thinking in English because it's not a translation of English, because our language is around before English. So it's actually you have to think Wiradjuri. And also want to mention Wagadhaany's mother as well. Yiramiilan, her name means sunrise. I think for me writing this story was also about the strength of Wiradjuri women, our resilience and our strength and our capacity and our dignity through difficult times. And in the short lesson in language, I'm on my L plates, on my L plates. I'm going to be learning for the rest of my life. But I'm going to teach you what I like to teach kids in classrooms, Mandaang guwu means thank you. So that's a phrase I use every day as well. Now, when I decided to write a historical novel set on Wiradjuri country, I immediately thought I had to start. So I am learning and so forth, and I, I am a plotter so I map everything out. So I go, OK, the novel I know is going to be it's going to be set in Wagga. A lot of it's going to be Wagga, it's going to be women's story. Anita Heiss: It's where I'm learning the language. It's where I'm spending a lot of time. It's where I'm learning about how our ancestors lived and so forth. So a lot of the story is going to be Wagga. But I say, right, I'm going to start with story in Gundagai and with the great flood so I can pay tribute to the heroes. And then I'm going to work a story around that gets a character to Wagga. And then, of course, it's a story of homecomings as well. I don't want to give too much away for those who haven't read it, but it will speak to the homecoming of somebody's homecoming going back to country in Gundagai and so forth. Now, I wanted to, you know I was just thinking when I was learning the language I'm sitting in the classroom. It wasn't just Wiradjuri people in the room. They were non-Wiradjuri, non-indigenous teachers in my cohort, who wanted to learn language who teach in schools on Wiradjuri country, and they wanted to learn language to better teach their students, but also to better be better equipped to embed Indigenous perspectives in the classroom. So I acknowledge those as well, those students as well. Now, for me generally, and you know I say I'm not fluent, I try to do all of my greetings and openings and acknowledgements in language, and every time I do that to me, it's an act of sovereignty. And just as Aboriginal people were forced to speak, listen and read and write English, this is a form of for me turning the tables that this is not an oppressive exercise like it was under the assimilation policy or the acts protection that disconnected Aboriginal children from their families and from culture and language and identity. Anita Heiss: For me, embedding language in Bila Yarrudhanggalangdhuray was a deliberate act. I wanted to include as much language as possible as a way of reclaiming the original language of Gundagai and Wagga Wagga, as a means of documenting Wiradjuri language in Australian fiction. And for me, using language, as I say, is a very empowering act of sovereignty. And I have so many people, both black and white, who come up to me and say, how and how would they feel hearing language? They don't know if I'm saying it wrong though so you know or was there any fluent speakers in the audience and if it's fluent speakers logged in right now, apologies if I'm, you know I'm doing my best. And as I say, I'm just learning. And I did start learning what should have been my first language until the age of 50. For me, it's important that readers of all literature in Australia understand that every language other than the original languages and dialects of Australia are introduced languages that everywhere you walk in Australia, every part of this country has an original language that exists or existed at the point of first contact. If you want to write the great Australian novel, you must acknowledge the First Nations peoples of wherever that novel is set. You cannot write the great Australian novel and leave out First Nations, Australians. Now, as we know, in 2019, the United Nations declared an international year of the world's Indigenous languages. Now, the UN declared this year in order to encourage urgent action to preserve, revitalize and promote Indigenous languages. Now, in 2022, so begins the United Nations decade of Indigenous languages, which I think is super exciting. It's really raising the profile and making, making people understand the importance of working to make sure we reclaim and maintain those languages. Now, for those of you who weren't aware, according to the Australian Institute of Aboriginal and Torres Strait Islander Studies, there are more than two hundred and fifty Indigenous Australian languages, including 800 dialectal varieties spoken on the continent at the time of European settlement in 1788. Now they use the word settlement, that is not the word I would use. I would use the word invasion and that the processes of settlement and colonization followed invasion, just as a side. AIATSIS also say that only 13 traditional Indigenous languages are still acquired by children and that approximately, approximately another 100 or so are spoken to various degrees by older generations, with many of these languages at risk as elders pass away. Now, I've mentioned Uncle Stan Grant and Dr. John Rudder their legacy is their extraordinary work in documenting our language. Anita Heiss: For me, Bila Yarrudhanggalangdhuray is just a very, very, very small contribution to that process of language reclamation and maintenance. So I'm going to ask you a question now in terms of talking about 2022 the decade of indigenous languages. We've just had Reconciliation week, we're going into NAIDOC week where we talk about non-indigenous people need to be brave, they need to rise to the challenge. So my challenge for you is, I want you to start thinking about how you can incorporate the local language wherever you are into your physical environment, into your daily lives as recognition that everywhere you walk in Australia, there is a first language. There are stories and sights, even though they may be covered in tar and concrete and tower blocks and so forth. Ok there's my challenge so start thinking about that. Now, I want to talk a little bit more about the cover because I just love this cover, I absolutely love it. Oh, you can feel the Gugaa and so forth. So they say you can't judge a book by its cover, but I've always believed that a cover should speak to the story, and that is no truer than with Bila Yarrudhanggalangdhuray, which we know from the back translates to river of dreams. Now, in case you can't say Bila Yarrudhanggalangdhuray, when you go into a local bookstore, you can go in and say, I'm after Anita Heiss' River of Dreams. Anita Heiss: Now, Wiradjuri language on the cover of my novel makes an incredibly strong statement for me as an author and Simon & Schuster as a publisher, regarding the reclamation and maintenance of the traditional language of my family. It is the language of the Wiradjuri characters in the novel, as we know, it is the language of Yarri and Yiramiilan and their daughter Wagadhaany and her husband Yindyamarra and all their extended families. Now the beauty of the Bila is captured, look at that gorgeous photo that's actually a photo of the Murrumbidgee river. And also it's overlaid with this gorgeous Gugaa, which is Wiradjuri for Goanna, which is the totem of many Wiradjuri people from Wagga Wagga, Gundagai and Brungle, where the story is set as we know. Now, to have my cousin artist, Luke Penrith is from Brungle. He's an entrepreneur, he's an artist, he creates artwork for clothes, for sportswear, beautiful scarves, linen he is amazing, genius. So to have him provide this beautiful image of the goanna makes the cover even more culturally and personally significant to me. Now, I did not just write a story. I wrote something that is part of the history of the First Peoples of New South Wales. And that matters to me and it matters to those in the story, the characters that that it represents, and it matters to Luke. So I really want to thank Luke for that. Anita Heiss: The Kuraccagalang, the Cockatoos you can see on the cover, in full flight. They represent the totem of Wagadhaany and her mother and I chose that totem to honour my late friend, Kerry Gilbert, who was a Wiradjuri poet and activist, an extraordinary woman. And she passed away in 2019 and the night cockatoo was her totem. We also have in our language a number of different words for Cockatoo, but I chose that language word because that was the word that Kerry used to use. And in fact, I use the names of her grandchildren for some of the characters in the novel just to keep her memory alive as well. Now, we believe that it's the first time in Australian commercial publishing that any novel has been published with no English on the cover. And so that's a very exciting thing. I mean, it's hard to believe, isn't it? We're in 2021 and no Australian commercial novel has had Aboriginal language on the cover before, and one friend calls it the Cathy Freeman moment of Australian publishing. Now for me, it was important that I get it absolutely right, the story, the cover, everything. And I was really thrilled to have one elder Bidyadya Aunty Elaine Lomas and she's my one of my language teachers, also Uncle Stan Grant's sister, send me an email and say marambanggalang, which means awesome or good. She said I love it, it's peaceful. I love the colours in the afternoon sunlight on the banks. So that matters to me. It matters what the elders think of my work. The cover, the story, the language it all involved me being there down on country learning the language, researching, listening to locals and elders who knew more than I ever could. I spent a lot of time in Gundagai, mentioned Brungle, Wagga Wagga. I had people down on country reading drafts for me. Amazing help from Wagga Wagga Library, I mean, everybody thinks that the knowledge at libraries is on the shelves quite often it's the staff who have extraordinary knowledge. So the staff at Wagga Library are amazing. And in Gundagai library, I couldn't have done this without their assistance. I want to shout out to them, to all libraries. I talked about the concept for the story with my cohort of Wiradjuri women who are learning language, Rebecca Connolly, Helen Uren, Letitia Harris and Bidyadya Elaine. And they also read drafts for me as well. Now, Miriam Crane, the manager of the Cootamundra-Gundagai Tourism Office and is a font of knowledge in terms of local history of Gundagai and she just gave me so much information and read drafts. And she's also on the steering committee. I think this committee had about 12 people on it, including Annie, Sony Piper from Brungle and Peter Smith, who was the chair. They were responsible for getting the submissions in for the statue, but also for Posthumous Heroism Award, which was presented to the committee for Yarri and Jacky Jacky in 2019. Anita Heiss: So the acknowledgements were finally coming, but of course, it's very, very late - 165-166 years later. But I really relied on Miriam's knowledge and wisdom and so forth. And Miriam and Aunty Sony launched the novel in Gundagai and Aunty Elaine launched it in Wagga Wagga oh sorry in Canberra. And Cheryl Penrith, that's Luke Penrith's mother, my cousin, will launch it in Wagga as well. So it's for me, this really is a book about, but also for Mob who live on country as well and I want everybody to have a sense of ownership over this story because it's all of our history, black and white. I also, I also got to meet I mean, researching for me is the biggest part, you know writing it, yes writing you have to write it but researching is the biggest part of any book that I do. And while researching, I got to have a conversation, a couple of conversations with a gentleman by the name of Ian Horsely, excuse me. His great great grandfather was saved in the flood by Yarri and his family have since then have done a number of acts to acknowledge in town and on their property, acknowledge Yarri and so forth. So they have a statue on their own property and they donated a sundial to the town in honor of Yarri. And Ian Horsley was at the launch in Gundagai and stood up and said, I just want to I really want to say I'm grateful and I want to thank Yarri, because I wouldn't be here if it wasn't for him. Anita Heiss: And so that matters to me, real people who who are still living memory of examples of history and living through this history they matter to me. They're who I write for. I wanted to do so much with this novel in terms of the love story between Wagadhaany and Yindyamarra. I wanted to show Aboriginal people Wiradjuri people as humans who love and fear, who believe and belong. And that and that we always have, we've always loved, we've loved other humans, we loved country. Because part of the love story is also a love story about country as well. Anita Heiss: Now, Yindy and Wagadhaany are dignified, they're intelligent, they're hardworking characters, and we are really portrayed in that way in Australian literature. And that omission means we are not considered for all that we are and all that we give or that we bring to society back then and today. Now, Louisa Spencer is a Quaker and she marries James Bradley. She has quite a multifaceted character with her background as a Quaker. Now it's through Louisa that I wanted to show the differences in lifestyles between black and white women at the same time living on Wiradjuri country. And I wanted this to be a story that, I wanted this story to be about friendship and what bonds women together. Now, when I learned that the Quakers had Aboriginal rights and convicts rights as part of their early platform, it just it gave me a way of making Louisa's character have some more depth, it made it made me be able to give Louisa, Louisa then had a purpose. Whether it's realized or not, you have to read the novel. But again, you know, you could really see that friendship is possible between two different women. But what does that power, what does that power structure look like between them and how is it reflected between indigenous and non-indigenous women today? Interesting things, and there's some of these things I didn't think about till after I'd written the story, didn't write them intentionally. Now people often ask me what it is, what is it, that I want readers to take away from Bila Yarrudhanggalangdhuray? Well, I think when I personally think when we understand, when we understand our past, or when you understand the past, we better understand our present. And Australia is coming to terms, I think, with realities of Aboriginal experience throughout history and how that plays out today, the way we grieve being off country, the issues around having pride in identity, or how do we have pride in identity when you may not know where your family is from. If you were forced from traditional lands, as many Aboriginal people were the country over, or if your actual being stems from violence and abuse in your family history at the hands of white settlers. Anita Heiss: We've come to understand, what happened in the past, we better understand today and who we are. I really hope that readers take away a greater respect for our role, our people, the role that Aboriginal people have played in working the land, a greater understanding of what country means to us, and although we may have been forced to become resilient over decades of facing adversity, that we remain incredibly proud people. Proud people. Also, this novel might contribute perhaps to the conversation around the lack of statues that recognize our warriors and leaders, as opposed to the enormous number of statues that celebrate particular colonizers and colonial events that do not tell the full story, that do not include First Nations people and our role in the shared history of this country. Now, I would like to keep talking to you for a very long time, but I think my time is up. I want to thank Logan City Council and Logan, the network of Logan Libraries, for having me have a yarn with you. I'm really looking forward to hearing what you think about Bila Yarrudhanggalangdhuray or river of dreams, whichever you choose to call it. And because my view is this is an Australian story and it's for all Australians, it's not laying blame. It's just telling a story, there is so many more stories to be told. I hope that my story, the story of Yarri, Jacky Jacky, Wagadhaany and Yindyamarra speaks to your heart. So from my heart to yours, mandaang guwu. Description: Logan City Council Logo is centred with text below. Logan City Council Logo bottom right hand corner. Text on screen: Logan City Council ©2021 Logan City Council End of transcript