No Sugar by Jack Davis, first performed in 1985, is a postcolonial realist work written in protest against the 1988 bicentennial celebrations. In this play Widely applicable, Davis highlights discrimination against Aborigines between 1929 and 1934 and in particular its justification under the government's policy of "protectionism". Focusing on the experiences of the Millimurra family, No Sugar highlights the views of the Aborigines. Aboriginal people as uncivilized, the attempt to assimilate them into white culture through Aboriginal reserves such as the Moore River settlement, and the resilience and determination of Aboriginal people faced with almost total helplessness. the notion of defining power along racial lines This concern would elicit very different responses Economic, political and social power, but also the less tangible but equally valid linguistic power of the play, are invariably held by white people. That said, Aboriginal people are, to some extent, strengthened by their own language and culture and by their resilience in the face of oppression. Economic power is manifested in particular by the allocation of resources to the Aborigines in the form of “rations”. An element of protectionism, this allocation is more broadly representative of the inability of the Aborigines to overcome social stigma and achieve self-sufficiency. The second scene sees the sergeant respond to Gran's request for soap by suggesting that the Aborigines "will have to work if they want luxury items like soap". In response, Milly highlights the inability of the Aborigines to receive fair remuneration for their work, arguing that in exchange for Joe's labor he received "a pair of second-hand boots and a piece of... middle of paper ... ... likely to have a negative reaction to the political and social domination depicted in No Sugar. The need for white and indigenous cultures to exist together would be recognized by a white audience. No Sugar also highlights issues of Indigenous identity, that is, how Indigenous people view themselves and how they are viewed by others. It is suggested that white people's singular view of indigeneity is at the heart of many forms of racism. Such questions, like questions of power, elicit different responses from white and indigenous audiences in original and contemporary contexts. The play highlights “authentic” originality, suggesting that the Aborigines are uncivilized, impure, untrustworthy and highly inferior. For example, the sergeant suggests that "the natives would be better off keeping to themselves", and that he has "nothing against them, but [he] knows exactly what they look like.'.