‘This issue sees the airing of the debate between McConvell and Harris with the latter’s reply to the article on 'neo-Whorfians' which we published in the first edition of 1991. These are critical issues for both educationalists and linguists and, as editor (impartially standing by and watching?), I find one aspect of the debate quite intriguing. Both writers assert that their point of view reflects the Aboriginal reality and so perhaps by implication reflects a state of affairs closer to the truth. We encourage debate because it is from the synthesis of intellectual inquiry that we come to a better understanding of the world in which we live. Epistemologically of course, that understanding will always be a reflection of our own point of view regardless of how w the syntheses progress. But that should not discourage us from building upon the ideas of others. It was William Blake who wrote that 'without contrary is no progression'. Aboriginal and Torres Strait Islander studies have come a long way since the First Feet and this is, in part, due to the enlightened debate and the expression of well-argued but fundamentally different points of view. While the debate about 'neo-Whorfians' must rest, at least for the time being, we continue to encourage discussion and differing points of view.’ (Editorial introduction)
Contents indexed selectively.
'This book was intended as a chapter in the book: Missing in Action: Australian Popular Music in Perspective (volume 1 is published by Verbal Graphics, Kensington, Victoria 1987), but it became too large and Aboriginal Studies Press accepted it for separate publication. The book is mainly concerned with Aboriginal popular music, especially over the period about 1975-85 (with an update to 1988). Considering the large size of the subject as revealed in the book, it is surprising that so tittle of a general nature about it has been published. This constitutes its importance since so few are aware of the vitality of Aboriginal music-making beyond traditional music. A s the authors ruefully point out, Tribal music has mad e more forays into the white world than non-tribal, because it has had more support from the establishment both at home e and overseas' (p 109).' (Introduction)