AustLit

In this volume, Charlotte Ward’s narration of re-enactments of the Endeavour’s landing in Cooktown traces local processes of engaging with and producing histories that bring together stories of that landing with the much longer story of Guugu Yimithirr sovereignty. Heather Burke, Ray Kerkhove, Lynley A. Wallis, Cathy Keys and Bryce Barker analyse the extent of fear on the Queensland frontier through a historical and archaeological study of homes and huts and their fortification. In a collaborative article, Myfany Turpin, Felicity Meakins, Marie Mudgedell, Angie Tchooga and Calista Yeoh consider three performances of Puranguwana, a ‘classical’ Western Desert song that emerges from the death of Yawalyurru, a Pintupi man. Paige Gleeson offers us a new perspective on the well-known image of Warlpiri-Anmatyerr man Gwoja Tjungurrayi, known since the 1950s as ‘One Pound Jimmy’, an image featured on postage stamps and on the two dollar coin. And Gretchen Stolte’s study of Queensland Aboriginal Creations situates the production of boomerangs for sale as work of cultural importance, enriching understandings of Aboriginal artwork and its production.

Source: ANU Press

"The articles in Volume 41 bring to light historical sources from the colonial frontier in Tasmania (Nicholas Brodie and Kristyn Harman) and South Australia (Skye Kirchauff) to provoke reassessments of colonial attitudes and expectations. Karen Hughes brings into focus little-known, intimate aspects of Indigenous women’s experience with African American servicemen on the World War II Australian home front. Diana Young’s study of accounts of Pitjantjatjara women’s careful productions in the Ernabella craft rooms in the mid-twentieth century deepens our understanding of a relatively neglected aspect of the art history of ‘first generation, postcontact Indigenous art-making among Australian Western Desert peoples’. Nikita Vanderbyl explores records of tourists’ visits to Aboriginal reserves in the late 1800s and early 1900s, focusing on the emotive aspects of the visits, and making the links between such tourism and colonialism. Janice Newton provides a close examination of the cross-cultural signs implicated in a documented ceremonial performance in early Port Phillip. Heather Burke, Lynley Wallis and their collaborators compare a reconstructed stone building in Richmond, Queensland, with other reputedly fortified structures, and find that the historical and structural evidence for this interpretation are equivocal, pointing to imaginaries of the violent frontier as much as tangible experience."

Source: ANU Press.

'Contributions to this issue of Aboriginal History range over the following topics: senior public servants in the state protection administrations, the voices of Aboriginal workers and mission residents in remembering and advocacy, institutionalisation and the sociospatial historiography of conflict, and the relation between policy and popular exhibitions. The diversity of encounter and the multiple impacts of violence, removal, isolation and surveillance are presented in fine-grained and quite revelatory scholarship that we are honoured to circulate.' (Preface introduction)

'Volume 39 of Aboriginal History is timely for the centenary of Gallipoli this year. The 56 Indigenous men who fought in this disastrous battle are duly noted in its special section on Aboriginal war service, edited by Allison Cadzow, Kristyn Harman and Noah Riseman. As Riseman points out in his preface, Aboriginal History can be credited as playing a leading role in the inception of growing interest in Indigenous combatants by devoting an earlier special issue to them in 1992, still nascent days for the field. ' (Preface introduction)

'Drawing on painstaking research into obscure though rich documentary sources, Aboriginal oral traditions, and first hand investigations conducted in the region over thirty-five years, Darrell Lewis pieces together the complex interactions between the environment, the powerful and warlike Aboriginal tribes and the settlers and their cattle, which produced what truly became A Wild History.' (Source: TROVE)