Jandamarra

Jandamarra is an aboriginal warrior of the spiritual Kimberley area of Australia, home to the tribe known as the Bunuba people. Jandamarra is a legendary hero of the 1890s known to his people as a Jalgangurru, a magic man, due to his extraordinary skills and abilities. He is a cheeky, likeable boy, and a quick learner. At around 12 years of age, Jandamarra, named Pigeon by the whitefellas, begins working on a sheep station, where he learns to shoot, ride horses, and live among the whitefellas. These are skills which will serve him well in his manhood. He is popular among whitefellas and enjoys the excitement and movement of their way of living, but the time comes when he must return to his tribe for initiation into manhood. Jandamarra is torn between black and white cultures. But how can he belong to two different worlds with each pulling at his loyalties? How can he be accepted by one without rejecting the other? This powerfully spiritual story of the legendary Jandamarra is based on extensive research of people and events.

SHORT-LISTED: CBCA Book of the Year, Eve Pownell Award for Information Books, 2014 He emerged from the cave of bats with the name given to him by his people. He was Jandamarra - a man of power who could appear and disappear like a ghost. Set in the Kimberley region in north-west Australia, this is the story of a young warrior born to lead. To the settlers, he was an outlaw to be hunted. To the Bunuba, he was a courageous defender of his country. Mark Greenwood's text and Terry Denton's watercolour illustrations bring to life this story of conflict and divided loyalties - giving a unique insight into an extraordinary man and a tragic but important part of Australia's frontier history.

This book is an overview and analysis of the global tradition of the outlaw hero. The mythology and history of the outlaw hero is traced from the Roman Empire to the present, showing how both real and mythic figures have influenced social, political, economic and cultural outcomes in many times and places. The book also looks at the contemporary continuations of the outlaw hero mythology, not only in popular culture and everyday life, but also in the current outbreak of global terrorism. The book also presents a more general argument related to the importance of understanding folk and popular mythologies in historical contexts. Outlaw heroes have a strong purchase in high and popular culture, appearing in film, books, plays, music, drama, art, even ballet. To simply ignore and discard such powerful expressions without understanding their origins, persistence and especially their ongoing cultural consequences, is to refuse the opportunity to comprehend some profoundly important aspects of human behaviour. These issues are pursued through discussion of the processes through which real and mythical outlaw heroes are romanticised, sentimentalised, sanitised, commodified and mythologised. The result is a new position in the continuing controversy over the existence the 'social bandit' that highlights the central role of mythology in the creation and perpetuation of outlaw heroes.

The Aboriginal Australians first arrived on the continent at least 60,000 years ago, occupying and adapting to a range of environmental conditions—from tropical estuarine habitats, densely forested regions, open plains, and arid desert country to cold, mountainous, and often wet and snowy high country. Cultures adapted according to the different conditions and adapted again to environmental changes brought about by rising sea levels at the end of the last ice age. European colonization of the island continent in 1788 not only introduced diseases to which Aborigines had no immunity but also began an enduring and at times violent conflict over land and resources. Reconciliation between Aborigines and the settler population remains unresolved. This second edition of the Historical Dictionary of Australian Aborigines contains a chronology, an introduction, an extensive bibliography, and more than 300 cross-referenced entries on the politics, economy, foreign relations, religion, and culture of the Aborigines. This book is an excellent resource for students, researchers, and anyone wanting to know more about the indigenous people of Australia.

First Australians is the dramatic story of the collision of two worlds that created contemporary Australia. Told from the perspective of Australia's first people, it vividly brings to life the events that unfolded when the oldest living culture in the world was overrun by the world's greatest empire. Seven of Australia's leading historians reveal the true stories of individuals—both black and white—caught in an epic drama of friendship, revenge, loss and victory in Australia's most transformative period of history. Their story begins in 1788 in Warrane, now known as Sydney, with the friendship between an Englishman, Governor Phillip, and the kidnapped warrior Bennelong. It ends in 1992 with Koiki Mabo's legal challenge to the foundation of Australia. By illuminating a handful of extraordinary lives spanning two centuries, First Australians reveals, through their eyes, the events that shaped a new nation. Note: This is the unillustrated version ofFirst Australians.

Entrenched until recently in Western aesthetics, Australian composers are now developing a functional cultural identity expressed through a distinctly nationalistic musical idiom. Its ongoing formation, inspired by Australias Aboriginal heritage and unique natural environment, seeks to distance the nations artistic developments from the geographically remote Occidental regions and emphasize its native cultures. Presently, however, mounting sociopolitical and ethical concerns surrounding the cultural borrowing between Indigenous and non-Indigenous peoples are problematizing the developing nationalistic idiom, as composers must determine whether the two groups share any legitimate connection beyond mere occupation of the same land, given their tense post-colonial history. Musicologist Beatrice Dalov traces the formation of the Southern Lands cultural identity while simultaneously considering its complex relationship with the nations First Peoples. She illuminates the origins, influences, and developments of Australian art music, from colonization (late eighteenth century) to the present day, interweaving the social, cultural, political, and economic forces that shaped (and often determined) its evolution. The history demonstrates that the complex processes of articulating a unique cultural identity began almost immediately after arrival of the first colonists and continues uninterrupted through today. Drawing on newly available archival material, key works, and personally conducted interviews with numerous contemporary composers, Dalov traces the history of the lands music, from scattered convict settlements and eventful contacts with Aboriginal peoples, to the formation of a national musical infrastructure, to todays thriving musical independence. She brings forward not only the most prominent composers and musicians of the last century, but also those who laid a crucial foundation and offered the first contributions toward a national idiom. A comprehensive history of the music of the Great Southern Land has been too long neglected by social historians and musicologists worldwide. Beatrice Dalov sets the record straight.

Witty and satirical, this account of Australia's heroic past rediscovers the contributions of Indigenous Australians that have since remained unrecorded and unacknowledged. Drawing on original records of the time, it moves the spotlight away from its traditional focus to illuminate those whom history had forgotten.

The Western in the Global South investigates the Western film genre's impact, migrations, and reconfigurations in the Global South. Contributors explore how cosmopolitan directors have engaged with, appropriated, and subverted the tropes and conventions of Hollywood and Italian Westerns, and how Global South Westerns and Post-Westerns in particular address the inequities brought about by postcolonial patriarchy, globalization and neoliberalism. The book offers a wide range of historical engagements with the genre, from African, Caribbean, South and Southeast Asian, Central and South American, and transnational directors. The contributors employ interdisciplinary cultural studies approaches to cinema, integrating aesthetic considerations with historical, political, and gender studies readings of the international appropriations and U.S. re-appropriations of the Western genre.