Walkabout Through The Life Of Jack Crombie

Katatatjunti, Jack Crombie is a full blood Aboriginal of the Yankunytjatjara people. He tells his story to his wife Gwen who explores the many directions Jacks life has taken. Tribal life in the far north of central South Australia, on walkabout with his family as a child, station life with the Crombie family on Mount Eba station South Australia. How Jack received his whitefellow name From no cloths to modeling cowboy clothing for RM Williams. Droving on the Birdsville Track, cattle mustering in Queensland. The circus circuit where Jack made a name for himself as a rough rider and fame doing what he loved most; rodeo riding, traveling Australia, Canada and New Zealand. A career which ended in Blackhole Queensland where Jack sustained injuries when he was impaled on a post as a result of being thrown from a bucking horse. This accident may have ended Jacks career but it did not stop him, for he continued breaking in horses and working stock, even occasionally returning for a rodeo ride. Jacks last ride in the rodeos was in 1982 at Wilcannia where he rode second. Jack combined city life with the rodeos for some years while living in Melbourne Victoria where he also worked at Smorgans Meat Works. On returning to South Australia in 1979 Jack continued station work in the Coober Pedy area before returning to the town to live, trying, his luck at opal mining while working with the town council on the Water Works project. In 1993 Jack joined the South Australian Police Force training as an Aboriginal Police Aide fulfilling an interest developed when he tracked for the Police. Jacks name is known and remembered today in many parts of Australia; in Western Australia as the boy from the Nullabor in the rodeo circuits. South Australia, Queensland, NSW and Victoria as king of the rodeo, for both his rodeo riding and tracking expertise. Jack was a council member for Umoona Community Council Coober Pedy for many years where he worked hard for the community spending hours of his time helping the elderly and the youth with guidance and Cultural teaching. Jack also struggles to elevate racism. Jack shares his memories, thoughts and feelings along with his experiences to form a unique story of outback Australian history, as he shares the struggles and bridges crossed during the changes and directions his life has taken. Jack over come many hardships with physical and inner strength combined with a gentle happy nature. He has a wide circle of friends from those down on their luck to the rich and famous. Jack was one of two Aborigines to have the opportunity to shake hands with the Queen Mother after he led the parade for her on horse back in Melbourne in 1958. The other was Australian artist Albert Namanjara. Tex Morton and Slim Dusty are two friends Jack traveled with, Slim wrote a song Trumby about Jack it is produced by Colombia on the recording The Best of Slim Dusty. A poster advertising Jack riding for the rodeo in the circus can be seen in the Barmera Country and Western Hall of Fame South Australia. In Queensland the Birdsville Museum has photos and information pertaining to Jack and his rodeo and droving days. He has also featured in many magazines, newspapers and documentaries. Jacks story is of great value to Australian Aboriginal droving and rodeo history, an inspiration to the youth of today. And a tremendous Cultural reference for Aboriginal history.

History, Power, Text: Cultural Studies and Indigenous Studies is a collection of essays on Indigenous themes published between 1996 and 2013 in the journal known first as UTS Review and now as Cultural Studies Review. This journal opened up a space for new kinds of politics, new styles of writing and new modes of interdisciplinary engagement. History, Power, Text highlights the significance of just one of the exciting interdisciplinary spaces, or meeting points, the journal enabled. ‘Indigenous cultural studies’ is our name for the intersection of cultural studies and Indigenous studies showcased here. This volume republishes key works by academics and writers Katelyn Barney, Jennifer Biddle, Tony Birch, Wendy Brady, Gillian Cowlishaw, Robyn Ferrell, Bronwyn Fredericks, Heather Goodall, Tess Lea, Erin Manning, Richard Martin, Aileen Moreton-Robinson, Stephen Muecke, Alison Ravenscroft, Deborah Bird Rose, Lisa Slater, Sonia Smallacombe, Rebe Taylor, Penny van Toorn, Eve Vincent, Irene Watson and Virginia Watson—many of whom have taken this opportunity to write reflections on their work—as well as interviews between Christine Nicholls and painter Kathleen Petyarre, and Anne Brewster and author Kim Scott. The book also features new essays by Birch, Moreton-Robinson and Crystal McKinnon, and a roundtable discussion with former and current journal editors Chris Healy, Stephen Muecke and Katrina Schlunke.

Wild, unpredictable, and deeply vulnerable, Barbara and her sister Ren� are singing for their lives. Barbaras been trying to make it in Sydney, but when their mothers health deteriorates, the sisters embark on a pilgrimage back home to country. Full of painful, unfinished business for Barbara, their return sends her into a downward spiral. Can Barbara find a way to resolve the past in time to preserve love in the only family she has known? Through music that ranges from punk-inspired explosions of rage, to tender rock and soul ballads full of yearning, Barbara and the Camp Dogs is a gob-spit of fun, frenzy and family that finds beauty in honesty and hope in confronting the past.

The Australian Film Revival: 70s, 80s, and Beyond explores the matrix of forces – artistic, cultural, economic, political, governmental, and ideological – that gave rise to, shaped, and sustained this remarkable film movement. This engaging new study brings fresh perspectives, insights, and innovative approaches to a variety of films from a diversity of filmmakers. Areas of focus include the complex and contentious subjects of masculinity, femininity and feminism, the maternal, as well as the Indigenous road film and the protean Australian gothic. During the formative years of the revival, Australian films seemed to emerge from out of the blue in terms of global film history, with many features including Picnic at Hanging Rock (l975), Caddie (l976), The Last Wave (l977), The Chant of Jimmie Blacksmith (l978), and My Brilliant Career (l979) receiving international distribution and enthusiastic critical acclaim with strong box office results. By the time the film revival was in full swing, not only did Australian audiences flock to theaters to see “homegrown” films, but the quantity of Australian films on overseas screens was so high that ardent critics declared this outpouring an Australian “New Wave.” The eyes of the world had turned to a compelling and largely unknown culture.

Deep in the heart of Andalusia on the outskirts of the ancient towering walls of Arcos de la Frontera is a seemingly quiet town, which holds a chillingly malevolent secret. Once revealed it will challenge the very fabrics of what we consider reality to be. Born of the Dream, Fuko (short for Fukushima), a two-and-half-year-old Patterdale Terrier, holds the key to this mystery and upon him is thrust the responsibility of the Guardian, a role that plunges him into the thick of an adventure that spans the vastness of time and the dimensions of existence. Will Fuko be able to navigate the treacherous path of becoming the fully fledged Guardian, all while protecting his adopted dog family and facing an energy so entangled in the Dream that it threatens to envelop and enslave all of humanity, the animal domain, and all of existence with it? Told through rich allegory, Dawn of the Guardian offers readers a journey into the world of lucid dreaming through an adventurous, fun-filled, and often spine-chilling tale.