In many ways the modern history of the Ngarrindjeri ie. The nation, which probably numbered only slightly in excess of people at the time of the invasion, was bound to be destroyed: it was, after all, opposed by the British Empire at the height of its power. Yet in going down, it recorded so many remarkable achievements that the modern history of the Ngarrindjeri is not entirely a tragic one, and it is certainly a history of which the present-day descendants can feel justly proud.
George Taplin's journals are a major source for this book: in he set up what was to be the focal point of Ngarrindjeri life, the Point McLeay Mission, and it was he, more than any other individual, who affected, positively, the destiny of the people. His documents display a panorama of European and Aboriginal life over a period of twenty crucial years: the struggle was a continuous one against unsympathetic governments, unemployment, lack of land and viable industries, racism and high mortality rates.
This book won the Wilke Literary Award for non-fiction. Quarto; hardcover; pp. Special price.http://tip.dev3.develag.com
Past Lectures – AASV
This is the story of the Gundungurra and Darug people of the Burragorang Valley and lower Hawkesbury, commemorating their survival in a changing world and their ongoing struggle to protect their sacred lands and waters. The Blue Mountains were occupied as a summer camp by the tribespeople before white settlement. After colonization, an exodus began from the valleys and their homelands with many people being pushed into makeshift camps as land development started to encroach on the traditional ranges.
Eventually, most families moved to the Gully, in Katoomba, when the Burragorang was flooded in the s to create the Waragamba Dam. This, along with the impact of a new racetrack in impeded access to the tribal lands. The emotions and impact of history are conveyed through the voices of those who lived through the loss of their traditional lands, and through their descendants, in this moving collaborative effort. Mild wear; covers lightly edgeworn. Minor wear; covers lightly rubbed and edgeworn; spine sunned. Almost totally annihilated by a systematic genocide and the theft of their homelands, the Australian Aborigines met Western colonialism with a culture that had flourished in continuous harmony with the earth for more than , years.
From this culture and its Dreamtime revelation comes a revisioning of the Golden Age of Mankind.
Lost and future worlds: marine palaeolandscapes and the historic impact of long-term climate change
Robert Lawlor asks us to suspend our values, prejudices, and Eurocentrism and step into the Dreaming - to walk with our most ancient human ancestors into the First Day and discover a people who rejected agriculture, architecture, writing, clothing, and the subjugation of animals; a lifestyle of hunting and gathering that provided abundant food of unsurpassed nutritional value; initiatic and ritual practices that hold the origins of all esoteric, yogic, magical, and shamanistic traditions; a sexual and emotional life that afforded diversity and fluidity as well as marital and social stability; a people who valued kinship, community, and the law of the Dreamtime as their greatest "possessions"; language whose richness of structure and vocabulary reveals new worlds of perception and comprehension; a people balanced between the Dreaming and the perceivable world, in harmony with all species and living each day as the First Day.
Voices of the First Day is illustrated throughout with more than extraordinary photographs, bark paintings, line drawings and engravings. Many of these photographs are among the earliest ever made of the Aboriginal people and are shown here for the first time. Quarto; hardcover, with white upper board titling and decorated endpapers; pp. Minor wear; institution stamp on half-title page and presentation date handwritten on the title page; mild wear to board edges and corners.
One or two tiny scrapes on the dustwrapper edges; now professionally protected by superior non-adhesive polypropylene film. Very good to near fine. This book describes some of the features of life in the desert as told or shown by people who once lived here. Where there has been no real change, the present tense is used; for accuracy, however, when life is described as it was lived by nomadic bands before they settled, the past is used.
The desert language in the text is Walmajarri. Octavo; paperback; pp, with monochrome plates.
Light wear to card covers. Seven distinguished women writers look at the hitherto neglected professional contributions of another seven women, all early anthropologists working in Australia. The image of early women anthropologists in Australia has been one of Daisy Bates seated in the middle of nowhere, recording the habits and customs of "a dying race".
A harmless eccentric, or a serious pioneer of field anthropology? When anthropology began as a serious academic discipline in Sydney in the s, its lecturers and theoreticians were male; yet much of the fieldwork and research was carried out by women whose contribution remains marginalised, or omitted from the history of anthropology. In 'First in their Field', distinguished women writers look at the way those remarkable women worked, their difficulties and their hopes. This volume, documenting their courage and determination, is long overdue. Quarto; hardcover, with gilt spine-titling, decorated endpapers and a cream marker ribbon; pp.
Toned text block edges; a few marks on some pages. Scuffed dustwrapper with light edgewear now professionally protected by superior non-adhesive polypropylene film.
The book is a milestone in Aboriginal literature and is one of the earlier works in indigenous writing, in addition to being an important act of reclamation of Australia's black history. In her essay 'Aboriginal Art and Film: The Politics of Representation', Aboriginal scholar Marcia Langton reflects on the often complex debates and controversies that surround Morgan's 'My Place' - which have also plagued authors Mudrooroo and Archie Weller - and Aboriginal identity generally.
It recasts Aboriginality, so long suppressed, as acceptable, bringing it out into the open. The book is a catharsis. It gives release and relief, not so much to Aboriginal people oppressed by psychotic racism, as to the whites who wittingly and unwittingly participated in it.
This book provides a comprehensive examination of Aboriginal rock art. It also asks how and why archaeologists study prehistoric art. Morwood reviews the techniques, methodologies, and technologies that scientists employ and explains why their insights often cannot be gained through other types of archaeological evidence. The symbolic evidence found in rock art is virtually the only window into understanding the ideology, territoriality, resource use, and social organization of an ancient society.
First edition: quarto; hardcover, with spine titles and upper board decoration; pp. Moderate wear; one or two small marks on the boards; foxing to preliminaries and spotted text block edges. Dustwrapper with tears and associated creasing to the top of the lower panel; faded spine and front panel edges; mild edgewear; now professionally protected by superior non-adhesive polypropylene film.
A comprehensive thesis resulting from five years of study, research and travel among the aboriginal peoples of Australia, supported by a wide selection of photographs from the author's collection in the State Library of South Australia, with contents arranged under the following headings: Mythological places of the aborigines; Trees of the inland; Trees of the Northern Coast; General subjects in colour ; The Desert People; The aborigines of the North Coast; The aborigines in civilisation; Primitive camps and shelters; Foods of the Northern People; Foods of the Desert People; Water birds as aboriginal food; The many uses of a wooden dish; Water-craft; Art motifs of the Inland; Cave spirits of the Arnhem Land Plateau; The rituals of the Desert; The Arawaltja ceremony, Groote Eylandt; The Kulama Yam Ceremony, Melville Island; The opening rituals, Melville Island Pukamuni burial-ceremony; The final rituals Melville Island burial.
Quarto; hardcover, with gilt spine-titling; pp. Very slightly rolled; some very light toning to the text block edges; previous owner's ink inscription to the flyleaf; some mild offset to the endpaper edges. Dustwrapper lightly rubbed and sunned along the spine panel, with some very light wear to the top edge; now professionally protected by superior non-adhesive polypropylene film. Laid in: a slip of printed paper warning against exposing the book to indigenous Australian perusal without first consulting tribal elders.
Image of the cover available upon request only. Ex-libris: Michael Boddy. This book concerns the aborigines of the Mann and Musgrave ranges who lived in one of the world's most arid and desolate regions - the study of a people isolated from every outside influence. Dr Mountford shows how the landforms of the tribal areas are interwoven in their spiritual lives and how they inspired a cherished body of myths, legends rituals and ceremonies.
- Unbroken: A Ruined Novel.
- Blackjack Freedom.
- ‘A tale of decay’: the Houses of Parliament are falling down.
These observations are augmented by a collection of drawings and photographs principally taken during his own field researches and is closely integrated with the text. Three volumes: octavo; paperback; pp. Minor wear; scuffing to the covers; text block edges spotted; signed in ink on the first two title pages; previous owner's ink inscription to the first page of volumes 1 and 2.
She was Dr Sykes spent much of her adult years in the glare of publicity. From being arrested in at the Aboriginal tent embassy in Canberra, to being the first black Australian to graduate from a US university - namely, the ivied halls of Harvard - and the unresolved controversy over her entitlement to call herself Aborigine, she both polarised and compelled. From light and pretty flourishes - glimpses of plants, gorgeously framed sunsets and rocks cooled by moonlight - to moments of darkness and brutality, Roeg eases from beauty to menace in a manner befitting the fickle environment he captures.
Glorious and awe-inspiring one moment, dangerous and harrowing the next, the film put David Gulpilil - one of this country's finest indigenous actors - on the map. It premiered at the Cannes film festival but performed poorly at the local box office and drew a mixed response from critics. Among the topics debated by reviewers was whether it was actually Australian. While it may not be an Australian film in the technical definition, it went on to form an enduring legacy.
It is regarded as one of the earliest works of the Australian New Wave and is considered seminal - particularly for its bold, dreamlike exploration of the Australian wilderness and the deep spiritual bonds between the land and its original occupants. And like 'Wake in Fright's' nightmarish aesthetic, Roeg revels in the hallucinatory, creating a wilderness that exists as much in the mind as it does the land.
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