A woman's life on Victoria River Downs 1949-1958.

The frontiersmen who came to the Victoria River District of Australia’s Northern Territory included cattle and horse thieves, outlaws, capitalists, dreamers, drunks, madmen and others, from the explorers of the 1830s and 1850s to the founders of the big stations in the 1880s and 1890s, and the cattle duffers in the early 1900s. This book looks at them all. Drawing on painstaking research into obscure and 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.

This is an extremely well researched work which will be treasured by all horse riders. It is a very thorough account of Australian spurs and the bush blacksmiths like Fred Gutte who designed his on Wave Hill Station, but is much more that. If offers a romantic folklore of the horsemen who used the spurs in their sometimes dangerous and often lonely rides on the cattle stations between outback Queensland and the Kimberley.

Felicity Meakins was awarded the Kenneth L. Hale Award 2021 by the Linguistic Society of America (LSA) for outstanding work on the documentation of endangered languages This volume provides the first comprehensive description of Bilinarra, a Pama-Nyungan language of the Victoria River District of the Northern Territory (Australia). Bilinarra is a highly endangered language with only one speaker remaining in 2012 and no child learners. The materials on which this grammatical description is based were collected by the authors over a 20 year period from the last first-language speakers of the language, most of whom have since passed away. Bilinarra is a member of the Ngumpin subgroup of Pama-Nyungan which forms a part of the Ngumpin-Yapa family, which also includes Warlpiri. It is non-configurational, with nominals commonly omitted, arguments cross-referenced by pronominal clitics and word order grammatically free and largely determined by information structure. In this grammatical description much attention is paid to its morphosyntax, including case morphology, the pronominal clitic system and complex predicates. A particular strength of the volume is the provision of sound files for example sentences, allowing the reader access to the language itself.

This book sets out the evidence to answer to this question and outlines its development and spread from one side of the continent to the other. It’s an amazing and quintessentially Australian story, one of the many stories from Australia’s ‘hidden history’. It will be of great interest to all the men and women who have used the technique, to those who are now attending bronco branding competitions, to any who have wondered at an old bronco panel or a faded photograph of broncoing in action, and to all who are fascinated by Australian history.

"The Gurindji people of the Northern Territory are perhaps best-known for their walk-off of Wave Hill Station in 1966, protesting against mistreatment by the station managers. The strike would become the first major victory of the Indigenous land rights movement. Many discussions of station life are focused on the harsh treatment of Aboriginal workers. Songs from the Stations portrays another side of life on Wave Hill Station. Amongst the harsh conditions and decades of mistreatment, an eclectic ceremonial life flourished during the first half of the 20th century. Constant travel between cattle stations by Indigenous workers across north-western and central Australia meant that Wave Hill Station became a cross-road of desert and Top End musical styles. As a result, the Gurindji people learnt songs from the Mudburra who came further east, the Bilinarra from the north, the Nyininy from the west, and the Warlpiri from the south. This book is the first detailed documentation of wajarra, public songs performed by the Gurindji people in response to contemporary events in their community. Featuring five song sets known as Laka, Mintiwarra, Kamul, Juntara, and Freedom Day, it is an exploration of the cultural exchange between Indigenous communities that was fostered by their involvement in the pastoral industry.."--Publisher's website.

In the heart of Australia, on the cracked red earth, among wild vegetation, weathered bush, and dried-up creeks, hundreds of invisible pathways exist that become entangled on the earth's surface, underground, and in the sky, clouds, and wind. The Aboriginal people call them Jukurrpa: “the Dreamings.” This web is the Warlpiri land. Practicing the Dreaming, by ritual art, is for the Warlpiri a way to reactivate their ancestral traditions to connect with the cosmos and respond to current social and political issues. In 1979, anthropologist Barbara Glowczewski embarked on a journey to study the Warlpiri in the Australian outback. Struggling at once to maintain their traditions and cultural heritage as well as adapting to the continuing secularization and techno-progress of their European Australian counterparts, she takes us into the landscape, artistic rituals, and turmoil of the Warlpiri over three decades. Becoming accepted among Aboriginal families as a translator, and at the same time a negotiator of two vastly different visions of the earth, contemporary Western culture and the ancient indigenous dreaming culture, Glowczewski created a singular document of ethnological fieldwork and of self-transformation and discovery.

Inspired by the words of revered Indigenous leader Vincent Lingiari, 'that land ... I still got it on my mind', this exhibition reflects on the Gurindji Walk-Off, a seminal event in Australian history that reverberates today. The Walk-Off, a nine-year act of self determination that began in 1966 and sparked the national land rights movement, was led by Lingiari and countrymen and women working at Wave Hill Station (Jinparrak) in the Northern Territory. Honouring last year's 50th anniversary, curator and participating artist Brenda L. Croft has developed the exhibition through long-standing practice-led research with her patrilineal community and Karunkgarni Art and Culture Aboriginal Corporation. Lingiari's statement is the exhibition's touchstone, the story retold from diverse, yet interlinked Indigenous perspectives. Still in my mind includes photographs and an experimental multi-channel video installation, history paintings, digital platforms and archives, revealing the way Gurindji community members maintain cultural practices and kinship connections to keep this/their history present.