'It is with some reluctance that I write an Editorial on the subject of the repainting of Wandjina rock art sites (see paper by Mowljarlai and Peck in this issue). The reluctance stems from the feeling that this is one of those classic cases in Aboriginal affairs where all answers (or no answers) are right. In addition, as is frequently the situation in such cases, even my right to comment will be questioned. In fact this latter aspect goes right to the heart of the matter.' (Editorial introduction)
Contents indexed selectively.
'The familiar Cenfralian art style, which reaches its peak in the so called "Papunya style", typically displays concentric circles, joined by lines. Most of us have heard an artist describe the meaning of his painting in terms of the movement of mythical beings between places (usually waterholes), which are represented by the concentric circles, along paths represented by the interconnecting lines. At various points along the journey things happen: secret/sacred corroborees or ceremonies are held, other groups of beings are met, and/or conflicts of various sorts take place. Those familiar with Aboriginal story telling practices will recognize this as quite characteristic of the organisation of their mythological narratives. Narratives in traditional languages of the Kimberley, the Centre (Michaels 1986:48, Munn 1973:132, Myers 1986:54, 59, 68, 69) and Arnhem Land (Williams 1986:37) - and quite likely elsewhere - normally follow the movement of people from (named) place to named place, recounting their experiences along the way. Indeed, this mode of organisation seems to be so characteristically Aboriginal that it is also found in non-mythological narratives from a variety of genres, and even in narratives spoken in Kriol and Aboriginal English.' (Publication abstract)
'There are few places in Australia which rival Ayers Rock for sheer visual spectacularity. Justly, because of its starkness and beauty, it has become the major landmark of the fifth continent. Ayers Rock—or Uluru as its Aboriginal name is—is also probably Australia's largest sacred shrine, a visible embodiment of the Dreamtime. In recent years the round, chubby rock has become a major symbol, and target, of the nation's booming tourist industry—worth between five and fifteen million dollars in tourist revenue, as the book states—which in itself must have posed for its traditional owners no mean anguish, seeing hordes of tourists, women and children among them, year after year, day after day trampling all over it. As a belated redress, Aboriginal title to Uluru was finally acknowledged on 11 November 1983 by the Hawke government and a measure of control restored to the local community.' (Introduction)
