The Aboriginal Sovereign Woman single work   criticism  
Issue Details: First known date: 2007... 2007 The Aboriginal Sovereign Woman
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Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Sovereign Subjects : Indigenous Sovereignty Matters Aileen Moreton-Robinson (editor), Crows Nest : Allen and Unwin , 2007 Z1380640 2007 anthology criticism

    'Some of Indigenous Australian's emerging and well-known critical thinkers examine the implications of continuing to live in a state founded on invasion. They show how for Indigenous people, self-determination, welfare dependency, representation, cultural maintenance, history writing, reconciliation, land ownership and justice are all inextricably linked to the original act of dispossession and the ongoing loss of sovereignty.' Source: Back cover.

    Crows Nest : Allen and Unwin , 2007

Works about this Work

Writing Forward, Writing Back, Writing Black—Working Process and Work-in-Progress Gus Worby , Simone Tur , Faye Rosas Blanch , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014;
'This is a paper about creative acts of collaboration—about building and crossing bridges and 'circles of connection and belonging. It considers writing forward, back and Black first as process and then as work-in-progress in the everyday practice of Indigenous education. ' (Authors introduction)
The Poetics of (Re)Mapping Archives : Memory in the Blood Natalie Harkin , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014;

'This paper explores stories of re-mapping the archives through art and poetic-prose, using ideas of haunting through ‘memory in the blood.’ Our family archives are like maps that haunt and guide us toward paths past-travelled and directions unknown. We travel through these archives that offer up new stories and collections of data, and a brutal surveillance is exposed at the hands of the State. We gain insight into intimate conversations, letters, behaviours and movements, juxtaposed with categorisations of people, places, landscapes and objects. These records are our memories and lives; material, visceral, flesh and blood. The State wounds and our records bleed. I travel through my own Nanna’s records and recognise that we have never lived outside the State, and this very act of recognition continues the wounding. State acts of surveillance, recording and archiving had the power to place our

family stories in the public domain, or obliterate stories within a broader history of erasure; filed away, silent and hidden until bidden. But our bodies too are archives where memories, stories, and lived experiences are stored, etched and anchored in our bloodlines deep. They ground our creativity in what become personal and political acts of remembering, identity making and speaking back to the State. Detective-like methods allow us to creatively re-map events and landscapes, piece together lives fragmented and heal our wounds.' ((Re) Mapping the Archive, 4)

The Poetics of (Re)Mapping Archives : Memory in the Blood Natalie Harkin , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014;

'This paper explores stories of re-mapping the archives through art and poetic-prose, using ideas of haunting through ‘memory in the blood.’ Our family archives are like maps that haunt and guide us toward paths past-travelled and directions unknown. We travel through these archives that offer up new stories and collections of data, and a brutal surveillance is exposed at the hands of the State. We gain insight into intimate conversations, letters, behaviours and movements, juxtaposed with categorisations of people, places, landscapes and objects. These records are our memories and lives; material, visceral, flesh and blood. The State wounds and our records bleed. I travel through my own Nanna’s records and recognise that we have never lived outside the State, and this very act of recognition continues the wounding. State acts of surveillance, recording and archiving had the power to place our

family stories in the public domain, or obliterate stories within a broader history of erasure; filed away, silent and hidden until bidden. But our bodies too are archives where memories, stories, and lived experiences are stored, etched and anchored in our bloodlines deep. They ground our creativity in what become personal and political acts of remembering, identity making and speaking back to the State. Detective-like methods allow us to creatively re-map events and landscapes, piece together lives fragmented and heal our wounds.' ((Re) Mapping the Archive, 4)

Writing Forward, Writing Back, Writing Black—Working Process and Work-in-Progress Gus Worby , Simone Tur , Faye Rosas Blanch , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014;
'This is a paper about creative acts of collaboration—about building and crossing bridges and 'circles of connection and belonging. It considers writing forward, back and Black first as process and then as work-in-progress in the everyday practice of Indigenous education. ' (Authors introduction)
Last amended 10 Sep 2009 15:57:07
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