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Image courtesy of UQP
y separately published work icon All My Mob selected work   autobiography  
Issue Details: First known date: 2007... 2007 All My Mob
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AbstractHistoryArchive Description

'This ... collection of stories features a foreword by Dr Pam Johnston that places Ruby’s anecdotes in the context of a country which seems incapable of healing its past or of creating a better future for Indigenous people. Featuring the best stories from Ruby’s Real Deadly, plus many unpublished gems dating as far back as 1992, All My Mob’s portrayal of family life, ‘home’, and life as an Aborigine in today’s Australia is fascinating, often confronting and unforgettable.' (Source: UQP website: www.uqp.uq.edu.au)

Notes

  • Includes some stories from Real Deadly.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Australian Aboriginal Life Writers and their Editors: Cross-Cultural Collaboration, Authorial Intention, and the Impact of Editorial Choices Jennifer Jones , 2013 single work criticism
— Appears in: A Companion to Australian Aboriginal Literature 2013; (p. 35-52)

When Mary Ann Hughes complained in 1998 that critics were preoccupied with the process of editorial collaboration that shaped Australian Aboriginal texts, she argued that this focus led to the neglect of the literary merit of the work. While the collaboration of mainstream writers with editors primarily went unremarked, “in the case of an Aboriginal writer, the role of the editor in constructing the work is the issue which most readily springs to the fore.” Hughes remarked upon the then decade-long critical determination to materialize the traditionally invisible craft of editing. This critical preoccupation ran parallel with the second wave of Aboriginal life writing (Brewster, 44), which witnessed the transformation of Aboriginal publishing from marginal to mainstream, reaching beyond the local to global audiences (Haag, 12). The exponential increase in the publication of Aboriginal life writing was accompanied by the politicization of publication processes, including coproduction, that have conventionally been kept from public view. (Introduction)

Dancing with the Prime Minister Jennifer Jones , 2012 single work criticism
— Appears in: Journal of the European Association for Studies of Australia , vol. 3 no. 1 2012; (p. 101-113)
'When Ruby Langford Ginibi and her daughter Pearl prepared for the Foundation for Aboriginal Affairs Debutante Ball in 1968, they contributed to development of a significant new expression of Aboriginal identity and community belonging. Debutante balls were traditionally staged as a rite of passage that introduced a select group of young ladies to British high society. They went into decline in the UK in the late 1950s, under pressure from anti-establishment and sexual revolutions. The tradition remained popular in Australia, as the debutante ball had developed important status as fundraising events for local organisations. This article examines the history of Aboriginal girls 'coming out' at a debutante ball. While the inclusion of Aboriginal girls in debutante balls was encouraged as a means to achieve assimilation, proud celebration at all-Aboriginal events provoked controversy. Ruby Langford Ginibi's reflection upon her daughter's dance with the Australian Prime Minister at the 1968 Foundation for Aboriginal Affairs Debutante Ball is instructive. It explains how an exclusive, sexist British ritual has been transformed into a vital, inclusive Aboriginal rite of passage and challenges non-Aboriginal readers to re-evaluate their assessment of the tradition.' (Author's abstract)
Ruby Langford Ginibi´s Influence on a Spanish Student of Australian Studies Caty Ribas , 2012 single work prose
— Appears in: Journal of the European Association for Studies of Australia , vol. 3 no. 1 2012; (p. 60-66)
'Dr Ruby Langford Ginibi influenced me, personally and academically speaking, with her text Haunted by the Past, her direct style of writing and her personal approach to life and hardship. This text pays tribute to her by explaining how reading Haunted by the Past turned out to be a central text in my life.' (Author's abstract, 60)
Story Gathering Alexis Harley , 2007 single work review
— Appears in: M/C Reviews , July 2007;

— Review of All My Mob Ruby Langford Ginibi , 2007 selected work autobiography
Going Back to Bundjalung Country for all the Mob Amy McQuire , 2007 single work review
— Appears in: National Indigenous Times , 14 June vol. 6 no. 131 2007; (p. 13)
Untitled Fiona Stager , 2007 single work review
— Appears in: Bookseller + Publisher Magazine , April/May vol. 86 no. 8 2007; (p. 38)

— Review of All My Mob Ruby Langford Ginibi , 2007 selected work autobiography
Memoir Anita Heiss , 2007 single work review
— Appears in: The Bulletin , 22 May vol. 125 no. 6570 2007; (p. 64-65)

— Review of All My Mob Ruby Langford Ginibi , 2007 selected work autobiography
Books Non-Fiction Emma Rodgers , 2007 single work review
— Appears in: The Courier-Mail , 4 - 5 August 2007; (p. 24)

— Review of All My Mob Ruby Langford Ginibi , 2007 selected work autobiography
Story Gathering Alexis Harley , 2007 single work review
— Appears in: M/C Reviews , July 2007;

— Review of All My Mob Ruby Langford Ginibi , 2007 selected work autobiography
Going Back to Bundjalung Country for all the Mob Amy McQuire , 2007 single work review
— Appears in: National Indigenous Times , 14 June vol. 6 no. 131 2007; (p. 13)
Ruby Langford Ginibi´s Influence on a Spanish Student of Australian Studies Caty Ribas , 2012 single work prose
— Appears in: Journal of the European Association for Studies of Australia , vol. 3 no. 1 2012; (p. 60-66)
'Dr Ruby Langford Ginibi influenced me, personally and academically speaking, with her text Haunted by the Past, her direct style of writing and her personal approach to life and hardship. This text pays tribute to her by explaining how reading Haunted by the Past turned out to be a central text in my life.' (Author's abstract, 60)
Dancing with the Prime Minister Jennifer Jones , 2012 single work criticism
— Appears in: Journal of the European Association for Studies of Australia , vol. 3 no. 1 2012; (p. 101-113)
'When Ruby Langford Ginibi and her daughter Pearl prepared for the Foundation for Aboriginal Affairs Debutante Ball in 1968, they contributed to development of a significant new expression of Aboriginal identity and community belonging. Debutante balls were traditionally staged as a rite of passage that introduced a select group of young ladies to British high society. They went into decline in the UK in the late 1950s, under pressure from anti-establishment and sexual revolutions. The tradition remained popular in Australia, as the debutante ball had developed important status as fundraising events for local organisations. This article examines the history of Aboriginal girls 'coming out' at a debutante ball. While the inclusion of Aboriginal girls in debutante balls was encouraged as a means to achieve assimilation, proud celebration at all-Aboriginal events provoked controversy. Ruby Langford Ginibi's reflection upon her daughter's dance with the Australian Prime Minister at the 1968 Foundation for Aboriginal Affairs Debutante Ball is instructive. It explains how an exclusive, sexist British ritual has been transformed into a vital, inclusive Aboriginal rite of passage and challenges non-Aboriginal readers to re-evaluate their assessment of the tradition.' (Author's abstract)
Australian Aboriginal Life Writers and their Editors: Cross-Cultural Collaboration, Authorial Intention, and the Impact of Editorial Choices Jennifer Jones , 2013 single work criticism
— Appears in: A Companion to Australian Aboriginal Literature 2013; (p. 35-52)

When Mary Ann Hughes complained in 1998 that critics were preoccupied with the process of editorial collaboration that shaped Australian Aboriginal texts, she argued that this focus led to the neglect of the literary merit of the work. While the collaboration of mainstream writers with editors primarily went unremarked, “in the case of an Aboriginal writer, the role of the editor in constructing the work is the issue which most readily springs to the fore.” Hughes remarked upon the then decade-long critical determination to materialize the traditionally invisible craft of editing. This critical preoccupation ran parallel with the second wave of Aboriginal life writing (Brewster, 44), which witnessed the transformation of Aboriginal publishing from marginal to mainstream, reaching beyond the local to global audiences (Haag, 12). The exponential increase in the publication of Aboriginal life writing was accompanied by the politicization of publication processes, including coproduction, that have conventionally been kept from public view. (Introduction)

Last amended 5 Jun 2013 10:48:00
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