Views from Western Australia

December 20, 2007

Is this the death Howard’s agenda?

Filed under: Historical, General

Yesterday the Leader of the Liberal Party federally dumped the ideological platform that drove his predecessor and the party over the last years: WorkChoices. Industrial relations reform was supposedly the bedrock of the country’s solid economic performance. Now it’s gone.

On the same day ASIC brings legal action against six former executives of the AWB, the mob who bribed Saddam Hussein.

One cannot fail to recall children overboard, Tampa, the politicisation of the public service, the judiciary and the board of the ABC to mention a few.  The farcical Haneef saga, the careful building of xenophobia and the intolerance of Sudanese.  The denial of climate change, the perversion of national pride to political ends, the introduction of WorkChoices out of opportunism rather than coherent necessity and the replacement of ministerial responsibility with plausible denial.  Promotion of the therm  ’black arm band’ vierw of history, Northern Territory intervention along with the promise of a referendum on an Indigenous preamble to the Constitution.

They stood for nothing in the end; but themselves.

Freeway Jam: To Beck and Back Various Artists

Filed under: Music Reviews

Freeway Jam continues Jeff Richman’s series of tribute albums and features some of the biggest names in progressive jazz paying respect to Jeff Beck.

Working with Jimmy Page in the early ’60s Beck was the key pioneer of British feedback and distortion. He joined The Yardbirds after Eric Clapton’s departure in 1965, with Page later joining on bass and then as a second lead guitarist.

Clapton and Page proceeded to fame and fortune; however, Beck’s career proceeded differently. While Beck has many albums of note, his Blow by Blow with synthesizer virtuoso Jan Hammer (and produced by George Martin) was the seminal album in jazz rock fusion.

Using material from throughout Beck’s career Richman adapts them enough to make them more than just a replication and his choice of guitarists is brilliant.

The album opens with Steve Morse doing a great interpretation of Freeway Jam and Richman takes the lead on a powerful version of El Becko. Mike Stern is superb on Diamond Dust, while Eric Johnson rocks hard on Beck’s Bolero.

John Scofield plays a funky Over Under Sideways Down brilliantly and Criss Cross’s Adam Rogers gives funky Led Boots a hard edge. Chris Duarte shows his stuff on Behind the Veil and Walter Trout is terrific on Brush With the Blues.

While this is not easy listening for those raised on commercial pop, every track on Freeway Jam sizzles.

Jeff Beck has always taken a trailblazing passionate approach and is rightly acknowledged as jazz/rock’s guitar genius.

Released: July 2007

Label: Tone Center

December 19, 2007

Carrolup Art

The renowned Carrolup school of Noongar painting was inspired by the artwork of Stolen Generation Noongar children who painted at Carrolup River Native Settlement.
Carrolup was an institution in the South West of Western Australia that was established in about 1918 by the Chief Protector of Aborigines, Mr AO Neville. 

Many of these art works, executed in charcoal, watercolours and ink, were sent to Europe for exhibition in the late 1950s. They were then ‘lost’ until April 2004 when over one hundred pieces were rediscovered, still in their original packing, at Picker Art Gallery at Colgate University, USA.

Executed in a style that mingles European and Aboriginal styles, they reflect a pivotal moment in modern Aboriginal art history. The children framed their compositions in a traditional European way, as reflected in their use of foregrounding and shading, but incorporated images of people, kangaroos and designs from Aboriginal culture.

Athol Farmer, an Aboriginal artist, visited to New York to view the works.  "As a contemporary ‘Carrolup artist’ myself," Farmer says of the drawings, "to see them was inspiring; it was amazing for me, it was emotional, it really touched me to see those pieces."

For the WA artist it was a moving reminder of his own childhood, when he was mentored by Carrolup artists at Gnowangerup in WA’s South West. “In some ways, every Noongar family from down here feels a connection to the children of Carrolup”, Farmer says, adding that his own style was influenced by the Carrolup settlement. “Some Noongars are descendants of the artists, others feel the pull of a shared history that provokes bitterness and pride”.

“That makes the discovery of these artworks so important.  It’s a bit like a lifeline thrown to us, they show our history and remind us of our heritage and values.  They are also encouraging better understanding and relationships between Noongar people and the wider community.” said Mr Farmer.

The story of the Carrolup art began in 1945 with the arrival of teacher Noel White at Carrolup Native Settlement, which is situated some 25 kilometres north-west of Katanning.  Determined to give his students a more meaningful life, he encouraged the children to develop their talent and introduced evening sketching sessions.

His young charges were inspired and began making extraordinary drawings, varying from landscapes and botanical studies, which were stimulated by nature walks, to designs for fabrics and ceramics, scenes drawn from Australian poetry and images depicting Aboriginal life in the South West.

The Carrolup art was so distinctive and technically sophisticated that the work toured Europe in the 1950s to considerable acclaim.

The art provided powerful relief from the mission walls for the children, adding that a number of artists continued their work after the government closed down Carrolup Native Settlement.  Mr Farmer said that as a child in Gnowangerup he had sat and watched Revel Cooper, one of the Carrolup artists, at work. In turn, he mentors Aboriginal artists in Katanning and other towns in the region.

It was in Katanning, that the Carrolup story took its next step, when some 25 pieces from the New York collection were shown as part of the 2006 Perth International Arts Festival.

The ‘New York’ Carrolup works were only displayed in Katanning and the launch was a very moving event for the local Noongar community.  The Katanning event also included a display of Athol Farmer’s work at the Mungart Boodja Arts Centre, with a further display of historic and contemporary Carrolup works at the Town Hall.

Farmer’s contemporary work on display was very much rooted in the Carrolup style and all works were sold (prices ranged from $1,000 to $7,000) with some buyers placing orders for future work by Farmer.

The exhibition "Koorah Coolingah - Children Long Ago” was a momentous and moving occasion for the local community and an exhibition of major historical significance for WA.

There is still a lot of ‘Carrolup’ art held in WA; there is a major collection at UWA’s Berndt Museum and some is held at the Battye Library.

Publicity around the 2006 Katanning exhibition resulted in some other pieces turning up from around the State with some being donated to the Mungart Boodja Arts Centre.  One can be certain that the New York collection has not gone back into its packing crates at the Picker Art Gallery. 

There has been ongoing debate in some circles as to whether the Carrolup art should be repatriated from New York back to Noongar Country.

Culture and nationhood, Aboriginal Australia, you’re standing in it!

Almost thirty years ago there was considerable discussion in progressive Christian circles about developing an appropriate theology for Australia.  It was both contextual and missiological.  Books and articles were written, conferences were held and there was great excitement about something that was called “gumleaf theology”.  This was in the midst of broader discussions about defining our cultural identity, when works like Manning Clark’s “History of Australia” and Jonathan King’s “Waltzing Materialism” were in vogue.

Over the years “gum leaf theology” seems to have fallen from the tree of grace while much of Australian Christianity appears to have taken a turn towards an introverted consumerist gospel rather than something more missiological and related to the Australian locale.  I have been re-visiting some of that “gumleaf” material and a lot of it seems to have missed something somewhere.  It may be that Germaine Greer’s recent essay “White Fella Jump Up”, gets closer to the mark when she offers Aboriginality as a solution to “whitefella spiritual desolation”.

The four volumes discussed below were all published during 2005, the first is the only one that authorship is Indigenous and yet each challenges the reader into an instinctive investigation of Australian culture and societal norms in its own way.  These books are all very different in style and yet they all help increase our awareness and knowledge of who we are in this country.

KAYANG & ME
Kim Scott and Hazel Brown
Fremantle Art Centre Press, May 2005

Kayang & Me is Miles Franklin winner Kim Scott’s third book and it is a treat.  This is a history of the author’s extended Noongar family and Scott skilfully weaves the text around the stories of his Aunt (Kayang) Hazel Brown.  Brown’s telling the stories of her people and the country she is from is strong and compelling reading.  This includes how her great grandfather guided the white coloniser’s surveyor through his country in the 1840’s and the subsequent white settlement of the area.  Brown also tells of a revenge killing that was followed by a massacre, as well as life on farms, missions and reserves.  Scott’s commentary is illuminating with regard to the growing strength of their relationship and trust.  Scott also grounds the work in his own experience and his understanding of the dominant paradigms that governed and controlled Aboriginal people in the times under discussion.

BROTHERBOYS
The story of Jim and Phillip Krakouer
Sean Gorman
Allen & Unwin, 2005

Sean Gorman’s Brotherboys is a powerful account of two brothers who went from playing footy in a small country town to starring at the highest level.  It highlights the ups and downs of that career and life afterwards; however, it should not be dismissed as just a book about sport.  It is also a story of how our sport obsessed nation treated these Indigenous brothers.  Gorman’s comprehensive research is obvious as is his understanding of the dynamics of racial subjugation in rural towns and how it develops in footy clubs both small and large.  His analysis of racism in sport gives a clear indication of the types of pressures Indigenous players were under both on and off the field.  A lot has changed in football since that time with footy now having strong rules on racial vilification and abuse.  However is that normative, or perhaps leading the way? A young Indigenous footballer playing at the highest level recently said that he is never racially abused on the footy field, but it happens every day of his life off the field. 

SOMEONE ELSE’S COUNTRY
Peter Docker
Fremantle Art Centre Press, June 2005

Peter Docker was born in a small South West town called Narrogin and grew up on a station near Esperance.  Docker is a professional actor with an impressive resume.  This book documents his insightful journey into an Australia not many whitefellas are familiar with.  “The country inside our country and outside, all around at the same time.”  While on tour, working with an Aboriginal theatre company, he put pen to paper and Someone Else’s Country is the result.  It moves through many stories from life on the road with his Indigenous colleagues, at times very funny, at others very sad and deeply moving.  Docker also relates experiences from his life outside the life of a travelling actor, stories from childhood, adolescence and adulthood.  He writes about the “invisibleness” of Aboriginal people in the wider community and contrasts this with his own invisibleness when in the company of Aboriginal people.  This is an intense and unusual story that readers are fortunate to share in.  THE BROKEN SHORE
Peter Temple
Text Publishing, 2005

The last book is the thriller The Broken Shore by Peter Temple and for those who like the genre it is a ripping yarn that holds your attention until the end.  Clearly, Temple is a masterful story teller; but it seems he wanted to write something bigger than your run of the mill crime thriller.  This is a novel about a place, about family, and about power.  It also highlights the often hidden dynamics and divisions in a long established country community.  A prominent local philanthropist is beaten in his home and dies.  Evidence suggests that three young men from a local Aboriginal community are responsible; but a persistent policeman, with his own local history is doubtful.  To say more would give away a great whodunit.  However, the reason I include it here is that through this work Temple skilfully challenges myths and stereotypes about race in small town Australia.  It also raises the long-standing questions about the nature of policing of Aboriginal people in a way that readers might begin to comprehend something of the dynamics of that tenuous relationship.

 One could not imagine any of these four books having been published twenty to twenty five years ago.  This begs many questions of an inquiring mind. What has changed in that time?  What is the context?  Has the paradigm, in fact, shifted in the quest for cultural identity and meaning?The concept of “culture” in itself is a site of great debate both within Australia and beyond.  Even within the Aboriginal community there is a range of views from traditional through to contemporary.  Also, those Aboriginal perspectives on culture still have to locate themselves in the broader debates about Australian culture.  For example; I was recently reminded that only a few years ago an Indigenous woman suggested “heritage” is a key part of culture at a national arts conference.  One would think that would be an acceptable view to put and yet the speaker had to vigorously defend that proposition for the remainder of the conference.

Over the last decade or so Australia has been through an amazing renaissance in Aboriginal artistic expression.  This has moved through all major artistic genres, from visual arts, performing arts, theatre, music, film making, radio, writing and poetry.  Who could fail to be impressed with the contribution of the Bangarra Dance Company to the opening of the 2000 Olympics or challenged by the gentle prodding of Mary G on her live radio or SBS television shows.  The growth and diversification of the Aboriginal arts sectors warrants more discussion than this paper permits; nonetheless it is an important site in the discussion about how our culture is being defined.  The matter of “heritage” is one of the most vital elements of this cultural renaissance.  It is also about being, doing, as well as the challenges of everyday life as mentioned by the young footballer discussed earlier.The arts may be an important site to go digging in.  Greer’s essay “White Fella Jump Up” is controversial and the volume contains a number of essays that argue with her key propositions, some essays also support it.  A lot of people would probably not bother reading it simply because it is “Germaine Greer”, but is not meaningless.  Greer writes: “…Blackfellas are not and never were the problem.  They were the solution, if only whitefellas had been able to see it.”  Greer’s basic assertion is that Australia will never achieve maturity unless and until it recognises its inescapable Aboriginality.  The subtitle of Greer’s book is “The Shortest Way To Nationhood”.  A part of that process is taking place in that we are in the midst of re-defining culture.  Above all culture is our identity, this is who we are and it defines our nationhood.To go forward as a nation maybe we (whitefellas) need to stop seeing Aboriginal people as “the other” and start to see that we are, in fact, the strangers in a strange land. 

Four Books on Aboriginal History

The history wars have been hotly debated in recent years.  The following four publications are not setting out to participate in that debate, however the authors do enter its domain.  The thing that binds these four volumes together is a history of Aboriginal affairs in Australia. They are all quite different in style, but all outline a history that many Australians would not be familiar with.

Rob Riley: An Aboriginal Leader’s Quest for Justice
By Quentin Beresford
Published by Aboriginal Studies Press, 2006

There are few biographies published of Aboriginal political leaders; Rob Riley was a prominent Aboriginal campaigner; he was articulate in confronting political leaders and he was very shrewd with the media.  Riley was at the forefront of many highly charged political debates across a range of issues; then in 1996 he committed suicide at the age of forty one.  This volume is very reader friendly in that it also describes the historical context and political environment in which Riley was working.

Given access to three generations of Riley’s family’s native welfare files, the author outlines how a boy, his mother and his grandmother were removed from their families and placed in institutions.  Riley was taken from his mother at five months of age and was placed in Sister Kate’s; a home for “fair-skinned” Aboriginal children. 

He was told his family was dead until a chance meeting with an Uncle led to him eventually being reunited with his family when he was twelve.  The author outlines how this period was a struggle for Riley and how he found it very difficult to adjust to family life.  The author argues cogently that his removal and institutionalisation deeply scarred Riley’s emotional wellbeing and also laid the foundations for his highly developed understanding of racism that was to emerge in his later work.  In a 1984 media interview he was asked the inevitable question about his Aboriginality.  When asked what percentage of Aboriginal blood he had, Riley replied that he was “as Aboriginal as an Aborigine can be.”  

After time in the army, Riley joined the Aboriginal Legal Service (WA) as its Executive Officer.  When the battle over mining at Noonkanbah occurred he was among the leadership; developing his views and forging strong friendships.  Riley was elected to the National Aboriginal conference at 27 years of age and became its Chair within two years; this itself demonstrates his political acumen.  While there he led the fight on two key issues: land rights and for an inquiry into Aboriginal deaths in custody. 

Riley lobbied the Hawke government to introduce land rights legislation federally and was disgusted when Bob Hawke caved in to pressure from Western Australia’s Burke  government.  However, somewhat strangely, he later became a key adviser to Gerry Hand, the Federal Minister for Aboriginal Affairs.

After the Royal Commission Into Aboriginal Deaths in Custody was established Riley worked on it with Pat Dodson, after which he returned to the Aboriginal Legal Service as Executive Officer.  Riley then campaigned for implementation of the recommendations from the Royal Commission and for an inquiry into Aboriginal child removal.

After the 1993 federal election the prime minister, Paul Keating, said he wanted progress on land rights, Rob Riley joined a delegation of Aboriginal leaders to Canberra, where they met with Keating.  Amongst contributions from other leaders Riley offered his essential philosophy: "You don’t stop fighting for justice simply because those around you don’t like it. We will not stop fighting."

Subsequently there was significant tension within the Aboriginal leadership about what the Native Title legislation would actually look like.  The author suggests that Riley was caught in the middle of this and deeply distressed about it.

In 1993 while launching an ALS report on the Stolen Generatiions in WA at Sister Kate’s, Riley stunned those present when he revealed that he been raped by three boys when he was only nine.  From then onwards his mental illness escalated, at times in a very public way.

At 41 years of age Riley took his own life.  In a note he wrote: "Understand, white Australia, that you have so much to answer for. Your greed, your massacres, your sanitised history in the name of might and right." And he pleaded that the inquiry into the removal of Aboriginal children from their families, at which he was to give evidence, not be swept under the carpet. 

The twin issues of his removal as a child and racism were at the centre of Riley’s life work and his demise.  This biography is an important book for all Australians, particularly those with an interest in the history of Aboriginal affairs, from no matter what perspective.

Black Glass: West Australian Courts of Native Affairs 1936 - 1954
By Kate Auty
Fremantle Art Centre Press, 2005

From nearly twenty years special “Courts of Native Affairs” operated in Western Australia.  They were set up by the Native Affairs Department and were run to the general applause of chief protector AO Neville and anthropologist AP Elkin.  Operating outside the control of the WA Justice Department and beyond the usual checks and balances applicable to the judicial process, the special courts heard murder trials where the defendant and the victim were Aboriginal people. 

The author, a Magistrate working in the Goldfields, Esperance and Western Desert region of WA, drawing from a number of cases outlines how Aboriginal people charged with murder were denied natural justice and stripped of basic rights that non Aboriginal Australians had held for decades.  Cases discussed show how Aboriginal people appeared before courts comprised of doctors, local Protectors (who may have been police) and pastoralists; where legal representation was often provided by people such as hospital orderlies.  The author shows how Aboriginal people were virtually compelled to give confessional evidence without any legal advice or protection. 

Yet the courts themselves are only part of the story told here, which largely concerns reinterpretation of the scant recorded responses.  The book challenges the concept of willing and compliant aboriginal people by highlighting subtle resistance techniques, principally silence.  Black Glass explores the silence and discusses the strategic and defiant silences of the Aboriginal participants.  It also confronts some long established paternalistic legal myths.

The fact that these courts elicited no protest from the press, the judiciary or the even general public is an indication of the then current mindset.  The book will be of particular interest people researching the treatment of Aboriginal people in the criminal justice system and those interested in the current Aboriginal history debate.

Nyungah Land: Records of Invasion and Theft of Aboriginal Land on the Swan River 1829 – 1850
Bevan Carter, with Lynda Nutter
Black History Series, 2005

This volume is a collection of documents written by the British colonists in relation to the first twenty one years of the Swan River Colony. It outlines measures taken by the Aboriginal people to convince the invaders to leave and the measures taken by the British to stay. It also reveals the disruption and loss caused to the lives of the original owners and it reveals the moral misgivings of some colonists at taking other people’s land and food.  It discusses early colonists understanding of the system of Indigenous land tenure that was in place when the colony was established.  It outlines Indigenous resistance and a “battle” on the site of Perth as early as May 1830; this is followed by notes on many incidents of violence and massacre as the colony developed.  The author also documents the establishment of “ration depots” and attempts to “civilize the natives”.  Its last chapter discusses in some detail some of the key Aboriginal people, their families and their various interactions with the colonists.

People considering the history debates will find this of interest in that it is a collection of source documents.  It also brings a bit more detail to some of the principal players involved in the early years of the Swan River Colony.  It is designed in a reader friendly format, but is at times frustrating in its style partly due to being arranged thematically rather than chronologically, and its, at times, polemic style.

No Free Kicks
Eric Hayward
Fremantle Art Centre Press, 2006

In this book the author tells the epic saga of his family, and in doing so provides a unique snapshot of Aboriginal Australia.  He describes the hardships of extreme poverty, the bush and the city, the mission and camps to playing professional football and studying at University.
The book describes how the author’s family experienced an extensive period of colonisation in which their social and cultural autonomy were eroded. It demonstrates how the historical experience of Aboriginal Australians is vastly different to that of mainstream Australians.

The author was born in the Gnowangerup Mission in 1945, and later studied in Perth while living in a hostel run by the Native Welfare Department and later working in government.  The author’s father his uncle were stars of the South Fremantle Football Club in the 1930’s and their involvement in football spread to the wider family.

The book suggests that with little access to education or to the mainstream community, sports like running, boxing and football provided a way for Aboriginal people to mix and meet people and to hear about work.  The story notes how sport allowed Aboriginal people to show that they were talented and that they could do well.

This book tells the story of Aboriginal life in the central Great Southern from the point of view of people who lived it.  It’s the story about how they coped and how they contributed to the development of their country. It draws attention to how Aboriginal people have been under-recognised and undervalued and under-rewarded.

Johnny Cash - American Recordings

Filed under: Music Reviews, Theology

I never thought I’d like country music until I played a track from this on RTR’s Morning Magazine; it blew me away!

Rick Rubin, who has produced the Red Hot Chilli Peppers and Public Enemy (among others), understood that Cash’s influence was much deeper than any one tradition and he saw that Cash could still make important music.  Rubin let Cash sing what he wanted to sing and left him with only his voice and guitar. 

American Recordings is a collection of songs about love, death, murder and betrayal by writers like Tom Waits, Leonard Cohen, and Cash himself.

The opening track Delia’s Gone is an old folk blues song that can be traced back to Blind Willie McTell in the 1920’s.  Cash had recorded it before, but this version was darker and brutal, so much so that MTV refused to play the video.

The founders of country music weren’t pretty boys who strutted around singing flossy songs with no emotion. They sang about the hard times, the heartbreak, the loss, and the depravity of life and death.  This album laid the foundations for a multi-album collaboration between Rubin and Cash. 

The impact of Johnny Cash on country, blues, and rock is enormous; this album found Cash a new audience, well outside of country.

If you are looking for something more substantial than the latest Zeppelin reissue, you won’t regret a minute of this terrific album.

Original Release Date: 1994
Re-issue: 2002

December 13, 2007

Amy Winehouse - Back to Black

Filed under: Music Reviews

This album has an American sound with British attitude.  The musix is pure Stax and Spector with lyrics from the streets of London; the word ‘fuckery’ says so much that Justin Timberlake and Janet Jackson must wish they had thought of it first! 

Amy Winehouse has clearly been influenced by classic 1960’s female soul outfits like the Supremes and the Shangri-Las.  Rehab has a gospel groove and Back to Black is a killer tribute to Phil Spector. With You Know I’m No Good she flaunts her unfaithfulness and Love is a Losing Game is superb.

Winehouse is a very clever songwriter with a good team of people around her and this album is full of her energy and emotion.Parallels have been drawn before with Billie Holiday and she has a voice that can carry any song she sings.  There are also hints of Ella Fitzgerald and Janis Joplin for the careful listener.

Winehouse might like Ray Charles records and this Motown tribute is a chilling album with a fascinating take on sixties music.  As to the lyrics, overall its 21st century wrist slashing stuff that Leonard Cohen would be proud of.

Island
2006

White Stripes - Icky Thump

Filed under: Music Reviews

Icky Thump is closer to the classic De Stijl than its immediate predecessor Get Behind Me Satan.  It was recorded a state-of-the-art Nashville studio, rather than Jack’s normal at home studio and its deeply rooted in Americana, but with a twist; It has the Stripes normal fusion of garage rock and blues,  but, along with flamenco and even bagpipes (they are not the first blues band to do that!).

The dominant keyboards from Satan have been stripped away and Icky Thump has Jack White’s guitar work dominating again; just listen to the track Catch Hell Blues. It is loud confronting rock.

Although it has a poppy title Little Cream Soda is one of the Stripes’ heaviest songs.

Conquest has been turned inside out with flamenco rhythms, along with lots of brass and guitar.

Prickly Thorn, But Sweetly Worn has you reaching for a kilt and haggis with its bagpipes.

Blues, garage rock is not widely acknowledged as a breeding ground for great lyricists, but the Stripes want you to take notice of what they are saying.

This will become a modern rock and roll classic; but in my view does not equal Elephant.

Warner 2007

December 10, 2007

Vale Murray Brown

I attended the funeral of Murray Brown last week; he was a good friend over many years.  Listening to his story and seeing the hundreds of people present, caused me to reflect on death, hope and the Kingdom of God. 

About twenty years ago we used to meet weekly to discuss a range of things.  We almost always seemed to end up discussing theology; we were both Anglicans, but from differing parts of the Anglican theological spectrum.  Our greatest point of divergence was our views of the significance of the atonement and this led to some lively debates.

In reference to what happens after death, I can only guess. If we knew what to expect, if we could say with any certainty that we were going to a ‘better place’, then death would not be such an important part of our human journey in relationship with God.

I understand that God is consistent, fair and unconditionally loving. Based on this hope, and based on a belief that God is responsible for humanity, I hope for the parousia, that is a Christo-centric an eschatology.

In my life I seem to relate to God in ways where there is much running in circles; alternately ignoring, praying, rebelling, surrendering, hating, and loving.

When I am remote from God, I am unloving, or fearful toward myself and others. Perhaps, during those times, I am in ’sin’. By answering to the fearful side of myself, I hurt myself and others. I experience absence, loneliness, and probably the taste of ‘Hell’.

Then there are those times when I find myself able to move lovingly toward myself and others. I am able to be unafraid, generous, loving, real, and caring. Then I am answering the call of grace. In those times, I believe I can experience true community, God, and perhaps a taste of ‘Heaven’.

Hope is different from optimism. Optimism fails to acknowledge the human experience. Life is hard, good people suffer and die. Bad things do happen to good people. Hope acknowledges these things, but it also takes the stance that the future holds more good than bad. It believes in the possibility of a desired outcome and then it actively works toward that outcome. Hope in Christian theology follows the historical progression from the early Hebrew prophets through to a Christian understanding of eschatology in relation to everyday life.

The Hebrew understanding of God, was the God of the covenant, a God who makes and keeps promises. God was powerful enough to enter into history and alter political and social events. The covenantal promise - I will be your God and you will be my people - led to a hope in God intervening in their own history, creating a time of prosperity and peace.

This was expressed in the stories of Abraham and Moses, both of which express a new kind of hope in God. In both stories, the time between the covenant and its fulfillment is many years. Both stories depict a God who makes personal promises and is true to His word.

This is the key to understanding the thinking and teaching of Jesus of Nazareth and the early Christian church. Christian theology is ultimately connected with God’s covenant alongside the life, death, and resurrection of Jesus. These events form the foundational structure of Christian eschatology, the Kingdom of God.

Christianity teaches about a grace-filled present, as well as an eschatological future based on metanoia; which is usually interpreted to mean repentance. The ‘resurrection’ of Jesus is a new and different way of being in relationship with God. It carries a promise - not that people will not suffer or die, but that God is with them in this.

The late Jim Punton spoke of Christ’s mission being about creating shalom - complete well-being of body, mind, spirit, community, economically, politically - the whole of life and he liked to quote Jeremiah:

"Seek the shalom of the city where I have sent you … and pray to the Lord on its behalf; for in its shalom you will find your own shalom."

I wonder what Murray would think of my theology now?

As a post script; I would venture to say there is no way around grief and loss. Sooner or later you have to face it and then your world will never be the same as again.  The death of my brother, Geoff, in 1985 was the beginning for me and it has taken me down many dark roads. 

December 7, 2007

Archie Roach - Journey

This album is a companion piece to the documentary Liyarn Ngarn, which featured Archie Roach, Patrick Dodson and English actor Pete Postlethwaite.

The album reflects Roach’s journey from pain to reconciliation through stories of Aboriginal Australians.  The songs are of pain, loss, racism, redemption and hope.

In Old People Singing he brought to life old people singing their country, asking, “Do you belong to a place or does a place belong to you?”

Travellin’ Bones is about the repatriation of ancestral bones to their rightful home.

Stories of Aboriginal death in custody from the poems John Pat by Jack Davis and Never Blood by Kevin Gilbert were turned to haunting songs.

Liyarn Ngarn means a ‘coming together of the spirit’ and this song expresses the need for healing and reconciliation.

The song Too Many Bridges shows the disappointment with the political dismemberment of the reconciliation and Sorry Day movements.

Archie Roach, an elder statesman of Aboriginal music and an extraordinary songwriter, has described these songs as a reaffirmation of identity, country, beliefs and spirit.

A copy of the film is currently included with the CD; it features music and appearances from WA’s Pigram Brothers and Patrick Davies.  It also includes heartbreaking footage of young Aboriginal poet Robert Walker singing in Fremantle jail where he later died after being assaulted by prison officers in 1984.  

Released Nov 2007

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