Abstract: This article focuses on two Australian myths: terra nullius and the „noble savage‟. These myths have their nexus with the absence and presence (respectively) of Indigenous beings. This article argues that these myths formed the foundation of colonial nationhood, and that their repercussions are reverberating within post-colonial imaginings of Indigenous Australians today. The myth of terra nullius, empty land, enabled the construction of a nation at the expense of the Indigenous „other‟. Furthermore, the ways in which colonisers repressed Indigenous subjectivities was to essentialise them as „noble savages‟; a figure who is relegated into mysticism and obscurity, consolidated into a “melancholic anthropological footnote” (La Nauze 1959) of Australia‟s colonial triumph. Grounded in this understanding, this article will consider the ways in which these myths are being broken down by dynamic, engaging and distinctly visible Aboriginalities through the case study of contemporary Indigenous musicians. Contemporary Indigenous musicians occupy mainstream stages and screens with diverse, meaningful, accessible and modern Aboriginal identities. These didactic and exigent bodies are revoking the myth that Australia was vacant prior to 1770, and that its First Peoples are incapable of being modern. As such, this essay explores the deconstruction of terra nullius and the „noble savage‟, as a result of Indigenous presence within contemporary public realms.



Excerpt: The current reconciliation process in Canada involving Aboriginal residential school survivors, their families, the Canadian government, and the churches is finally promoting awareness in Canadian society about the emotional costs Aboriginal families and communities have endured spanning a period of five generations.






Abstract: Since Prime Minister Howard’s declaration in 2007 that child sex abuse in Northern Territory aboriginal communities was Australia’s ‘own Hurricane Katrina’, the trope of natural disaster has been a regular feature of print and television media coverage of indigenous affairs in Australia. The effect of this rhetorical strategy is to separate what happens to aboriginal people from the fabric of ‘mainstream’ Australian cultural and political life; to render it alien and unconnected to the relative privilege enjoyed by other Australians. This strategy also produces peculiar temporal effects by erecting a cordon sanitaire around Australian history and the national identity that it supports. Howard’s comparison of aboriginal disadvantage with Katrina, if read alongside his politicization of the teaching of Australian history, demonstrates an unwillingness to incorporate systemic injustice toward indigenous people within the composition of that history. This article interrogates the relationships between the manifold understandings of aboriginal disadvantage and attempts to commemorate its violent history, as these aspects of Australian life are both integrated and refused by national identity narratives. Specifically, the paper reinterprets the trope of natural disaster as a means of comprehending indigenous disadvantage and Australian identity by drawing on Walter Benjamin’s philosophy of history. Benjamin’s understanding of activism as a constructive retrieval of the past will be developed to reconnect catastrophe to history, and to enable an exploration of responsibility for that history as an integral condition of contemporary Australian identity.