The Jindyworobak Movement was an Australian literary movement in the 1930s and 1940s whose whites, mostly poets, sought to contribute to a unique Australian culture through the integration of Australian Indigenous subjects, languages ​​and mythology. The purpose expressed by this movement is to "liberate Australian art from the influence of any aliens who defend it" and create works based on engagement with the Australian landscape and "an understanding of Australia's history and traditions, ancient, colonial and modern".
The movement began in Adelaide, South Australia, in 1937, when Rex Ingamells and other poets founded the Jindyworobak Club. Ingamells outlined the movement's purpose in a speech entitled Concerning Environmental Values ​​ (1937). "Jindyworobak" is derived from Woiwurrung, previously spoken in modern-day Melbourne, meaning "to join" or "annex". It was used by James Devaney in his 1929 book The Vanished Tribes, in which he claimed to have sourced from a 19th century vocabulary. Ingamells is said to have chosen the word because of its peculiar and symbolic nature. The name was sometimes shortened to "Jindy", and "Jindys" came to refer to group members.
Jindyworobaks finds inspiration in the Australian bush ballad tradition, Kangaroo (1928) by DH Lawrence and PR Stephensen The Foundations of Culture in Australia (1936), and shares a similar vision for some of their contemporaries in art, such as writer Xavier Herbert, artist Margaret Preston and composer John Antill. However, this movement also attracts criticism because it is culturally petty and blatantly nationalist. The Jindyworobak Anthology is published every year 1938-1953, and Jindyworobak Review (1948) collects the first ten years of this publication. The widespread history of the movement, The Jindyworobaks , was published in 1979.
Video Jindyworobak Movement
Origin and destination
Started as a literary club in Adelaide, South Australia in 1938, the Jindyworobak movement was supported by many Australian artists, poets and writers. Many are fascinated by the Indigenous culture of Australia and the Outback, and want to increase the understanding and appreciation of the Australian whites towards them. Other features come into play, among which are the increasing number of Australian exiles from European origins; The depression of the 1930s that recalls the economic problems of the late nineteenth century; Australia's increasingly urban or estranged urban population from Australia's wild Australia, Outback, etc.; The First World War and the advent of World War II and also the arrival of early mass media markets in the form of radio, recordings, newspapers and magazines. The sense of place is very important for Jindyworobak movement.
Ingamells produces Colonial Culture as a manifesto of movement prose, "in response to LF Giblin's insistence that poets in Australia should portray the nature and people of Australia as they are in Australia, not with 'European' eyes. after the first Jindyworobak Anthology came out.
In 1941, the poet and critic of AD Hope mocked Jindyworobaks as "Scout Boy Scout School", a comment he apologized at the Indigenous Companion in 1975 that said "some mistakes are due, I think, to this Jindyworobaks ". Others like R. H. Morrison scoff at "Jindyworobackwardness". Hal Porter writes about the Rex Ingamells meeting that he says "bought me a gaff porter and tried to persuade me to become Jindyworobak - that is, a poet who thinks that the words of the most primitive racial moments minute vocabulary of the earth should be used to express Australia".
Although "Jindies" are concentrated in Australian culture, not all of them are from Australia - for example, William Hart-Smith, who is sometimes connected with the movement, was born in England, and spent much of his life in New Zealand after a decade (1936-1946 ) in Australia.
The anthology of Jindyworobak material was produced until 1953.
Maps Jindyworobak Movement
Influence and after
Arguably, the movement failed to make a lasting impression, and its erosion marked the arrival of modernist paintings in Australia, as well as jazz. No Indigenous Australians belong to this movement, but that does not indirectly spur commercial interest in Australian Indigenous art.
Judith Wright wrote in Since I Was Invited in 1975 that the movement has succeeded in bringing poetry into the public arena:
- "One thing that the movement achieved was to make the verse a subject of debate and argument, and the opposition movement sprang up, and brought into the quarrel most often by poets of all positions Jindyworobak's teachings were discussed, and more again an extraordinary aspect like the other way to 'Aboriginality' is ridiculed, even in daily newspapers (which at that time was almost the arena of literary debate). "
In addition, many elderly statesmen in Australia, some still alive today, got paused through the Jindyworobak movement.
Brian Matthews wrote during the 1980s that:
- "When Ingamells sees a poem scene from the standpoint, say, 1937 - which he addresses his About Environmental Values ​​ to the Adelaide English Association - he sees very few poems that fulfill the inspiration requirements Australia, the content and image of Australia, and when Max Harris observed the same scene early in the new decade, he saw the growing Jindyworobaks and not much else - nothing that seems to have much to do with or awareness of the cultural world beyond the antipodes. generally, they're both right. "(Excerpt from Literature and Conflict )
Ackland argues in The Cambridge Companion to Australian Literature that the movement "reacts to the debate on Indigenous culture, and promotes local talent in the annual anthology".
Leading Australian poet Les Murray has sympathized with Jindyworobaks goals, and half jokingly describes himself as "the last of Jindyworobaks". The attitude towards Australia presented in Eleanor Dark's 1941 novel The Timeless Land has been described very much like Jindyworobaks. The lingering influence of this movement has also been identified in Peter Porter's poetry, as well as Patrick White Voss (1957) and Randolph Stow's To the Islands (1958). In Australian cinema, Charles Chauvel's vision of Australia, presented in films like Jedda (1955), has been compared to those of Jindyworobaks.
Music expert Roger Covell, writing about composer Clive Douglas in 1967, said "if there is Jindyworobak musicals, it is Clive Douglas". John Antill has been described as another "Jindyworobak composer", especially for his ballet Corroboree. In the 1980s, mainstream rock bands such as Midnight Oil, Goanna and Gondwanaland created music inspired by Aborigines, echoing Jindyworobaks efforts.
Jindoworobaks and Aboriginality
Australian literary historian Brian Clunes Ross has written about one of the common criticisms of Jindyworobaks, which have been going on for decades, through people from a very different political line, the relationship of Jindyworobaks to the Indigenous Australians:
- "Another poet, Ian Mudie in The Australian Dream (1943), reveals the delusional quality of Australian nationalist perception through his refusal to account for the destruction of the natural environment and Aboriginal culture... Jindyworobaks... often misunderstood by critics who claim that the movement aims to base Australian culture on Aboriginal culture.The Jindyworobaks are interested in Aborigines, and if Australian whites now can recognize the dismal impact of their civilization on the Aboriginal population of the country, Jindyworobaks is partly responsible... Jindyworobaks... wants to achieve a harmonious relationship between culture and the environment, and realize that Aboriginal culture embodies it.This is an example of where they can learn, not by imitation, but by understanding and accepting the conditions that the environment creates in them. "(< i> Australian Literature and Australian Culture )
Ivor Indyk has suggested that Jindyworobaks search for some sort of pastoral poem, returning to an Arcadian that had been removed from the early pioneering period, back to the pre-colonial era. He claims that "they ignore the fact that Australian novelists have been there before them," but unlike the original Greek "Arcadia" Greek is not full of dryad, faun and happy shepherd but "haunted and usually overwhelmed by ghosts. " death and deprivation, "ie cruelty, betrayal and misunderstanding of white contact with the indigenous people.He also said about Judith Wright that she was" oppressed by the feeling of 'arrogant guilt'. Guilt, as a burden of white history, is felt again in the division between the settlers and the land itself, marred by greed and ignorance ", in spite of him attempting to inaugurate the" white dream ", while the Ingamells landscape is:
"are filled with energy, but they are also uninhabited, except for the remnants of the Aboriginal people, and more often, parrots and parakeets whose bright colors and loud exclamations reveal the strength and the foreign character of the land. culture about the use of this Aboriginal perspective, and has no real history. "
It is thus argued in certain cases whether the poem aims at indigenous consciousness in whites or land ownership, which the Indigenous Australians appear to be in close contact with.
The greatest indigenous influence on Jindyworobaks is the lief that has been torn down by white folklorists and anthropologists. Written, as opposed to being transcribed, indigenous literature did not appear in print until 1920 when David Unaipon, a Christian from Point McLeay mission, South Australia, published a masterpiece. Unaipon published to the 1950s, at that time Jindyworobaks suffered a setback. Unaipon was the only original Australian author to have published during their heyday, and it was not until the 1960s that the two were published - Oodgeroo Noonuccal (Kath Walker). Unaipon, though originally from South Australia, is not mentioned in Jindyworobaks' works, so it is difficult to say how influential, the Legendary Tales of Aboriginal Australia is.
Members
- Nancy Cato
- Norma Davis
- James Devaney
- William Hart-Smith
- Rex Ingamells
- Ian Mudie
- Roland Robinson
Primary effect
- Lyndhurst Giblin
- Mary Gilmore
- Xavier Herbert, through his novel, such as Capricornia
- Margaret Preston, a visual artist who fights for a national style based on Aboriginal art, and contributes illustrations and essays to several Jindyworobak publications
- D. H. Lawrence, especially through his novel Kangaroo
- P. R. Stephensen via The Foundations of Culture in Australia
- Ted Strehlow
See also
- Scottish Renaissance - a nationalistic movement in the same period.
- Harlem Renaissance - affirmation of black identity in the US.
References
External links
- A Life of Excitement from Owners
Further reading
- The Jindyworobaks (1979), Brian Elliot (editor), (Queensland press university)
Source of the article : Wikipedia
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