The Jindyworobak Connection in Australian Music, c.1940–1960
نویسنده
چکیده
This article will re-address the issue of what has come to be known as ‘Jindyworobakism’ in Australian music. This can be described as the attempt by various composers to establish a uniquely Australian identity through the evocation of the Australian landscape and environment and through the use of Aboriginal elements, in their music, texts or subjects and the connection or otherwise of their work with the philosophy of the Jindyworobak movement in Australian literature which flourished from the late 1930s until the mid-1950s. This article aims to provide a critical re-assessment of the subject based upon some currently accessible sources: music, books, articles and dissertations. Future research, especially into unpublished musical and literary sources, may yet yield a more complete idea as to whether a meaningful link may or may not be established between the artistic tenets of the Jindyworobak writers and the work of apparently like-minded composers. The Jindyworobak literary movement may be defined as one of a number of manifestations of nationalism prominent in the Australian arts of the early to mid-twentieth century. It was founded by the South Australian poet Rex Ingamells (1913–1955) and included a group of writers such as Ian Mudie (1911–1976), Flexmore Hudson (1913–1988), William Hart-Smith (1911–1990) and Roland Robinson (1912–1992). Ingamells adopted the Aboriginal word ‘jindyworobak’ that was found in James Devaney’s book The Vanished Tribes,1 and put it together with its meaning ‘to annex or join.’ The artistic credo of the Jindyworobaks was then presented in a pamphlet entitled ‘Conditional Culture’, first published in Adelaide in 1938.2 In this pamphlet, Ingamells states,
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تاریخ انتشار 2006