By Margaret Somerville
Interpreting this ebook is like falling via a faultline, as we reply to poesis, either as poetry and as idea production. Margaret Somerville attended the 1984 Pine hole Women's Peace Camp the place city girls and Aboriginal ladies proven opposed to army bases. As she moved throughout the panorama of this and different very diversified areas, she recorded her interactions: with Aboriginal ladies within the wasteland within the mountains and at domestic, and with white girls within the tropics and at domestic. it's a considerate problem of all that we expect. She concludes with reflections at the structure of affection.
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Extra info for Body Landscape Journals
In the desert we learn to dance by firelight, following the body movements of anangu dancers. The men learn first, the emu dance, temporarily transformed, much to the delight of the anangu men, into head-jerking foot-stalking emus. Then the women dance in a row across the dark ground.
We arrive at our campsite at Angatja and are swarmed by wild straw-haired kids chattering in harsh gutteral voices. Ngalya kati! bring it here, they shout as swags are unloaded off the truck. I call back to them in their language and they fall about laughing at me. One bright skinny kid comes to help unpack, undoing toilet bag, putting on make up, examining clothes and tape recorder. We exchange names; Margaretta she says, adding her own rhythms. No adult appears until Nganyinytja wanders into our camp, bare feet, flowered skirt, and cardigan wrapped close against a chill wind.
She tells us how they saw the first white men come to Angatja on camels from the top of the same hill where we are camped. Their mothers had hidden 48 Body/Landscape Journals all the children in the rocks on the hill, terrified of what might happen to them when the white men on camels arrived. Who is this small grey-haired woman who comes to us with white floured hands from making damper? I see her as a vision of the five black matriarchs from my work with Patsy Cohen on Ingelba; the embodiment of Mary Jane Cain of The Sun Dancin’, the woman who straddles two eras of history—the time before white settlement of this land and the time after.