Filching the Argentine colonists : the encouragement of Patagonians to the Northern Territory in the early twentieth century

This paper explores the background to the emigration of 220 settlers from Patagonia in South America to the Northern Territory during the course of World War I. The group, which arrived in Darwin on the Kwanto Maru in 1915, comprised an unusual mixture of nationalities. The breakdown given in the passenger list and the contemporary press was 113 Spaniards, 45 Russians, 30 Italians. 28 British, I Argentinian [of British parents], 1 Frenchman, 1 Serbian and 1 Greek. Some of the 'Spaniards' were presumably Spanish speaking Argentinians but most were indeed of Spanish descent, such as the Martinez, Perez and Villalba families. Of the British amongst the group, almost all were Welsh. They came as a result of inducements held out to the Welsh amongst the party in the years immediately prior to the war by the Commonwealth Government, which administered the Northern Territory after 1911. This account provides a fascinating case study of the recruitment of immigrants to Australia, and particularly to the Northern Territory, in the early twentieth century.

The Australian Constitution: A century of irrelevance

Why the Australian Constitution is irrelevant - while some aspects of the Constitution, such as the separation of powers doctrine, provide the prospect for a Constitution that is more committed to principles of relevance to the citizenry, consideration must be given to the role played by the Constitution in Australian society, and whether it is as important as it should be - effort spent interpreting many sections of the Constitution has been a waste of the High Court's time and energy - given that no important rights and duties are at stake, consistency should be the main objective for the Court in such cases - in the teaching of constitutional law, less time should be spent focusing on mechanistic case law - emphasis should be placed on the values and ideals that inform the content and development of constitutional principles.

The Fiftieth Gate : an Australian case study in twentieth-century 'popular' publishing

On Sunday 6 April 1997, historian Mark Baker's first non-academic book was launched at Melbourne's iconic migrant portal, Station Pier. The guest list of over 500 invitees included representatives of many print media organisations, most of whom interviewed the author. His photograph was reproduced a week later in the 'Agenda' section of The Age newspaper. In this portrait, Baker leans on the railings beside the massive structure of Station Pier. Framed by sea and sky, he is caught glancing pensively over his shoulder past the camera and into the middle distance. He is alone. The day is bleak. Here, the reader is invited to surmise, is a man with much on his mind. In a flash of inspiration the sub-editor has prefaced the accompanying caption, 'Back to the future', linking the story with the mass media of film and television.

A case for a revival of tonic sol-fa in the twenty-first century

The Tonic Sol-fa method of teaching singing was developed in England by John Curwen over a period of forty years from the 1840s until the 1870s. Although originally an aid to reading staff notation, the J 872 Standard Course saw staff notation dispensed with altogether in favour of its own notational system. By the end of the century it had spread from Britain to Australia, New Zealand, South Africa, Canada, the United States, India, China, Japan and the Pacific Islands. However, largely due to its notational isolation, Tonic Sol-fa declined markedly during the early twentieth century. Except for the incorporation of certain aspects into the Kodaly method, it has largely disappeared from contemporary music teaching practice. Surprisingly, however, Tonic Sol-fa in its nineteenth century form is presently "alive and well" in certain developing countries in Africa, Asia and the Pacific. This paper will present an analysis of Tonic Sol-fa and evaluate its characteristics in terms of contemporary pedagogical and notational theory. The paper will then report on the current use of Tonic Sol-fa in developing countries and it will be argued that, in certain of these countries, this nineteenth century teaching method and notational system has not only survived but has indeed flourished. It will be argued that, in at least one case, Tonic Sol-fa has been "indiginised" so that it has not only become an integral part of the musical culture but also has become part of the social fabric of the country. The case will be put for a revival of Tonic Sol-fa in developing countries where, for social, economic and educational reasons, an alternative model to that utilised in more highly developed countries may be more successful/ in promoting school and community choral music.

New work ethics? Foucault and the spirit of 21st century capitalism

In a corporate environment that is changing at warp speed, performing consistently at high levels is more difficult and more necessary than ever. Narrow interventions simply aren't sufficient anymore. Companies can't afford to address their employees' cognitive capacities while ignoring their physical, emotional, and spiritual well-being. On the playing field or in the boardroom, high performance depends on how much people renew and recover energy as on how they expend it, on how they manage their lives as much as on how they manage their work. When people feel strong and resilient - physically, mentally, emotionally, and spiritually - they perform better, with more passion, for longer. They win, their families win, and the corporations that employ them win. (Jim Loehr and Tony Schwartz (2001) The Making of a Corporate Athlete, p.128)

Missionaries, music and method - dissemination of tonic sol-fa in Asia-Pacific countries during the nineteenth century

The Tonic Sol-fa method of teaching choral singing and its system of music notation was developed in England by John Curwen and propagated throughout the British Isles as a means of both enhancing Christian worship and achieving social reform. Tonic Sol-fa may be identified as an entirely foreign musical practice introduced to indigenous people in many British colonies and in other overseas countries during the nineteenth century as an instrument of Christian evangelism as well as of European cultural imposition. Nevertheless, indigenous communities were introduced to other aspects of European musical culture including a choral repertoire consisting of four-part hymnody and masterworks by Handel, Bach, Mozart, etc which sometimes resulted in the emergence of a school of indigenous composers writing in Tonic Sol-fa notation and using the tonal harmonic style. The result has been that in several countries-such as South Africa and Fiji for example-Tonic Sol-fa has been so fully assimilated into the ethnic culture that it has been "indigenized" and may now be said to represent a significant exogenous aspect of the musical culture in these countries.

Tonic Sol-fa was most commonly introduced to countries in the Asia-Pacific Region -as in Africa - by Christian missionaries who sought to exploit the attraction of hymns, particularly when sung in four-part harmony, as a means of evangelizing indigenous people who frequently regarded this aspect of missionary activity as a form of "magic". In particular, the Tonic Sol-fa method and notation gained a significant foothold in what were referred to as the South Sea Islands--especially in Fiji where today, the Fijian Hymn Book (1985 edition) is notated exclusively in Tonic Sol-fa. The vast majority of the Fijians are literate in Tonic Sol-fa notation and congregational singing in four parts is the norm in Fijian churches.

This paper will draw on data from nineteenth century journal sources, particularly The Tonic Sol-fa Reporter (1853-1888) and The Musical Herald (1889-1920), and will document the introduction and dissemination of Tonic Sol-fa in several Asia-Pacific countries where, unlike Australia and New Zealand, the indigenous population has maintained its own cultural and demographic predominance. Countries to be considered will include India, China (including Hong Kong), and Pacific Island nations. There will also be a consideration of the contemporary usage and applications of Tonic Sol-fa in the region, with specific reference to Fiji. It will be argued that countries where Tonic Sol-fa notation has become the norm should resist any external pressure to transfer to the standard staff notation merely for the sake of conformity. In the case of Fiji, almost universal music literacy has been achieved through Tonic Sol-fa and this should be recognized as an enviable social and cultural asset.