Alan Davidson, Josip Biskic, John Markovski

Three icons of the game of soccer in Australia. Alan Davidson (left), Josip Biskic (centre) and John Markovski of Preston (right). c.1980s.

Your genre is black : indigenous performing arts and policy

In February 2008, Prime Minister Kevin Rudd apologised to the Stolen Generations on behalf of the Australian people. Now what? In this Platform Paper, mid-career Indigenous performing artists think about their post-apology future. Indigenous theatre blossomed in the 1990s when it was grasped as a means to expose social issues and advance the goals of Reconciliation. Now that generation of artists questions these motives. For some, history and community are central; others are impatient with 'your genre is black' and demand the professional respect they have earned. "Indigenous artists", says director Wesley Enoch, "have been asked for decades to work at their slowest, to bring everyone along with them. It's the equivalent of asking Cathy Freeman to run slowly, so that everyone can keep up with her." Glow and Johanson provide a forum for practitioners like Rachel Maza-Long, David Milroy, Stephen Page and Rhoda Roberts. Together they call for an end to second-best; and for measures that respond with post-apology confidence to the vision and inspiration that, in the opinion of the Australia Council, "remain at the heart of Australia's culture" .

Adolescence and abuse : trauma and the socio-sexual abject in John Duigans lawn dogs

The article analyzes the presentation of youth in the film "Lawn Dogs," directed by John Duigan. In the film, the child as victim is defined by socio-economic contexts. The author explores the discursive moves by which means the film witnesses or occludes the traumatic experiences suffered by the child and adolescent characters, and how far it articulates a satiric revision of social hierarchies that construct generational identities of gender and class.

Lost in translation? William Wardell's St John's College, Sydney and Convent and School, Kew

This paper considers two Colleges designed by the nineteenth century architect William Wardell (1823-99): St John’s College, within the University of Sydney (1858-59) and Convent and School, Kew, now known as Genazzano FCJ College Kew, Melbourne (1889). The approach of significant anniversaries for each of the Colleges has been the major impetus behind the current research. Both commissions demonstrate laudable aspirations; difficulty in comprehending and realising the design; partial completions and accretions over time which testify to changes in economic fortune and taste; inappropriate additions; and decades of neglect fuelled by a general misunderstanding of the 19th century for much of the 20th century. At the beginning of the 21st century conservation management plans were commissioned independently for both projects. Using the two Colleges as case studies, this paper examines tradition and its transformation, design and its translation, heritage and its significance.

William Wardell's St John's College within the University of Sydney, 1858-59

Ursula wrote the essay for the catalogue of the Wardell Exhibition.

Australian animation : John Scheffer

Contains never before published data, and represents the only text available that comprehensively documents the working process, techniques and philosophies of this historically important Australian animator. This book consists of original research, based upon video interviews of the animator.

"Appear as crucified for me" : sight, suffering, and spiritual transformation in the hymns of Charles Wesley

Early Methodist laypeople often described their conversion experiences in terms of seeing the suffering of Christ. This article considers this theme within early Methodist culture by examining the relationship between sight, suffering, and spiritual transformation in the hymns of Charles Wesley. Many of Wesley's hymns depict the suffering of Christ in evocative detail, encouraging the singer or reader to imagine and respond to this suffering in particular ways. I argue that Wesley presents the sight of Christ's suffering as having profound transformative power, at the heart of Christian experience. In doing so he constructs Methodist spirituality in a way that draws upon both the ancient Christian tradition of Passion devotion and contemporary eighteenth-century convictions about the power of the sight of suffering.

'The suffering members sympathise' : constructing the sympathetic self in the hymns of Charles Wesley

For the first time in history, this timely landmark volume brings together contributions from the leading scholars working on the life and work of Charles Wesley.