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The White Possessiveexplores the links between race, sovereignty, and possession through themes of property: owning property, being property, and becoming propertyless. Focusing on the Australian Aboriginal context, Aileen Moreton-Robinson questions current race theory in the first world and its preoccupation with foregrounding slavery and migration. The nation, she argues, is socially and culturally constructed as a white possession. Moreton-Robinson reveals how the core values of Australian national identity continue to have their roots in Britishness and colonization, built on the disavowal of Indigenous sovereignty. Whiteness studies literature is central to Moreton-Robinson's reasoning, and she shows how blackness works as a white epistemological tool that bolsters the social production of whiteness-displacing Indigenous sovereignties and rendering them invisible in a civil rights discourse, thereby sidestepping thorny issues of settler colonialism. Throughout this critical examination Moreton-Robinson proposes a bold new agenda for critical Indigenous studies, one that involves deeper analysis of how the prerogatives of white possession function within the role of disciplines.

The Australian Federal Native Title Act 1993 marked a revolution in the recognition of the rights of Australia’s Indigenous peoples. The legislation established a means whereby Indigenous Australians could make application to the Federal Court for the recognition of their rights to traditional country. The fiction that Australia was terra nullius (or ‘void country’), which had prevailed since European settlement, was overturned. The ensuing legal cases, mediated resolutions and agreements made within the terms of the Native Title Act quickly proved the importance of having sound, scholarly and well-researched anthropology conducted with claimants so that the fundamentals of the claims made could be properly established. In turn, this meant that those opposing the claims would also benefit from anthropological expertise. This is a book about the practical aspects of anthropology that are relevant to the exercise of the discipline within the native title context. The engagement of anthropology with legal process, determined by federal legislation, raises significant practical as well as ethical issues that are explored in this book. It will be of interest to all involved in the native title process, including anthropologists and other researchers, lawyers and judges, as well as those who manage the claim process. It will also be relevant to all who seek to explore the role of anthropology in relation to Indigenous rights, legislation and the state.

\"The White Possessive explores the links between race, sovereignty, and possession through themes of property: owning property, being property, and becoming propertyless. Focusing on the Australian Aboriginal context, Aileen Moreton-Robinson questions current race theory in the first world and its preoccupation with foregrounding slavery and migration. The nation, she argues, is socially and culturally constructed as a white possession. Moreton-Robinson reveals how the core values of Australian national identity continue to have their roots in Britishness and colonization, built on the disavowal of Indigenous sovereignty. Whiteness studies literature is central to Moreton-Robinson's reasoning, and she shows how blackness works as a white epistemological tool that bolsters the social production of whiteness--displacing Indigenous sovereignties and rendering them invisible in a civil rights discourse, thereby sidestepping thorny issues of settler colonialism.Throughout this critical examination Moreton-Robinson proposes a bold new agenda for critical Indigenous studies, one that involves deeper analysis of how the prerogatives of white possession function within the role of disciplines. \"-- Provided by publisher.

Country, native title and ecology all converge in this volume to describe the dynamic intercultural context of land and water management on Indigenous lands. Indigenous people's relationships with country are discussed from various speaking positions, including identity and knowledge, the homelands debate, water planning, climate change and market environmentalism. The inter-disciplinary chapters range from an ethnographic description of living waters in the Great Sandy Desert, negotiating the eradication of yellow crazy ants in Arnhem Land, and legal analysis of native title rights in emerging carbon markets. A recurrent theme is the contentions over meaning, knowledge, and authority. “Because this volume is scholarly, original and very timely it represents a key resource and reference work for land and sea managers; policy makers; scholars of the interface between post-native title responsibilities, NRM objectives and appropriate heritage protocols; and students based in the social sciences, natural sciences and humanities. It is rare for volumes to have this much cross-academy purchase and for this reason alone - it will have ongoing worth and value as a seminal collection.” - Associate Professor Peter Veth, ANU College of Arts and Social Sciences, The Australian National University. Dr Jessica Weir has published widely on water, native title and governance, and is the author of Murray River Country: An Ecological Dialogue with Traditional Owners (Aboriginal Studies Press, 2009). Jessica's work was recently included in Stephen Pincock's Best Australian Science Writing 2011. In 2011 Jessica established the AIATSIS Centre for Land and Water Research, in the Indigenous Country and Governance Research Program at the Australian Institute of Aboriginal and Torres Strait Islander Studies.

This honest and compelling book follows the fraught, exciting and painful process of getting to know 'others', in this case Australian Aborigines in the suburbs who are already 'known' through shocking images and worrying statistics.

What does it mean when whites say that certain Australian Aboriginal people have 'no culture' but accept that they have art? Why are notions and images of Aboriginal art and culture still dominated by those from the centre and north of the Australian continent, even though most Aborigines reside in the south-east? This book explores these questions, why they matter, and to whom they matter. It draws on extensive fieldwork with Barkindji Aboriginal people in the small country town of Wilcannia, New South Wales. The richly textured ethnographic analysis examines how notions of Aboriginal art and Aboriginal culture are wielded as weapons of power in everyday racism in Australia. In so doing, it demonstrates how Aboriginal people deploy ideas of art, artists and culture to assert individual and group identity, and to subvert dominant culture ideas and ideals which operate as tools of oppression, distancing and harm. 'At the heart of Gibson's fascinating study is a conundrum: Wilcannia Aboriginal art is flourishing although Aboriginal culture is said to be non-existent. She has produced an engaging and challenging account of social life as well as a serious analysis of deeply fraught relationships among the townspeople. The numerous photographs and paintings make this a rich and exciting publication.' Gillian Cowlishaw, The University of Sydney.

This book investigates the discursive and performative strategies employed by Australian Indigenous rappers to make sense of the world and establish a position of authority over their identity and place in society. Focusing on the aesthetics, the language, and the performativity of Hip Hop, this book pays attention to the life stance, the philosophy, and the spiritual beliefs of Australian Indigenous Hip Hop artists as ‘glocal’ producers and consumers. With Hip Hop as its main point of analysis, the author investigates, interrogates, and challenges categories and preconceived ideas about the critical notions of authenticity, ‘Indigenous’ and dominant values, spiritual practices, and political activism. Maintaining the emphasis on the importance of adopting decolonizing research strategies, the author utilises qualitative and ethnographic methods of data collection, such as semi-structured interviews, informal conversations, participant observation, and fieldwork notes. Collaborators and participants shed light on some of the dynamics underlying their musical decisions and their view within discussions on representations of ‘Indigenous identity and politics’. Looking at the Indigenous rappers’ local and global aspirations, this study shows that, by counteracting hegemonic narratives through their unique stories, Indigenous rappers have utilised Hip Hop as an expressive means to empower themselves and their audiences, entertain, and revive their Elders’ culture in ways that are contextual to the society they live in. Introduction: Culture on the Stage of History: The Past Is Present in ‘Indigenous Hip Hop’ Chapter 1: \"The Black from Down-Unda\": Contact Zones and Cultures of Black Resistance Chapter 2: \"2 Black 2 Strong\": The Politics of Blackness and Identification Chapter 3: ‘Indigenous Hip Hop’: The Politics of Identity and Representation Chapter 4: \"Know Our True Identity\": Indigenous Articulations of Identity through Kin, Place, and Spirituality Chapter 5: Hip Hop and Australian Indigenous Youth: New Modes of Political Participation Conclusion: ‘Indigenous Hip Hop’: History in the making \"Hip Hop outside of the U.S. North American context has been largely mute for far too long. Yet, Hip Hop remains a powerful force throughout the globe. What Minestrelli has provided here is a window into the strong and current culture of Hip Hop within Australian contexts. This study examines the related history of Hip Hop within an indigenous context and provides the reader with an area of Hip Hop that is developing and connected to rich roots. Minestrelli’s work stands to be a cornerstone text in the field of Hip Hop Studies.\" — Daniel White Hodge, North Park University, USA Chiara Minestrelli holds a PhD in Australian Indigenous studies from Monash University (2015). She is visiting professor in the Africana Studies Program at Lehigh University. She has published on Australian Indigenous literature and Hip Hop and Australian Indigenous Hip Hop.