Kerkhove also argues that contrary to the claims of military historians such as Dennis (1995), there is ample evidence for tactical innovation. He concludes that Australian “resistance” conflict followed its own distinctive pattern – achieving coordinated response through inter-tribal gatherings and sophisticated signaling relying heavily on economic sabotage and targeted payback killings and guided by self-depreciating “loner-leaders” much more wily and reticent than their equivalents in other parts of the world. Eckley 2001, Kilcullen 2009), the author examines key features of “Black War” of 1843-1855 and other resistance engagements around Australia. Using definitions of guerilla and terrorist warfare (e.g. Indigenous wars are usually compared with guerrilla/ terrorist engagements, yet the Australian situation has presented features which are not easily placed within existing paradigms. Kerkhove finds that this was a definable conflict (1843-1855), complete with a record of victories, coordination, leadership and planning. Building on a statement in Nehemiah Bartley’s Australian Pioneers and Reminiscences (1896), the author argues that an alliance of several Indigenous groups declared war in south-east Queensland. Our understanding of the strategies Indigenous groups employed, and their overall objectives, remains vague. In contrast to North America, Australia has virtually no named Indigenous wars. Indigenous resistance underlies this story, yet it has barely been examined as a military phenomenon (Connor 2004). ‘A State of Harmony? Music in the Deep North.’ Queensland Review 5.1 (1998), 1-16.įrontier violence is now an accepted chapter of Australian history. It ends with a discussion of contemporary arts policy. After discussing Percy Brier’s 1962 account of music in Queensland as a version of the terra nullius myth, the paper sketches out a possible framework for an alternative history of music in Queensland, arguing that it is necessary to draw on the history of music in other colonial and post-colonial societies, adopt new approaches to studying music as part of a social matrix, and take into account broad patterns of colonial historiography. It begins from the premise that Queenslanders have developed a unique set of cultural interactions with music, reflecting our particular history and social conditions, and explores how Queenslanders have adapted European musical traditions to a different cultural and social context. ‘A State of Harmony’ challenges the ‘colonial mentality’ which sees music in Queensland as a European, not fully acclimatized form.
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