Front and Back Covers, Volume 40, Number 3. June 2024

Front and back cover caption, volume 40 issue 3

DREAMING'S DIMINISHING DIMENSIONS

The cover image, Desecrating the Rainbow Serpent by Jack Green, powerfully illustrates the profound cultural and spiritual disruption Indigenous communities face from the expansion of the McArthur River Mine in Australia's Northern Territory. The painting, divided into two sections, represents the past and the present. The left side, vibrant and lush, depicts a time when the Gudanji, Garrwa, Marra and Yanyuwa peoples had control over their land and lived on Country, with the Junggayi (traditional managers) and Minggirringi (owners) guarding the eye of the sacred Rainbow Serpent at the top of the painting. The dark and fragmented right side portrays the devastation caused by mining activities, highlighting the diversion of the McArthur River, which the artist describes as having ‘cut the back of our ancestor – the Rainbow Serpent’, ‘pull[ing] people down’ as ‘the stress of seeing our land suffer means we suffer.’

Richard J. Martin's article examines the broader implications of such cultural losses within the context of Australian legal and social frameworks. He discusses the complexities of compensating for cultural loss, as seen in landmark cases like Northern Territory v Griffiths and the destruction of Juukan Gorge, underscoring the challenges of quantifying spiritual and cultural damage in monetary terms and the broader impacts on Indigenous communities.

The image and article together highlight the enduring effects of colonization and industrial exploitation on Indigenous cultures. They call for a more profound understanding and respect for Indigenous spirituality and the urgent need for legal frameworks that adequately address and compensate for these irreplaceable losses.

This artwork serves as a reminder of the work ahead – acknowledging the immense cultural losses suffered, supporting Indigenous peoples in reclaiming and revitalizing their heritage, and finding ways to move forward that respect and honour Indigenous traditions. The painting's winding colours speak to the unbreakable bonds between identity, history and the land that must be nurtured and protected. Like Martin's article, this image is an invitation to open our minds, educate ourselves and take meaningful steps to help preserve and celebrate Indigenous cultural heritage now and into the future.

SHADOWS OF DISCOMFORT

This haunting illustration is a visual complement to Ståle Wig's thought-provoking article, ‘Pity the rich man’, which explores the dynamics surrounding begging and work and the discomfort often felt by both givers and receivers in such encounters.

The image depicts a dishevelled man, presumably experiencing homelessness, sitting amidst the detritus of his meagre possessions on a bustling city pavement. Passers-by, rendered as ghostly silhouettes, navigate around him, their body language subtly conveying a mixture of discomfort, pity and a desire to maintain distance. This scene encapsulates the awkwardness and unease that Wig identifies as central to many begging encounters, where the act of giving can heighten awareness of social inequality and provoke feelings of guilt or embarrassment.

Yet, as Wig astutely observes, those who beg are keenly attuned to these discomforts and often seek to alleviate them by reframing their solicitations as a form of work or exchange. The man's small cardboard sign and scattered belongings hint at this strategy, suggesting an attempt to present his predicament as a legitimate, if desperate, means of subsistence. By appearing to offer something in return for aid, even if only a token acknowledgement of the giver's generosity, he appeals to societal values that prioritize industriousness over perceived idleness.

Ultimately, this image serves as a powerful reminder of the everyday struggles and adaptations of those living on the margins while also prompting readers to reflect on their own assumptions and unease when confronted with the visible face of poverty. In doing so, it encapsulates the central themes of Wig's analysis, inviting us to consider how both givers and receivers navigate the complexities of these fraught social interactions.