AustLit

'In 1999, John Howard attempted to insert the word “mateship” into the Constitution, arguing that it had been reimagined as an inclusive national ideal. This article looks at the history and meaning of mateship, followed by a discussion of contemporary Australian attitudes towards it. The data we use in this article is from a voluntary survey (the Australian Mateship Survey) conducted by the authors, which asked respondents (N = 576) how they define mateship and how they feel about the term. The results indicate that a majority think mateship is a key feature of Australian identity but have concerns when the idea is politicised. A sizable minority believe the term is gendered and racialised and, therefore, is not inclusive of all Australians. Further, the survey suggests that a wide range of opinions exists even among those who do believe mateship has national significance. Twenty years after Howard’s attempt to enshrine mateship in the Constitution, this article suggests that the concept remains too divisive to serve as a core Australian value.' (Publication abstract)

'The 1970s is often characterised as the decade of Australia’s “new nationalism”, expressed most potently in a wave of cultural activity nurtured by government funding. The figure of the ocker was central to this new nationalism, particularly in film. The ocker, a contemporary masculine archetype devoted to beer, sex and swearing, was a star of Australian films such as The Adventures of Barry McKenzie, Alvin Purple, Petersen and Don’s Party. Yet few scholars have considered the ocker in a gendered context, remarkable when we consider that while the ocker films were being produced, the women’s liberation movement was mounting a radical challenge to Australian cultural, social and political norms. What new understandings of 1970s society and culture might result if we read the new nationalist ocker and women’s liberation in the same frame? This article examines the relationship between ocker culture and women’s liberation in the 1970s. It argues that we can read new nationalist popular culture as a site of gendered cultural contest, with a particular focus on feminist responses to ocker culture, including Alvin Purple, and a reading of the film Petersen.' (Publication abstract)

'The play Don’s Party premiered on August 11 1971 at Carlton’s Pram Factory, home to the radical theatre ensemble, the Australian Performing Arts Group.'