Andrew W. Hurley is Associate Professor in the Faculty of Arts and Social Sciences at the University of Technology, Sydney. He teaches in the International Studies program and is a core member of the Australan Centre for Public History.
Andrew holds degrees in German and European Studies (B.A. (Hons.) and PhD (University of Melbourne) and Law (LLB, University of Melbourne), and has been admitted to practice as barrister and solicitor in the Supreme Court of Victoria.
Andrew is a cultural historian with a special interest in music and the acoustic. In this context he has written widely on interculturalities and intermediality. He is the author of The Return of Jazz: Joachim-Ernst Berendt and West German Cultural Change (Berghahn Books, 2009, 2011), and
Into The Groove: Popular Music and Contemporary German Fiction (Camden House, 2015).
Andrew's latest book is Ludwig Leichhardt's Ghost: The Strange Career of a Traveling Myth (Camden House, 2018).
Andrew is able to supervise PhD students
Andrew W. Hurley completed his PhD in German Studies at the University of Melbourne in 2006. He also has legal qualifications and has practiced as a solicitor.
Can supervise: YES
Jazz and popular music history, especially in Germany
Contemporary German literature
Andrew W. Hurley currently teaches in the International Studies program.
After the renowned Prussian scientist and explorer Ludwig Leichhardt left the Australian frontier in 1848 on an expedition to cross the continent, he disappeared without a trace. Andrew Hurley's book complicates that view by undertaking an afterlife biography of "the Humboldt of Australia." Although Leichhardt's remains were never located, he has been sought and textually "found" many times over, particularly in Australia and Germany. He remains a significant presence, a highly productive ghost who continues to "haunt" culture.
Leichhardt has been employed for all sorts of political purposes. In imperial Germany, he was a symbol of pure science, but also a bolster for colonialism. In the 20th century, he became a Nazi icon, a proto-socialist, the model for the protagonist of Nobel laureate Patrick White's famous novel Voss, as well as a harbinger of multiculturalism. He has also been put to use by Australian Indigenous cultures. Engaging Leichhardt's ghosts and those who have sought him yields a fascinating case study of German entanglement in British colonialism in Australia. It also shows how figures from the colonial past feature in German and Australian social memory and serve present-day purposes. In an abstract sense, this book uses Leichhardt to explore what happens when we maintain an open stance to the ghosts of the past.
A new and wide-ranging view of the confluence, since the 1990s, of the fields of contemporary literature and popular music in Germany.
Jazz has had a peculiar and fascinating history in Germany. The influential but controversial German writer, broadcaster, and record producer, Joachim-Ernst Berendt (1922 2000), author of the world s best-selling jazz book, labored to legitimize jazz in West Germany after its ideological renunciation during the Nazi era. German musicians began, in a highly productive way, to question their all-too-eager adoption of American culture and how they sought to make valid artistic statements reflecting their identity as Europeans. This book explores the significance of some of Berendt s most important writings and record productions. Particular attention is given to the Jazz Meets the World encounters that he engineered with musicians from Japan, Tunisia, Brazil, Indonesia, and India. This proto- world music demonstrates how some West Germans went about creating a post-nationalist identity after the Third Reich. Berendt s powerful role as the West German Jazz Pope is explored, as is the groundswell of criticism directed at him in the wake of 1968.
Barrett, L, Eckstein, L, Hurley, AW & Schwarz, A 2018, 'Remembering German-Australian colonial entanglement: An introduction', Postcolonial Studies, vol. 21, no. 1, pp. 1-5.View/Download from: UTS OPUS or Publisher's site
The role of German actors in European colonialisms, especially before the foundation of the German nation state in 1871 and Germany's entry into imperialism proper with the so-called protectorates of 1884/1885, is a contested one. Different academic camps have interpreted the peculiar German case very differently. Opposing positions were flagged in the late 1990s and still hold. Notably, the literary scholar Susanne Zantop compellingly argued that longer standing German 'colonial fantasies' were not only instrumental in paving the way for later German imperialism but analogous to Hannah Arendt's earlier argument that they were also constitutive for Germany's fascist futures in the twentieth century.1 Although the continuity argument about the links between the Holocaust and antecedent genocidal practices during the Herero uprising in South West Africa (from Waterberg to Auschwitz, so to speak), and the implications of making the link have been debated, subsequent historians, including George Steinmetz,2 have shown how colo-nial fantasies were indeed operative, although they met with other determining factors, such as local conditions and the habitus of German colonial actors, when they were put into practice in the German colonies. By contrast, critics like Russell Berman,3 partly drawing on Edward Said and Mary Louise Pratt, but also deliberately distancing himself from universalising arguments about the European colonial project, proposed that early German investment in other states' colonialism could be, and very often was, a disinter-ested affair driven by a passion for science and the extension of knowledge rather than conquest.
Hurley, AW 2018, 'Remembering Hermannsburg and the Strehlows in cantata form: Music, the German-Australian past and reconciliation', Postcolonial Studies, vol. 21, no. 1, pp. 113-129.View/Download from: UTS OPUS or Publisher's site
© 2018 The Institute of Postcolonial Studies. This essay uses the 2003 symphonic Cantata Journey to Horseshoe Bend to examine some of the different entangled memories of German missionisation in Central Australia, including those held by the settler-European librettist Gordon Kalton Williams and members of the Indigenous Ntaria community choir, among others. Rather than simply reading this as a pernicious settler-Australian appropriation of Aboriginal culture, or as a simple story of harmonious intercultural collaboration, the author seeks to open up the multiplicity of meanings – the consonances, as well as the ambiguities and the disconcerting moments of uncanniness and clash that lie beneath the surface of a musical act of memory.
Hurley, AW 2017, 'Farewell my country? Hermannsburg, Gus Williams, and the indigenised Heimatlied', Journal of Australian Studies, vol. 41, no. 1, pp. 18-31.View/Download from: UTS OPUS or Publisher's site
© 2017 International Australian Studies Association. This microhistory focuses on a little-known aspect of Indigenous musical life in the 1960s in the Lutheran Hermannsburg Mission (now Ntaria) in Central Australia. I contemplate the possible meanings arising when Gus and Rhonda Williams translated the secular German Heimat- cum-Wanderlied [song of home-cumwandering], "Ade du mein Heimatland", [Farewell to you my homeland], into Arrarnta as "Ade pmara nukai" [Farewell my country], and "presenced Indigeneity" for a predominantly non- Indigenous, southern audience. I explore how a German song became "travelling culture"; how it was received and modified to suit both missionary and Indigenous purposes, in the process both expressing a vernacularised Arrarnta Lutheranism, as well as maintaining music's vital role in Indigenous culture, including as a signifier of love of country. I further examine how the song could have a political meaning in the nascent land rights context of the day, as an assertion of attachment to country or "Indigenous Heimat" that could resonate back, across a cultural divide, with a non-Indigenous Lutheran audience.
Ege, M & Hurley, AW 2015, 'Periodizing and Historicizing German Afro-Americanophilia: From Counterculture to Post-soul (1968-2005).', Portal: journal of multidisciplinary international studies, vol. 12, no. 2.View/Download from: UTS OPUS or Publisher's site
Ege, M & Hurley, AW 2015, 'Periodizing and Historicizing German Afro-Americanophilia:From Antebellum to Postwar (1850–1967)', Portal: journal of multidisciplinary international studies, vol. 12, no. 2, pp. 1-38.View/Download from: UTS OPUS or Publisher's site
In this essay, which builds on the methodological considerations and the definitions we sketched in the introduction to the special edition on what we are calling twentieth-century German Afro-Americanophilia, we delve into the history of Afro-Americanophilia in Germany and of its precursors. Afro-Americanophilia denotes the affirmative, enthusiastic, even loving approaches to African American culture, politics, and people. These, in turn, are heterogeneous acts that encompass imaginations, practices and social relationships. Such acts have been theorized with concepts such as mimesis, identification, desire, translation, misunderstanding, appropriation, expropriation, fetishism, hybridisation, or becoming-minor. Our aim here, however, is not to theorize Afro-Americanophilia, but to establish a preliminary, mostly descriptive periodization and to draw out some of the particularly significant moments, ruptures, and continuities within it. In the process, we also identify some of the salient ways scholars have interpreted Afro-Americanophilia during those periods. The timeframe we cover in this first review essay stretches from the nineteenth century until the mid–1960s, from which point the second essay continues. Focusing on a variety of appropriative practices, communicative media, actors and forms of agency, power differentials, and sociocultural contexts, we discuss positive images of and affirmative approaches to black people in German culture and its imaginary prior to the colonial era, and then during the colonial, Weimar, Nazi and postwar eras
Hurley, AW 2015, 'Establishing Minimal Techno as Soundtrack to the Creative City: Hannes Stöhr's Berlin Calling', Seminar: A Journal of Germanic Studies, vol. 51, no. 4, pp. 315-332.View/Download from: UTS OPUS or Publisher's site
Hurley, AW 2015, 'How 'Afro-Americanophilia' became Polyphilia: Joachim-Ernst Berendt's Journey from Jazz to 'Weltmusik.'', Portal: journal of multidisciplinary international studies, vol. 12, no. 2.View/Download from: UTS OPUS or Publisher's site
Hurley, AW 2015, 'No Fixed Address, but currently in East Berlin: The Australian bicentennial, Indigenous protest and the Festival of Political Song in 1988', Perfect Beat: the Pacific journal of research into contemporary music and popular culture, vol. 15, no. 2, pp. 129-148.View/Download from: UTS OPUS or Publisher's site
In his work on multidirectional memory, Michael Rothberg makes the point that '[a]lthough it is difficult to grasp today […] communism provided one of the discursive spheres […] in which the articulation of genocide and colonialism could first be attempted.' In this article, I explore the Indigenous reggae-rock band No Fixed Address's performance, just after Australia Day 1988, at the East German Festival of Political Song, one of the surprisingly many venues where the East German State granted space for the articulation of genocide and colonialism and their legacies in the Australian context. On its face, this site offered a signal transnational location for Indigenous protest during the Bicentennial year. But I will demonstrate how the articulation of protest was undermined and skewed by partly competing, partly symbiotic intentions on the part of the East German and the Australian States. In this ambiguous context, musical protest unfolded in complex and sometimes unintended ways.
Hurley, AW & Ege, M 2015, 'Introduction: Special Issue on Afro-Americanophilia in Germany.', Portal: journal of multidisciplinary international studies, vol. 12, no. 2, pp. 1-14.View/Download from: UTS OPUS or Publisher's site
From a 'provincial' and (hopefully) self-aware European perspective, it is clear that
cultural forms or practices that originated among African Americans have, beyond their
value to African Americans themselves and people elsewhere, contributed tremendously
to life on the European continent. Those contributions include everything from the
political imaginaries of the Civil Rights and Black Power movements, through
philosophical thought, to literature, film, television, theatre, dance, sports, visual culture
and everyday aesthetics. Most prominent, perhaps, have been forms of music—blues
and jazz to r'n'b, rap, and hybrid electronic music forms—all of which have 'furnished'
European listeners' lives, whatever their so-called race. While deeply embedded racism
can run through these processes of cultural flow, transfer, and appropriation, and
numerous forms of exploitation are at work, in many cases there is also an ambiguous
love for Black diasporic culture, at least according to the appropriating subjects' view of
themselves, which manifests itself in admiration, desire, a sense of affinity or
connection, and sometimes in fantasies of 'becoming black
Hurley, AW & Schwartz, A 2015, ''The greatest son of our Heimat': Reading German Leichhardts across the National Socialist era.', Journal of Australian Studies, vol. 39, no. 4, pp. 525-549.View/Download from: UTS OPUS or Publisher's site
Hurley, A 2014, 'German-Indigenous musical flows at Ntaria in the 1960s: Tiger Tjalkalyeri's rendition of 'Silent Night', or what is tradition anyway?', Perfect Beat, vol. 15, no. 1, pp. 7-21.View/Download from: UTS OPUS or Publisher's site
© Equinox Publishing Ltd 2015, Office 415, The Workstation, 15 Paternoster Row, Sheffield S1 2BX. This article focuses on aspects of Indigenous musical life in the 1960s at and around Ntaria (formerly Hermannsburg) in Central Australia, and isolates one flow between German missionary sources and the Indigenous musical culture - the Christmas carol 'Stille Nacht' (aka 'Silent Night'), which became 'Inguwa inturtai', now also known as 'Hymn 44'. I explore some of the meanings that are invested in a particularly striking yet ambiguous deployment of that song by Tiger Tjalkalyeri, and argue that, in a setting where white Australians have approached Indigenous music with their own classificatory expectations, an 'Indigenized' German Christmas carol could have a strange power. 'Inguwa inturtai' could upset and unsettle white Australian attitudes towards the 'authentic'.
Hurley, A.W. 2014, 'Review of Elina Hytönen-Ng, Experiencing flow in jazz performance', Journal of the International Association for the Study of Popular Music, vol. 4, no. 1, pp. 124-125.View/Download from: UTS OPUS
Hurley, AW 2014, 'Review of Susan G. Figge and Jenifer K. Ward, Reworking the German Past: Adaptations in Film, The Arts and Popular Culture. (Rochester: Camden House, 2013 ).', Limbus: Australian Yearbook of German Literary and Cultural Studies, vol. 8 (2014), pp. 254-257.View/Download from: UTS OPUS
Hurley, A.W. 2013, 'Son of the soil, proto-socialist or free spirit? Heinz Haufe's Entdeckungsreisen in Australien and the rehabilitation of Ludwig Leichhardt in East Germany', Limbus: Australian Yearbook of German Literary and Cultural Studies, vol. 6, no. 1, pp. 209-224.View/Download from: UTS OPUS
Hurley, AW 2013, ''Jack of All Trades' or 'Double Agent?' The German Popular Musician as Novelist', Journal of Popular Music Studies, vol. 25, no. 2, pp. 127-153.View/Download from: UTS OPUS or Publisher's site
A survey of contemporary German literature reveals that the figure of the popular musician-cum-novelist has gained a certain prominence since the latter part of the 1990s, including in the context of what has been referred to as Popliteratur, or Pop II.2 Although other examples could be given, Thomas Meinecke (songwriter for Freiwillige Selbstkontrolle [FSK], and author of Tomboy  and other novels) and Sven Regener (songwriter for Element of Crime, and author of Herr Lehmann  and other novels) have both attained a noticeable and sustained degree of fame and/or critical success as novelists. In doing so, they have avoided a career move hitherto common amongst those popular musicians with ambitions as writersthe genre of musician's autobiographyand other one-off attempts to transfer music to the written word, such as compendiums of song lyrics.3 At the same time, both Meinecke and Regener have maintained their pre-existing careers as proponents of what one might call ambitious popular music. Even though Popliteratur is not a new notionthere was, in the late 1960s, a first phase of Popliteratur, sometimes referred to as Pop Idurable, hybrid careers such as Meinecke's seem to be a new phenomenon, and can tell us about important changes in the contemporary German literary market, as well as about the cultural trajectory of certain types of German popular music. There may be some counterparts in other national contexts, but it is my contention that conditions specific to the German setting promoted the dual careers of people like Meinecke and Regener. Using Meinecke and Regener as case studies then, this article posits a fruitful, and increasing symbiosis, in Germany, of two cultural sub-fields and markets (the popular-musical and the literary), which inter alia calls into question the traditional hierarchization of literature and popular music (and perhaps even the strict separation of both).
Hurley, AW 2012, 'Of Germanic eddies in the Black Atlantic: Electronica and (post-)national identity in the music of Freiwillige Selbstkontrolle (F.S.K.) and in Thomas Meinecke's novel Hellblau (2001).', Journal of European Popular Culture, vol. 2, no. 1, pp. 65-80.View/Download from: UTS OPUS
Attention has been drawn to German music's inspirational role in the 'birth' of techno and house in the United States, as well as to Germany's pre-eminent place in the recent development of electronic dance music. Some even suggest that techno might be inherently German. Yet whilst electronica seems to offer materials with which to imagine Germanness, an alternative reading is available. This article specifically examines how discourses about electronica and (post-)national identity intersect in Thomas Meinecke's recent musical oeuvre with Freiwillige Selbstkontrolle (FSK), which has for some years been involved in its own adaptations of electronica, and in his later novels, especially Hellblau. Both advance a celebratory reading of the international spread of electronica - and of the productive 'transatlantic feedback' between Germany and the United States - which is consistent not only with a long-standing German trope associated with African American forms of music (especially jazz), but also with more recent, postmodern approaches to identity
Lewis, A & Hurley, AW 2012, 'Love, Popular Music, and "Technologies of Gender" in Karen Duve's Dies ist kein Liebeslied (This is Not a Love Song)', New German Critique, vol. 39, no. 1, pp. 113-137.View/Download from: UTS OPUS or Publisher's site
Hurley, AW 2011, 'Collapsing (New) Buildings: Town planning, history and music in Hubertus Siegert's Berlin Babylon (2001).', Portal Journal of Multidisciplinary International Studies, vol. 8, no. 1, pp. 1-23.View/Download from: UTS OPUS
Hubertus Siegerts impressionistic documentary, Berlin Babylon, illuminates the demolition and urban renewal of Berlin during the mid-late 1990s. This was a critical phase in the citys history, as it prepared, amidst a flurry of excitement and anticipation, to become the united Germany's seat of power. Siegert's film seeks to give pause for thought, but deliberately eschews a voice of god voiceover, opting instead for a poetic audiovisual montage. This includes shots of the cityscape (and its lacunae), archival footage documenting the wartime devastation and subsequent dynamiting of buildings, observational cinema of the citys busy building sites, and of verbal snippets from various architects, developers and politiciansfollowing the film titles cue, the agents in a rerun of the construction of the Tower of Babelas well as epigraphs from the Bible and Walter Benjamin, and a prominent soundscape and musical score. As this article will demonstrate, the films (mostly) sombre soundtrack plays a critical role here, commenting on the footage, and beyond that on the whole project of the new `Berlin Republic and its attitude to architectural heritage and twentieth century history. Re-figuring the theme of this volume, Berlin Babylons music is a form of writing about (collapsing, old) architecture and history. And yet, the soundtrack is not as unambiguous as a voiceover might have been, and thereby allows creative space for the audiences interpretation, a matter that was very important to the films director. This article will focus, in particular, on three elements: the use (and treatment) of historical recordings in the film; the use of silence; and finally the way in which tracks from the Berlin band Einstürzende Neubauten use music, noise and text to comment on the project of the new Berlin.
Hurley, A.W. 2010, 'A New Cultural Studies Analysis of West German Radio under Occupation (Review of Alexander Badenoch, Voices in Ruins: German Radio and National Reconstruction in the Wake of Total War. Basingstoke: Palgrave Macmillan, 2008. (February, 2010)', H-Net BOOK REVIEW..
Hurley, AW 2010, 'Hansjurgen Pohlands Tobby (1961/62): Jazz, cinema verite, and the beginnings of Young German Cinema', Studies in European Cinema, vol. 7, no. 3, pp. 193-207.View/Download from: UTS OPUS or Publisher's site
This article analyses the historical significance of the lesser-known German film Tobby (1961/62), a semi-documentary portrait of the Berlin jazz singer and percussionist Toby Fichelscher. Tobby focuses on Fichelscher's grappling with a tempting offer from the commercial music industry to go on tour playing Schlager (popular) music. It was the first feature film to be made by Hansjürgen Pohland, one of the signatories to the Oberhausen Manifesto of 1962, which is regarded as the founding moment of the Young, and later the New, German Cinema. The article explores how Pohland, an ardent jazz enthusiast, attempted to use a cinéma-vérité style, which itself shares much with the aesthetic principles and ideology of jazz, to create a new type of cinema taking leave from the established commercial Papas Kino (`father's cinema') of the 1950s.
"Jazz und Lyrik" ("Jazz and Poetry"}1 in the German-speaking world has been documented for fifty years, with its boosters claiming that these pre-dated, or at least developed independently of, similar activities during the postwar American jazz scene (Berendt 1960a; "Probleme um Jazz und Lyrik"1964; Meifert 1999). Certainly the combination of jazz and poetry is one field in which German jazz advocates, critics, musicians, and listeners have had an abiding interest. The combination of the two genres fulfilled several important purposes in the early days, between the mid- 1950s and the mid-1960s. By associating jazz with an established art form (poetry), jazz stood to receive, by association, artistic integrity, something it lacked in the eyes of many, particularly older, postwar Germans. For Joachim-Ernst Berendt, a broadcaster, author, and producer (and its main proponent), appending words to jazz enabled him to stress a socially critical message and thereby impart a specific extra-musical meaning to jazz. Since the early recordings (1960-1964) focus on combinations of jazz and Gennan poetry, they participated in the "Germanizing" of jazz. This essay explains how and why Berendt attempted this hybrid, as well as how and why he maintained a distinction between German and American efforts.
I first heard ofHorst Liepolt when I read about him in the liner notes for Heading in theRightDirection, a compilation of 1970S' Australian soul, jazz and funk that was released in 1995.Horst, I read, had produced quite a few of the tunes on Heading in theRight Direction. I was taken by the music and it in turn, led me to other Australian jazz from the era of the LP-as were many 'dancefloor jazz' enthusiasts from around the world, who likewise set about trying to locate the original recordings. Although Heading in the RightDirection was compiled by two Australians-Melbourne's Johnny Topper and Takse-it was issued not only in Australia but also in the USA,and was very much the result of a more widespread renewed interest in soul jazz, particularly on the part ofyoung British and American DJs.
Hurley, A.W. 2009, 'Review of Henning Dedekind. Krautrock: Underground, LSD und kosmische Kuriere. HÃ¶fen: Koch International/Hannibal, 2008', Limbus: Australisches Jahrbuch fuer germanistische Literatur- und Kulturwissenschaft, vol. 2, pp. 296-298.
Hurley, AW 2009, 'From Aboriginal Australia to German Autumn: on the West German reception of thirteen 'films from Black Australia'', Studies in Australasian Cinema, vol. 3, no. 3, pp. 251-263.View/Download from: UTS OPUS or Publisher's site
This article examines some aspects of the West German reception of a series of Australian films about Aborigines including Peter Weir's The Last Wave (1977), Phillip Noyce's Backroads (1977) and Michael Edols' Lalai and Floating (1973 and 1975) which were shown in Germany and elsewhere in Europe in 1978 and 1979. It explains how these films came to be shown in Europe, how and why they caught the imagination of German reviewers and film-makers at the time, and how they themselves contributed to the begetting of several German films on Aboriginal themes including Nina Gladitz's documentary Das Uran gehört der Regenbogenschlange (The Uranium Belongs to the Rainbow Serpent) (1979), Werner Herzog's Where the Green Ants Dream (1984) and Wim Wenders' Until the End of the World (1991).
Since the mid-1960s, just after the time at which Jameson posits the emergence of postmodernist aesthetics, German musicians and producers, operating in a range of fields of musical production from highbrow Ernste-Musik (serious music) to jazz and rock, have experimented with notions of Weltmusik (a term I will not translate since, in German discourses, Weltmusik has tended to signify western music in which various musical components are thought to synthesise into a whole, whereas the English term `world music' has often been used by the music industry as a marketing label to represent `authentic' musics from the margins).
Hurley, A.W. 2008, '"Jazz: The Australian Accent [Review]"', extempore, vol. 1:2008, no. 1, pp. 168-169.
Hurley, A.W. 2008, 'Review of John Shand's Jazz: The Australian Accent', extempore, vol. 1, no. 1, pp. 168-169.
Hurley, A.W. 2008, 'Revisiting 'Nigger-Jew-Music': Jazz and the Tensions between Remembering and Forgetting the National Socialist Past', Limbus: Australian Yearbook of German Literary and..., vol. 1, pp. 115-133.View/Download from: UTS OPUS
An historical study of the parallels between the German and Japanese jazz scenes and the interactions between the two between the 1960s and the 1980s
Hurley, AW 2008, 'Three Takes on Intercultural Film: Michael Edols' trilogy of Aboriginal films: Lalai Dreamtime; Floating, Like Wind Blow 'em About - This Time; and When the Snake Bites the Sun', Studies in Australasian Cinema, vol. 2, no. 1, pp. 73-93.View/Download from: UTS OPUS
This article examines the innovative film-making approaches taken in Michael Edols' three films (Lalai Dreamtime; Floating, Like Wind Blow 'em About This Time; and When the Snake Bites the Sun), profiles their political, critical and popular reception (including amongst Aboriginal people and analyses the insights they afford into the disciplines of film-making, ethnography and into broader questions of intercultural dialogue. At a time of increased media and political interest in the plight of Aboriginal people in remote communities, they also contribute to our knowledge of the history of one such community.
Hurley, A.W. 2007, 'Review of Axel Schildt and Detlef Siegfried (eds), Between Marx and Coca-Cola. Youth Cultures in Changing European Societies, 1960â1980 (New York and Oxford: Berghahn Books, 2006)', Journal of Contemporary European Studies, vol. 15, pp. 421-423.
Hurley, A.W. 2007, 'Review of Pig City: From the Saints to Savage Garden, by Andrew Stafford', University of Melbourne Postgraduate Review, vol. 13, no. 1, pp. 32-32.
Hurley, AW 2007, 'Whose Dreaming? Intercultural appropriation, representations of Aboriginality, and the process of filmmaking in Werner Herzoga's Where the Green Ants Dream', Studies in Australasian Cinema, vol. 1, no. 2, pp. 175-190.View/Download from: UTS OPUS
In 1983, the German film-maker Werner Herzog realized a decade-long ambition to create a film thematizing the struggles of Aboriginal groups against mining companies in Northern Australia. Where the Green Ants Dream (1984) was ultimately reviled by Australian pundits and also disappointed international critics. However, the film and the story behind its making raise important issues, not only about the creative appropriation of Aboriginal mythology, and the filmic representation of Aboriginality and of the struggle for Aboriginal land rights, but also about the intricacies of cross-cultural collaboration. This article reveals how Herzog relied upon the first land rights court case (Milirrpum v Nabalco) in writing his film script. In doing so, he came up with a hybrid ambiguously situated between documentary and feature film, something which proved uncomfortable for the lead Aboriginal actors Wandjuk and Roy Marika, who had both been players in Milirrpum v Nabalco. This article analyses Herzog's mix of documentary and fiction, examines the film's receptionboth by white Australian critics and by Aboriginal Australiansand argues that, while the film may be flawed, it is valuable because it threw (and continues to throw) light on the processes and pitfalls of cross-cultural collaboration.
Hurley, A.W. 2006, '"Music is an open sky": Horst Liepolt's contribution to Australian jazz', On-line publication, vol. NA, pp. 1-6.
Hurley, A.W. 2006, 'Summertime in Indonesia? The Indonesian Jazz All-Stars 1967 tour of Europe', Perfect Beat: The Pacific Journal of Research into Contemporary Music and Popular Culture, vol. 8, no. 1, pp. 3-21.View/Download from: UTS OPUS
In late 1966, a group of Indonesian jazz musicians approached the energetic West-German broadcaster, writer and so-called 'jazz pope' Joachim-Ernst Berendt with the proposal that he assist them in mounting a tour of Europe. This tour represented what E. Taylor Atkins, a historian of Japanese jazz, calls a 'strategy of authentication', intended to secure the playing experience these musicians craved (2001: 12). It would be the first time that a group of Indonesian jazzmen perfonned on the international stage. As it transpired, their tour also generated an early instance of proto- 'world music'.
Hurley, A.W. 1996, 'Prospects of recovery in negligence and under statute for Creutzfeld-Jakob disease resulting from human pituitary gland derived hormone products', Tort Law Journal, vol. 4, no. 1, pp. 60-79.
Hurley, AW 2018, 'Always within reach, trumpet gold, interpretation-free, above suspicion? Gunter Grass, Jazz and Literature' in Krick-Aigner, K & Schuster, M-O (eds), Jazz in Word: European Non-Fiction, Koenigshausen & Neumann, Wuerzburg, Germany, pp. 311-330.View/Download from: UTS OPUS
Hurley, AW 2018, 'In and Out: Processes of Inclusion and Exclusion in Joachim Ernst Berendt's Jazzbuch, or Towards the Biography of a Book' in Knauer, W (ed), Jazz & 100 An Alternative to a Story of Heroes, Wolke Verlag, Hofheim, pp. 91-110.View/Download from: UTS OPUS
In 1953 a book was born. Its sole parent, although there were various midwives, was given as Joachim Ernst Berendt (1922-2000), a broadcaster, journalist and producer, a man who came to be revered and reviled as Germany's so-called "jazz pope". In 1989 after the pope had retired from his day job at the Sudwestfunk public radio station and from the jazz community, and further settled into his role as New Age writer, the book gained an additional (step)father, Gunther Huesmann, who had already assisted less formally on the previous (1981) edition. After Berendt's death in 2000, the stepfather became sole adoptive parent. Over the years, the book grew in all sorts of different measures, and at the time that I am writing this, it would be 64 years old. Well known, certainly. Approaching retirement age, maybe. But what sort of character has this book had? Whom has it liked and not liked? What sort of work has it undertaken? How has it won friends (and lost them), and why did it gain enemies?
Hurley, AW 2015, 'Aboriginal Cowboys? On the possibilities of the Western in Australia's far west.' in Higgins, M, Keresztesi, R & Oscherwitz, D (eds), The Western in the Global South, Routledge, New York and Oxford, pp. 129-148.View/Download from: UTS OPUS
Hurley, AW 2015, 'From documentation to dialogue: On bringing Brazilian popular music and jazz to West Germany' in Finger, A, Kathoefer, G & Larkosh, C (eds), KulturConfusão – On German-Brazilian Interculturalities, Walter de Gruyter, Berlin and Boston, pp. 137-158.View/Download from: UTS OPUS
Hurley, A.W. & Schwarz, A. 2013, 'Leichhardt's Erbe: Der Australienforscher im deutsch-australischen Gedaechtnis' in Heike Hartmann (ed), Der Australienforscher Ludwig Leichhardt: Spuren eines Verschollenen, be.bra wissenschaft verlag, Berlin, pp. 144-159.View/Download from: UTS OPUS
Hurley, AW 2013, 'Ripe for a Diskursabenteuer: Jazz in Thomas Meinecke's Novels.' in Krick-Aigner, K & Schuster, MO (eds), Jazz in German-language Literature, Verlag Königshausen & Neumannn, Wuerzburg, pp. 281-302.View/Download from: UTS OPUS
The musician, broadcaster, and Suhrkamp novelist Thomas Meinecke, born 1955 in Hamburg, has emerged as an important voice in contemporary German literature since the mid-'1990s. I.ike some of his fellow authors at Suhrkamp, such as Rainakl Goetz, Andreas Neumeister, and, more recently, Kerstin Grether, he has participated in an increased (inter-)medialization of fiction (sec Kendel 2005; Wehdeking 2(07) and associated thematization of popular music, two by-words for a heterogeneous development in German literature often subsumed under the rather unsatisfactory moniker "pop literature" ["Popliteratur'l At a time, however, when it has mainly been other, perhaps more contemporary forms of popular music (rock, pop, punk, electronica) that have caught the imagination of most "pop" writers, jazz has had a significant impact on Meinecke's writing, although never to the exclusion of other types of music. The following examines the representation of jazz in Meinecke's novels Het/bill" (2001), M'lSik (2004), and JlIlIgfhltl (2008), I argue that whereas some other contemporary writers might view jazz as music of an older (1968) generation in decline, lvleinecke has been more inclined to view jazz as a highly productive topic of discourses related to ethnicity, the nation-state, and gender. l I will also ponder the compatibility between jazz's aesthetics and Meinecke's innovative approach to writing.
Hurley, A 2014, 'No Fixed Address, but currently in East Berlin: The Bicentennial, Indigenous protest and the Festival des politischen Liedes, 1988', Postcolonial Justice, University of Potsdam.
Hurley, A 2014, 'No Fixed Address, but currently in East Berlin: The Bicentennial, Indigenous protest and the Festival des politischen Liedes, 1988', German Studies Association of Australia, University of Sydney.
Hurley, A 2014, 'Whatever did happen to Jutta Hipp? Jazz, Gender, and writing in Thomas Meinecke's novels', Jazz in Word, Vienna, Amerikahaus.
Hurley, A.W. 2102, 'Son of the soil, proto-socialist or free spirit? Heinz Haufes Entdeckungsreisen in Australien and the rehabilitation of Ludwig Leichhardt in East Germany.', Ludwig Leichhardt's Legacies UTS international symposium, University of Technology, Sydney.
Hurley, A.W. 2013, 'Thomas Brussig's Wie es leuchtet. Plotting musical meaning against a changing political environment in East Germany', Music and Environment symposium, University of Technology, Sydney.
Hurley, A.W. 2013, 'When Ludwig Leichhardt came back: The Cold War and an uncanny return.', Animate Archives Symposium, UTS.
Hurley, AW 2013, 'Aboriginal Cowboys? On the Possibilities of the Western in Australia's 'Far West'.', Global Western: Interculturality, Transmediality, and Hybridity of the Western Genre, Johannes Gutenberg University, Mainz.
Hurley, A.W. 2012, 'German mining dreams? Werner Herzog's Where the Green Ants Dream and Nina Gladitz's The uranium belongs to the rainbow serpent.', UTS Mining Culture symposium, University of Technology, Sydney.
Hurley, A.W. 2012, 'Habermas, communicative comity, and the intercultural musical meeting', UTS Transforming Cultures seminar, Sydney.
Hurley, A.W. 2012, 'Reconciliation/history/music: Remembering the Strehlows in cantata form', Remembering German-Australian Colonial Entanglements, UTS and University of Potsdam Symposium, University of Technology, Sydney.
Hurley, A.W. 2012, 'Tiger's rendition of `Silent Night,' or what is tradition anyway?', UTS Transforming Cultures seminar paper, University of Technology, Sydney.
Hurley, A.W. 2012, 'Walking in the Leichhardt Pioneers Memorial Park', Remembering German-Australian Colonial Entanglements, UTS and University of Potsdam Symposium, University of Potsdam, Germany.
Hurley, AW 2012, 'German-Indigenous musical flows at Hermannsburg in the 1960s', "Flows": IASPM (AUS-NZ chapter) annual conference, University of Tasmania.
Hurley, A.W. 2011, 'The Ernabella Magic Lantern project', UTS Transforming Cultures seminar, Sydney.
Hurley, AW 2011, 'Aboriginal Cowboys? On the possibilities of the western in Australias far west.', UTS Transforming Cultures seminar, Sydney.
Hurley, AW 2011, 'Remembering Hermannsburg in song: Indigenous and non-Indigenous musical engagements with the past: 1967, 2004', Remembering German-Australian Colonial Entanglements, University of Potsdam (Germany).
Hurley, A.W. 2010, 'âOf Germanic eddies in the Black Atlantic: Electronica and (post-)national identity in the music of Freiwillige Selbstkontrolle (F.S.K.) and in Thomas Meineckeâs novel Hellblau (2001)â', German Studies Association (USA) Annual Conference, Oakland, CA.
Hurley, A.W. 2010, ''Double Agents? The (German) pop musician as novelist'', UTS Transforming Cultures seminar series.
Abstract This paper examines the phenomenon (and success) of the German rock/pop musician-cum-novelist, a figure who has gained a certain prominence since the latter part of the 1990s. In particular, the paper analyses the cases of Thomas Meinecke (born 1955; guitarist and singer with Freiwillige Selbstkontrolle (FSK), and author of Tomboy (1998) and other novels) and Sven Regener (born 1961; guitarist and singer with Element of Crime, and author of Herr Lehmann [Berlin Blues] (2003) and others). The paper outlines an increasing symbiosis of two cultural sub-fields (the pop-musical and the literary), which calls into question the traditional hierarchisation between literature and pop music. I will analyse the reasons why (German) musicians have diversified into writing novels and demonstrate how pop cultural capital has proven to be partly transferable into the literary field. I will also show how the 'second' career as writer has had symbiotic benefits in terms of the authors' music careers. Yet the paper also elaborates on the limits to the symbiosis and to the transferability of cultural capital from the one field to the other.
Hurley, A.W. 2010, 'Intelligent techno and an uneasy jetset: Hannes StÃ¶hrâs Berlin Calling (2008)', Imagining the New Berlin, Melbourne.
Hurley, A.W. 2010, 'Thomas Meinecke and the self-styling of the novelist as DJ', Revise: The Art and Science of Contemporary Remix Cultures, University of Wollongong.
Hurley, A.W. 2009, '"Collapsing (New) Buildings: Town planning, history and music in Hubertus Siegert's Berlin Babylon (2001)', Terpsichorean Architecture: Writing About Music, Sydney, UTS..
Hurley, A.W. 2009, '"Jazz, Collective Creativity and the Beginnings of the Young German Cinema"', The Sydney Symposium 2009: Collective Creativity, Woolahra, NSW.
Hurley, A.W. 2009, 'âA Berlin-Detroit axis?: Electronic music and postnational identity in Thomas Meineckeâs Hellblau (2001)â', "Deutsch in Aller Welt" German Studies Association of Australasia biennial conference, Perth, WA.
Hurley, A.W. 2008, 'Beating the East German blues: musical representations of freedom in Leander Haussmann's Sonnenallee and Michael Schorr's Schultze gets the blues'', Remapping Cinema; Remaking History. FHAANZ 2008 conference select refereed papers, Film and History Association of Australia and New Zealand, Centre for Research on National Identity, University of Otago, University of Otago, Dunedin, NZ, pp. 146-159.View/Download from: UTS OPUS
Hurley, A.W. 2009, 'Between negrophilia and colourblindness: Joachim-Ernst Berendt's image of African-Americans and 'Negroes' during the 1950s.', German Studies Association (USA) Annual Conference, Arlington, Virginia, USA.
Hurley, A.W. 2009, 'From ally to threat: Joachim-Ernst Berendt, the African-American Civil Rights Movement, and German jazz discourse.', African American Civil Rights and Germany in the 20th Century, Vassar College, Poughkeepsie, NY, USA.
Hurley, A.W. 2009, 'Jazz, cinema verite, and the beginnings of New German Cinema', Sydney University German Studies Seminar, Sydney University.
Hurley, A.W. 2008, '"East German Blues: Musical Representations of Freedom in Leander Hausmann's Sonnenallee (1999) and Michael Schorr's Schultze Gets the Blues (2003)"', "Remapping Cinema, Remaking History": XIVth Biennial Conference of the Film and History Association of Australia and New Zealand. Conference Proceedings. Volume One: Refereed Abstracts, "Remapping Cinema, Remaking History", Department of Media, Film and Communication, University of Otago, Dunedin, New Zealand, pp. 39-40.
Hurley, A.W. 2008, '"East German Blues: Musical Representations of Freedom in Leander Hausmann's Sonnenallee (1999) and Michael Schorr's Schultze Gets the Blues (2003)"', Remapping Cinema, Remaking History, Dunedin, New Zealand.
Hurley, A.W. 2008, '"Intercultural collaboration: a life-long credo" Filmmaker Michael Edols in dialogue with Andrew Hurley', Pittwater Offshore Indigenous Interests Group film screening and Q&A session, Scotland Island, NSW.
Hurley, A.W. 2007, 'But Did the World Meet Jazz?: Ein Blick hinter Joachim Ernst Berendts Plattenreihe 'Jazz Meets the World'', Begegnum: The World Meets Jazz: Darmstaedter Beitraege zur Jazzforschung Band 10, Darmstadter Jazzforum, Wolke Verlag, Darmstadt, Germany, pp. 16-44.View/Download from: UTS OPUS
Hurley, A.W. 2006, 'Floortalk on Weltmusik in Germany', Floortalk at Jazz Pope exhibition opening, The Narrows gallery, Melbourne.
Hurley, A.W. 2005, 'Joachim Ernst Berendt - Jazz, U-Musik, Pop-Jazz und die Ambivalenz (1950-70)', Jazz goes Pop goes Jazz. Der Jazz und sein gespaltenes Verhältnis zur Popularmusik - Darmstadter Beitrage zur Jazzforschung Band 9, Darmstadter Beitrage zur Jazzforschung, Wolke Verlag, Darmstadter, Germany, pp. 37-59.View/Download from: UTS OPUS
Hurley, A.W. 2006, 'Re-imagining Milirrpum v Nabalco in Werner Herzog's Where the Green Ants Dream', PASSAGES: law, aesthetics, politics, PASSAGES: law, aesthetics, politics, School of Law; University of Melbourne, Melbourne, pp. 1-14.View/Download from: UTS OPUS
In 1983, the German filmmaker Werner Herzog realised a decade-long ambition to create a film thematising the struggles of Aboriginal groups against mining companies operating in northern Australia. Where the Green Ants Dream (WGAD), was reviled by Australian pundits and also disappointed international critics. However, it raises important issues, not only about the creative appropriation of Aboriginal mythology, but also about the representation of Aboriginality and the struggle for Aboriginal land rights. This article reveals how Herzog relied heavily upon Milirrpum v Nabalco  17 FLR 141 in writing his film script. In doing so, he came up with a hybrid tenuously situated between documentary and feature film. What complicated this strategy was the fact that Herzogwhose unorthodox style often involves casting non-professional actors in important rolesalso cast Wandjuk and Roy Marika, who had both been witnesses in Milirrpum v Nabalco, in lead roles. They were ultimately uncomfortable with reperforming a court-room sequence in which they had once participated in earnest. This article analyses Herzogs mix of documentary and fiction, examines the reception of WGADboth by white Australian critics and by Aboriginal Australians involved with the filmand argues that, while the film may be flawed, it is valuable because it threw (and continues to throw) disquieting yet important issues into perspective.
Hurley, A.W. 2003, '"Jazz for Goethe" on "Politics' Third Stage": West German Government-sponsored jazz tours during the 1960s. Revising "outdated imaginations of West Germany" or participating in Western "cultural penetration"?', Contexts, Contacts and Constraints, University of Melbourne School of Languages Postgraduate Conference, School of Languages, University of Melbourne, Melbourne, Australia, pp. 117-140.View/Download from: UTS OPUS
Hurley, A.W. 2003, 'Contexts, Contacts, Constraints', School of Languages Postgraduate Research Papers on Language and Literature, Melbourne University School of Languages, University of Melbourne.
Hurley, A.W. 2002, 'Albert Mangelsdorff's Es sungen drei Engel: Navigating a path through jazz, German folklore and post-war (West) German identity', (Sub)texts: Proceedings of the University of Melbourne School of Languages postgraduate Conference 2002, University of Melbourne School of Languages postgraduate Conference, School of Languages, University of Melbourne, Melbourne, Australia, pp. 7-26.View/Download from: UTS OPUS
Hurley, A.W. 2011, 'Transparency as authenticity? Ronald Clyne and his cover art for Folkways.', IDEA: International Graphic Art and Typography, Seibundo Shinkosha Publishing, Tokyo, pp. 139-142.View/Download from: UTS OPUS
Hurley, A.W. 2010, 'On the Sunny Side of the Street: A Ghetto Swinger in Australia', extempore Pty Ltd, Kew, Victoria.
Hurley, A.W. 2007, '"Farewell 665: the subject speaks" (exhibition catalogue note on Tobias Titz's Polaroid Scratch project)', Daylesford Foto Biennale, Daylesford, Australia.
Jazz Pope focusses on the idiosyncratic writer .and producer Joachlm Ernst Berendts influential role within the German and international jazz scenes. Assembling a swag of cover of photographs, music and text. the exhibition particularly explores the wealth of berendt's landmark ':jazz meets the world series (1965--1971) and pieces together its bold attempts to combine jazz with the musics of europe, africa and asia