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Friday, 7 September 2007

SPECIAL REPORT...

History rerun - Sydney's Radical Past Revisited

Deja-vu in Town Hall Square

April 2003, Sydney

BOB GOULD, one-time revolutionary socialist, present-day bookshop owner, sits on a bench on the cathedral side of Town Hall Square. From here, he looks out over the surging crowd that is the demonstration against the war in Iraq. Is he experiencing a sense of deja-vu, I wonder? Does he find something familiar in today's gathering?

The dark, slicked-back hair of his late-1960s persona is now grey and a little wilder, his paunch a bit more substantial and his clothing the contemporary grunge it was in 1969. It is a somewhat aged version of that earlier Gould, but it is still recognisably Bob.

On the other side of the crowd, near the Town Hall steps, a middle-aged man sells newspapers. Under a head of greying hair is a face with an air of seriousness reminiscent of its 1960s self. This is John Percy, surviving member of the Percy brothers, one-time Trotskyite, socialist youth movement leader and one-time University of Sydney student. The newspaper John sells is called Green Left, a title suggestive of how the youth politics of 35 years ago has changed.

It is no coincidence that Gould and Percy are at this demonstration. Such events have long been their political stock in trade. But what is different this time is their position on the periphery of the demonstration - Gould sitting, observing; Percy selling his newspaper. It signifies their stepping away from the core, their handing on of the torch of leftist politics in Sydney to the younger cohort at the centre of the day's noisy, emotion-charged demonstration. It is the intergenerational handover of the Sydney Left.

The journey south

I first come across Bob Gould and John Percy in 1967. Travelling from Brisbane to Sydney after doing time at Brisbane State High School and a couple of years working at uninteresting jobs, my plan was to spend a year in the big city before being conscripted into the army - these were the years of compulsory military service for the war in Vietnam.

In Sydney, I encountered an old school friend and it was through him that I met Gould and the Percy brothers - the leaders of Sydney's radical Left. If characters become icons signifying the spirit of a particular time, Gould and the Percy's symbolise the exuberance of the late1960s in its politicised form - the so-called New Left. Though they do not figure prominently in historical studies of the city, they surely deserve a place in the matrix of characters that have shaped the metropolis' social movements.

I discovered photography at high school. Thirty-five years ago I photographed demonstrations against the war in Vietnam and episodes in the life of the city's radical youth movement. Now, here I was again photographing a demonstration.

Parallels with a radical past

The parallels between the current era - early 2003 - and the late-1960s ran deeper that warm Autumn Wednesday in downtown Sydney.

First, the newspaper Percy was selling, Green Left, was the direct descendent of a political paper called Direct Action that was published in the late-1960s. That paper was the product of the leftist youth group, Resistance, that was set up to radicalise, with an infusion of Trotskyist political thinking, the youth who opposed the war in Vietnam. At its peak, it sold around 6000 to 7000 copies each edition, according to Bob Gould (http://groups.yahoo.com/group/Greenleft_discussion/message/1764). Just as that earlier newspaper capitalised on the concerns of the youth of the time, so Green Left used a fusion of anti-globalisation, environmental politics and opposition to the war in Iraq to capture the imagination of the dissafected among contemporary youth.

Resistance - here, in 2003, stenciled white on red on the headbands worn by the noisier core of demonstrators was that same name... a movement reborn, recycled for new times and new wars... Sydney's leftist history moving in a loop. The age of the crowd told the same story. The April 2 and April 9 demonstrations had been billed as 'student' events, with the predominant age group from late high school to young adult, the same demographic that participated in the anti-war/ counterculture movement of the 1960s and that made up the membership of Resistance - young people on the cusp of adulthood.

Face on a shirt

There was another familiar face at that April 9 demonstration in Town Hall Square, another link to our political past. It was a face emblazoned on T-shirts worn by some in the crowd... that of Cuban revolutionary, Che Guevara. It was the very same image that Resistance had printed on T-shirts 35 years ago, an image taken in 1960 by Cuban photographer, Alberto Korda (see sidebar this page).

I had come to the demonstration to photograph it, not to revisit icons from the past. But the past was very much present that day - John Percy, the recycled Resistance, the face on the shirts... all again manifest in the city like some fantastic revival, some commemoration... a revisitation.

The form the demonstration took - direct action on the city's streets, angry young voices raised in opposition to a war and antagonism towards the police - was something else suggestive of past times. The only thing missing was conscription for military service and the burning of draft cards.

Despite the presence of images and actions reminiscent of times now distant, there was something fundamentally different about the afternoon's demonstration. Missing was the exuberance and sense of freedom and possibility - that's the best way I can describe it - that characterised similar events of 35 years ago. Instead, there was an anger... a deep anger perhaps less-prominent or even absent among demonstrators against the war in Vietnam.

>>> next: The countercultural context

By way of explanation

Story & photographs:
Russ Grayson 2003

THE RADICAL YEARS REVISITED

  1. Deja-vu in Town Hall Square
  2. The Counterculture Context
  3. Resistance-the Rise to Leadership
  4. Photography, Paranoia and Police Spies
  5. The Goulburn Street Enclave
  6. The People
  7. Dissolution
  8. What Was Learned?

INTRODUCTION
Sometimes, events in the present are reminiscent of the past. So it was that an event in downtown Sydney in the Autumn of 2003 rekindled memories of similar occurrences in the same city 35 years before.

AUTHOR'S NOTE
What follows is a brief oral history with no pretensions to be other than a subjective record of personal observation and experience.

My motivation in documenting what was a unique socio-political movement is that oral histories can present a valid record of lived experience. When enough of these records are available we can build a more comprehensive impression of a period from the point of view of participants rather than the external viewpoint of academics or historians.

The characters, events and facts are presented as I saw them. The deductions and interpretations are based on my observations at the time and on more recent consideration.

It is easy to forget and to misinterpret facts that happened 35 years ago. People, places and events are forgotten, confused or recalled erroneously.

THE ICONIC IMAGE OF THE 1960s
Alberto Korda's famous image of Cuban revolutionary, Che Guevara, was used worldwide on T-shirts and posters and printed in publications.

A Cuban photogrtapher who died in 2001, Korda received no royalty payments for the use of his image and was seldom credited as photographer.

Commenting on the free use made of his photograph, Korda said he had no objection to its reproduction by those who supported the ideals personified by Che or who wished to perpetuate his memory. He took legal action and was awarded damages, however, when the Smirnoff vodka company used his image for advertising in the year 2000.

The New Left made free use of Korda's photogpaph. In the late-1960s, Resistance published the image on T-shirts and in the form of an A3-size poster sold through the Third World Bookshop.

In the early years of the new century, the photograph, usually reproduced as a silhouette, appeared on clothing, bags and other paraphenalia sold through fashion and other shops. Its use was also revived by the Left, with the image again emplazoned on T-shirts and flags.

Korda's photograph is what photographers call a 'hero' shot - one showing a figure in a heroic, larger-than-life pose that conveys an impression of resoluteness, commitment, hope and vision.

The image is one of the most enduring, most reproduced and most iconic of the twentieth century.

C o n t e n t : _R u s s_ G r a y s o n ___D e s i g n :_ F i o n a_ C a m p b e l l_ &_ R u s s_ G r a y s o n
PO Box 1045 MANLY NSW 1655 AUSTRALIA_ |_ info@pacific-edge.info_ |_ www.pacific-edge.info
© Russ Grayson/Fiona Campbell 2003. Information is provided for general interest and no responsibility is accepted for any consequences of the use of this material.