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I Am Me

I Am Me

I Am Me

 

 

 

 

 

 

 

 

 

 

I Am Me

Mitch Tambo

Carla Hoffenberg

A & U Children, 2025

32pp., hbk., RRP $A24.99

9781761182204

Yaama!
My name is Mitch Tambo.
I’m a proud First Nations man from the Gamilaraay people.
What’s your name? Who are your people?

One of Australia’s most unique and electrifying First Nations entertainers, Mitch Tambo welcomes children of all ages to discover the richness of First Nations culture through song, dance and Language, sharing the ways of his Gamilaraay people in particular.  Using his headdress as the focal point, he explains its construction and the symbolism associated with it, its components and its connections to his wider world. But at the same time he offers young readers a challenge to discover their own heritage, their language and the things that keep their culture connected whether it is First Nation or something else, because it is all those connections that combine to make them the unique individuals they are.   even those children who don’t think they have strong cultural or ethnic bonds can start by exploring their own name – why they have it, who chose it, what it means, its links to other family members and so on.

So while Mitch continues the trend to introduce First Nations culture to non-Indigenous people, and their strong sense of  personal identity built on generations of shared beliefs, links, and bonds, I believe that, given its title and his questions to the reader.  the core of this book is about acknowledging all the bibs and bobs over time, place and space that enable each of us to say “I Am Me.”  That if we are to be able to be resilient and hold self-believe and self worth then we need to know who we are and develop that strong sense of self from the get-go. This is an excellent starting point,

 

Weaving Country

Weaving Country

Weaving Country

 

 

 

 

 

 

 

 

 

Weaving Country

Chris Joy & Aunty Kim Wandin

Ashleigh Pugh

Walker Books, 2025

32pp., hbk., RRP $A26.99

9781760657628

When Walert (Possum) sees her Gugung (grandmother) gathering djirra (reeds) by the river, the susurrus through the rushes invites her to follow her home, little knowing that she is going to learn one of those precious lessons that generations share between each other as they pass the knowledge of their culture to each other. 

In Walert’s case, she not only learns about the physical construction of a woven binak  (basket), but also how the sun, land, water and wind all play their part in the growing and the preparation of the djirra so they are ready to weave, strengthening her understanding of her connection to Country that is so integral of First Nations culture and life.  And when a boroin (blue wren) builds its tiny nest in the drying djirra, and lays three little eggs, Walert also learns patience.  This is not the time to disturb the circle of life that has endured for so long.

This  is a story set on Wurundjeri Country in the Yarra Valley, Victoria and based on the work of author Aunty Kim Wandin who is a master weaver and Wurundjeri Woi-wurrung Elder, whose traditional basket making has been handed down to her by direct lineage, so Walert’s lessons have authenticity and authority. The teachers’ notes which accompany it specifically focus on encouraging “students to
slow down, listen deeply, and build respectful relationships with place, themselves, and each other, honouring the wisdom of intergenerational learning and the living stories carried by land and water. ” offering opportunities to engage with the land, its harvest, its inhabitants and each other that they might not otherwise consider.

But as well as connecting both Walert and the students to their natural environment, the story itself has a strong focus on the passing of knowledge, skills and understandings between Gugung and Walert making it an ideal springboard for helping young readers develop their understanding of the outcomes embedded in the early years of the Australian HASS curriculum . What stories and skills have their grandparents shared with them, such as  favourite books, or music, or crafts or how to mend a bike or….???  Is there something that their family always does at a particular commemoration or celebration because that’s the way it has always been done? For older students, what stories, traditions and skills will they pass on to their own children?

From 2027 in New South Wales, the Human Society and its Environment K−6 Syllabus (2024) requires students in Stage 1 (years 1 and 2) to understand that “People use stories, images, objects and sites to understand the ancient past” with a specific focus on the ancient cultures of China, Egypt, Greece and Rome, and those in Stage 2 (Years 3 and 4) to focus on the ancient cultures of Mesoamerica which include  the Maya, Aztecs and Incas so although their grandparents are not that old, this could be a bridge that helps them understand that much of what they know and do today is built on what those who have gone before have known and done beginning within their own family and their own experience. 

While there seems to be an upsurge in the writing and publishing of books that explore First Nations’ connections to Country, helping non-Indigenous children understand and appreciate the Welcome to Country and Acknowledgement of Country that are part of their daily lives, this one, through its story and indeed, its literal and metaphorical focus on weaving, is a stand out. 

Learning Country

Learning Country

Learning Country

 

 

 

 

 

 

 

 

 

Learning Country: A First Nations Journey Around Australia’s Traditional Place Names

Ryhia Dank

HarperCollins, 2025

32pp., hbk., RRP $A24.99

9781460765517

The publisher describes this as “a highly designed, colourful picture book aimed at celebrating traditional names of well-known Australian places such as Gadigal (Sydney) and Lunawuni (Bruny Island), from a popular breakthrough Indigenous artist” but it is so much more and has the potential to be an amazing asset to any teaching program as little ones, particularly, not only learn the basic geography of Australia and the place names but learn that they were known to First Nations people by traditional names long before European settlers put their stamp on them.  At the same time, older students who already know the country’s landscapes and landshapes can use their knowledge as well as the visual clues and cues in the illustrations to work out what place is being featured.  Where might the glossy black-tailed cockatoo soar above floodplains looking for a dunnart?  Or where might you tread softly along the river bank looking north to “Gubbi Gubbi Country through the clouds of bogong”?

 

A peek inside...

A peek inside…

There are some clues on the map on the title page which identifies the fifteen places visited, but not all are the major cities or places that tourists would expect. But, interestingly, Canberra is given its modern name despite local history saying it is an evolution of Kamberri, meaning “meeting place” and the traditional lands of the Ngambri people.

As well as becoming aware that familiar places such as have a history and significance connected to the land and its creatures that stretch far back in time, students might also want to investigate their own region and then, using Dank’s distinctive style, create an additional page for the book.  And just as Dank learned life lessons on her journey –I learned to watch, I learned joy, I learned to walk soft – they might also reflect on how their connection to their environment has shaped them as they, too, learn Country…

 

Earthspeak Boodjar Wangkiny

Earthspeak Boodjar Wangkiny

Earthspeak Boodjar Wangkiny

 

 

 

 

 

 

 

 

 

 

Earthspeak Boodjar Wangkiny

Sean McCann

Jane Goodwin

A & U Children’s, 2025

32pp., hbk., RRP $A26.99

9781761181238

Papa says we’re going to a special place today.
‘If we djinang (look), ni (listen), goordoo (feel), we might hear boodjar wangkiny (earth speak). We might even feel her heartbeat.’
I wonder what that will sound like? Will the earth’s heart beat just like ours?

For at least 45 000 years, the Noongar people have lived in what we know as south-west Western Australia. reaching north of Jurien Bay, inland towards Moora, and then south-east to the coast between Bremer Bay and Esperance and their word “boodjar” encompasses both the physical land and the spiritual and cultural landscape, including the relationships between people, nature, and the spiritual realm.  So on this journey well off the beaten tourist track, the family treks into the stunning landscape to connect with Mother Nature and learn about the interconnections and interdependency of water, wind and fire in shaping, building and nourishing the land. 

Noongar Country

Noongar Country

Interspersed with words from the Noongar language that are not only translated in the short glossary in the introductory pages, but which the astute reader will determine from using the context and the illustrations, this is another in a growing collection of stories that encourage our young students to really use all their senses to discover the wonder of the natural world that surrounds them.  It doesn’t need to be the vast open spaces – even just taking in the ever-changing local sky, trees and plants, animals and insects and the way they interact can bring about awareness and even a sense of calm and connection.  Just taking ten minutes to be outside to listen, feel and imagine how the land has been shaped by natural forces over billions of years can put immediate issues into perspective.  

As much as the family are in awe of the physical landscape, particularly as they enter the gorge and have to seek shelter in a cave from a storm,  in contrast, illustrator Jane Goodwin has put a particular emphasis on the flora and fauna so they are seen to be just as important as the rocks and hollows and towering cliffs.  The endpages feature leaves and bark in so many colours and the wonderful wildflowers of the region that provide sustenance to the creatures that live amongst them are a special focus.

But as well as being soothing for the soul of the reader, as they start to build a connection with what is beneath their feet and surrounding them, it also helps them begin to understand and appreciate the respect, love and caring for Country that is so integral to the lives of our First Nations people.  

Just as Papa suggests that the children might hear the earth speak and maybe even feel her heartbeat, so the reader is taken on a similar journey. 

 

Walking the Rock Country in Kakadu

Walking the Rock Country in Kakadu

Walking the Rock Country in Kakadu

 

 

 

 

 

 

 

 

 

 

 

Walking the Rock Country in Kakadu

Karrire kundenge karribolknan kunwarddehwardde

Diane Lucas & Ben Tyler

Emma Long

A & U  Children’s, 2024

32oo., hbk., RRP $A29.99

9781761067860

Australia is a land of so many different landscapes and landshapes, with its  diverse topography, geology, rainfall and seasonal changes meaning there is an incredible range of vegetation and thus living inhabitants.  Not the least of these is Kunwarddehwardde, the rock country of the Arnhem Land plateau which extends into Kakadu National Park, an area of almost 20 000 km² in  in the far north of the Northern Territory and home of many First Nations clans for 40 000 years and rich in cave paintings, rock carvings and archaeological sites that record the skills and lifestyle of these peoples over the millennia.

In this stunningly illustrated book, the team behind the CBCA shortlisted Walking in Gagudju Country: Exploring the Monsoon Forest, once again take the reader on a wondrous journey through this jaw-dropping country, this time during yekke, the early dry season, to see what is there.  Through commentary that seamlessly incorporates the Kindjeyhmi language (with icons that explain what is being  identified)  interwoven through the vivid, detailed illustrations, the reader not only learns to use their eyes, ears and nose but to really use them keenly for there is much that is there but which is often overlooked.  As well as pointing out these hidden gems like the alyurr that grow in the rock crevices, their ancient stories are also shared – hidden among these tiny plants are tiny grasshoppers  known as the Lightning People’s children, coming out of the soil as the rains begin, gradually shedding their skins and revealing their bright colours so they can find a mate. 

A peek inside...

A peek inside…

As well as the explanatory text there is also an illustrated glossary that offers both English translations (and Latin where appropriate) as well as being a sort of “Where’s Wally ” challenge as you return to the page to try to find the things you missed.  Wide-ranging teachers’ notes are available from the publisher’s page, including a link to both a reading of the story, and the glossary – also accessible via a QR code from the introductory page of the book. 

Lucas’s first book, Walking with the Seasons in Kakadu, published 20 years ago led the way to opening up this land to our young readers so they could begin to understand its ancient stories and those who shared them and this stunning book continues the tradition. Like its predecessors, this has also been acknowledged as a Notable for the 2025 CBCA Book of the Year Awards Eve Pownall Award.

Certainly one that will encourage readers to book an adventure.

Caution! This Book Contains Deadly Reptiles

Caution! This Book Contains Deadly Reptiles

Caution! This Book Contains Deadly Reptiles

 

 

 

 

 

 

 

 

 

 

Caution! This Book Contains Deadly Reptiles

Corey Tutt

Ben Williams

A & U Children, 2025

140pp., hbk., RRP $A32.99

9781761181030

There is an old adage that says, “Never judge a book by its cover” and it certainly applies to this one for, at first glance, it would appear to be yet another one about the deadly and dangerous reptiles that inhabit the planet. 

But if you look more closely you will see the words, “from the author of The First Scientists” and you realise that the word “deadly” is used in its Aboriginal context of meaning ‘excellent’, ‘fabulous’ or ‘awesome’ and so, instead of having just another addition to your 597.9 collection, you have something new and unique.  For this is an examination of the reptiles that inhabit Australia, arranged by the Country on which they are found while celebrating their original indigenous names so that the links back to thousands of years of knowledge are strengthened.

Beginning with an intro from the author about the why, what and how of the book (which has been a childhood dream), it continues with general information about turtles, lizards, crocodiles and snakes especially their importance to the ecosystems and the threats they face as well as how the individual can help, and then, using the AIATSIS map of Indigenous Australia as a guide, the various reptiles of 20 of the First Nations are featured individually.  Each Country is itself given a brief introduction including a map of its location within the continent and the predominant language.

Accessible text and colourful illustrations offer an insight into favourite feeds, breeding and babies, conservation, predators and prey, and most importantly, what makes that reptile deadly (in a good way) as well as  descriptions of the landscapes where each can be found, and threaded through it all is the author’s passion for the topic. 

This is so much more than an information book about the reptiles of Australia, and, IMO, is an essential addition to the library’s collection for many more reasons than its factual content. 

Giinagay Juluum, Hello Mountains

Giinagay Juluum, Hello Mountains

Giinagay Juluum, Hello Mountains

 

 

 

 

 

 

 

 

 

 

Giinagay Juluum, Hello Mountains

Melissa Greenwood

ABC Books, 2024

24pp., hbk., RRP $A24.99

9780733343025

The juluum (mountain) watches over us as we walk proudly on Country.
Me, Jinda, Miimi and Gami take note of all the subtle changes in nature
as we walk up, up the rocky path towards the peaks…

As the mountains and their ancestors watch over them, the family under the guidance of Aunty make their way through the oft-trodden pathways to the mountain peaks for the corroboree acknowledging and respecting the land and it inhabitants  as they go.  It is Spring and there is fresh, green growth on the trees (jaliigirrin). birds are singing, and the bandicoots (duura), kangaroos (nunguu), koalas (dunggiirr),  snakes (dungguuny) and goannas (wirriiga) are calling, moving and mating while the bindarray (river) rises and falls with the snow melt, threading through the land connecting everything and bringing life to all.

And as they walk barefoot through the landscape, the children learn its stories, how it was made and how to walk it respectfully and pay homage to those who have gone before and those who will come after.

Much as I love the ocean and its endless motion soothes my soul, my home now is in Australia’s mountains, and, while so different from the mountains of my homeland in the south of New Zealand’s South Island, there is nothing quite like the silence, solitude  and  size of this land, such as is spread before me as I write this.  I can see much of what is described in the story – all except the river although the Murrumbidgee is only 200 metres at the bottom of the valley – and while we are not blessed with duura or dunggiirr we do have kangaroos, wallabies, possums, echidnas, wombats aplenty and the most amazing parade of native birdlife.  For now it is the season of the crimson rosella and the magpie, but soon it will be the cockatoos, galahs, gang gangs and kookaburras as the new Spring growth turns to flowers and seeds as the warmth spreads.  

So while Giinagay Gaagal, Hello Ocean took me back to my roots of growing up on the seashore of Bluff, this one brings me into the here and now revitalising the senses that drew me here originally. 

As with its predecessor, the text is woven together by stunning artwork that tells its own story and the full text is included in both English and Gumbaynggir in the final pages, adding to the resources for preserving and revitalising First Nations languages.  But most significantly, as again they thank the land for its protection and it awaits their return, there is that inner feeling of being in the moment, taking note of surroundings and what is going on in them, seeing through eyes not a camera lens and being connected that gives meaning to the now-familiar Acknowledgement of Country so that it more than a collection of words, encouraging readers to see with new eyes and listen with new ears.   

Djinang Bonar: Seeing Seasons

Djinang Bonar: Seeing Seasons

Djinang Bonar: Seeing Seasons

 

 

 

 

 

 

 

 

 

 

Djinang Bonar: Seeing Seasons

Ebony Froome

Leanne Zilm

Fremantle Press, 2024

32pp., hbk., RRP $A24.99

9781760994211

In some parts of Australia, the yellow of wattles and daffodils, fierce winds and can’t-make-up-their-mind temperatures are heralding Spring, one of four distinct seasons that our littlies learn about.  In other parts, the heat and humidity are starting to build as the monotonous dry season ends and the Wet comes in with its tumultuous times: and in others First Nations peoples are seeing other signs as they move through their traditional cycles.  For the Noongar in south-west region of Western Australia, this is the time of Djilba, the season of conception when the “koolbardi is swooping to protect his nest, when the dark emu is high in the kedalak sky, when the balgga stems emerge tall and strong, when the yonga and the koomool carry their babies.”

For generations, so many children have been taught that during this planet’s annual journey around the sun, we experience just four seasons – Spring, Summer, Autumn, Winter – but now perspectives are widening and beautiful books like this show that different peoples in different places have entirely different timeframes and different names for the patterns of Nature and its phenomena.  For those on Noongar boodja there are six seasons, each with its own distinct signs and times…

  • Birak—season of the young. First summer: December-January. …
  • Bunuru—season of adolescence. Second summer: February-March. …
  • Djeran—season of adulthood. Autumn: April-May. …
  • Makuru—season of fertility. Winter: June-July. …
  • Djilba—season of conception. First spring: August-September. …
  • Kambarang—season of birth.

Written in a mix of English and Noongar but with indigenous words easily distinguishable by looking at the beautiful illustrations (with a glossary for clarification), the reader is taken on a journey through the calendar that, unlike the “English” version which has changes in weather at its heart. focuses on the subtle but significant changes that happen in the life of the local flora and fauna and form the patterns and cycles of life.

But even children on the East Coast, or those for whom Noongar is not their first language can appreciate the beauty and value of this book because it encourages them to look beyond those most obvious signs of change (many of which involve introduced species anyway) and examine the changes in the original, natural environment, and, indeed, their connections and interdependence.  “On Noongar boodja, we know the season is Kambarang when… the kaaril [blue swimmer crab]  is spawning and it’s best not take them.”  It could also inspire an investigation into the indigenous weather knowledge of their own country  as they not only learn to appreciate the knowledge that Aboriginal and Torres Strait Islander people have developed over thousands and thousands of years, but also better understand that connection to Country that is at the heart of their culture.

Just Like You

Just Like You

Just Like You/ Bitjan Nhakuna Nhe

 

 

 

 

 

 

 

 

 

 

Just Like You/ Bitjan Nhakuna Nhe

Natashia Curtin

Walker Books, 2024

40pp., hbk., RRP $A24.99

9781760658069

Sometimes the world of today’s children seems so very different from that of their parents, particularly given the advances of and accessibility to technology,  but when you put that aside, literally and figuratively, it turns out that both generations like the same things – playing with friends, building cubbies, dancing to music, jumping in puddles, having cuddles… 

In this dual -language picture book, Natashia Curtin draws inspiration from her time growing up in Arnhem Land in a unique exploration of the universality of childhood as she shows her child that they share a love for the same things – it’s just that grew up in a Yolngu township in the Northern Territory rather than the city and so while both generations enjoy a picnic in the park or jumping into the pool, the settings are very different.  By the clever juxtaposition of the illustrations ,and the use of both English and Gupapuynu, young readers can follow both journeys and enjoy the similarities and differences at the same time.  

Regardless of the nature of the reader’s heritage, this is an opportunity to explore how similar childhood likes are for everyone, regardless of the time or place and there are discussion notes to help guide the conversations.  As well as a wonderful tool to help bridge the gap across generations, some children might be surprised to find that those who “have come across the seas” enjoy the same things they do, even if they do it in a different way, again building conversations, connections, and ultimately, communities.  There ls all sorts of scope to use the dual-language nature of this book to reach out to those whose mother tongue is not English to share their words for the activities, building a multi-lingual display that demonstrates, that for children, play is universal. 

This has the potential to be so much more than a reminiscing between mother and daughter, and for that, deserves a place in the collection as well as promotion for any studies of families and where they have come from.  

Yanga Mother

Yanga Mother

Yanga Mother

 

 

 

 

 

 

 

 

 

 

Yanga Mother

Cheryl Leavy

Christopher Bassi

UQP, 2024

24pp., hbk., RRP $A24.99

9780702268311

For younger readers, this is a beautifully illustrated story of the power of the bond between a mother grey kangaroo and her joey, told in both English and Kooma, the traditional lands in the Murray-Darling Basin region.

Wandaguli Yanga. There is always Mother.

But for those a little older, it is about the bonds between mother and child anywhere, and, in this particular case, as the notes explain, it “honours the strength and dignity of the women of Western Queensland, mardi matriarchs, and all First Nations mothers.” In particular it is the story of the author’s grandmother who was one of the many children of the Stolen Generation of the 1930s, and how before she was taken her mother told her that if they were separated, she need only look at the clouds in the sky to know that her mother was watching over her.

The grey kangaroo, and its need to stay connected to its mob, symbolises  both the connection between mother and young and animal and Country and teachers’ notes  explain and explore these concepts further, including links to sites with even further information.

But even without the indigenous aspect, young children can draw parallels between the way the mother kangaroo looks after and teaches her joey in a similar way to their mother looking after them, making it an ideal way to celebrate those bonds and connections between families.

For a more in-depth look at this story and its origins,  read Margot Lindgren’s blog post