the English Association in Adelaide – he saw very little poetry which satisfied the requirement of Australian inspiration, Australian content and imagery, and when Max Harris surveyed the same scene at the start of the new decade, he saw the burgeoning Jindyworobaks and not much else – nothing that seemed to have much connection with or awareness of the cultural world beyond the antipodes. And by and large, they were both right." (excerpt from Literature and Conflict) Ackland argues in The Cambridge Companion to Australian Literature that the movement "reactualised debate on Indigenous culture, and promoted local talent in its annual anthologies". Leading Australian poet Les Murray has sympathised with the Jindyworobaks' aims, and half-jokingly described himself as "the last of the Jindyworobaks". The attitude to Australia presented in Eleanor Dark's 1941 novel The Timeless Land has been described as very similar to that of the Jindyworobaks. The movement's lingering influence has also been identified in the poetry of Peter Porter, as well as Patrick White's Voss (1957) and Randolph Stow's To the Islands (1958). In Australian cinema, director Charles Chauvel's vision of Australia, presented in films such as Jedda (1955), has been compared to that of the Jindyworobaks. Musicologist Roger Covell, writing about composer Clive Douglas in 1967, said "if there ever was a musical Jindyworobak, it has been Clive Douglas". John Antill has been described as another "Jindyworobak composer", particularly for his ballet Corroboree. In the 1980s, mainstream rock bands such as Midnight Oil, Goanna and Gondwanaland created Aboriginal-inspired music, echoing the efforts of the Jindyworobaks. Jindoworobaks and Aboriginality The Australian literary historian Brian Clunes Ross has written on one of the common criticisms of the Jindyworobaks, one that has persisted through the decades, through people of radically different political stripes, namely that of the Jindyworobaks' relationship with Indigenous Australians: "Another poet, Ian Mudie in The Australian Dream (1943), revealed the delusory quality of the nationalist perception of Australia through its refusal to take into account the destruction of the natural environment and of Aboriginal culture… the Jindyworobaks… [were] often misrepresented by critics who claimed that the movement aimed to base Australian culture on Aboriginal culture. The Jindyworobaks were interested in Aborigines, and if white Australians are now able to recognise the grim impact of their civilisation on the Aboriginal inhabitants of the country, the Jindyworobaks are partly responsible…the Jindyworobaks… wanted to achieve a harmonious relationship between culture