- Big working bee(Event)(5 days)
- Stop the war on Gaza rally(Event)(8 days)
Workers control
SACT Film Screening; Land and Freedom
Jura Books
SACT presents the next film in our monthly screenings at Jura Books-
Land and Freedom, the classic film directed by Ken Loach about a young
Englishman who joins thefight against fascism during the Spanish Revolution.
5pm Saturday 13th December, Jura Books 440 Parramatta rd, Petersham
The People Armed and the People's Army
A film review of Land and Freedom
by Rony Quickenden
"The civil war was never a romantic story. The idea
that war has something romantic about it also serves a political
function and obscures or covers up that which has occurred in reality
".
Ken Loach
During the 15 years or so that my interest in the Spanish
Revolution has been developing , I often dreamt of seeing a full
cinematic treatment of the hopes and achievements of the revolution
and the tragedy of its defeat : a film which would tell with a human
voice the unknown stories of people who were not afraid to fight and
carry through that which we could only theorise about to make their
new society. Land and Freedom may not quite be that film .but it
comes close indeed.
Ken Loach is known for his harshly realistic works of social
criticism , having established his reputation with the acclaimed and
controversial "Kathy Come Home","Kes", and "Raining Stones". He has
the kind of political and technical perspectives demanded by a
subject with themes as complex yet universal as the Spanish Civil
War. In this film he succeeds in bringing to bear a previously
underplayed element in his work ; human warmth and joy. For this is
not a bleak exposition of political theory , nor a war film of
Hollywood heroics but an exploration of some of the achievements and
failings of the revolution through the experiences of a mixed group
of men and women in a militia section.
Telling the story as a sequence of long flashbacks a young girl
discovers her deceased grandfathers past while going through his
belongings , bringing the issues into the here and now , reminding us
of how many people of the 'older' generation have their own
extraordinary stories left untold . Loach brings to the subject
several original and effective film making techniques . Above all he
uses players who are largely unknown, some of whom are indeed not
professional actors at all. He brings extra freshness by encouraging
them to improvise as much as possible with a minimum of formal
direction , and furthermore insisted on shooting the scenes
chronologically, enhancing the actors commitment to their character,
unaware of the next turn in the story . He has also used players
whose regional and national backgrounds match those of their
characters , so that the dialogue of English , American English ,
Castillian , Catalan , French , and German is delivered as naturally
as possible. All of this works superbly well for me , and reaches a
peak of realism in the debate scene where peasants and militia
discuss collectivising the newly acquired land they have just
liberated . This could easily have been shot as a dry conflict of
theories or as a traditional Hollywood clash of egos , but instead we
feel that these people really mean what they are saying, in all their
awkwardness and embarrassment. In this context the two leads Ian Hart
and Rosana Pastor add greatly by being suitably low key and
creditably 'ordinary' , but also being capable of showing great
strength and determination.
To say all this is not to give the impression that the film is
free of faults or compromises . It seems that in the making a major
consideration was how much knowledge could be assumed on the part of
the audience . Plainly very little, but it seems reasonable to
suppose that most viewers would either have read or heard of Orwells
'Homage to Catalonia '. It is perhaps this line of thought which led
to the central reliance on the POUM as the way of exploring the non -
Stalinist revolution in the film ( Loach himself is a Trotskyist and
although the POUM had formally split from Trotsky,this may also serve
to explain the POUM's attraction for Loach).Furthermore ,the POUM can
be described as a' workers party against Stalin' as the script says,
whereas focusing on the much larger and more relevant CNT-FAI would
necessitate much usage of the dread term 'Anarchist'.
Both Orwell and Loach give sympathetic mentions to the Anarchists
but neither give them the space which their numbers, power,
achievements, and opposition to Stalinism would require. Technically,
Loach blurs the line, giving the POUM red and black bandanas and
using CNT songs in the soundtrack, but no attempt is really made to
show what Anarchism or the POUM brand of Marxism really involves .
However, to the films credit , the day to day realities of local
decision making , egalitarian organisation , the position of Women
and to some extent collectivisation are touched on , and there
examples give the casual viewer a much more important lesson in what
was achieved than dry analysis of the theoretical agendas of each
group.
Some other compromises in the film have been picked upon as
absurdities by some reviewers.The compression of time , the very
limited geographical scope, and the difficulties experienced while
crossing into Spain when the border was still open , have all
received unfavourable mentions in the press. But there are small
details which it has been necessary to compromise on in order to show
a variety of experiences and keep within a very low budget. Similarly
troops of so many nations would not all have appeared in the same
section ,especially in a POUM militia unit. But the point here is to
try and show the international dimension of the struggle ( though its
overridingly Spanish character is thankfully, recognised) and to
convey the message of solidarity.
Having heard that the film contained very innovatory and realistic
combat sequences ,I must say I found these a little disappointing. It
is true that the improvised low tech and rather chaotic nature of the
fighting was captured,along with some convincing loud explosions.
However, the fear, confusion and tunnel vision experienced in combat
was not realised ,and the storming of a nationalist held village was
filmed in a very traditional way.Using a hand held camera would have
helped to convey something of the confusion and limited view open to
the combatants as can be seen in recent news footage
(Bosnia/Checnaya). Loach used the hand held camera to give a more
intimate feel to Blancas grief scene , so it would not have been out
of place in the preceding combat sequences .
Politically, the central theme of the film is the betrayal of the
revolution by the communist party and the crisis of belief which this
induce's. In 1936 the Communist party was a very small , even
insignificant party which came to prominence due to the increasing
importance of Soviet material , by recruiting disaffected bourgeois
elements and by virtue of its reputation for discipline and
efficiency. In fact , their agenda was fundamentally reactionary ,as
they fought to secure the privileges of private property and reverse
the process of spreading collectivisation which the CNT-FAI, the most
significant working class organisation in 1936 was promoting . It was
important for the USSR to show that their form of Marxism was the
only true revolutionary path, and so genuine libertarian successes
could not be tolerated.
In this sense publicising the reality of the role of the Communist
party in Spain was an important weapon for libertarians,as the party
did everything possible to distract attention from these events.
Similarly, the Western democracies did not want their workers to be
infected by the example of a successful revolution in Spain ,with the
result not only of the non intervention committee , but also that the
revolutionary dimension of the civil war and the Communist reaction
to it being very much downplayed . The establishment has preferred a
view of history in which the extremists of Fascism and Communism
fought each other in a far off foreign land. It is in this context
that Loachs film should be seen, helping in some way to tell stories
which have for too long been obscured or distorted by established
interests.
In Land and freedom the conflict between the libertarians and
authoritarians is mainly illustrated by the militarisation of the
militias and the fighting known as the May days. These were struggles
of great significance for the direction of the revolution in Spain
and the workers movement in general . Similar issues had been fought
out in Russia, the Ukraine, Germany and elsewhere in the period after
WW1 , but the more general divergence between these two strands of
political thought , organisation and action are timeless themes.
In Spain , the struggle did not end with the 'Maydays', Anarchist
collectives continued to resist being brought under state or private
control for years to come : many individuals were persecuted or
killed for their libertarian work, for example the famous Italian
Anarchist Camille Berneri . The conflict had other less clear aspects
, such as the participation in the government of prominent Anarchists
,compromising in order to avoid being completely sidelined by the
increasingly powerful state apparatus . These themes are either not
mentioned or merely hinted at in the film.
Overall , it is clear that ordinary people, only moderately
organised and poorly armed made enormous social and military strides
in the initial period following the Generals' rising . But the
revolutionary spirit which drove the resistance was difficult to
maintain in the face of the escalating conflict and mismanagement
behind the lines as the war at the front became a slogging match
between conscripted armies. Above all the nature of the revolution
was being altered as the earliest gains were eroded at first
insidiously and then quite openly , by a range of conservative
elements in the republican camp .The successes promised if the CNT-
FAI submitted to militarisation and central control were as illusory
in the military and economic field : Communist efficiency was not
particularly efficient after all. In these cases the film is
sympathetic with a vaguely antiauthoritarian position , but stops
short of explaining the CNTFAI role , which would have been a real
innovation , a real contribution .Loach himself has said that in the
making of the film Trotsky's influence was indispensable , but that
of the anarchists and libertarian communists merely amount to 'other
influence'.
"Land and Freedom" has attracted a good deal of attention in Spain
itself , some ex POUM members even considering a relaunch of their
party . Speaking with Spanish people it is noticeable that the Franco
years and the subsequent move towards consumerism , have succeeded in
leaving young people with only a limited interest in , or knowledge
of the period. Indeed the actors/actresses in the film frankly
admitted that the events portrayed in the film were new to them.
The Spanish Revolution and Civil War can be seen as a political
laboratory, in which one can glimpse the kind of world that each of
the political groupings were working towards. "Land and Freedom"
spotlights events which form some of the crucial lessons of the
period , and in an accessible way raises some issues which are of
deep significance to the question of how human beings organise
themselves and their world , and for that alone it is extremely
welcome.
AFED Disscussion Industrial Organising
Jura Books
Meeting to discuss the role anarchists can play in a practical approach to union and workplace organizing, and what form that can take in Australia today.
Hosted by the anarchist federation.
Speakers TBA
Jura Books History
[Note, this history was written in 2005, and needs some updating.]
Jura books began in 1977 in a building with a shopfront at 417 King Street Newtown, we moved to 110 Crystal St Petersham, then to 438 Parramatta Road for a short time, then to the present location at 440 Parramatta Road Petersham. To be quite accurate, though, Jura began in another form about a year earlier – this is explained a little further on. But rather than just give an historical dateline of what has happened over the past years, this will be more of an account of the processes involved in establishing and maintaining a voluntary, anti-profit, collectively run bookshop.

The first thing is to explain, only because everyone asks, why we called the place ‘Jura Books’. Well, it’s named after the federation of workers of the ‘Jura’ region of France and Switzerland that associated with Michael Bakunin in the First International – one of the first large organised groups of workers who organised along anarchist lines. In about the 1870s, the Jura Federation, as it was called, consisted of 20-30,000 workers – largely, though not only, watchmakers and building workers. Peter Kropotkin, another very famous anarchist of his time, journeyed to this region and learned a great deal of his ‘formal’ anarchism among the Jura watchmakers. I say ‘formal’ because, without knowing much of the writings of anarchism, he formulated the basic concepts for himself during his youth and in his 20s, from his personal experiences, discussions and thoughts, when in the Russian military exploring the vast wilderness of Siberia. This story about Kropotkin shows the nature of anarchism itself, that is, anarchism is not an artificial theory that was formulated by some bearded guy while studying in a library for 24 years …or by a guru on a mountain. It reflects the notion that many anarchists hold, that anarchism is all around us. It is in the way ordinary people interact and help each other out, especially when various imposed authoritarian concepts and structures are absent, or, as Kropotkin would eventually put it, even in Nature itself. Anarchism is not a theory to be artificially applied, but an ethic that can be (re) discovered in our own experiences, as a way of resolving our needs. So it’s not an artificially constructed end point or some sort of an imposed ‘utopia’, but a utopic process or journey of life, living and work.
Although Jura Books adopted a consciously collective form of organisation, its origins were actually of a different sort – a split. During the 1970s, a series of anarchist conferences were held in Sydney and Melblourne. At the last of these, a split occurred between the ‘organisationals’ and the ‘anti-organisationalists’ Or, as a later Spanish member would have said “A clarification occurred”. At the conference with something like 150 - 200 people, a heated debate developed between those who wanted a chairperson and those who declared it an anti-anarchist practice. Most organisationalists left the conference to meet elsewhere and decided to set up an anarchist book importing and distributing service. This ‘Jura Book Service’ coordinated the joint buying and distribution of material for the three or four groups from different cities around the continent. At the time, very few anarchist titles were available in the country, mostly they were found in Marxist bookshops and all from overseas. In Sydney, that original group, with a couple of additions would begin the first anarchist bookshop in Australia for perhaps 60 or more years – since the Andrade shop in Melbourne.
So, even though we began out of a split, Jura was established on collectivist lines, as derived from the 1920s-30s Spanish anarchist affinity groups via two filters - one of the 1960s popular radical cultural, feminist, environmental and anti-war movements. The second was the Spanish anarchist principles as transmitted from mostly post-war European migrants who re-awakened the anarchist/syndicalist project in Australia. These great characters included Antonio and Victoria, Jose and Louise, George and Mary, Jack, Gonzalas, John the Macodonian, Pat the American Wobblie, and many more who acted as mentors to the young ones of the day who came out of the 1960s.
We were not the only ones to set out on this path as many diverse organisations at the time adopted the collective form of organising. This approach was consciously taken up as opposed to the (Marxist) Party structure, and was often heatedly debated and fought over. Some examples of these included the newly emerging feminist groups (women’s refuges, discussion and publication groups), some artistic groups (Tin Sheds poster collective, poetry groups), industrial groups (building industry, metal workers, postal, nursing) and militant political groups (anti-uranium, other green groups, prisoner’s action).
Some of the ideas that have been our guiding principles over the years have included, although not all at one time, nor in exactly the same way:
- Jura Books is an anarchist and anarcho-syndicalist bookshop.
- We operate on a volunteer basis.
- Any increase on the cost price of a title will be minimal, originally intended to cover inflation, and was originally 10%.
- All book takings were to stay for expansion of stock – this has changed over time.
- We would operate as much as possible in an environmentally friendly way.
- All overhead costs to be covered by donations from within the collective, and from regular donors, and fundraising outside the collective, (now some of the books-takings goes to help with the bills).
- All decisions are made at regular (originally weekly) meetings of the collective, with delegated authority to members to carry out tasks.
- Membership of the collective is by decision of the established group. Expulsion from the collective is possible.
- Tasks, such as the ordering of title, banking, accounts, fundraising…are shared on a volunteer basis and on a mechanism established for regular opportunities to rotate jobs. Cleaning tasks are attached to the daily shop-staffing roster.
- An easily accessible shop-front premises to be maintained.
- Wherever possible, the building is to be an activist centre for like-minded groups – as accepted by the collective.
The above is a compilation of concepts that have underscored the way Jura has operated for the last, nearly, three decades. Just to repeat: not all ideas have been in practice all the time. Also the balance between us as a staid book-selling outfit and as militant activists has changed depending on who has been involved and their interests and energies.
What collectivity has meant has changed over the years depending on the membership, in terms of personalities, differing levels of commitment to the notion of collectivity, and the numbers of people involved. For example, the greater the number of members, the greater the need for systems to be in place so that everyone has ‘stewardship’ of the project – or a sense of belonging and control. This is something that the current collective is re-developing.
Our time in King St saw our stock increase about 10,000% - that wasn’t hard as we started with only a few books. Placing requests for donations on our noticeboard to help us move into a new publisher or distributor, saw us end up with, perhaps, 5-10,000 books, maybe more. Not all were on the shop shelves, as we had about an equal number in the store room. At one stage we almost had more stock out on consignment to anarchist groups across Australia than we had in the shop.
Jura and various Jurans were involved in various activists campaigns, Close Katingal (prison), Stop Uranium Mining, women’s refuge (Marrickville) support, “Everything” anarcha-feminist collective, Jura Silk-screen Printing Collective, the Industrial Workers of the World, Vitamin C Distribution Fund, Black Cat Printers, among many other causes, projects and campaigns. Jura also held a major conference, the first since the ones of the 1970s – “1984 and Social Control Conference” that was held in the Merewhether Building at Sydney University. It attracted, maybe, 800 - 1,000 different people over three days. The initial plenary session just about filled the main theatre that had seating for 600. There was a very successful dance on the Saturday night too.
In terms of numbers, Jura started out with about eight members, went to about 12 within six months, and to about 15-16 over the next two years. Then it was down to eight again due to a split over differing ideas of collectivity. Membership rose again to 10-12 over the next few years until about our 10th anniversary. At that time we were forced to move out of the first shop, a rented premises because the owner wanted to sell the building without tennants, and we could not afford the asking price. Having raised about $78,000, (in about 18 months) we put down a deposit on the building in Crystal St. That was a huge effort which is a story in itself.
That effort and the move saw the collective soon reduce to five. But this only happened after another big effort of saying ‘thanks’ to those who supported us in the move to establish a permanent home for the Jura project. That ‘thankyou’ was the 1988 “Beyond Social Control Conference” . This time the event was held in the University of Technology Law Courts Building – the old ‘Markets” building. It was, again, a great success and attracted several hundred people over two days. However the new location for the bookshop turned out to be not so good in terms of attracting patrons, and sales dived, as did the collective. Over the next five years Jura reached a very low point in many ways and the following five saw a slow, though not full, recovery. There were some notable exceptions, though.
Renewed energy among a few key players had Jura join with Black Rose and other anarchists to help organise the 1995 “Goals and Visions” Conference. Besides the many sessions of the conference that was held over the weekend, the highlight of that event was the lecture by Noam Chomsky in the Sydney Town Hall. Three thousand people turned up to an event that was advertised as anarchist, with 2-300 turned away because we were not allowed to fit any more in the hall, due to fire-safety restrictions.
Unfortunately, about this time, a major conflict as to the direction of Jura arose. This was about 12-18 months after the Goals and Visions conference – what should have been a time to build. Once the dispute was settled, not without some more membership losses for the collective, we set out on a more positive path once again.
We made moves to secure a new building in a better location. We sold the Crystal St place and moved to out current address at Parramatta Road. Not far away in distance, after all it’s in the same suburb, but back again on a main street and a ‘million miles’ closer to where people were. Once more, the move was only accomplished with great effort and at a cost to the membership. We should have had enough to pay off the new building, as it cost less than we sold the Crystal St building, but another matter changed that. Termites! We had successful tackled the problem at Crystal St on three major occasions, with the help of the ‘Termite Retirement Fund’ (thanks to Alison for the great title for that fundraising campaign – it raised about $2-3,000 for environmentally friendly termite treatment and a new floor for the shop).
Unfortunately, the termites at the new place were well hidden and we did not find them until we moved in. It cost us $30,000 to have the front of the building reconstructed. Much of the refurbishment work we did ourselves, but the major engineering work at the front we could not do. It also delayed our move into the building and so we rented a shop at 438 Parramatta Road, a fortunate two doors down from our own place for a year, which, of course, also cost a lot. We sold the old place for more than the new one cost, but with the mentioned problems, the move saw us continue with a mortgage – that we still have.
At 440 things are looking up. Besides sales increasing for the bookshop, the current building is used by Black Cat Printers, the Anarcho-Syndicalist Network, the Media Room, the Fanya Baron Workers Library, and is a meeting place for the anarchist-feminist group AWOL, the Industrial Workers of the World, and CAT Media. Much work has been done over the past few years by several new people who have joined the collective. The Library is now out of its boxes, and is beginning to resemble a library, we have held several major events at Jura including a major poster exhibition, and have organised a very successful Workers Control Conference, besides having book stalls at many other events. There have also been several popular film nights and discussion evenings at Jura. Much has been done, there is still much to do.
Working Bee
Jura Books
The upstairs library renovations are almost finished. All that needs to be done is put the skirting boards in, get the new bookshelves and then put the books back.
Come and help put in the skirting boards, even just for an hour or so...
12-5pm Sat 19th and 12-5pm Sunday 20th.
Hi Tech High Tea - Creating an alternative Media
Jura Bookshop
440 Parramatta Road
Petersham
HIGH TECH HIGH TEA Sunday 3rd August @ Jura Bookshop from 2pm til 5pm An exploration of technology and ways to build a alternative structure if media and information technology.
There'll be short films, electronic music workshop, high tech vegan treats and a discussion of alternative structures of media.
This will be a fundraiser for the Kinaiyahan Unahon Collective in Davao City, Phillipines, and their new info show / social centre.
Eco-workers meeting
Jura Books
Eco-workers meeting to talk about organising in our workplaces. All welcome to come and talk about your workplaces and your plans!
Environmental Crisis: Workers Solutions discussion
Jura Books
This discussion is a practical follow up to the forum Jura hosted recently. We are hoping to focus on practical activities we can take to progress the enviro/worker politics that we began to develop at the forum. Possible ideas include a leaflet, a workshop at Flare in the Void, or another event/film screening. All welcome!


