Djuki Mala [The Chooky Dancers]
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Into the Mainstream Guide to the Moving Image Recordings from the Production of Into the Mainstream by Ned Lander, 1988
Descriptive Level Finding aid LANDER_N001 Collection title Into the Mainstream Guide to the moving image recordings from the production of Into the Mainstream by Ned Lander, 1988 Prepared 2015 by LW and IE, from audition sheets by JW Last updated November 19, 2015 ACCESS Availability of copies Digital viewing copies are available. Further information is available on the 'Ordering Collection Items' web page. Alternatively, contact the Access Unit by email to arrange an appointment to view the recordings or to order copies. Restrictions on viewing The collection is open for viewing on the AIATSIS premises. AIATSIS holds viewing copies and production materials. Contact AFI Distribution for copies and usage. Contact Ned Lander and Yothu Yindi for usage of production materials. Ned Lander has donated production materials from this film to AIATSIS as a Cultural Gift under the Taxation Incentives for the Arts Scheme. Restrictions on use The collection may only be copied or published with permission from AIATSIS. SCOPE AND CONTENT NOTE Date: 1988 Extent: 102 videocassettes (Betacam SP) (approximately 35 hrs.) : sd., col. (Moving Image 10 U-Matic tapes (Kodak EB950) (approximately 10 hrs.) : sd, col. components) 6 Betamax tapes (approximately 6 hrs.) : sd, col. 9 VHS tapes (approximately 9 hrs.) : sd, col. Production history Made as a one hour television documentary, 'Into the Mainstream' follows the Aboriginal band Yothu Yindi on its journey across America in 1988 with rock groups Midnight Oil and Graffiti Man (featuring John Trudell). Yothu Yindi is famed for drawing on the song-cycles of its Arnhem Land roots to create a mix of traditional Aboriginal music and rock and roll. -
Contents Visitors
DEBATES – Thursday 24 August 2017 CONTENTS VISITORS ................................................................................................................................................. 2247 Darwin Middle School ............................................................................................................................ 2247 SPEAKER’S STATEMENT ....................................................................................................................... 2247 Daffodil Day ........................................................................................................................................... 2247 ASSEMBLY MEMBERS AND STATUTORY OFFICERS (REMUNERATION AND OTHER ENTITLEMENTS) AMENDMENT BILL ................................................................................................................................... 2247 (Serial 27) .............................................................................................................................................. 2247 CRIMINAL CODE AMENDMENT (DANGEROUS NAVIGATION OF VESSELS) BILL ............................ 2249 (Serial 28) .............................................................................................................................................. 2249 VISITORS ................................................................................................................................................. 2251 SPEAKER’S STATEMENT ...................................................................................................................... -
Encounters Between Italian Migrants and Indigenous Australians in Far Away Is Home
Flinders University Languages Group Online Review Volume 5, Issue 1, April 2016 ISSN 1446–9219 Land, Culture and New Ways of Belonging: Encounters between Italian migrants and Indigenous Australians in Far Away is Home. La storia di Clely (Diego Cenetiempo, Australia/Italy, 2012) Matteo Dutto Monash University ABSTRACT Stories of encounters between Italian migrants and Indigenous Australians have rarely been portrayed in film and documentary form by either Italian or Australian filmmakers, reflecting a lack of interest that is not incidental but, as I propose in this paper, can be better understood as constitutive to how migrants’ sense of belonging and identity is negotiated in contemporary Australia. To do so, I consider Far Away is Home. La Storia di Clely, a 2012 short documentary by Italian filmmaker Diego Cenetiempo that retells the story of Clely Quaiat Yumbulul, a Triestine Italian migrant who, after moving to Galiwin’ku on Elcho Island, married Warramiri leader and artist Terry Yumbulul and now identifies herself as part Triestine and part Indigenous. Drawing on theories of diasporic and multicultural filmmaking and on scholarship on whiteness, migration and identity studies within the Australian context, this paper argues that Far Away is Home reframes Clely’s story of migration to Australia as an encounter with Warramiri country and culture, thus proposing alternative and decolonizing modes of belonging and identity. INTRODUCTION The true Clely, my true self, is the one that thinks both in Triestine and in Aboriginal language and lives those two parallel lives. – Clely Quaiat Yumbulul, Far Away is Home: La Storia di Clely (Diego Cenetiempo, 2012 – my translation) 1 Black and white pictures and footage of migrant ships entering the ports of Perth, Adelaide, Melbourne and Sydney constitute an enduring reminder of the history of early Italian migration to Australia. -
Teachers' Notes for Secondary Schools
artback nt: arts development and touring presents teachers’ notes for secondary schools teachers’ notes for secondary schools table of contents History - Djuki Mala [The Chooky Dancers] pg 3 Activity - Djuki Mala Zorba the Greek on YouTube pg 3 Activity - Online video - Elcho Island and The Chooky Dancers pg 3 Activity - Traditional dance comparison pg3 Home - Elcho Island pg 4 History pg 5 Activity - Macassar research pg 5 Activity - ‘Aboriginal’ vs ‘Indigenous’ pg 5 Activity - Gurrumul research pg 6 Activity - ‘My Island Home’ pg 6 Activity - Film: ‘Big Name No Blankets’ pg 6 Community pg 7 Activity - Elcho Island: Google Earth pg 7 Yolngu Culture pg 8 Activity - Film: ‘Yolgnu Boy’ + questions pg 8 Activity - Film: ‘Ten Canoes’ pg 9 Activity - Documentary: ‘Balanda and the Bark Canoes’ pg 9 Activity - Yolgnu culture clips online pg 9 Clans and Moieties pg 9 Activity - Clans and moieties online learning pg 9 Language pg 10 Activity - Yolngu greetings pg 10 Useful links and further resources pg 11 usage notes These notes are intended as a teaching guide only. They are suitable for high school students at different levels and teachers should choose from the given activities those that they consider most suitable for different year groups. The notes were developed by Mary Anne Butler for Artback NT: Arts Development and Touring. Thanks to Stuart Bramston, Shepherdson College, Jonathan Grassby, Linda Joy and Joshua Bond for their assistance. teachers’ notes page 2 of 11 History - Djuki Mala [T he Chooky Dancers] In 2007, on a basketball court in Ramingining, a group of Elcho Island dancers calling themselves the Chooky Dancers choreographed and performed a dance routine to the tune of Zorba the Greek. -
Journal of a Voyage Around Arnhem Land in 1875
JOURNAL OF A VOYAGE AROUND ARNHEM LAND IN 1875 C.C. Macknight The journal published here describes a voyage from Palmerston (Darwin) to Blue Mud Bay on the western shore of the Gulf of Carpentaria, and back again, undertaken between September and December 1875. In itself, the expedition is of only passing interest, but the journal is worth publishing for its many references to Aborigines, and especially for the picture that emerges of the results of contact with Macassan trepangers along this extensive stretch of coast. Better than any other early source, it illustrates the highly variable conditions of communication and conflict between the several groups of people in the area. Some Aborigines were accustomed to travelling and working with Macassans and, as the author notes towards the end of his account, Aboriginal culture and society were extensively influenced by this contact. He also comments on situations of conflict.1 Relations with Europeans and other Aborigines were similarly complicated and uncertain, as appears in several instances. Nineteenth century accounts of the eastern parts of Arnhem Land, in particular, are few enough anyway to give another value. Flinders in 1802-03 had confirmed the general indications of the coast available from earlier Dutch voyages and provided a chart of sufficient accuracy for general navigation, but his contact with Aborigines was relatively slight and rather unhappy. Phillip Parker King continued Flinders' charting westwards from about Elcho Island in 1818-19. The three early British settlements, Fort Dundas on Melville Island (1824-29), Fort Wellington in Raffles Bay (1827-29) and Victoria in Port Essington (1838-49), were all in locations surveyed by King and neither the settlement garrisons nor the several hydrographic expeditions that called had any contact with eastern Arnhem Land, except indirectly by way of the Macassans. -
1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania It Is 1968, Rural Western Austra
1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania Abstract: In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on- screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future. It is 1968, rural Western Australia. As we glide along an undulating bitumen road up ahead we see, from a low camera angle, a school bus moving smoothly along the same route. Periodically a smattering of roadside trees filters the sunlight, but for the most part open fields of wheat flank the roadsides and stretch out to the horizon, presenting a grand and golden vista. As we reach the bus, music that has hitherto been a quiet accompaniment swells and in the next moment we are inside the vehicle with a fair-haired teenager. The handsome lad, dressed in a yellow school uniform, is drawing a picture of a boxer in a sketchpad. Another cut takes us back outside again, to an equally magnificent view from the front of the bus. This mesmerising piece of cinema—the opening of September (Peter Carstairs, 2007)— affords a viewer an experience of tranquillity and promise, and is homage to the notion of a golden age of youth. -
Program 2 27 July – 19 September
Program 2 27 July – 19 September Program 3 of 4 | 2021 July 27 Tue 7.00 Locked Down 24 Tue 7.00 Hi, Mom BELL 28 Wed 7.00 Summer of ‘85 (Été 85) 25 Wed 7.00 Aalto Café Cinema Free to Members 29 Thur 7.00 June Again 26 Thur 7.30 The United States vs Billie Holliday Star 30 Fri 7.00 Land 27 Fri 7.00 Greenfield 8.45 Locked Down 8.30 Aalto BELL 31 Sat 7.00 Valerie Taylor: Playing with Sharks OC 28 Sat 7.00 Spirit Untamed 8.45 Summer of ‘85 (Été 85) BELL 8.45 Rosemary’s Way BELL 29 Sun 7.00 Samsara Territory Day August 30 Mon 7.00 Moon Rock for Monday BELL 1 Sun 7.00 Nomadland Fundraiser for Garuda FC 31 Tue 7.00 Death of a Ladies’ Man 2 Mon 7.00 Land 3 Tue 7.00 Breaking Bread September 4 Wed 7.00 Locked Down BELL Star 1 Wed 7.00 The United States vs Billie Holliday BELL 5 Thur 7.00 Final Account 2 Thur 7.00 Space Jam: A New Legacy BELL 6 Fri 7.00 Space Jam: A New Legacy 3 Fri 7.00 The Godmother (La Daronne) BELL 9.15 June Again 9.00 Death of a Ladies’ Man 7 Sat 7.00 Land BELL 4 Sat 7.00 Moon Rock for Monday 8.45 Final Account BELL 9.00 Greenfield BELL 8 Sun 7.00 Fast and Furious 9 5 Sun 7.00 Blazing Saddles Fundraiser for Friends of DSO Fundraiser for GRANT 6 Mon 7.00 Unsound 9 Mon 7.00 Memory Box Darwin Festival Presents 7 Tue 7.00 Three Summers (Três Verões) Star 10 Tue 7.00 Carmilla 8 Wed 7.00 The Xrossing Star 11 Wed 7.00 Hi, Mom 9 Thur 7.00 Death of a Ladies’ Man BELL 12 Thur 7.00 Djäkamirr NT Premiere 10 Fri 7.00 Valerie Taylor: Playing with Sharks BELL Fundraiser for Mum on Country Project 8.45 Moon Rock for Monday BELL 13 Fri 7.00 Breaking -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
BIODIVERSITY CONSERVATION on the TIWI ISLANDS, NORTHERN TERRITORY: Part 1. Environments and Plants
BIODIVERSITY CONSERVATION ON THE TIWI ISLANDS, NORTHERN TERRITORY: Part 1. Environments and plants Report prepared by John Woinarski, Kym Brennan, Ian Cowie, Raelee Kerrigan and Craig Hempel. Darwin, August 2003 Cover photo: Tall forests dominated by Darwin stringybark Eucalyptus tetrodonta, Darwin woollybutt E. miniata and Melville Island Bloodwood Corymbia nesophila are the principal landscape element across the Tiwi islands (photo: Craig Hempel). i SUMMARY The Tiwi Islands comprise two of Australia’s largest offshore islands - Bathurst (with an area of 1693 km 2) and Melville (5788 km 2) Islands. These are Aboriginal lands lying about 20 km to the north of Darwin, Northern Territory. The islands are of generally low relief with relatively simple geological patterning. They have the highest rainfall in the Northern Territory (to about 2000 mm annual average rainfall in the far north-west of Melville and north of Bathurst). The human population of about 2000 people lives mainly in the three towns of Nguiu, Milakapati and Pirlangimpi. Tall forests dominated by Eucalyptus miniata, E. tetrodonta, and Corymbia nesophila cover about 75% of the island area. These include the best developed eucalypt forests in the Northern Territory. The Tiwi Islands also include nearly 1300 rainforest patches, with floristic composition in many of these patches distinct from that of the Northern Territory mainland. Although the total extent of rainforest on the Tiwi Islands is small (around 160 km 2 ), at an NT level this makes up an unusually high proportion of the landscape and comprises between 6 and 15% of the total NT rainforest extent. The Tiwi Islands also include nearly 200 km 2 of “treeless plains”, a vegetation type largely restricted to these islands. -
Music Education)
The University of Sydney SYDNEY CONSERVATORIUM OF MUSIC BACHELOR OF MUSIC (Music Education) 3rd YEAR MUSIC EDUCATION STUDENTS PROFESSIONAL EXPERIENCE (PEx) HANDBOOK 2019 PEx 2 Junior Secondary Teaching Practice MUED 3606 Semester 2, 2019 Student Teacher: _________________________________________________ Supervising Teacher: _____________________________________________ Email: ___________________________ Phone: _____________________ 1 USYD BMus (Music Education) MUED3606 Professional Experience Handbook MUED 3606 Junior Secondary Professional Experience (PEx) PEx/Practice Teaching Dates Monday June 3 and finishing and Friday July 5 for Government Schools and Friday June 28 for some non-Government Schools. Then a final one or two week block from July 22- August 2 Please Note: Student teachers are expected to organise a pre-prac visit anytime in the week commencing. The purpose of this visit is to meet the supervising teacher(s), Music Dept. Head, school staff and administration, and to organise teaching timetable. Academic PEx Co-ordinator PEx Administrator Dr Jennifer Rowley Cathy (Shuang) Chen Room 2082 Room: 2151 Phone: 9351 1328 Phone: 9351 1231 Fax: 9351 1287 Fax: 9351 1287 [email protected] [email protected] Mailing Address and Website PEx Co-ordinator Sydney Conservatorium of Music Macquarie St Sydney NSW 2000 LMS: https://canvas.sydney.edu.au/ Contact Details: School: ________________________________________________________________________ Principal: ______________________________________________________________________ -
Madness and Healing on Elcho Island, North-East Arnhem Land
‘‘They have a story inside.’’ Madness and healing on Elcho Island, north-east Arnhem Land Cecilia De Donatis Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy September, 2010 School for Social and Policy Research Charles Darwin University 1 ABSTRACT This thesis is based on an ethnographic investigation of concepts related to mental health and madness among the Yolŋu peoples of north-east Arnhem Land, with a particular focus on Elcho Island and its main settlement, Galiwin‘ku. Over the past decade, there has been a proliferation of medically oriented research and mental health intervention programs in Indigenous health. Most of these refer to the principle that ‗culture‘ must play a fundamental role in Indigenous health care. However, lack of in-depth investigations about Indigenous knowledge related to health indicates that this principle plays only a nominal role in the implementation of these programs and has not resulted in a rethinking of basic assumptions guiding mental health services. The ethnographic research which informs this thesis started from the assumption that all societies around the world have developed ideas of ‗madness‘ or ‗abnormality‘, but that these are not necessarily understood in terms of ‗health‘ or ‗illness‘. Accordingly, the fieldwork focused on Yolŋu concepts related to ‗madness‘: what are the signs indicating mental or emotional problems? What causes madness? What are the responses of the ‗normal‘ members of society? What kinds of issues are elicited by the encounter with Western psychiatry? What are the self-representations of the ‗mad‘ person? The ethnography demonstrated the existence of an articulated body of knowledge related to ‗mental illness‘, although not one fashioned in medical terms. -
Gurrumul's Mother's Buŋgul Gurrumul's Grandmother's
A PERTH FESTIVAL COMMISSION BUŊGUL GURRUMUL’S MOTHER’S BUŊGUL GURRUMUL’S GRANDMOTHER’S BUŊGUL GURRUMUL’S MANIKAY With West Australian Symphony Orchestra Produced by Skinnyfish Music and Perth Festival Image: Jacob Nash Founder Principal Partner Community Partner This project was initiated by the Yunupiŋu family and Skinnyfish Music Perth Festival acknowledges the Noongar people who continue to practise their values, language, beliefs and knowledge on their kwobidak boodjar. They remain the spiritual and cultural birdiyangara of this place and we honour and respect their caretakers and custodians and the vital role Noongar people play for our community and our Festival to flourish. BUŊGUL GURRUMUL’S MOTHER’S BUŊGUL GURRUMUL’S GRANDMOTHER’S BUŊGUL GURRUMUL’S MANIKAY PERTH CONCERT HALL | FRI 7 – SUN 9 FEB | 90MINS Hear from creators and artists in a Q&A session after the performance on Sat 8 Feb. Sat 8 Feb Aboriginal and Torres Strait Islander audience members are advised that this performance contains the voice and image of a deceased person. There is a special relationship in the performing arts between creator, performer and audience. Without any one of those elements, the ceremony of performance ceases to exist. In choosing to be here, we thank you for your act of community as we celebrate the artists on the stage and the imaginations of those who have given them environments to inhabit, words to embody and songs to sing. Perth Festival 2020 is a celebration of us – our place and our time. It wouldn’t be the same without you. Iain Grandage, Perth Festival Artistic Director FANFARE You were called to your seat tonight by ‘Match’ composed by 21-year-old UWA student Jet Kye Chong.