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Nhulunbuy Itinerary
nd 2 OECD Meeting of Mining Regions and Cities DarwinDarwin -– Nhulunbuy Nhulunbuy 23 – 24 November 2018 Nhulunbuy Itinerary P a g e | 2 DAY ONE: Friday 23 November 2018 Morning Tour (Approx. 9am – 12pm) 1. Board Room discussions - visions for future, land tenure & other Join Gumatj CEO and other guests for an open discussion surrounding future projects and vision and land tenure. 2. Gulkula Bauxite mining operation A wholly owned subsidiary of Gumatj Corporation Ltd, the Gulkula Mine is located on the Dhupuma Plateau in North East Arnhem Land. The small- scale bauxite operation aims to deliver sustainable economic benefits to the local Yolngu people and provide on the job training to build careers in the mining industry. It is the first Indigenous owned and operated bauxite mine. 3. Gulkula Regional Training Centre & Garma Festival The Gulkula Regional training is adjacent to the mine and provides young Yolngu men and women training across a wide range of industry sectors. These include; extraction (mining), civil construction, building construction, hospitality and administration. This is also where Garma Festival is hosted partnering with Yothu Yindi Foundation. 4. Space Base The Arnhem Space Centre will be Australia’s first commercial spaceport. It will include multiple launch sites using a variety of launch vehicles to provide sub-orbital and orbital access to space for commercial, research and government organisations. 11:30 – 12pm Lunch at Gumatj Knowledge Centre 5. Gumatj Timber mill The Timber mill sources stringy bark eucalyptus trees to make strong timber roof trusses and decking. They also make beautiful furniture, homewares and cultural instruments. -
Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA
arts Article Cultural Tourism: Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA Marie Geissler Faculty of Law Humanities and the Arts, University of Wollongong, Wollongong, NSW 2522, Australia; [email protected] Received: 19 February 2019; Accepted: 28 April 2019; Published: 20 May 2019 Abstract: This paper explores how the appeal of the imagery of the Arnhem Land bark painting and its powerful connection to land provided critical, though subtle messaging, during the post-war Australian government’s tourism promotions in the USA. Keywords: Aboriginal art; bark painting; Smithsonian; Baldwin Spencer; Tony Tuckson; Charles Mountford; ANTA To post-war tourist audiences in the USA, the imagery of Australian Aboriginal culture and, within this, the Arnhem Land bark painting was a subtle but persistent current in tourism promotions, which established the identity and destination appeal of Australia. This paper investigates how the Australian Government attempted to increase American tourism in Australia during the post-war period, until the early 1970s, by drawing on the appeal of the Aboriginal art imagery. This is set against a background that explores the political agendas "of the nation, with regards to developing tourism policies and its geopolitical interests with regards to the region, and its alliance with the US. One thread of this paper will review how Aboriginal art was used in Australian tourist designs, which were applied to the items used to market Australia in the US. Another will explore the early history of developing an Aboriginal art industry, which was based on the Arnhem Land bark painting, and this will set a context for understanding the medium and its deep interconnectedness to the land. -
The Making of Indigenous Australian Contemporary Art
The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Marie Geissler All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................ -
Munggurrawuy Yunupingu
Men Hunting with Rifles, c. 1959-62 1993.0004.068 Munggurraway Yunupingu (1907-79) Yolngu language group, Gumatj clan, Yirrkala, Arnhem Land Eucalyptus bark with natural ochres In this eucalyptus bark painting, two men with rifles are depicted hunting wild emus in Arnhem Land in northern Australia. At the top of the piece is a watering hole and an emu eating berries (livistona Australis), known locally as “emu food.” In the background the artist has painted clan patterns of diamonds and crossing lines. Using yellow, red, black, and white ochres, this painting is most likely about Macassans and their influence on Aboriginal culture in Arnhem Land. The main subjects are colored with yellow ochre, while all of the pigments are used for the clan patterns which cover the background. In the height and rise of Aboriginal art in Arnhem Land, Dr. Stuart Scougall and Tony Tuckson commissioned bark paintings from 1959-62 in Yirrkala. The clan designs in this painting are consistent with the Yolngu Gumatj people and the use of eucalyptus bark supports the idea that it is from Yirrkala. It’s likely that this work was purchased by Geoffrey Spence from the mission at Yirrkala at the time of the commissions. It’s unknown whether Spence purchased this work from the artist directly, from the Yirrkala mission, or from Scougall and Tuckson. We do know that Edward Ruhe purchased this work from Geoffrey Spence. Upon examination of this work, it is suspected that the artist is Munggurraway Yunupingu (1907-79) of the Gumatj clan. Born and raised in Yirrkala, Munggurraway was a prominent painter of his time. -
Aboriginal War Veteran Featured on Bondi Memorial
Elimatta asgmwp.net Summer 2011 Aboriginal Support Group – Manly Warringah Pittwater ASG acknowledges the Guringai People, the traditional owners of the lands and the waters of this area. Aboriginal war veteran featured on Bondi memorial The Returned & Services League of Australia (NSW Reg Saunders was the son of a war veteran of the Branch) North Bondi Sub-Branch is donating a new war fi rst World War; both his father and his uncle served memorial to the communities of North Bondi and Bondi in WWI. Saunders was born in western Victoria on 7 Beach. The old, dilapidated war memorial was removed August 1920 and brought up by his grandmother. from the Scarborough Crescent site adjacent to North Having attended school only sporadically, he found Bondi RSL. The new war memorial was offi cially opened work as a saw miller but imagined himself going to fi ght in a formal ceremony held on Sunday 27 November in South America for the poor and oppressed, with 2011. It is hoped the memorial would serve as a focal whom he felt a kinship. point for remembrance in Sydney. Very conscious of the service of Aboriginal men The new memorial, valued at over $430,000 during WWI, Saunders enlisted on 24 April 1940 and, symbolises solidarity, unison, courage and spirit of after his initial training, was sent to the Middle East as a Australian mateship at war. Sailors, soldiers and airmen reinforcement for the 2/7th battalion. and women are represented in a Saunders was commissioned in palette of materials: stainless steel November 1944 in Korea; Saunders blades, curved concrete, glass inserts served as a captain in the 3rd and an eternal fl ame – all collectively Battalion, Royal Australian Regiment arranged and bolted together for and fought at Kapyong. -
66Th Miff Announces Full Program
66TH MIFF ANNOUNCES FULL PROGRAM GURRUMUL WORLD PREMIERE AT CLOSING NIGHT JANE CAMPION, MELISSA GEORGE AND LUCA GUADAGNINO LEAD GUEST LINE-UP SALLY POTTER AND PIONEERING WOMEN RETROSPECTIVES UNVEILED MELBOURNE, 12 JULY 2017 – Celebrating its 66th year, the Melbourne International FIlm Festival (MIFF) unleashes its full program with a mammoth line-up of more than 358 films representing 68 countries, including 251 features, 88 shorts, 17 Virtual Reality experiences, 12 MIFF Talks events, 31 world premieres and 135 Australian premieres. It all happens over 18 days, spanning 13 venues across Melbourne, from 3 to 20 August 2017. “What a pleasure it is to launch this year’s Melbourne International Film Festival,” said Artistic Director Michelle Carey. “This year’s program offers audiences an amazing opportunity to explore new worlds through film – from our Pioneering Women and Sally Potter retrospectives to the return of our Virtual Reality program as well as a particularly strong line-up of special events, we can’t wait to open the doors to MIFF 2017.” After kicking-off the festival with the Opening Night Gala screening of Greg McLean’s MIFF Premiere Fund-supported JUNGLE, presented by Grey Goose Vodka, the festival will wind up with the world premiere CLOSING NIGHT screening of Paul Williams’ GURRUMUL. A profound exploration of the life and music of revered Australian artist Geoffrey Gurrumul Yunupingu, the film uses the tools of the artist’s music – chord, melody, song – and the sounds of the land to craft an audio-first cinematic experience, offering a rare insight into a reclusive master. After the film, the audience will enjoy MIFF’s famous Closing Night party at the Festival Lounge. -
The Church's Ministry with Indigenous
RECONCILIATION WITH GOD AND WITH EACH OTHER THE CHURCH’S MINISTRY WITH INDIGENOUS AUSTRALIANS 1998 Mission Australia Address by Dr John W Harris It is both a privilege and an embarrassment to be here today and to be presenting BCA’s Annual Address on the subject of ministry with indigenous people. It is a privilege because I value this opportunity to be publicly associated with BCA, an organisation which has, rather quietly and unobtrusively, contributed greatly to the Church’s ministry to Australians in remote and difficult places. It is an embarrassment because once again I am risking being seen as an expert on what Aboriginal and Torres Strait Island people think. I tread a very fine line which, if I step over it, places me in the camp of those who have for the past two hundred years told Aboriginal people how they should act. I am thankful for the graciousness of those Aboriginal people, some of whom are here today, who have to listen to me time and again and then get up and respond. However, Aboriginal and Islander Christian people want us to care about them and their aspirations and I think they know that I care and that they forgive me my mistakes. First and foremost I am a Christian, not a black or white person, and as a Christian, it is my responsibility through prayer, through listening to people and through study to develop an informed Christian mind on the issues that face the Church. I am also an Anglican and so it is my responsibility to think particularly about my own faith community and how it lives out the gospel in Australia today. -
2017 Program PDF 1.12 MB
► JACQUES TOURNEUR Thursday 26 October at 6.00pm RE-DISCOVERED Friday 27 October at 6.00pm OPENING NIGHT CAT PEOPlE HOME BY CHRISTMAS Director: Jacques Tourneur | 1942 | 74 mins | USA | Classified M Director: Gaylene Preston | 2010 | 92 mins | New Zealand | Classified M Perhaps Tourneur’s best known film, CAT woman obsessed with ancient legends and Gaylene Preston’s poignant drama based on war, to find that his world has changed. Tony PEOPlE is a superb example of his art. Made panthers, the film was one of a series that her interviews with her father, gives Barry rises to the challenge superbly, giving for a tiny budget that would have crippled Tourneur made for producer Val Lewton. In Australian actor, Tony Barry , a rare a performance that reveals the depths of other directors, Tourneur delivered a all of them, but especially CAT PEOPlE , opportunity to move into a leading role Ed’s experiences that he cannot express in psychological thriller that created suspense Tourneur makes a virtue of his sparse worthy of his talents. He plays Ed, who enlists words. Criminally unknown in Australia, this through sound and shadow, through a resources to build work that critic James in the NZ Army in 1940 and heads overseas film is a seamless and innovative hybrid of brooding sense of paranoia, rather than Agee described as “consistently alive, leaving his pregnant wife behind, promising re-enactment and authentic dialogue. special effects: the art of showing less and limber, poetic, humane, (and) eager he’ll be home by Christmas. Four years later “A gentle, funny, utterly truthful film” suggesting more. -
Djalu' Gurruwiwi, Garma Festival 2002, Gu`Ku`A, Northeast Arnhem Land
Djalu' Gurruwiwi, Garma Festival 2002, Gu`ku`a, Northeast Arnhem Land Language: G^lpu (Dha\u) Translation and notes by Randin Graves, Waymamba Gaykama\u and Dh^\ga` Gurruwiwi This paper, a key part of Randin' Graves research on the cultural foundation of the yi[aki in northeast Arnhem Land, also contributes to the recording of life stories of Yol\u elders and documentation of the Dha\u language. Originating as the answer to the simple question, “tell us a story about yi[aki,” it contains stories about different types of clan-specific yi[aki, Djalu's experiences with the instrument, details of kinship, and his feelings on the state of Yol\u learning today. The first column is a transcription of a speech given by Djalu, the second and third provide literal and free translations. Outline: 1 The story of the G^lpu yi[aki called Dju\girriny' and an introduction to those who hold the story. 2 Expression of Djalu's openness to non-Aboriginal visitors interested in the yi[aki. 3 Introduction of holders of Gumatj knowledge and their Dju\gaya, or cultural custodians. 4 More discussion of overseas visitors who come to learn from Djalu'. 5 Introduction to the Gu`ku`a area and discussion of the maintenance of knowledge. 6 Description of family lines and totemically associated physical landmarks, again moving to importance of sharing knowledge. 7 The significance of knowledge, Yothu Yindi relationships, and ceremonial behaviour. 8 More discussion of Yol\u kinship, naming of ancestors. 9 The local mining operations and sharing of knowledge and ceremony. -
Howard Morphy Cross-Cultural Categories Yolngu Science and Local Discourses Centre for Cross-Cultural Research, the Australian National University
Howard Morphy Cross-cultural categories Yolngu science and local discourses Centre for Cross-Cultural Research, The Australian National University In Yolngu science we learn through observation. For example we observe the seasons and we see the changes in time. We watch the land and see changes in the weather patterns. In space we observe the sun and the morning star. The different stars and the moon tell us different things. Yolngu have been learning about how to read science though the moon. We've learnt to observe different cycles of the moon. It tells us when it's a good time for hunting. In different seasons different food items are ready to be eaten, like different plants. Yolngu don't just hunt for everything at once, but they go according to the different seasons. There are four seasons and Yolngu hunt according to these different seasons. Then each food source is found in abundance at the right time. We read the calendar to know for example when to go and get oysters, it also tells us when different fish is in season and when edible fruit and honey is available. Also Yolngu sing about these different seasons. They sing about the different stars. They observe and see and learn. For generations and generations people have passed on this knowledge orally. It has never been written down. It has been orally passed down to the next generation through oral history; songs, chants and stories. (Raymattja Marika, Yolngu teacher and linguist) The transformation of concepts such as science, law, or religion into cross-cultural categories has occurred in the context of discourse across cultural boundaries. -
Learning in Both Worlds: Academic Journalism As a Research Outcome
Research Journalism Volume 2 Issue 1 Article 1 October 2012 Learning in Both Worlds: Academic Journalism as a Research Outcome Lisa J. Waller Deakin University Follow this and additional works at: https://ro.ecu.edu.au/research_journalism Waller, Lisa J. (2012) "Learning in Both Worlds: Academic Journalism as a Research Outcome," Research Journalism: Vol. 2: Iss. 1, Article 1. Available at: https://ro.ecu.edu.au/research_journalism/vol2/iss1/1 This work is licensed under a Creative Commons Attribution-Share Alike 2.5 Australia. This Journal Article is brought to you by Research Online. It has been accepted for inclusion in Research Journalism by an authorized administrator of Research Online. For more information, please contact [email protected]. Learning in Both Worlds: Academic Journalism as a Research Outcome Cover Page Footnote Lisa Waller is a PhD candidate at the University of Canberra researching the relationship between news media and bilingual education policy in the Northern Territory as part of the Australian Research Council Discovery Project, Australian News Media and Indigenous Policymaking 1988–2008. She lectures in journalism at Deakin University and has worked as a journalist for the Canberra Times, the Australian and the Australian Financial Review. This journal article is available in Research Journalism: https://ro.ecu.edu.au/research_journalism/vol2/iss1/1 Learning in both worlds: Academic journalism as a research outcome Introduction Writing mainstream journalism on the issue of bilingual education policy from the viewpoint of Yolngu participants was agreed upon as an important outcome for my doctoral research 1 from early in its design. Their ongoing consent to participate rested on me agreeing to wear my journalist hat as well as my academic hat. -
North Australian Aboriginal Justice Agency Ltd ABN: 63 118017842 61 Smith St Darwin NT 0800 Ph: 0889825100 I Fax: 08 8982 5193 1800898251
North Australian Aboriginal Justice Agency Ltd ABN: 63 118017842 61 Smith St Darwin NT 0800 Ph: 0889825100 I Fax: 08 8982 5193 1800898251 27 October 2011 Committee Secretary House of Representatives Standing Committee on Aboriginal and Torres Strait Islander Affairs Standing Committee of Attorneys General (SCAG) PO Box 6021 Parliament House CANBERRA ACT 2600 By Email: [email protected] Dear the House of Representatives Standing Committee on Aboriginal and Torres Strait Islander Affairs Inquiry into Language Learning in Indigenous Communities The North Australian Aboriginal Justice Agency (NAAJA) is the Aboriginal legal service in the Top End of the Northern Territory (NT). NAAJA travels to most remote communities north of Elliott, and provides advice and representation to Aboriginal clients in criminal, civil and family law matters. NAAJA also delivers legal education in remote communities, and prison support and throughcare services to Aboriginal people in custody. NAAJA directs this submission to the benefit of giving recognition and attention to Indigenous languages in the context of the legal system, in particular, the criminal justice system. It is our experience that many Aboriginal people do not understand the legal system, or the specific legal orders they are subject to. This is because English is used as the primary language and interpreters are either unavailable, or under utilised. The consequences of this failure to include Aboriginal language considerations into the legal system are adverse and far reaching. NAAJA strongly supports more funding for the Aboriginal Interpreter Service, and better use of Aboriginal language interpreters. We consider it essential that service providers receive cross cultural training in how to best work with Aboriginal interpreters.