DOCSLIB.ORG

(Getting People Together) 9-12 August 2013 Sponsors Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Australia’s Leading Indigenous Event Garma (Getting People Together) 9-12 August 2013 Sponsors Contents CHAIRMAN’S WELCOME 1 PRINCIPAL SPONSOR GENERAL MANAGERS 3 WELCOME FOUR DAY GARMA 4 PROGRAM GARMA INSTITUTE 6 DHUPUMA COLLEGE 7 PLATINUM SPONSOR GANBULAPULA AND 8 GULKULA SITE SITE MAP 10 GARMA ARTISTS 11 BUNGGUL 13 KEY FORUM PROGRAM 14 GOLD SPONSOR YOLNGU HEROES 17 STRONGER FUTURES 20 YOUTH FORUM PROGRAM OUR SUPPORTERS 24 CULTURAL ACTIVITIES 30 PROGRAM COMMUNITY OPEN DAY 32 SILVER SPONSOR MUSIC 34 FILM 38 EXPO 42 IN KIND PARTNERS ACROSS THE GARMA 44 GROUNDS FESTIVAL INFORMATION 46 GARMA THANKS 48 YOLNGU LANGUAGE 49 DONORS: Professor Simon Tormey, Nordin Foundation, Michael Tong Welcome Djapu and Dhuni-Djapu leaders, through The Mabo (No.2) decision of the High Today, the Yolngu people stand waiting the famous Munungurr family, brought Court of Australia in 1992 and the for this recognition. The 13 clans are at their power to the panels, as did the great Commonwealth Parliament’s Native Title this Garma Festival and have been uniting elders of the Ngaymil, Galpu, Datiwuy, Act (1993) were continuations of a reversal around the idea of a common future. Many Marrakulu, Marrangu and Djambarrpuyngu in attitude by the Australian nation to other great clans of North East Arnhem leaders. Aboriginal rights. land are with us also, like the Madarrpa from Blue Mud Bay. The Madarrpa gave For the Yirritja clans, my father, But real recognition; true recognition; their powerful designs to the Barunga Mungurrawuy gave the Gumatj designs recognition of a type that is foundational Statement in 1988 and won sea rights for with his brother Djarrkudjarrku Yunupingu and cannot be taken away has eluded us. Yolngu people from the High Court in and Watjung Mununggiritj; Birrikitji 2008. Gumana and Gawirrin Gumana AO In my role as Chairman of the Northern represented the Dhalwangu clan, along Land Council for 25 years I spent too much The spirit of the elders who created the with Yanggarriny Wanunmurra. Nanyin of my time arguing with government, Church Panels and the Bark Petition has and Narritjin Maymuru gave the ancestral mining companies and developers over been returning to us. power of the Manggalili clan to the Panels. rights to land. My cousin Wulyanbuma Wunungmurra has now assumed this It is this spirit that I hope will be on display The second response was the Bark difficult task, leading the NLC since 2007. to you at this year’s Garma. Petition. This Petition was directed at the Any Parliament, any Prime Minister can outside world, at the Australian nation and take away the rights we won, and there is In closing I wish to acknowledge the its people. an endless line of interested people urging continuing works of the great Dr Gawirrin them to do so; to wind back the rights that Gumana whose contribution to our past, The Bark Petition was a political statement we won, with both sides of Parliament. our present and our future is set in stone. brought forward by the impending mine I also acknowledge the lifelong service of that had started to take shape without In 2007 we were all stunned when the my great friend and cousin, Wulyanbuma our consent and in a way that gave no Commonwealth Parliament sought to Wunungmurra, currently the Chairman of compromise to our position as land-owners introduce compulsory acquisition laws the Northern Land Council, whose life has or people. The Bark Petition was the first that would take away control of our land. been dedicated to the Yolngu cause. reflection of the unity of purpose that had One of my main responses was to urge the arrived in the Yolngu world and it was the then government to find balance and to And I wish to acknowledge all of the first step in our long road to Land Rights. recognise our people, and our rights, in the clans of North East Arnhem land and We began legal action in 1968 to stop Australian Constitution. In the dying days their leaders and all of their men, women the mine and we asserted our rights of his government, John Howard, agreed and children who all believe in who they as landowners. These rights were, to a pathway to recognition of this type. are: they are Yolngu and they are proud devastatingly, denied us by a single and what they seek is an equal place in judge in a Supreme Court. But our unity And much like the days of the early this nation as any other person, standing of purpose held and we maintained our 60’s, after the initial shock, when new on their foundations as Yolngu people. determination to be who we are: Yolngu challenging things were pressing upon us Friends, let us all work together to give first and foremost; owners of the land, we came back together as Yolngu leaders them that reality. keepers of the law, people with our own and created a new petition. That petition constitution. was given to Kevin Rudd in 2008 and it confirmed the pathway. The Bark Petition triggered events which we carried to a certain conclusion when the Aboriginal Land Rights Act (Northern Territory) was passed by the Commonwealth Parliament effective 1 January 1977. 2 Welcome CHAIRMAN’S WELCOME GALARRWUY YUNUPINGU AM This year’s Garma celebrates the 50th federal government would acquire our land Anniversary of a moment in time in Yolngu for the purpose of mining and that we would history that has significance not just for be set aside whilst our land was desecrated Yolngu people but for the Australian nation. and destroyed. This moment in time saw our fathers and Our response was two-fold. grandfathers unite and express themselves in a way that both surprised and shocked The first response was to look to ourselves the politics of Australia. as Yolngu people and seek unity and purpose in ourselves. This is what, to my Up until then the Australian nation had mind, lies behind the Church Panels that proceeded on the basis that Yolngu did not were created in 1962/63. These panels own the land. And, let me be more direct, were statements of title to land through the the nation felt that Yolngu people would sacred designs that each clan holds to itself; die out and the issue would be resolved by in the Panels, balanced against each other, default. the designs were a statement of solidarity and strength amongst Yolngu people. We The deep, hidden meaning of the were speaking to each other and having assimilation policy, which was the policy confidence in each other to show and to of the day, was not appreciated by our share our sacred law in protection of our fathers and grandfathers because they could land, culture and ceremony. never contemplate such a thing – they were Yolngu and their children and their children’s I give my deepest respects to the vision children would be Yolngu. and strength of the great leaders who came together to create the Church Panels. For But by the early 60’s it was dawning on our the Dhuwa clans were the Marika elders leaders that there was indeed a threat to the Mawalan #1, his brother Mathaman and his very existence of Yolngu people; this was son Wandjuk Marika, along with all their hastened by the word that spread that the family. 1 Welcome WELCOME FROM THE GENERAL MANAGER & GARMA FESTIVAL DIRECTOR Welcome to Garma 2013. It is truly an honor by the Yothu Yindi Foundation. If you’re a to have been involved in the direction of new guest to Garma this year, were keen this year’s Garma. Given the Chairman’s to make sure that you share your Garma words, there is no doubt that this year’s experience with your family and friends occasion is integral not only to the North back in your home bases. It is important East Arnhem region, but on a national scale. that we capture guest comments relating to I’m sure we all acknowledge the Yolngu this year’s event, so please head over to the strength of voice. library to jot down your feedback to help us ensure that Garma 2014 continues to grow Garma’wu Buku_Lungthurra is the positively. overarching theme this year, and our dynamic and active Board have been Thank you for joining us. We are staging determined to bring people together to a memorable event that will leave you celebrate a period in time that has moulded yearning for another Garma trip north this the development of this region in many time next year. ways. I too would like to acknowledge the presence of our senior Yolngu Denise Bowden representatives from across the Arnhem General Manager region who walk amongst us. Yothu Yindi Foundation As I have monitored the online registrations I recognize some familiar names re-joining Tell us about the Yothu Yindi Foundation 2013 us onsite this year. It is pleasing to see you Garma partners? I’d like to thank our funding back at Gulkula and thank you for your bodies for their support this year. The Gumatj Corporation and Pacific Aluminium Gove support of the projects being undertaken provide us with foundational support. Without INTERVIEW WITH DENISE BOWDEN them the Yothu Yindi Foundation would not be able to achieve this event. FAHCSIA has been great support through the Garma Institute and Do you have any Garma survival tips? Any recommendations regarding Garma events? the Garma public promotions and marketing Dehydration creeps up on you here, so it’s Introduce yourselves to the fabulous Yolngu campaigns to ensure we’re making a real effort important to keep your liquids up.
Recommended publications
  • Into the Mainstream Guide to the Moving Image Recordings from the Production of Into the Mainstream by Ned Lander, 1988

    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.
  • Balnhdhurr - a Lasting Impression Yirrkala Print Space

    Balnhdhurr - a Lasting Impression Yirrkala Print Space

    BALNHDHURR - A LASTING IMPRESSION BALNHDHURR - A LASTING IMPRESSION YIRRKALA PRINT SPACE a lasting impression WARNING Aboriginal and Torres Strait Islander people are respectfully advised that this publication contains the names and images of deceased persons 2 3 4 5 CONTENTS Foreword 8 Introduction 10 Early Linocuts 14 Early Colour Reduction Linocuts 16 Early Collagraphs 18 Early Screenprints 22 Japanese Woodblocks 26 Etchings 30 Berndt Crayon Etchings 32 String Figure Prints 34 Ngarra – Young Ones Portraits 38 Gunybi Ganambarr Portraits 40 Seven Sisters 42 Djalkiri – We are Standing on Their Names 48 Mother / Daughter 50 Midawarr Suite 52 The Yuta Project 56 Gapan Gallery 60 Afterword 62 List of Works 66 Acknowledgements 68 6 7 THE SONG OF THE PRESS I arrived at Buku-Larrnggay Mulka Centre in May 1995 just as Andrew and Dianne Blake were bringing into fruition Steve Fox’s vision for a dedicated Print Space. The new studio was built onto the existing 1960’s handbuilt cypress pine ex- mission hospital building which had been the art centre since 1975. Since then I have been an interested observer. A nosy neighbor listening to the music coming over the fence. From within an art centre, which is a vehicle for serious lawmen and women to represent their law in natural media as a political and artistic act of resistance to the dominant settler culture, comes a completely different tune. A lilting, gentle, persistent, sweet melody of (mostly) women humbly working together to make beautiful things. It has been the sound of laughter and considerateness. The sound of compassion and empathy and respect and dignity.
  • 66Th Miff Announces Full Program

    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.
  • Australian Indigenous Petitions

    Australian Indigenous Petitions

    Australian Indigenous Petitions: Emergence and Negotiations of Indigenous Authorship and Writings Chiara Gamboz Dissertation Submitted in fulfillment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of Arts and Media Faculty of Arts and Social Sciences October 2012 ORIGINALITY STATEMENT 'l hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the proiect's design and conception or in style, presentation and linguistic expression is acknowledged.' Signed 5 o/z COPYRIGHT STATEMENT 'l hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or digsertation in whole or part in the Univercity libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertiation.
  • 2017 Program PDF 1.12 MB

    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

    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.
  • Yolngu Boy Tail Credits

    Yolngu Boy Tail Credits

    Directed by Stephen Johnson Producers Patricia Edgar Gordon Glenn Writer Chris Anastassiades Executive Producers Patricia Edgar Stephen Johnson Associate Producers Galarrwuy Yunupingu Mandawuy Yunupingu Director of Photography Brad Shield Editor Ken Sallows Original Music By Mark Ovenden Production Designer Sarah Stollman Casting Director Maggie Miles Line Producer Elisa Argenzio Lorrpu John Sebastian (Sebbie) Pilakui Botj Sean Mununggurr Milika Nathan Daniels Yuwan Lirrina Mununggurr Matjala Makuma Yunupingu Dawu Nungki Yunupingu Maralitja Man Mangatjay Yunupingu Policeman Gurkula Lunginy Gerard Buyan Garrawurra Botj (9 years) Garritjpi Garawirrtja Lorrpu (9 years) Buywarri Mununggurr Milika (9 years) Buwata Mununggurr Ruwu (I Wanna Kick!) Yithangarra Wunungmurra Lorrpu's Father Lalambarri Yunupingu Milika's Father Balupalau Yunupingu Botj's Dad Malati Yunupingu Botj's Mother Merriki Ganambarr Umpire Garry Dhurrkay Football Coach Vernon Kenneth Lesley Patullo Dhunthun Andrew Galitju Burarrwanga Crying Woman Allyson Mills Ngarli Woman at Hospital Mary Yunupingu Djarrak Player Grant Gambley Crowd #1 Gurumin Marika Policeman at Wharf Joe Clements 1st Assistant Director John Martin Script Editors Gordon Glenn Stephen Johnson Sound Recordist Andrew Belletty Continuity Chrissie O'Connell Costume Designer Jill Johanson Make Up and Hair Designer Trish Glover Dramaturg Nico Lathouris Location Manager Peter Muston Production Accountant Janine Martorejo Moneypenny Services Post Production Supervisor Elisa Argenzio Focus Puller Brett Matthews Clapper
  • Learning in Both Worlds: Academic Journalism As a Research Outcome

    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.
  • Australia and the Pacific

    Australia and the Pacific

    AUSTRALIA AND THE PACIFIC: THE AMBIVALENT PLACE OF PACIFIC PEOPLES WITHIN CONTEMPORARY AUSTRALIA Scott William Mackay, BA (Hons), BSc July 2018 Submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy Australian Indigenous Studies Program School of Culture and Communication The University of Melbourne 0000-0002-5889 – Abstract – My thesis examines the places (real and symbolic) accorded to Pacific peoples within the historical production of an Australian nation and in the imaginary of Australian nationalism. It demonstrates how these places reflect and inform the ways in which Australia engages with the Pacific region, and the extent to which Australia considers itself a part of or apart from the Pacific. While acknowledging the important historical and contemporary differences between the New Zealand and Australian contexts, I deploy theoretical concepts and methods developed within the established field of New Zealand- centred Pacific Studies to identify and analyse what is occurring in the much less studied Australian-Pacific context. In contrast to official Australian discourse, the experiences of Pacific people in Australia are differentiated from those of other migrant communities because of: first, Australia’s colonial and neo-colonial histories of control over Pacific land and people; and second, Pacific peoples' important and unique kinships with Aboriginal Australians. Crucially the thesis emphasises the significant diversity (both cultural and national) of the Pacific experience in Australia. My argument is advanced first by a historicisation of Australia’s formal engagements with Pacific people, detailing intersecting narratives of their migration to Australia and Australia’s colonial and neo- colonial engagements within the Pacific region.
  • Extract from Schedule of Native Title Applications

    Extract from Schedule of Native Title Applications

    Extract from Schedule of Native Title Applications Application Reference: Federal Court number: NTD42/2019 NNTT number: DC2019/007 Application Name: Galarrwuy Yunupingu (on behalf of the Gumatj Clan or Estate Group) v Commonwealth of Australia & Anor (Gove Native Title Claim) Application Type: Claimant Application filed with: Federal Court of Australia Date application filed: 28/11/2019 Current stage(s): Notification Complete Registration information: Please refer to the Register of Native Title Claims/National Native Title Register (as appropriate) for registered details of this application. Registration decision status: Not Accepted for registration Registration history: - Applicants: Galarrwuy Yunupingu Address(es) for Service: Sean Bowden Bowden McCormack Lawyers & Advisers Suite 4, Level 1 Northgate Plaza 101 Mitchell Street DARWIN NT 0800 Phone: 08 8941 6355 Additional Information Not applicable Persons claiming to hold native title: 1. The native title claim group on whose behalf the Applicant makes this application are Gumatj National Native Title Tribunal Page 1 of 4 Extract from Schedule of Native Title Applications NTD42/2019 Extract Created: 13/04/2021 23:00 (WST) Further information: National Native Title Tribunal 1800 640 501 persons who, according to traditional laws acknowledged and customs observed, are traditionally connected with the area described in schedule B, and who are members of the Gumatj clan or estate group by reason of: (a) descent through his or her father; (b) having been adopted or incorporated into the
  • Twang and Trauma in Australian Indige- Nous Popular Music

    Twang and Trauma in Australian Indige- Nous Popular Music

    Politik Nummer 1 | Årgang 23 | 2020 Of country and country: Twang and trauma in Australian Indige- nous popular music Simon Philpott, Reader in Postcolonial Politics and Popular Culture, School of Geogra- phy, Politics and Sociology, University of Newcastle Over the last half century, as part of a wider struggle for recognition, respect, reconcili- ation and justice, Indigenous Australians and others supporting their claims have in- creasingly been heard in popular music. Indigenous musicians are increasingly insistent that white Australia must change. By the time Jimmy Little released his much loved song, ‘Royal Telephone’, in 1963, he had long been Australia’s most prominent Indigenous recording artist. His music was out of the US gospel tradition via Nat King Cole and Jim Reeves. The “royal telephone” of the song describes the direct line between believer and god. With one exception, Little was silent in his music on the plight of Indigenous Australians although his earliest years were spent on a reservation that a large number of people eventually walked ofF, so poor were the living conditions. Little was a rare Indigenous presence in Australian music, respected For his individual talent and probably liked because his work did not raise un- comFortable questions about the past. Liking and respecting individual Indigenous people while disliking and rejecting their culture is something white Australians have successFully psychologically negotiated For decades. For example, Christine Anu’s (1995) cover of ‘My Island Home’ (1987), which celebrates Anu’s love of her Torres Strait island home and was a major hit in the year of its release, Featured as one of the songs in the closing ceremony of the Sydney Olympics, and now has well over 1 million views on Youtube.
  • Download Prospectus

    Download Prospectus

    Baln- aH lastingdhurr impression presented by Artback NT in association with the Buku-Larrnggay Mulka Art Centre artback nt presents BalnHdhurr - a lasting impression in association with the Buku-Larrnggay Mulka Art Centre YP Front cover: Dhalmula Burarrwanga, Milkarri (tear), 2012, photographic screenprint, 30 x 21cm. All photographs of artwork by Fiona Morrison. Balnhdhurr - a lasting impression EXHIBITION OUTLINE Balnhdhurr – A Lasting Impression celebrates twenty years of onsite print production at the Yirrkala Print Space in the Buku-Larrnggay Mulka Art Centre. Located in the remote Aboriginal community of Yirrkala in Northeast Arnhem Land, Northern Territory, the Yirrkala Print Space is unique amongst remote community art centres boasting twenty years of continual production of limited edition fine art prints by locally employed and trained Indigenous printmakers. Djuwakan#2 Marika, Mari, 2012, photographic screenprint, 21 x 30cm. Page 1 Nyangungu Marawili, Dhamula (sea eagle), 2013, soft-ground etching, 49 x 39cm. This collection is made up of a diverse array of work, a curated mix of art chosen because of the importance of the artist, the technique used, its influence or its presence in a broader project or series. Balnhdhurr – A Lasting Impression includes prints that are historically significant. The Macassan Boat tells the story of Macassan trade with the Yolngu before the arrival of Captain Cook, while The Berndt Etchings series talks about the Berndt Crayon Drawings of Yirrkala, produced by the artists’ forefathers in 1947. Similarly, The String Figures series are a response to another archaeological collection from 1948. Reflecting the dynamic nature of Yolngu art, the exhibition also provides an opportunity to acknowledge and appreciate the artists who have worked and created prints that have contributed to the conversation between the Yolngu people of Northeast Arnhem Land and the national and international community.