Aboriginal Spirituality: a Baseline for Indigenous Knowledges Development in Australia
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Corroboree Moderne
Corrected draft May 2004 CORROBOREE MODERNE ----------------------------------------------------------------------------------------------------------------------------------------------- Dressed in a brown wool bodystocking specially made by Jantzen and brown face paint, an American dancer, Beth Dean played the young boy initiate in the ballet CORROBOREE at a Gala performance before Queen Elizabeth 11 and Prince Phillip on Feb 4 1954 . “On stage she seems to exude some of the primitive passion of the savage whose rites she presents” (1a) “If appropriations do have a general character, it is surely that of unstable duality. In some proportion, they always combine taking and acknowledgment, appropriation and homage, a critique of colonial exclusions, and collusion in imbalanced exchange. What the problem demands is therefore not an endorsement or rejection of primitivism in principle, but an exploration of how particular works were motivated and assessed.” (1) CORROBOREE "announced its modernity as loudly as its Australian origins…all around the world" (2) 1: (BE ABORIGINAL !) (3) - DANCE A CORROBOREE! The 1950s in the Northern Territory represents simultaneously the high point of corroboree and its vanishing point. At the very moment one of the most significant cultural exchanges of the decade was registered in Australian Society at large, the term corroboree became increasingly so associated with kitsch and the inauthentic it was erased as a useful descriptor, only to be reclaimed almost fifty years later. Corroboree became the bastard notion par excellence imbued with “in- authenticity.” It was such a popularly known term, that it stood as a generic brand for anything dinky-di Australian. (4) Corroboree came to be read as code for tourist trash culture corrupted by white man influence. -
RAL-Chapter-9.Pdf (PDF, 231.64KB)
9 Maam ngawaala: biindu ngaawa nyanggan bindaayili. Language centres: keeping language strong Anna Ash, Pauline Hooler, Gary Williams and Ken Walker1 Abstract We begin by describing the history and main activities of Muurrbay Aboriginal Language and Culture Co-operative and Many Rivers Aboriginal Language Centre. Comments from Elders, language teachers and researchers are included to reflect the opinions of a diverse range of Aboriginal and non-Aboriginal people. We discuss some aspects of research, publishing, language education and information technology. Finally we make some recommendations for groups who are just starting out on this challenging but rewarding road. This volume was at least partially inspired by The green book of language revitalization in practice. There is a chapter in that book called ‘Diversity in Local Language Maintenance and Restoration: A Reason for Optimism’. It emphasises that there is a positive future for the revitalisation of Aboriginal languages: There is reason for optimism because local language communities all over the world are taking it upon themselves to act on behalf of their imperilled linguistic traditions in full understanding of, and in spite of, the realistic perception that the cards are stacked against them. There is, in effect an international movement in which local communities work in defiance of the forces pitted against their embattled languages. It has something of the character of a modern miracle, if you think about it – while they share the goal of promoting a local language, these groups are essentially independent of one another, coming together sometimes to compare notes, but operating in effective separation. Two factors in our optimism are the very existence of the movement itself and what is sometimes decried as a flaw in the movement: the feature of 1 All authors are from the Muurrbay Aboriginal Language and Culture Co-operative & Many Rivers Aboriginal Language Centre. -
American Rock with a European Twist: the Institutionalization of Rock’N’Roll in France, West Germany, Greece, and Italy (20Th Century)❧
75 American Rock with a European Twist: The Institutionalization of Rock’n’Roll in France, West Germany, Greece, and Italy (20th Century)❧ Maria Kouvarou Universidad de Durham (Reino Unido). doi: dx.doi.org/10.7440/histcrit57.2015.05 Artículo recibido: 29 de septiembre de 2014 · Aprobado: 03 de febrero de 2015 · Modificado: 03 de marzo de 2015 Resumen: Este artículo evalúa las prácticas desarrolladas en Francia, Italia, Grecia y Alemania para adaptar la música rock’n’roll y acercarla más a sus propios estilos de música y normas societales, como se escucha en los primeros intentos de las respectivas industrias de música en crear sus propias versiones de él. El trabajo aborda estas prácticas, como instancias en los contextos francés, alemán, griego e italiano, de institucionalizar el rock’n’roll de acuerdo con sus propias posiciones frente a Estados Unidos, sus situaciones históricas y políticas y su pasado y presente cultural y musical. Palabras clave: Rock’n’roll, Europe, Guerra Fría, institucionalización, industria de música. American Rock with a European Twist: The Institutionalization of Rock’n’Roll in France, West Germany, Greece, and Italy (20th Century) Abstract: This paper assesses the practices developed in France, Italy, Greece, and Germany in order to accommodate rock’n’roll music and bring it closer to their own music styles and societal norms, as these are heard in the initial attempts of their music industries to create their own versions of it. The paper deals with these practices as instances of the French, German, Greek and Italian contexts to institutionalize rock’n’roll according to their positions regarding the USA, their historical and political situations, and their cultural and musical past and present. -
Aboriginal Astronomy
Teacher Resource Episode 29 25th October 2016 Aboriginal Astronomy 1. Briefly summarise the Aboriginal Astronomy story. 2. Most people think that Stonehenge was a prehistoric planetarium used to observe and map the stars. True or false? Students will develop a deeper 3. About how old do they think Stonehenge is? understanding of Aboriginal 4. In which state is the Wurdi Youang stone arrangement and how old astronomy and Dreaming stories do scientists think the site may be? about them. 5. What is a constellation? 6. The Yolngu people know the saucepan as… 7. What does it tell the story of? 8. Describe the Emu in the Sky constellation. 9. How did Indigenous people use the sky as a calendar? Science – Year 3 10. What constellations do you know? Share what you know with Science involves making another student. predictions and describing patterns and relationships (ACSHE050) Science – Year 7 Scientific knowledge has changed peoples’ understanding of the After watching the BtN story, respond to the following questions: world and is refined as new evidence becomes available (ACSHE119) What did you SEE in this video? Predictable phenomena on Earth, What do you THINK about what you saw in this video? including seasons and eclipses, What does this video make your WONDER? are caused by the relative positions of the sun, Earth and the What did you LEARN from this story? moon (ACSSU115) How did this story make you FEEL? What was SURPRISING about this story? Class discussion Begin with a discussion about what students know about astronomy. Clarify their understanding or terms such as astronomy, astronomer and constellation. -
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 Boomerang Effect. the Aboriginal Arts of Australia 19 May - 7 January 2018 Preview 18 May 2017 at 6Pm
MEG Musée d’ethnographie de Genève Press 4 may 2017 The Boomerang Effect. The Aboriginal Arts of Australia 19 May - 7 January 2018 Preview 18 May 2017 at 6pm White walls, neon writing, clean lines: the MEG’s new exhibition «The Boomerang Effect. The Aboriginal Arts of Australia» welcomes its visitors in a space evocative of a contemporary art gallery. Here the MEG unveils one of its finest collections and reveals the wealth of indigenous Australia's cultural heritage. Visiting this exhibition, we understand how attempts to suppress Aboriginal culture since the 18th century have ended up having the opposite of their desired effect. When James Cook landed in Australia, in 1770, he declared the country to be «no one’s land» (terra nullius), as he recognized no state authority there. This justified the island's colonization and the limitless spoliation of its inhabitants, a medley of peoples who had lived there for 60,000 years, societies which up until today have maintained a visible and invisible link with the land through a vision of the world known as the Dreaming or Dreamtime. These mythological tales recount the creation of the universe as well as the balanced and harmonious relation between all the beings inhabiting it. It is told that, in ancestral times, the Djan’kawu sisters peopled the land by naming the beings and places and then lying down near the roots of a pandanus tree to give birth to sacred objects. It is related that the Dätiwuy clan and its land was made by a shark called Mäna. -
Annual Report 2003–2004
Australian Institute of Aboriginal and Torres Strait Islander Studies ANNUAL REPORT 2003–2004 Published by the Australian Institute of Aboriginal and Torres Strait Islander Studies GPO Box 553 Canberra ACT 2601 Tel:(02) 6246 1111 Fax: (02) 6261 4285 www.aiatsis.gov.au © Australian Institute of Aboriginal and Torres Strait Islander Studies 2004 This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part may be reproduced by any process without written permission from the Australian Institute of Aboriginal and Torres Strait Islander Studies. Publication data:‘Australian Institute of Aboriginal and Torres Strait Islander Studies: Annual Report 2003–2004.’ ISSN 1321-4837 Front cover photos: Likan’mirri — Connections: The AIATSIS Collection of Art exhibition at the Drill Hall Gallery, Canberra; Lowanna Williams mesmerised by a painted turtle shell from Arnhem Land at the Likan’mirri — Connections exhibition, photog- raphy by Otis Williams, courtesy Audiovisual Archives,AIATSIS. Frontispiece: AIATSIS building, photography by Brendan Bell, courtesy Audiovisual Archives,AIATSIS. Production:Aboriginal Studies Press Editing: Deborah Nesbitt Design and layout: Rachel Ippoliti,Aboriginal Studies Press Printed by: National Capital Printing October 2004 The Institute logo is taken from a Gu:na:ni (Kunjen) shield from the Mitchell River region, Gulf of Carpentaria.The shield was purchased by Ursula McConnel in the early 1930s on behalf of the Australian National Research Council and is now part of the AIATSIS Collection. Executive Ph: 02 6246 1118 Fax: 02 6261 4286 Email: [email protected] Worldwide knowledge and understanding of Australian Indigenous cultures, past and present The Hon. Brendan Nelson MP, Minister for Education, Science and Training, Parliament House Canberra,ACT 2600 Dear Minister, In accordance with the Commonwealth Authorities and Companies Act 1997,I am pleased to submit the Annual Report on the operations of the Australian Institute of Aboriginal and Torres Strait Islander Studies for 2003–2004. -
Final Version
This research has been supported as part of the Popular Music Heritage, Cultural Memory and Cultural Identity (POPID) project by the HERA Joint Research Program (www.heranet.info) which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007–2013, under ‘the Socio-economic Sciences and Humanities program’. ISBN: 978-90-76665-26-9 Publisher: ERMeCC, Erasmus Research Center for Media, Communication and Culture Printing: Ipskamp Drukkers Cover design: Martijn Koster © 2014 Arno van der Hoeven Popular Music Memories Places and Practices of Popular Music Heritage, Memory and Cultural Identity *** Popmuziekherinneringen Plaatsen en praktijken van popmuziekerfgoed, cultureel geheugen en identiteit Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. H.A.P Pols and in accordance with the decision of the Doctorate Board The public defense shall be held on Thursday 27 November 2014 at 15.30 hours by Arno Johan Christiaan van der Hoeven born in Ede Doctoral Committee: Promotor: Prof.dr. M.S.S.E. Janssen Other members: Prof.dr. J.F.T.M. van Dijck Prof.dr. S.L. Reijnders Dr. H.J.C.J. Hitters Contents Acknowledgements 1 1. Introduction 3 2. Studying popular music memories 7 2.1 Popular music and identity 7 2.2 Popular music, cultural memory and cultural heritage 11 2.3 The places of popular music and heritage 18 2.4 Research questions, methodological considerations and structure of the dissertation 20 3. The popular music heritage of the Dutch pirates 27 3.1 Introduction 27 3.2 The emergence of pirate radio in the Netherlands 28 3.3 Theory: the narrative constitution of musicalized identities 29 3.4 Background to the study 30 3.5 The dominant narrative of the pirates: playing disregarded genres 31 3.6 Place and identity 35 3.7 The personal and cultural meanings of illegal radio 37 3.8 Memory practices: sharing stories 39 3.9 Conclusions and discussion 42 4. -
Report of an Ethnographic Aboriginal Heritage Survey of Hamersley Drive
REPORT OF AN ETHNOGRAPHIC ABORIGINAL HERITAGE SURVEY OF THE HAMERSLEY DRIVE UPGRADE AND MATERIALS EXTRACTION PITS WITHIN THE FITZGERALD RIVER NATIONAL PARK AND HOPETOUN, WESTERN AUSTRALIA. REPORT OF AN ETHNOGRAPHIC ABORIGINAL HERITAGE SURVEY OF THE HAMERSLEY DRIVE UPGRADE AND MATERIALS EXTRACTION PITS WITHIN THE FITZGERALD RIVER NATIONAL PARK AND HOPETOUN, WESTERN AUSTRALIA A report prepared for GHD Pty Ltd upon behalf of Main Roads Western Australia. By Mr Brad Goode Consulting Anthropologist 79 Naturaliste Terrace DUNSBOROUGH WA 6281 [email protected] Report submitted February 2010 to: Mr Neil McCarthy GHD Pty Ltd, Principle Environmental Consultant 10 Victoria Street BUNBURY, WA 6872 Ms Melissa O’ Toole Environment Manger Main Roads Western Australia Great Southern Region ALBANY WA 6330 The Registrar Department of Indigenous Affairs PO Box 7770 Cloisters Square PERTH WA 6000 1 REPORT OF AN ETHNOGRAPHIC ABORIGINAL HERITAGE SURVEY OF THE HAMERSLEY DRIVE UPGRADE AND MATERIALS EXTRACTION PITS WITHIN THE FITZGERALD RIVER NATIONAL PARK AND HOPETOUN, WESTERN AUSTRALIA. ACKNOWLEDGEMENTS The authors would like to thank the following organisations and individuals who helped with the organisation and management of the heritage survey. GHD Pty Ltd – Neil McCarthy Main Roads Western Australia – Melissa O’Toole Albany DIA - Harley Coyne SWALSC – Sean O’Hara Brad Goode and Associates Pty Ltd - Brad Goode Brad Goode and Associates Pty Ltd - Angela Tarbotton Brad Goode and Associates Pty Ltd - Colin (Floyd) Irvine Brad Goode and Associates (SWALSC working party member) - Vernice Gillies. Applied Archaeology Australia -David Guilfoyle & staff - Wagyl Kaip (WC98/070) and Southern Noongar (WC96/109) Native Title Claim group representatives Ethnographic survey informants: Aden Eades Alwyn Coyne Sandra Woods (nee Inel) Bill Woods Lynette Knapp Graham Miniter Errol Williams Geoff Wynne John Penny Johno Woods Elaine Miniter DISCLAIMER All of the information contained in this report is believed to be correct and accurate at the time it was recorded. -
Handbook of Western Australian Aboriginal Languages South of the Kimberley Region
PACIFIC LINGUISTICS Series C - 124 HANDBOOK OF WESTERN AUSTRALIAN ABORIGINAL LANGUAGES SOUTH OF THE KIMBERLEY REGION Nicholas Thieberger Department of Linguistics Research School of Pacific Studies THE AUSTRALIAN NATIONAL UNIVERSITY Thieberger, N. Handbook of Western Australian Aboriginal languages south of the Kimberley Region. C-124, viii + 416 pages. Pacific Linguistics, The Australian National University, 1993. DOI:10.15144/PL-C124.cover ©1993 Pacific Linguistics and/or the author(s). Online edition licensed 2015 CC BY-SA 4.0, with permission of PL. A sealang.net/CRCL initiative. Pacific Linguistics is issued through the Linguistic Circle of Canberra and consists of four series: SERIES A: Occasional Papers SERIES c: Books SERIES B: Monographs SERIES D: Special Publications FOUNDING EDITOR: S.A. Wurm EDITORIAL BOARD: T.E. Dutton, A.K. Pawley, M.D. Ross, D.T. Tryon EDITORIAL ADVISERS: B.W.Bender KA. McElhanon University of Hawaii Summer Institute of Linguistics DavidBradley H.P. McKaughan La Trobe University University of Hawaii Michael G. Clyne P. Miihlhausler Monash University University of Adelaide S.H. Elbert G.N. O'Grady University of Hawaii University of Victoria, B.C. KJ. Franklin KL. Pike Summer Institute of Linguistics Summer Institute of Linguistics W.W.Glover E.C. Polome Summer Institute of Linguistics University of Texas G.W.Grace Gillian Sankoff University of Hawaii University of Pennsylvania M.A.K Halliday W.A.L. Stokhof University of Sydney University of Leiden E. Haugen B.K T' sou Harvard University City Polytechnic of Hong Kong A. Healey E.M. Uhlenbeck Summer Institute of Linguistics University of Leiden L.A. -
Muurrbay Aboriginal Language and Culture Co-Operative
Many Rivers Aboriginal Language Centre Muurrbay auspices Many Rivers Aboriginal Language Centre, a regional language activity that provides language revitalisation support to Aboriginal communities of coastal NSW. Seven languages are supported, from the Queensland border to the Hawkesbury River: Bundjalung – Yugambeh dialect chain; Yaygirr; Gumbaynggirr; Dhanggati; Gathang (Birrbay, Warrimay and Guringay); Hunter River & Lake Macquarie Language (Awabakal/Wonnarua); and Muurrbay Darkinyung. We work closely with Elders and local language, culture Aboriginal Language and educational organisations to conduct research, publish accessible grammars and dictionaries and develop and Culture Co-operative engaging educational courses and resources. Recent projects include: Nambucca Heads • publishing the Yaygirr dictionary and grammar • developing Certificate I and II courses in several languages • creating an online dictionary resources in partnership with First Voices, Canada • supporting language use in new domains including radio, songs, plays, festivals, and education and government departments • publishing Dhanggati and Gathang language learning resources with CDs Languages supported by Muurrbay - Many Rivers • videoing language, culture and stories of Bundjalung Elders • translating songs, prayers, speeches and signage projects. Muurrbay Aboriginal Language Many Rivers Aboriginal and Culture Co-operative Language Centre Ken Walker Gary Williams Anna Ash Chairperson Language Researcher Co-ordinator Phone: 0265 694 294 Phone: 0265 685 695 Fax: 0265 694 295 Fax: 0265 694 295 Mobile: 0488 126 875 Mobile: 0404 456 992 Email: [email protected] Email: [email protected] Muurrbay Tree by Gumbaynggirr-Bundjalung 14 Bellwood Road artist Sharon Smith Nambucca Heads NSW 2448 www.muurrbay.org.au Muurrbay aims to support Aboriginal people, particularly Gumbaynggirr, in the revival Mandy Davis teaching the 2011 Great Lakes TAFE students. -
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 ................................................................................................