Gurrumul Yunupingu Gurrumul
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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 ...................................................................................................................... -
Timeline: Music Evolved the Universe in 500 Songs
Timeline: Music Evolved the universe in 500 songs Year Name Artist Composer Album Genre 13.8 bya The Big Bang The Universe feat. John The Sound of the Big Unclassifiable Gleason Cramer Bang (WMAP) ~40,000 Nyangumarta Singing Male Nyangumarta Songs of Aboriginal World BC Singers Australia and Torres Strait ~40,000 Spontaneous Combustion Mark Atkins Dreamtime - Masters of World BC` the Didgeridoo ~5000 Thunder Drum Improvisation Drums of the World Traditional World Drums: African, World BC Samba, Taiko, Chinese and Middle Eastern Music ~5000 Pearls Dropping Onto The Jade Plate Anna Guo Chinese Traditional World BC Yang-Qin Music ~2800 HAt-a m rw nw tA sxmxt-ib aAt Peter Pringle World BC ~1400 Hurrian Hymn to Nikkal Tim Rayborn Qadim World BC ~128 BC First Delphic Hymn to Apollo Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Epitaph of Seikilos Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Magna Mater Synaulia Music from Ancient Classical Rome - Vol. 1 Wind Instruments ~ 30 AD Chahargan: Daramad-e Avval Arshad Tahmasbi Radif of Mirza Abdollah World ~??? Music for the Buma Dance Baka Pygmies Cameroon: Baka Pygmy World Music 100 The Overseer Solomon Siboni Ballads, Wedding Songs, World and Piyyutim of the Sephardic Jews of Tetuan and Tangier, Morocco Timeline: Music Evolved 2 500 AD Deep Singing Monk With Singing Bowl, Buddhist Monks of Maitri Spiritual Music of Tibet World Cymbals and Ganta Vihar Monastery ~500 AD Marilli (Yeji) Ghanian Traditional Ghana Ancient World Singers -
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 -
Semester 2 – 2014
The SEMESTER 2 2014 Marrma’ Rom Two Worlds Foundation Congratulations to Dion and Jerol Wunungmurra Semester Two 2014 was highlighted by the fantastic achievement of two of our students graduating from Year 12. Dion and Jerol have been part of the Foundation since 2012 and we are very proud of them and what they have accomplished during the last 3 years. We are also very proud of them for deciding to return to Geelong next year and continue their endeavors to become Aboriginal Health Workers. [ Below is a short article by Jerol about the St. Joseph’s College Graduation Mass, for which Dions and Jerols’ parents flew down to attend: On the 19th of October 2014, the second week of school in Term 4, Dion’s parents and my dad came down to Geelong. They drove to Gove from Gapuwiyak and stayed in town. The next day they went to Gove airport and they flew from Gove to Cairns and 2 hours later they flew to Melbourne. Dion and I woke up early morning and Cam drove us to Gull bus. We checked in then the bus driver drove us to Tullamarine. We only waited for about 5 minutes then we saw them arrive. We caught the Skybus to Southern Cross and waited for the others in the city. We were performing at the Melbourne Festival that day. After the festival finished we caught a train back to Geelong. Dad was staying with me and Dion and his mum and dad were staying at Narana Cultural Centre. On Monday we went to St. -
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: ______________________________________________________________________ -
Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism
JOURNAL OF RESEARCH ONLINE MusicA JOURNAL OF THE MUSIC COUNCIL OF AUSTRALIA Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism Introduction KATELYN BARNEY was in The University of Queensland library talking to one of the librarians, James, about my PhD research. He asked, ‘So, what are you researching again?’ and I replied, ‘Well, I’m working with Indigenous Australian1 women ■ Aboriginal and Torres Strait Iwho perform contemporary music, you know, popular music singers’. James Islander Studies Unit looked confused, ‘Oh, so are you going to interview that guy from the band The University of Queensland 2 Yothu Yindi ?’ This was not the first time I had been asked this and inwardly I Brisbane sighed and replied, ‘No, I’m just focusing my research on Indigenous Australian QLD 4072 women’. Streit-Warburton’s words immediately reverberated in my mind: ‘Ask Australia an Australian to name an Aboriginal singer and there is a fair chance that the answer will be Yothu Yindi’s Mandawuy Yunupingu. Ask again for the name of an Aboriginal woman singer and there is an overwhelming chance that the answer will be Deafening Silence. Deafening Silence is not the name of a singer; it is the pervasive response to most questions about Aboriginal women.’ (1993: 86). As Email: [email protected] I looked at James, I wondered if anything had really changed in more than 10 years. The account above highlights how Indigenous Australian women performers continue to be silenced in discussions and discourses about Indigenous Australian 3 www.jmro.org.au performance. -
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. -
Reconciliation-Week-Booklist
Reconciliation Week Resources on Reconciliation: Books to read, videos and music for Monash staff and students, mainly available through Search TITLE Behrendt, Larissa. Home. St Lucia, Qld: University of Queensland Press, 2004. – Online and PRINT Behrendt, Larissa. Resolving Indigenous Disputes: Land Conflict and Beyond. Leichhardt, NSW: The Federation Press, 2008. - PRINT Birch, Tony, Broken Teeth - PRINT Elder, Bruce. Blood on the Wattle: Massacres and Maltreatment of Aboriginal Australians since 1788. Frenchs Forest, NSW: New Holland, 3rd ed. 2003 - PRINT Frankland, Richard. Digger J Jones. Linfield NSW: Scholastic Press, 2007. - PRINT Frankland, Richard. Walking into Bigness. Strawberry Hills, NSW: Currency Press, 2017. - PRINT Gillespie, Neil. Reflections: 40 Years on from the 1967 Referendum. Adelaide: Aboriginal Legal Rights Movement, 2007 – PRINT Howarth, Kate. Ten Hail Marys: A Memoir. St Lucia, Qld: University of Queensland Press, 2010 - PRINT Langton, Marcia, Welcome to country : a travel guide to Indigenous Australia, (2018) – PRINT Moreton-Robinson, Aileen. Talkin’ up to the White Woman: Aboriginal Women and Feminism. St Lucia, Qld: University of Queensland Press, 2000 – PRINT Moreton-Robinson, Aileen. Sovereign Subjects: Indigenous Sovereignty Matters ,Crows Nest, N.S.W.: Allen & Unwin, 2007- PRINT Moreton-Robinson, Aileen. The White Possessive: Property, Power and Indigenous Sovereignty. Minneapolis: University of Minnesota Press, 2015 - ONLINE Ogden, John, Saltwater people of the Fatal Shore (2012) - PRINT Pascoe, Bruce. Dark Emu: Black Seeds, Agriculture or Accident? Broome, WA: Magabala Books, 2014 PRINT and ONLINE Pascoe, Bruce. Convincing Ground: Learning to Fall in Love with your Country. Canberra ACT: Aboriginal Studies Press, 2007 PRINT & ONLINE Russell, Lynette. Savage Imaginings: Historical and Contemporary Constructions of Australian Aboriginalities. -
IMJ Final April V3
INDIGENOUS MUSICAL JOURNEYS: REPORT SINGING ON COUNTRY CAMP PROJECT BACKGROUND ACKNOWLEDGMENTS The Southern Cross University Centre for Tourism, Leisure and Work received funding through an Australian Government TQUAL: Strategic Tourism Development Grant to conduct a study in relation to the potential for Indigenous music tourism opportunities. This includes the potential to brand, market and link existing Indigenous music and cultural activities, events and festivals in regional and remote locations within the Northern Territory and the potential for Indigenous communities in the Northern Territory to develop Indigenous traditional language singing as special interest ‘music tourism’ activities. TQUAL Grants is an Australian Government funded initiative.! The Indigenous Musical Journeys (IMJ) project is a Southern Cross University study conducted within the remote town of Borroloola and the Gulf Country region in the Northern Territory and in partnership with the Gulf Country Musecology project of the Mabunji Aboriginal Resource Association. Cover Page photo 1: Marjorie Keighram, Roddy Harvey, Jemima Miller and Dinah Norman – Photo © Benjamin Warlngundu Ellis Bayliss. Cover Page photo 2: Marjorie Keighran, Hazel Godfrey, Shirley Simon, Maureen Timothy – Photo © Benjamin Warlngundu Ellis Bayliss. Cover Page photo 3: Peggy Mawson, Elizabeth Lansen and Lynette Lewis – Photo © Sandy Edwards. The author would like to thank all the Borroloola and Gulf Country singers, Indigenous cultural consultants and interpreters, Tom Dick, Kerry Brown, -
Humanities Research Vol XIX. No. 2. 2013
Nations of Song Aaron Corn Eye-witness testimony is the lowest form of evidence. — Neil deGrasse Tyson, astrophysicist1 Poets are almost always wrong about facts. That’s because they are not really interested in facts: only in truth. — William C. Faulkner, writer2 Whether we evoke them willingly or whether they manifest in our minds unannounced, songs travel with us constantly, and frequently hold for us fluid, negotiated meanings that would mystify their composers. This article explores the varying degrees to which song, and music more generally, is accepted as a medium capable of bearing fact. If, as Merleau-Ponty postulated,3 external cultural expressions are but artefacts of our inner perceptions, which media do we reify and canonise as evidential records of our history? Which media do we entrust with that elusive commodity, truth? Could it possibly be carried by a song? To illustrate this argument, I will draw on my 15 years of experience in working artistically and intellectually with the Yolŋu people of north-east Arnhem Land in Australia’s remote north, who are among the many Indigenous peoples whose sovereignty in Australia predates the British occupation of 1788.4 As owners of song and dance traditions that formally document their law and are performed to conduct legal processes, the Yolŋu case has been a focus of prolonged political contestation over such nations of song, and also raises salient questions about perceived relations between music and knowledge within the academy, where meaning and evidence are conventionally rendered in text. This article was originally presented as a keynote address to the joint meeting of the Musicological Society of Australia and the New Zealand Musicological Society at the University of Otago in Dunedin, New Zealand, in December 2010. -
The Black Arm Band Hidden Republic
BIOGRAPHIES David Arden Sally Dastey Bevan Gabanbulu Ruby Hunter Rachael Maza Long Steven Richardson NEW AUSTRALIAN WORK Artist, Repertoire Adviser Artist (Gapanbulu Yunupingu) Artist Artist, Stage Direction, Spoken Word Script Conception, Direction World Artist Premiere David Arden has worked with many Aboriginal As one-third of Tiddas, Sally Dastey released Ruby Hunter is an Aboriginal woman of the Originally from the Torres Strait Islands, Rachael Steven Richardson has broad experience in the artists, from Hard Time Band and Koori Youth two acclaimed albums and four singles with Gapanbulu Yunupingu (Bevan Gabanbulu’s Ngarrindjeri clan of South Australia and was the Maza Long comes from a family of actors that arts spanning 20 years in a variety of artistic, Band to Bart Willoughby and Mixed Relations. accompanying videos, and was awarded an ARIA stage name) is the grandson of Yothu Yindi lead first Aboriginal woman to record her own album. spans three generations. A graduate of the producing and programming roles. He holds a As a guitarist with Archie Roach, he has toured Award. She launched her solo career with Secrets singer Mandawuy Yunupingu, and current yidaki She has recorded two albums, Thoughts Within Western Australian Academy of Performing Arts, Fine Arts degree in visual arts and also studied extensively both nationally and internationally. To Keep (2002) and has performed at numerous (didjeridu) player with Yothu Yindi. Gapanbulu and Feeling Good, and has toured extensively in she has had an impressive career in theatre, film, contemporary dance at Victorian College of the He has also written and performed songs for festivals while working on a range of projects Yunupingu has performed everywhere from Australia and overseas.