Message Stickyour Way Forward
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Traditional Owners and Sea Country in the Southern Great Barrier Reef – Which Way Forward?
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchOnline at James Cook University Final Report Traditional Owners and Sea Country in the Southern Great Barrier Reef – Which Way Forward? Allan Dale, Melissa George, Rosemary Hill and Duane Fraser Traditional Owners and Sea Country in the Southern Great Barrier Reef – Which Way Forward? Allan Dale1, Melissa George2, Rosemary Hill3 and Duane Fraser 1The Cairns Institute, James Cook University, Cairns 2NAILSMA, Darwin 3CSIRO, Cairns Supported by the Australian Government’s National Environmental Science Programme Project 3.9: Indigenous capacity building and increased participation in management of Queensland sea country © CSIRO, 2016 Creative Commons Attribution Traditional Owners and Sea Country in the Southern Great Barrier Reef – Which Way Forward? is licensed by CSIRO for use under a Creative Commons Attribution 4.0 Australia licence. For licence conditions see: https://creativecommons.org/licenses/by/4.0/ National Library of Australia Cataloguing-in-Publication entry: 978-1-925088-91-5 This report should be cited as: Dale, A., George, M., Hill, R. and Fraser, D. (2016) Traditional Owners and Sea Country in the Southern Great Barrier Reef – Which Way Forward?. Report to the National Environmental Science Programme. Reef and Rainforest Research Centre Limited, Cairns (50pp.). Published by the Reef and Rainforest Research Centre on behalf of the Australian Government’s National Environmental Science Programme (NESP) Tropical Water Quality (TWQ) Hub. The Tropical Water Quality Hub is part of the Australian Government’s National Environmental Science Programme and is administered by the Reef and Rainforest Research Centre Limited (RRRC). -
Many Voices Queensland Aboriginal and Torres Strait Islander Languages Action Plan
Yetimarala Yidinji Yi rawarka lba Yima Yawa n Yir bina ach Wik-Keyangan Wik- Yiron Yam Wik Pa Me'nh W t ga pom inda rnn k Om rungu Wik Adinda Wik Elk Win ala r Wi ay Wa en Wik da ji Y har rrgam Epa Wir an at Wa angkumara Wapabura Wik i W al Ng arra W Iya ulg Y ik nam nh ar nu W a Wa haayorre Thaynakwit Wi uk ke arr thiggi T h Tjung k M ab ay luw eppa und un a h Wa g T N ji To g W ak a lan tta dornd rre ka ul Y kk ibe ta Pi orin s S n i W u a Tar Pit anh Mu Nga tra W u g W riya n Mpalitj lgu Moon dja it ik li in ka Pir ondja djan n N Cre N W al ak nd Mo Mpa un ol ga u g W ga iyan andandanji Margany M litja uk e T th th Ya u an M lgu M ayi-K nh ul ur a a ig yk ka nda ulan M N ru n th dj O ha Ma Kunjen Kutha M ul ya b i a gi it rra haypan nt Kuu ayi gu w u W y i M ba ku-T k Tha -Ku M ay l U a wa d an Ku ayo tu ul g m j a oo M angan rre na ur i O p ad y k u a-Dy K M id y i l N ita m Kuk uu a ji k la W u M a nh Kaantju K ku yi M an U yi k i M i a abi K Y -Th u g r n u in al Y abi a u a n a a a n g w gu Kal K k g n d a u in a Ku owair Jirandali aw u u ka d h N M ai a a Jar K u rt n P i W n r r ngg aw n i M i a i M ca i Ja aw gk M rr j M g h da a a u iy d ia n n Ya r yi n a a m u ga Ja K i L -Y u g a b N ra l Girramay G al a a n P N ri a u ga iaba ithab a m l j it e g Ja iri G al w i a t in M i ay Giy L a M li a r M u j G a a la a P o K d ar Go g m M h n ng e a y it d m n ka m np w a i- u t n u i u u u Y ra a r r r l Y L a o iw m I a a G a a p l u i G ull u r a d e a a tch b K d i g b M g w u b a M N n rr y B thim Ayabadhu i l il M M u i a a -
Download Fee Schedule
123 Engagement Opportunity Take up your invitation to connect your business with Your Benefits: Celebrity Bush Cook • Strategic alliance with RANGER NICK Australian identity. Who is Ranger Nick? Keeping heritage and cooking up a storm, he traditions alive, Ranger passes on his knowledge Often referred to as the Nick draws crowds at his to fellow adventurers, or • Effective "Guru" of camp oven performances, appealing mentoring groups of marketing tool. cooking, Ranger Nick is to young and old. youngsters, teaching them the master of keeping it • Professional the art of bush skills, simple and has been A previous environmental representation. cooking and outdoor demonstrating camp oven education support officer etiquette. • Brand and bush cooking skills and Ranger Guide from awareness. professionally since 2010, outback Queensland, A World Record travelling the country and Ranger Nick is putting his titleholder for the “Longest • Australia wide abroad. bush skills to use Damper”, Ranger Nick exposure wherever his travels take frequently appears on He has gained quite a through positive him, whipping up a radio, TV and podcasts, is reputation as the publicity. cracker of a meal with the author of three books, entertaining Aussie Bush whatever is in the the producer of Cook, who sings and has tuckerbox. educational products and plenty of yarns or poems has his own brand of to tell. When Ranger Nick is not merchandise. Performance & Availability Ranger Nick is available complexes, camping A true character, Ranger for camp oven cooking grounds, community Nick leaves a lasting demonstrations or events, fundraisers, impression wherever he promotional work product launches, goes and is a showcasing your promotional activities and conversational point long company’s products. -
Visitor Responses to Palm Island in the 1920S and 1930S1
‘Socialist paradise’ or ‘inhospitable island’? Visitor responses to Palm Island in the 1920s and 1930s1 Toby Martin Tourists visiting Queensland’s Palm Island in the 1920s and 1930s followed a well-beaten path. They were ferried there in a launch, either from a larger passenger ship moored in deeper water, or from Townsville on the mainland. Having made it to the shallows, tourists would be carried ‘pick a back’ by a ‘native’ onto a ‘palm-shaded’ beach. Once on the grassy plains that stood back from the beach, they would be treated to performances such as corroborees, war dances and spear-throwing. They were also shown the efforts of the island’s administration: schools full of happy children, hospitals brimming with bonny babies, brass band performances and neat, tree-fringed streets with European- style gardens. Before being piggy-backed to their launches, the tourist could purchase authentic souvenirs, such as boomerangs and shields. As the ship pulled away from paradise, tourists could gaze back and reflect on this model Aboriginal settlement, its impressive ‘native displays’, its ‘efficient management’ and the ‘noble work’ of its staff and missionaries.2 By the early 1920s, the Palm Island Aboriginal reserve had become a major Queensland tourist destination. It offered tourists – particularly those from the southern states or from overseas – a chance to see Aboriginal people and culture as part of a comfortable day trip. Travellers to and around Australia had taken a keen interest in Aboriginal culture and its artefacts since Captain Cook commented on the ‘rage for curiosities amongst his crew’.3 From the 1880s, missions such as Lake Tyers in Victoria’s Gippsland region had attracted 1 This research was undertaken with the generous support of the State Library of NSW David Scott Mitchell Fellowship, and the ‘Touring the Past: History and Tourism in Australia 1850-2010’ ARC grant, with Richard White. -
The Genesis of Thea Astley's the Multiple Effects of Rainshadow
The Genesis of Thea Astley’s The Multiple Effects of Rainshadow CHERYL TAYLOR JAMES COOK UNIVERSITY My purpose in this essay, which extends a project commenced a decade ago (Taylor 2009), is to analyse the sources of Thea Astley’s The Multiple Effects of Rainshadow, including but going beyond the list provided in the author’s ‘Acknowledgments.’ In truth, Astley’s achievement in Multiple Effects as in her other fiction far surpasses the sum of contributions that she derived from earlier writings. The mostly forgotten books that she lists as ‘[i]mpulses’ and her bequest to the Fryer Library of her newspaper sources and hand-written notes suggest that she may have welcomed a study of this novel’s genesis. The essay begins with an overview of the place of Multiple Effects in Astley’s oeuvre and the literary and political contexts for Astley’s increasing engagement with the history of Aboriginal dispossession. It then turns in detail to the novel itself and offers an excavation of the sources that inform its historical narrative. In doing this I hope to demonstrate something about Astley’s creative process: the extent and detail of her research, the ways in which her novel creatively reworks this archive, and some of the effects of that on the kind of history that Astley tells. Following the publication in 1994 of Coda, intended as the title indicates to be Astley’s last novel, the Keating Labor government awarded her a five-year Creative Fellowship of $325,000. Thus encouraged, after ‘one year of musing and two years of writing’ (Sayer 18) at Cambewarra on the NSW south coast, Astley published Multiple Effects in August 1996. -
T1 Stakeholder, Traditional Owner & Community Engagement Assessment
T1: STAKEHOLDER, TRADITIONAL OWNER AND COMMUNITY ENGAGEMENT ASSESSMENT A report provided to the Australian Government by the Reef Restoration and Adaptation Program Taylor B1, Vella K2, Maclean K1, Newlands M3, Ritchie B4, Lockie S3, Lacey J1, Baresi U2, Barber M1, Siehoyono Sie L4, Martin M3, Marshall N1, Koopman D5 1Commonwealth Scientific and Industrial Research Organisation 2Queensland University of Technology 3James Cook University 4University of Queensland 5Australian Institute of Marine Science September 2019 Inquiries should be addressed to: Dr Bruce Taylor [email protected] This report should be cited as Taylor B, Vella K, Maclean K, Newlands M, Ritchie B, Lockie S, Lacey J, Baresi U, Barber M, Siehoyono Sie L, Martin M, Marshall N, Koopman D (2019) Reef Restoration and Adaptation Program: Stakeholder, Traditional Owner and Community Engagement Assessment. A report provided to the Australian Government by the Reef Restoration and Adaptation Program (95 pp). Copyright Except insofar as copyright in this document's material vests in third parties the material contained in this document constitutes copyright owned and/or administered by the Australian Institute of Marine Science (AIMS). AIMS reserves the right to set out the terms and conditions for the use of such material. Wherever a third party holds copyright in material presented in this document, the copyright remains with that party. Their permission may be required to use the material. AIMS has made all reasonable efforts to clearly label material where the copyright is owned by a third party and ensure that the copyright owner has consented to this material being presented in this document. Acknowledgement This work was undertaken for the Reef Restoration and Adaptation Program, a collaboration of leading experts, to create a suite of innovative measures to help preserve and restore the Great Barrier Reef. -
Issue #3, June 2017
Issue #3, June 2017 Introducing Palm Island “We want to build a closer relationship between Queensland’s Indigenous Campbell Page have been assisting in the Communities and the Ambulance Service development of the community on Palm Island for 3 that can help us to get a better years. In that time we have seen some fantastic understanding of the health needs of stories come from the programs that we run, and Aboriginal and Torres Strait Islander now we want to share our success stories with you. people.” – Selina As of June, we currently have 41 staff members running 10 programs for job seekers and 286 out of Both ladies believe that they can help the a possible 328 participants are attending our programs. health care system better understand the needs of Aboriginal and Torres Strait Islander In Issue #3 of our newsletter read about: people by incorporating local and cultural How two Palm Island women follow their knowledge to enhance the level of service dreams and achieve their goals they provide. Ian Palmers journey The whole Palm Island community is How we acknowledged our roots and our extremely proud and cannot wait to see them tribe during Bwgcolman celebrations around the Island again in their new uniforms. The International Women’s Day lunch held on Congratulations Selina and Keita! the Island Our two new staff members, Katreena and Lucy Palm Island CDP produces new Paramedics Selina Hughes and Keita Obah-Lenoy were participants of Campbell Page’s Community Development Program activities on Palm Island – now they are both excelling in their field as Advanced Care Paramedics (ACPs). -
Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
Didgeridoo Notation
DIDGERIDOO NOTATION MARKOS KOUMOULAS A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2018 © MARKOS KOUMOULAS, 2018 Abstract The didgeridoo is a unique musical instrument considered to be one of the world’s oldest instruments. It plays an integral part in Australian Aboriginal history, spirituality, rituals and ceremonies. Didgeridoo playing is solely based on oral tradition with varying techniques and interpretations among Aboriginal communities. For non-Aboriginal musicians and composers, the didgeridoo lacks the status of a “serious” instrument and is often viewed as a novelty instrument. This may be why there is a lack of didgeridoo notation and its misrepresentation in the western notation world. This paper presents a “Didgeridoo Notation Lexicon” which will allow non-didgeridoo composers to understand a readable legend and incorporate the didgeridoo into their compositions. The need for didgeridoo notation will be discussed and analyzed in comparison to previous notation attempts of composers and musicologists such as Sean O’Boyle, Liza Lim, Harold Kacanek and Wulfin Lieske. In the past, the inclusion of the didgeridoo in orchestral contexts has predominately been focussed on its associated Aboriginal imagery regarding dreamtime and spirituality. Conversely, my original composition fully integrates the didgeridoo within the orchestra as an equal instrument, not a focal point to advance a particular theme. I travelled to Cairns, Australia to interview world-renowned didgeridoo player, David Hudson. Hudson’s insight, experience and knowledge of the Aboriginal community supported the creation of a Didgeridoo Notation Lexicon. -
Mapping the Cultural Atlas of North Queensland
Mapping the Cultural Atlas of North Queensland: Ronald “Tonky” Logan a Case Study Abstract The ‘Cultural Atlas’ proposed by the PIP (People, Identity, Place) research cluster at James Cook University aims to contextualize cultural communities and artists in North Queensland into a comprehensive profile. Case study Ronald “Tonky” Logan is a North Queensland Aboriginal Country Western musician. The secondary theme of this article is the appropriation of Country Western music by Australian Aboriginal groups as traditional music. This article draws on research by Dunbar-Hall & Gibson (2004), who demonstrate the relevance of contemporary music within Australian Aboriginal contexts, based on location and geography, as a means of establishing people, identity and place. Dr. David Salisbury James Cook University School of Creative Arts Digital Sound Introduction In 2005 the PIP (People, Identity, and Place) research cluster of James Cook University held an annual seminar during which the concept of initiating a Cultural Atlas was proposed. In March 2006 a PIP Cultural Atlas meeting was held and basic concepts were proposed including some preliminary boundaries of latitude 18, south to Bowen and Hayman Island, west to Mt. Isa and north covering the Gulf region (the Torres Strait Islands are not included). Possible outputs could be a Website as a primary means to maintain a collection of data and resources for tourism, focusing on eco and cultural-tourism CD’s and DVD’s. Initially this article aims to establish the context in which the subject of this case study, Ronald ‘Tonky’ Logan, performs and lives by outlining a brief history of Aboriginality in North Queensland along with a brief history of Aboriginal music in the region. -
Stages 2 and 3 Public Information Package Public Comment
Stages 2 and 3 Public Information Package Cover image: Concept design for a sculpture of a scientist and a clam by Jason deCaires Taylor Public Comment The Museum of Underwater Art seeks public comment on proposed Stages 2 Palm Island and 3 Magnetic Island (Yunbenun). 10 May 2021 1 All comments and submissions to: Great Barrier Reef Marine Park Authority Environmental Assessment and Protection Unit PO Box 1379 Townsville QLD 4810 Email: [email protected] Website: www.gbrmpa.gov.au/about-us/consultation All comments must be provided to the address above to be considered in the assessment. The applicant is not obliged to forward any comments to the Managing Agency that have been made directly to the applicant. We now seek any public comment under Section 93 of the Great Barrier Reef Marine Park Regulations 2019 (Cth) and section 15 of the Marine Parks Regulation 2017 (Qld). Public submissions will be considered by the Great Barrier Reef Marine Park Authority and Department of Environment and Science (the Managing Agencies) in making a decision on this permit application. Comments will not be regarded as confidential unless confidentiality is specifically requested. Due consideration will be given to public comments before the Managing Agencies make any decisions in relation to the proposed use. The applicant may be provided with a copy of, or summary of, the comments received. All questions and further information to: Museum of Underwater Art Ltd c/- PvW Partners, 52 Walker St, Townsville QLD 4810 Email: [email protected] -
Equality and Equity Webinar Panelists
FRIDAY, MAY 29, 2020 - WEBINAR PANELISTS ‘EQUALITY AND EQUITY’ MARIA MABO My name is Maria Mabo, I am a proud Meriam woman of the Piadram tribe. Through my maternal and paternal grandmothers, I have connections to the Kurtijar people of the Gulf and Manbarra people of Palm Island. I have worked in a youth drug and alcohol service for 9 years across various roles which involved working with vulnerable young Aboriginal and Torres Strait Island people who have experienced difficulties with alcohol and other drugs. My time working in the community sector ignited my passion for social justice and human rights. In 2017 I was nominated to be involved in my organisation’s development of their first Reconciliation Action Plan (RAP). I felt privileged to be a part of a process that could bring positive change to the organisation and the young people we work with. This process also established my passion and commitment for reconciliation: I am now chairing the RAP working group responsible for developing our organisation’s next RAP. LIBBY FERRARI Libby Ferrari is Manager of Indigenous Affairs for BHP Australia. Libby joined BHP in 2001 and has worked across the company’s Coal and Iron Ore assets in New South Wales, Western Australia and Queensland. She has a background and qualifications in Environmental Science and a Master’s in Business Administration. She has worked in senior roles with BHP across a variety of functional areas including Environment, Business Improvement and Corporate Affairs. Libby has been involved in Indigenous engagement for the majority of her career and is passionate about reconciliation and understanding the role of large corporations in advocating for and making a positive difference to Indigenous issues in Australia.