Responses to 65000 Years of Aboriginal History
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Writing Cultures 11/11
.. Aboriginal and Torres Strait Islander Arts Board, Australia Council PO Box 788 Strawberry Hills NSW 2012 Tel: (02) 9215 9065 Toll Free: 1800 226 912 Fax: (02) 9215 9061 Email: [email protected] www.ozco.gov.au cultures . WRITING ..... Protocols for Producing Indigenous Australian Literature An initiative of the Aboriginal and Torres Strait ISBN: 0 642 47240 8 Islander Arts Board of the Australia Council Writing Cultures: Protocols for Producing Indigenous Australian Literature Recognition and protection 18 contents Resources 18 Introduction 1 Copyright 20 Using the Writing Cultures guide 2 What is copyright? 20 What are protocols? 3 How does copyright protect literature? 20 What is Indigenous literature? 3 Who owns copyright? 20 Special nature of Indigenous literature 4 What rights do copyright owners have? 21 Collaborative works 21 Indigenous heritage 5 Communal ownership vs. joint ownership 21 Current protection of heritage 6 How long does copyright last? 22 Principles and protocols 8 What is the public domain? 22 Respect 8 What are moral rights? 22 Acknowledgement of country 8 Licensing for publication 22 Representation 8 Assigning copyright 23 Accepting diversity 8 Publishing contracts 23 Living cultures 9 Managing copyright to protect your interests 23 Indigenous control 9 Copyright notice 23 Commissioning Indigenous writers 9 Moral rights notice 24 Communication, consultation and consent 10 When is copyright infringed? 24 Creation stories 11 Fair dealings provisions 24 © Commonwealth of Australia 2002 Recording oral stories 11 -
Characterizing Late Pleistocene and Holocene Stone Artefact Assemblages from Puritjarra Rock Shelter: a Long Sequence from the Australian Desert
© Copyright Australian Museum, 2006 Records of the Australian Museum (2006) Vol. 58: 371–410. ISSN 0067-1975 Characterizing Late Pleistocene and Holocene Stone Artefact Assemblages from Puritjarra Rock Shelter: A Long Sequence from the Australian Desert M.A. SMITH National Museum of Australia, GPO Box 1901, Canberra ACT 2601, Australia [email protected] ABSTRACT. This paper presents the first detailed study of a large assemblage of late Pleistocene artefacts from the central desert. Analysis of the lithics shows show that Puritjarra rock shelter was used more intensively over time, with significant shifts in the character of occupation at 18,000, 7,500 and 800 B.P., reflecting significant re-organization of activities across the landscape. The same generalized flake and core technology appears to have been used for over 30 millennia with only limited change in artefact typology over this period. SMITH, M.A., 2006. Characterizing Late Pleistocene and Holocene stone artefact assemblages from Puritjarra rock shelter: a long sequence from the Australian Desert. Records of the Australian Museum 58(3): 371–410. Excavations at Puritjarra rock shelter provide a rare 2004). Ethno-archaeological studies involving the last opportunity to examine an assemblage of late Pleistocene generation of Aboriginal people to rely on stone artefacts artefacts from central Australia, dating as early as c. 32,000 have been very influential in this shift in perspective (Cane, B.P. This study presents a quantitative analysis of the flaked 1984, 1992; Gould, 1968; Gould et al., 1971; Hayden, 1977, stone artefacts at Puritjarra, comparing the Pleistocene and 1979; O’Connell, 1977). -
Australia Council Nationhood, National Identity and Democracy
AUSTRALIA COUNCIL FOR THE ARTS SUBMISSION NATIONHOOD, NATIONAL IDENTITY AND DEMOCRACY INQUIRY October 2019 1 CONTENTS Contents 2 About the Australia Council 3 Executive summary 4 Submission 6 Our arts shape and communicate our cultural identity 6 First Nations arts are central to understanding who we are as Australians 7 Our diverse artistic expression is reshaping our contemporary national identity 9 Our creative expressions are an antidote to declining public trust and social divisions 13 Conclusion 14 Policy options 15 2 ABOUT THE AUSTRALIA COUNCIL The Australia Council is the Australian Government’s principal arts funding and advisory body. We champion and invest in Australian arts and creativity. We support all facets of the creative process and are committed to ensuring all Australians can experience the benefits of the arts and feel part of the cultural life of this nation. The Australia Council’s investment in arts and creativity presents a vital opportunity to develop Australia’s identity and reputation as a sophisticated and creative nation with a confident, connected community. Australia’s arts and creativity are among our nation’s most powerful assets, delivering substantial public value across portfolios: investing in the arts is investing in the social, economic and cultural success of our nation. For half a century the Australia Council has invested in activity that directly and powerfully contributes to Australia’s cultural identity and social cohesion. Our vision Creativity Connects Us1 is underpinned by five strategic objectives: • More Australians are transformed by arts experiences • Our arts reflect us • First Nations arts and culture are cherished • Arts and creativity are thriving • Arts and creativity are valued. -
Teachers' Notes the Little Red, Yellow, Black Book
Educational Resources: Teachers’ notes The Little Red Yellow Black website, http://lryb.aiatsis.gov.au Teachers’ Notes The Little Red, Yellow, Black Book: An introduction to Indigenous Australia An important note to teachers The following points are important considerations to remember when teaching Aboriginal and Torres Strait Islander studies. These cautions should be consulted throughout the course and shared with students. Aboriginal studies and Torres Strait Islander studies are not only about historical events and contemporary happenings. More importantly, they are about people and their lives. Consequently, consideration of, and sensitivity towards, Aboriginal and Torres Strait Islander people are essential, as is collaboration with relevant communities. • Where possible, consult Indigenous people and Indigenous sources for information, many links to which are contained in these notes. Try to work with your local Indigenous community people and elders and respect the intellectual and cultural property rights of Indigenous people. • Consult reliable sources. Be discerning and look for credible information. Indigenous Australians are careful to speak only about the country or culture they’re entitled to speak about. Generally Indigenous people won’t tell others about sacred images or stories, however, over time, and with the effects of colonisation, some things that are sacred, or secret, to Indigenous groups have been disseminated. Be sensitive to requests not to talk about or include some material. Ensure that what you’re reading derives from a community or elders’ knowledge, or from reputable research. Remember too that less-than-polished publications can still be valuable. • Use only the information and images you know have been cleared for reproduction or use in the public domain. -
Creators Or Destroyers?
Creators Destroyers? The Burning Questions of Human Impact in Ancient Aboriginal Australia or » PETER HISCOCK INTRODUCTION: QUESTIONS OF HOW AND WHY The Fall of Humanity depicted in the Book of Genesis portrays traumas associated with the transition from foraging to farming. That T transformation of human social and economic life is depicted negatively, and is associated with both suffering and shame. While in the Garden of Eden, Adam and Eve had an abundance of fruits to pick, but after the Fall they and their descendants had to sweat and labour to farm the land for a living. The transformation from a life of ease to one of labour was accompanied by momentous cultural shifts, such as the transformation from peace to murder as Cain slaughtered Abel, a shift requiring the development of elaborate social processes to regulate conflict. This Old Testament narrative illustrates, actually epitomises, long-standing imagery of hunter-gatherers conjured by agriculturalists. Biblical visions of lost Edens emerge in many modern Western stories about the distant past and about the lives of foragers. (above) The story of the Fall provides one fundamental Bush fire at Captain element in the conceptual background of Creek, Central current debates about human impacts on Queensland, Australia. the environment. It is a narrative explored in visions about the nature of life and wilderness SOURCE: 80 TRADING 24 (OWN WORK) [CC- at earlier times: either before the coming of BY-SA-3.0 (HTTP:// CREATIVECOMMONS.ORG/ humans or before the coming of agriculturalists LICENSES/BY-SA/3.0)], VIA WIKIMEDIA COMMONS to the Australian landscape. -
Darkemu-Program.Pdf
1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers. -
Lynette Russell – 'An Unpicturesque Vagrant': Aboriginal Victorians at The
Lynette Russell ‘An unpicturesque vagrant’: Aboriginal Victorians at the Melbourne International Exhibition 1880–1881* THE GRAND DAME of Melbourne architecture, the Royal Exhibition Building was the first non-Aboriginal cultural site in Australia awarded UNESCO World Heritage listing. In 2004, in Suzhou China, the UNESCO World Heritage Committee announced that the Royal Exhibition Building and surrounding Carlton Gardens qualified under cultural criterion (ii) of the Operational Guidelines for the implementation of the World Heritage Convention. Criterion (ii) lists sites that exhibit ‘an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town-planning or landscape design’.1 The Royal Exhibition Building does, however, have links to the Aboriginal community of Melbourne beyond being constructed on Kulin land. Contemporary Kulin connections are intensified by the proximity to the Melbourne Museum and Bunjilaka Aboriginal Cultural Centre. This article considers some evidence of Aboriginal presence at the Exhibition building during the Melbourne International Exhibition of 1880-81. The Exhibition building was famously built to house the Melbourne International Exhibition of 1880-81. Designed by architect Joseph Reed, the building was heralded as a magnificent achievement – indeed it was monumental, with its dome the tallest construction in the city. As Graeme Davison illustrated in his seminal study Marvellous Melbourne, our metropolis was, in the 1880s, a boom city; the International exhibition was to be a celebration of the city’s economic success, its technological and industrial achievements and all that was marvellous.2 The newspapers and magazines carried articles that exulted the enthusiasm and energy of the city along with the incredible optimism that characterised the 1880s boom. -
Designing Trusted Archival Systems for Koorie Communities
Indigenous Knowledge and the Archives: Designing Trusted Archival Systems for Koorie Communities Fiona Ross, Sue McKemmish and Shannon Faulkhead Fiona Ross has worked in a range of recordkeeping and information management roles over the last fifteen years, including positions at the Public Record Office Victoria, Victoria Police, the University of Melbourne and Monash University. She was a Research Fellow on the Trust and Technology Project in 2004 and 2005, investigating the outcomes of the user needs study and their implications for archival systems and frameworks. Professor Sue McKemmish, PhD, is Chair of Archival Systems, Monash University, and Director of the Monash University Centre for Organisational and Social Informatics. She is engaged in major research and standards initiatives relating to the use of metadata in records and archival systems (Clever Recordkeeping Metadata), information resource discovery (Breast Cancer Knowledge Online and Smart Information Portals), Indigenous archival services (Trust and Technology), and the nexus between memories communities, and technologies. She is particularly interested in working in collaborative teams to develop ICT solutions that genuinely meet the needs of individuals, organisations and society, and empower people in their working and personal lives. Sue McKemmish directs the postgraduate teaching programs in records and archives at Monash, has published extensively on recordkeeping in society, records continuum theory, recordkeeping metadata, and archival systems, and is a Laureate of the ASA. Indigenous Knowledge and the Archives 113 Shannon Faulkhead, a Koorie woman from Mildura, is a postgraduate student attached to the Australian Research Council Linkage Project, Trust and Technology: Building an archival system for Indigenous oral memory' investigating Australian Indigenous oral testimonies and archives. -
Kim Sterelny Review of Billy Griffiths, Deep Time Dreaming
Kim Sterelny review of Billy Griffiths,Deep Time Dreaming: Uncovering Ancient Australia (Carlton, Vic.: Black Inc., 2018), 376 pp., PB $34.99, ISBN 9781760640446 Billy Griffiths begins this thoughtful, nuanced and beautifully written work with an admission: it is written by an outsider. The book is a reflection on the archaeology of Australia and its significance, but it is the product of a fringe-dwelling onlooker; a historian. In a similar spirit of full disclosure, I should warn the reader that I too am an outsider; neither historian nor archaeologist, but a philosopher of science. Worse still, an unreconstructed and unapologetic positivist. That is relevant, for Griffiths thinks of archaeology has having aspects of both a science and a humanity. Moreover, without quite saying so explicitly, it is clear that he thinks both intellectual traditions are of equal standing. Both essential; neither privileged. In contrast, in the project of uncovering and understanding Australia’s deep past—human, biological, geological, climatic—I think science, fallible though it is, is privileged. More on that shortly. As noted above, this work is a reflection on the archaeology and archaeologists of Australia rather than a systematic history of its coming of age as a discipline over the last 60 years or so. Rather, as his analysis develops, chapter by chapter, three primary themes emerge. A fourth, usually in the background, is the growing technical sophistication of archaeological practice. Initially, that was largely due to the influence of the Cambridge school of archaeology and its emphasis on system, detail and documentation (let no shard or scrap of bone escape the sieve or the notebook). -
Saving the Nation's Memory Bank an Open Letter to the Prime Minister
Saving the Nation’s Memory Bank An Open Letter to the Prime Minister We write as friends and supporters of the National Archives of Australia. Some of us are historians, including multiple winners of Prime Minister’s Awards, some are independent writers and researchers, and some are former members of the National Archives Advisory Council. We have differing political viewpoints but share a deep love for the knowledge of Australia’s past embodied in its archives and libraries. We are writing to you because we fear that the integrity of the nation’s premier memory bank, the National Archives of Australia, is in jeopardy and to urge you to secure its future. As the institution created by parliament to maintain the official records of the Commonwealth, the National Archives is one of the pillars of our democracy. It makes decision-making more transparent. It holds governments, past and present, to account. And in the words of Justice Michael Kirby, it ‘holds up a mirror to the people of Australia’. In this respect, the National Archives is not like other cultural institutions, such as museums, galleries and opera houses. Its most important users have yet to be born. The value of many items in its collection may not become apparent for many years because we simply do not know what questions future inquirers may ask. Only in recent years, for example, have researchers begun to tap the riches of the National Archives’ repatriation records, the largest continuous record of the health of any people anywhere, for medical as well as historical research. -
Global Archaeological Theory
Reviews Ages is one thing; to date their elaboration directly to Peripheral Matters? these periods is another, more problematic, question. Similarly, because of its presence across (nearly) all Global Archaeological Theory: Contextual Voices and the Indo-European cultural universe, they claim that Contemporary Thoughts, edited by Pedro Paulo Funari, the institution of the Divine Twins dates back to the Andrés Zarankin & Emily Stovel, 2005. Corded Ware/Bell Beaker period. Such extreme claims New York (NY): Kluwer/Plenum; are as unrealistic as unnecessary. As acknowledged by ISBN-13 978-030648651-7 paperback, Kristiansen and Larsson themselves in their discussion £36.57 & US$59.95; vii+380 pp., ills. of the cosmological differences between the Bronze and the Iron Ages, oral tradition and their material inscrip- Appropriated Pasts: Indigenous Peoples tion are ever-changing and redefined: continuity can and the Colonial Culture of Archaeology, only be retrieved through an appraisal of the variation by Ian J. McNiven & Lynette Russell, 2005. which makes history. Lanham (MD): Altamira; ISBN-13 978-075910907-0 Lastly, if Kristiansen and Larsson’s enthusiasm paperback, £21.84 & US$29.71; 328 pp., ills. renders their book enthralling and enjoyable to read, sometimes it leads to statements which are difficult to Archaeological Theory and the Politics of Cultural agree with. For instance, on page 90, they declare that: Heritage, by Laurajane Smith, 2004. In many parts of central and southeastern Europe, London: Routledge; ISBN-13 978-041531833-4 the impact of bronze prestige goods on the local paperback, £24.99 & US$43.95; 272 pp. societies, lineages and families had, during the late third millennium bc, accelerated competition, rivalry of the process of social stratification. -
David Christian, Macquarie Univers
Australia’s Deep Human Past in the Context of Global History September 28-30, 2016 Sponsored by The Australian Studies Committee The Initiative for the Science of the Human Past at Harvard University Department of Anthropology Department of History, Harvard and The Australian Centre for Indigenous Studies, Australian National University Aboriginal Australians have lived on the Australian continent for up to 60,000 years. And yet Australia’s place in world history, to judge by the canons of the field, begins with the arrival of the first Europeans in the late eighteenth century. This conference asks a simple question: how can we research and narrate Australia’s deep past as history? To begin to answer this question, we have brought experts in Australian history together with specialists in archaeology and the science of the human past for two days of open-ended discussion. Wednesday, September 28 5-7pm Fong Auditorium, Boyston Hall Speaker: David Christian, Macquarie University Title: Australian History in Deep Time Respondents: Michael McCormick, Harvard University Ann McGrath, Australian National University John Maynard, University of Newcastle Thursday, September 29 Barker Center, Thompson Room Friday, September 30 Barker Center, Thompson Room 9-12 Session 1: Australia in Global History: Frames 9-12 and Cosmologies Session 3: Art, Material Culture, Technology Featuring Christian, Hiscock, Lydon, Liebmann, McGrath, Featuring Davidson, Hiscock, Liebmann, Lydon, McNiven, and Spriggs Paton, Paterson, and Smail 12-2 Lunch 12-2 Lunch 2-5