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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. -
Nhulunbuy Itinerary
nd 2 OECD Meeting of Mining Regions and Cities DarwinDarwin -– Nhulunbuy Nhulunbuy 23 – 24 November 2018 Nhulunbuy Itinerary P a g e | 2 DAY ONE: Friday 23 November 2018 Morning Tour (Approx. 9am – 12pm) 1. Board Room discussions - visions for future, land tenure & other Join Gumatj CEO and other guests for an open discussion surrounding future projects and vision and land tenure. 2. Gulkula Bauxite mining operation A wholly owned subsidiary of Gumatj Corporation Ltd, the Gulkula Mine is located on the Dhupuma Plateau in North East Arnhem Land. The small- scale bauxite operation aims to deliver sustainable economic benefits to the local Yolngu people and provide on the job training to build careers in the mining industry. It is the first Indigenous owned and operated bauxite mine. 3. Gulkula Regional Training Centre & Garma Festival The Gulkula Regional training is adjacent to the mine and provides young Yolngu men and women training across a wide range of industry sectors. These include; extraction (mining), civil construction, building construction, hospitality and administration. This is also where Garma Festival is hosted partnering with Yothu Yindi Foundation. 4. Space Base The Arnhem Space Centre will be Australia’s first commercial spaceport. It will include multiple launch sites using a variety of launch vehicles to provide sub-orbital and orbital access to space for commercial, research and government organisations. 11:30 – 12pm Lunch at Gumatj Knowledge Centre 5. Gumatj Timber mill The Timber mill sources stringy bark eucalyptus trees to make strong timber roof trusses and decking. They also make beautiful furniture, homewares and cultural instruments. -
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. -
Munggurrawuy Yunupingu
Men Hunting with Rifles, c. 1959-62 1993.0004.068 Munggurraway Yunupingu (1907-79) Yolngu language group, Gumatj clan, Yirrkala, Arnhem Land Eucalyptus bark with natural ochres In this eucalyptus bark painting, two men with rifles are depicted hunting wild emus in Arnhem Land in northern Australia. At the top of the piece is a watering hole and an emu eating berries (livistona Australis), known locally as “emu food.” In the background the artist has painted clan patterns of diamonds and crossing lines. Using yellow, red, black, and white ochres, this painting is most likely about Macassans and their influence on Aboriginal culture in Arnhem Land. The main subjects are colored with yellow ochre, while all of the pigments are used for the clan patterns which cover the background. In the height and rise of Aboriginal art in Arnhem Land, Dr. Stuart Scougall and Tony Tuckson commissioned bark paintings from 1959-62 in Yirrkala. The clan designs in this painting are consistent with the Yolngu Gumatj people and the use of eucalyptus bark supports the idea that it is from Yirrkala. It’s likely that this work was purchased by Geoffrey Spence from the mission at Yirrkala at the time of the commissions. It’s unknown whether Spence purchased this work from the artist directly, from the Yirrkala mission, or from Scougall and Tuckson. We do know that Edward Ruhe purchased this work from Geoffrey Spence. Upon examination of this work, it is suspected that the artist is Munggurraway Yunupingu (1907-79) of the Gumatj clan. Born and raised in Yirrkala, Munggurraway was a prominent painter of his time. -
AR Radcliffe-Brown]
P129: The Personal Archives of Alfred Reginald RADCLIFFE-BROWN (1881- 1955), Professor of Anthropology 1926 – 1931 Contents Date Range: 1915-1951 Shelf Metre: 0.16 Accession: Series 2: Gift and deposit register p162 Alfred Reginald Radcliffe-Brown was born on 17 January 1881 at Aston, Warwickshire, England, second son of Alfred Brown, manufacturer's clerk and his wife Hannah, nee Radcliffe. He was educated at King Edward's School, Birmingham, and Trinity College, Cambridge (B.A. 1905, M. A. 1909), graduating with first class honours in the moral sciences tripos. He studied psychology under W. H. R. Rivers, who, with A. C. Haddon, led him towards social anthropology. Elected Anthony Wilkin student in ethnology in 1906 (and 1909), he spent two years in the field in the Andaman Islands. A fellow of Trinity (1908 - 1914), he lectured twice a week on ethnology at the London School of Economics and visited Paris where he met Emily Durkheim. At Cambridge on 19 April 1910 he married Winifred Marie Lyon; they were divorced in 1938. Radcliffe-Brown (then known as AR Brown) joined E. L. Grant Watson and Daisy Bates in an expedition to the North-West of Western Australia studying the remnants of Aboriginal tribes for some two years from 1910, but friction developed between Brown and Mrs. Bates. Brown published his research from that time in an article titled “Three Tribes of Western Australia”, The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 43, (Jan. - Jun., 1913), pp. 143-194. At the 1914 meeting of the British Association for the Advancement of Science in Melbourne, Daisy Bates accused Brown of gross plagiarism. -
Our Knowledge for Country
2 2 STRENGTHENING OUR KNOWLEDGE FOR COUNTRY Authors: 2.1 INTRODUCTION TO CARING FOR COUNTRY 22 Barry Hunter, Aunty Shaa Smith, Neeyan Smith, Sarah Wright, Paul Hodge, Lara Daley, Peter Yates, Amelia Turner, 2.2 LISTENING AND TALKING WITH COUNTRY 23 Mia Mulladad, Rachel Perkins, Myf Turpin, Veronica Arbon, Eleanor McCall, Clint Bracknell, Melinda McLean, Vic 2.3 SINGING AND DANCING OUR COUNTRY 25 McGrath, Masigalgal Rangers, Masigalgal RNTBC, Doris 2.4 ART FOR COUNTRY 28 Yethun Burarrwaŋa, Bentley James, Mick Bourke, Nathan Wong, Yiyili Aboriginal Community School Board, John Hill, 2.5 BRINGING INDIGENOUS Wiluna Martu Rangers, Birriliburu Rangers, Kate Cherry, Darug LANGUAGES INTO ALL ASPECTS OF LIFE 29 Ngurra, Uncle Lex Dadd, Aunty Corina Norman-Dadd, Paul Glass, Paul Hodge, Sandie Suchet-Pearson, Marnie Graham, 2.6 ESTABLISHING CULTURAL Rebecca Scott, Jessica Lemire, Harriet Narwal, NAILSMA, KNOWLEDGE DATABASES AND ARCHIVES 35 Waanyi Garawa, Rosemary Hill, Pia Harkness, Emma Woodward. 2.7 BUILDING STRENGTH THROUGH KNOWLEDGE-RECORDING 36 2.8 WORKING WITH OUR CULTURAL HIGHLIGHTS HERITAGE, OBJECTS AND SITES 43 j Our Role in caring for Country 2.9 STRENGTHENING KNOWLEDGE j The importance of listening and hearing Country WITH OUR KIDS IN SCHOOLS 48 j The connection between language, songs, dance 2.10 WALKING OUR COUNTRY 54 and visual arts and Country 2.11 WALKING COUNTRY WITH j The role of Indigenous women in caring WAANYI GARAWA 57 for Country 2.12 LESSONS TOWARDS BEST j Keeping ancient knowledge for the future PRACTICE FROM THIS CHAPTER 60 j Modern technology in preserving, protecting and presenting knowledge j Unlocking the rich stories that our cultural heritage tell us about our past j Two-ways science ensuring our kids learn and grow within two knowledge systems – Indigenous and western science 21 2 STRENGTHENING OUR KNOWLEDGE FOR COUNTRY 2.1 INTRODUCTION TO CARING We do many different actions to manage and look after Country9,60,65,66. -
Presentations
Presentations CHIE ADACHI AND VERONICA DOBSON community language planning within the context of Aboriginal and Torres Strait Islander Australians. She has immensely New ways of learning and teaching Arrente - enjoyed working on the development of online curriculum for developing language and culture course online Central and Eastern Arrernte language and culture with elders from Central Australia. The current paper explores ideas and issues around developing curriculum for learning and teaching of an Veronica Dobson is a highly respected elder from Central Indigenous Australian language. As part of a tertiary course Australia. She has extensively worked on the documentation at the newly established Australian Centre for Indigenous and revitalisation of Central and Eastern Arrernte language Knowledges and Education (ACIKE), the Central and Eastern and culture for many years as an educator. She was involved Arrernte language and culture curriculum has been developed. with establishing the orthography of this language. She also This paper presents a story of developing new ways of has extensive ecological knowledge of the land and takes great transmitting the Arrernte knowledge by creating multimode pride and joy in teaching this knowledge to young generations of learning and teaching space and incorporating the oral as well as non-indigenous people. tradition into non-traditional mode of online teaching with the For her significant contribution and services to the community Arrernte people. as a linguist, naturalist and ecologist, Veronica was appointed This paper also addresses the issues of: a Member of Order of Australia in 2011. She is an author of many books on Central and Eastern Arrernte language, land • Approaching and negotiating protocols to protect and and culture, and a figure that many people come across once share the Arrernte knowledge; they start learning about Arrernte. -
Aboriginal Dreaming Paul Faulstich Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Faculty Publications and Research Pitzer Faculty Scholarship 12-21-1986 Aboriginal Dreaming Paul Faulstich Pitzer College Recommended Citation Faulstich, Paul. Aboriginal Dreaming. Earth First! Journal, 7(2): 21, 1986. This Article is brought to you for free and open access by the Pitzer Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. a year" which still remains beautiful; where the water remains pure as mod ern technology disposes of the five mil ·ABORIGiNAL'' 'f>REAMING lion gallons of sewage a day. In short, a showcase "where we might live in by Paul Faulstich peace with other creatures." (pp.374-5) PART I It is a risky proposition to try to WITH HAWK WINGS develop a balanced ecological In the Dreaming times we wer·e one. philosophy from the ecol gical condition 0 We were lizard and wild cat, prevailing in highly contrived a situ as Rock hole and tree. ation as the National Parks in America We lived ·in the clouds of today, especially Yellowstone or Yose 'And deep in the molten earth. mite. Muir and other pioneer environ We floated through the sky mentalists sought spiritual insight and With hawk wings , u ecological integration in what was to be And glided through the waters come Yosemite and other National As snakes. Parks and then made broad-ranging Today I walked through rny country. prescriptions for changes in the way of life of Americans in general. -
Aboriginal Men of High Degree Studiesin Sodetyand Culture
])U Md�r I W H1// <43 H1�hi Jew Jn• Terrace c; T LUCIA. .Id 4007 �MY.Ers- Drysdale R. 0-v Cape 1 <0 �11 King Edward R Eylandt J (P le { York Prin N.Kimb �0 cess Ch arlotte Bay JJ J J Peninsula Kalumbur,:u -{.__ Wal.cott • C ooktown Inlet 1r Dampier's Lan by Broome S.W.Kimberley E. Kimberley Hooker Ck. La Grange Great Sandy Desert NORTHERN TERRITORY Port Hedland • Yuendumu , Papanya 0ga Boulia ,r>- Haasts Bluff • ,_e':lo . Alice Springs IY, Woorabin Gibson Oesert Hermannsburg• da, �igalong pe ter I QU tn"' "'= EENSLAND 1v1"' nn ''� • Ayre's Rock nn " "' r ---- ----------------------------L- T omk i nson Ra. Musgrave Ra. Everard Ra Warburton Ra. WESTERN AUSTRALIA Fraser Is. Oodnadatta · Laverton SOUTH AUSTRALIA Victoria Desert New Norcia !) Perth N EW SOUT H WALES Great Australian Bight Port �ackson �f.jer l. W. llill (lr14), t:D, 1.\ Censultlf . nt 1\n·hlk.. l �st Tl·l: ( 117} .171-'l.lS Aboriginal Men of High Degree Studiesin Sodetyand Culture General Editors: Jeremy Beckett and Grant Harman Previous titles in series From Past4 to Pt�vlova: A Comp��rlltivt Study ofIlllli1111 Smlm m Sydney & Griffith by Rina Huber Aboriginal Men of High Degree SECOND EDITION A. P. Elkin THEUNIVERSITY OF QUEENSLANDLffiRARY SOCIALSCIENCES AND HUMANITIES LIBRARY University of Queensland Press First edition 1945 Second edition © University of Queensland Press, St Lucia, Queensland, 1977 This book is copyright. Apart from any fair dealing for the purposes of private study, research, criticism, or review, as permitted under the Copyright Act, no p�rt may be reproduced by any process without written permission. -
The Astronomy of the Kamilaroi and Euahlayi Peoples and Their Neighbours
The Astronomy of the Kamilaroi and Euahlayi Peoples and Their Neighbours By Robert Stevens Fuller A thesis submitted to the Faculty of Arts at Macquarie University for the degree of Master of Philosophy November 2014 © Robert Stevens Fuller i I certify that the work in this thesis entitled “The Astronomy of the Kamilaroi and Euahlayi Peoples and Their Neighbours” has not been previously submitted for a degree nor has it been submitted as part of requirements for a degree to any other university or institution other than Macquarie University. I also certify that the thesis is an original piece of research and it has been written by me. Any help and assistance that I have received in my research work and the preparation of the thesis itself has been appropriately acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. The research presented in this thesis was approved by Macquarie University Ethics Review Committee reference number 5201200462 on 27 June 2012. Robert S. Fuller (42916135) ii This page left intentionally blank Contents Contents .................................................................................................................................... iii Dedication ................................................................................................................................ vii Acknowledgements ................................................................................................................... ix Publications ..............................................................................................................................