Working with Aboriginal People and Communities
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Indigenous Community Protocols for Bankstown Area Multicultural Network
INDIGENOUS COMMUNITY PROTOCOLS FOR BAMN MANAGEMENT COMMITTEE Practical protocols for working with the Indigenous Community of South West Sydney 1 Contents RESPECT, ACKNOWLEDGE, LISTEN Practical protocols for working with Indigenous communities in Western Sydney What are protocols? 1. Get To Know Your Indigenous Community Identity Diversity – Different rules for different community groups (there can sometimes be different groups within communities) 2. Consult Indigenous Reference Groups, Steering Committees and Boards 3. Get Permission The Local Community Elders Traditional Owners Ownership Copyright and Indigenous Cultural and Intellectual Property 4. Communicate Language Koori Time Report back and stay in touch 5. Ethics and Morals Confidentiality Integrity and trust 6. Correct Procedures Respect What to call people Traditional Welcome or Welcome to Country Acknowledging Traditional Owners Paying People Indigenous involvement Cross Cultural Training 7. Indigenous Organisations and Western Sydney contacts Major Indigenous Organisations Local Aboriginal Land Councils Indigenous Corporations/Community Organisations Indigenous Council, Community and Arts workers 8. Keywords to Remember 9. Other Protocol Resource Documents 2 What Are Protocols? Protocols can be classified as a set of rules, regulations, processes, procedures, strategies, or guidelines. Protocols are simply the ways in which you work with people, and communicate and collaborate with them appropriately. They are a guide to assist you with ways in which you can work, communicate and collaborate with the Indigenous community of Western Sydney. A wealth of Indigenous protocols documentation already exists (see Section 9), but to date the practice of following them is not widespread. Protocols are also standards of behaviour, respect and knowledge that need to be adopted. You might even think of them as a code of manners to observe, rather than a set of rules to obey. -
Re-Awakening Languages: Theory and Practice in the Revitalisation Of
RE-AWAKENING LANGUAGES Theory and practice in the revitalisation of Australia’s Indigenous languages Edited by John Hobson, Kevin Lowe, Susan Poetsch and Michael Walsh Copyright Published 2010 by Sydney University Press SYDNEY UNIVERSITY PRESS University of Sydney Library sydney.edu.au/sup © John Hobson, Kevin Lowe, Susan Poetsch & Michael Walsh 2010 © Individual contributors 2010 © Sydney University Press 2010 Reproduction and Communication for other purposes Except as permitted under the Act, no part of this edition may be reproduced, stored in a retrieval system, or communicated in any form or by any means without prior written permission. All requests for reproduction or communication should be made to Sydney University Press at the address below: Sydney University Press Fisher Library F03 University of Sydney NSW 2006 AUSTRALIA Email: [email protected] Readers are advised that protocols can exist in Indigenous Australian communities against speaking names and displaying images of the deceased. Please check with local Indigenous Elders before using this publication in their communities. National Library of Australia Cataloguing-in-Publication entry Title: Re-awakening languages: theory and practice in the revitalisation of Australia’s Indigenous languages / edited by John Hobson … [et al.] ISBN: 9781920899554 (pbk.) Notes: Includes bibliographical references and index. Subjects: Aboriginal Australians--Languages--Revival. Australian languages--Social aspects. Language obsolescence--Australia. Language revival--Australia. iv Copyright Language planning--Australia. Other Authors/Contributors: Hobson, John Robert, 1958- Lowe, Kevin Connolly, 1952- Poetsch, Susan Patricia, 1966- Walsh, Michael James, 1948- Dewey Number: 499.15 Cover image: ‘Wiradjuri Water Symbols 1’, drawing by Lynette Riley. Water symbols represent a foundation requirement for all to be sustainable in their environment. -
EORA Mapping Aboriginal Sydney 1770–1850 Exhibition Guide
Sponsored by It is customary for some Indigenous communities not to mention names or reproduce images associated with the recently deceased. Members of these communities are respectfully advised that a number of people mentioned in writing or depicted in images in the following pages have passed away. Users are warned that there may be words and descriptions that might be culturally sensitive and not normally used in certain public or community contexts. In some circumstances, terms and annotations of the period in which a text was written may be considered Many treasures from the State Library’s inappropriate today. Indigenous collections are now online for the first time at <www.atmitchell.com>. A note on the text The spelling of Aboriginal words in historical Made possible through a partnership with documents is inconsistent, depending on how they were heard, interpreted and recorded by Europeans. Original spelling has been retained in quoted texts, while names and placenames have been standardised, based on the most common contemporary usage. State Library of New South Wales Macquarie Street Sydney NSW 2000 Telephone (02) 9273 1414 Facsimile (02) 9273 1255 TTY (02) 9273 1541 Email [email protected] www.sl.nsw.gov.au www.atmitchell.com Exhibition opening hours: 9 am to 5 pm weekdays, 11 am to 5 pm weekends Eora: Mapping Aboriginal Sydney 1770–1850 was presented at the State Library of New South Wales from 5 June to 13 August 2006. Curators: Keith Vincent Smith, Anthony (Ace) Bourke and, in the conceptual stages, by the late Michael -
Practical Protocols for Working with the Indigenous Community of Western Sydney
CCD_RAL_bk.qxd 15/7/03 3:04 PM Page 1 CCD_RAL_Final.qxd 15/7/03 3:06 PM Page 1 ACKNOWLEDGEMENTS This project was assisted by the Government of NSW through the and The Federal Government through the Australia Council, its arts funding and advisory body. Researched and Written by This document is a project of the Angelina Hurley Indigenous Program of Indigenous Program Manager Community Cultural Development New Community Cultural Development NSW South Wales (CCDNSW) Draft Review and Copyright Section by © Community Cultural Development NSW Terri Janke Ltd, 2003 Principle Solicitor Terri Janke and Company Suite 8 54 Moore St. Design and Printing by Liverpool NSW 2170 MLC Powerhouse Design Studio PO Box 512 April 2003 Liverpool RC 1871 Ph: (02) 9821 2210 Cover Art Work Fax: (02) 9821 3460 ‘You Can’t Have Our Spirituality Without Web: www.ccdnsw.org Our Political Reality’ by Indigenous Artist Gordon Hookey Internal Art Work ‘Men’s Ceremony’ by Indigenous Artist Adam Hill CCD_RAL_Final.qxd 15/7/03 5:05 PM Page 2 Contents RESPECT, ACKNOWLEDGE, LISTEN: Practical protocols for working with the Indigenous Community of Western Sydney . .3 Who are Community Cultural Development New South Wales (CCDNSW)? What is ccd? . .3 What Are Protocols? . .3 1. Get To Know Your Indigenous Community . .4 Identity . .5 Diversity - Different Rules For Different Groups . .6 2. Consult . .6 Indigenous Reference Groups, Steering Committees and Boards . .7 3. Get Permission . .8 The Local Community . .8 Elders . .8 Traditional Owners . .8 Ownership . .9 Copyright And Indigenous Cultural And Intellectual Property . .9 4. Communicate . .10 Language . .10 Koori Time . -
Aboriginal and Torres Strait Islander Protocols
Aboriginal and Torres Strait Islander Protocols Adopted 1 August 2005 Table of Contents 1. Introduction .............................................................................. 1 2. What are Cultural Protocols?.................................................. 1 3. Aboriginal & Torres Strait Islanders....................................... 2 4. Aboriginality ............................................................................. 2 5. Brief History.............................................................................. 3 6. Respecting the Traditional Custodians.................................. 4 6.1 Traditional Custodians............................................................................4 6.2 Elders .....................................................................................................4 7. Significant Ceremonies ........................................................... 4 7.1 Welcome to Country...............................................................................4 7.2 Acknowledgement of Country.................................................................5 7.3 Smoking Ceremony................................................................................5 7.4 Fee for Service .......................................................................................5 8. Significant Dates ...................................................................... 6 8.1 Survival Day ...........................................................................................6 8.2 Harmony Day .........................................................................................7 -
Extension Activities in Australian History Sample
EBOOK CODE: REAU7079 Sample Contents Teachers' Notes 4 German Settlers Australian Curriculum Links 4 Student Information Page 38 Activity Page 1 39 SECTION 1: CAPTAIN JAMES COOK Activity Page 2 40 Captain James Cook And Tupaia Student Information Page 6 SECTION 4: NOTABLE COLONIAL PEOPLE Activity Page 1 7 Mary Reibey (1777 - 1855) Activity Page 2 8 Student Information Page 42 Activity Page 3 9 Activity Page 1 43 Activity Page 2 44 The Voyage To New Zealand Student Information Page 10 William Barak (1823 – 1903) Activity Page 11 Student Information Page 45 Activity Page 1 46 First Contact With The Māori People Activity Page 2 47 Student Information Page 12 Activity Page 1 13 William James Farrer (1845 – 1906) Activity Page 2 14 Student Information Page 48 Activity Page 1 49 SECTION 2: THE COLONISERS AND NATIVE PEOPLES Activity Page 2 50 First Impressions Of The Eora Student Information Page 16 Activity Page 1 17 SECTION 5: WORKING FOR AUSTRALIANS' RIGHTS Activity Page 2 18 The Changing Role Of Australian Women Activity Page 3 19 Student Information Page 52 Activity Page 53 On The Other Side Of The World Student Information Page 20 A Woman’s Right to Vote Activity Page 1 21 Student Information Page 54 Activity Page 2 22 Activity Page 1 55 Activity Page 2 56 News From Sydney Cove Student Information Page 23 Working For Indigenous Rights Activity Page 1 24 Student Information Page 57 Activity Page 2 25 Activity Page 1 58 Activity Page 2 59 Australia’s Natural Wonders Student Information Page 26 Senator Neville Bonner (1922-1999) Activity -
This Is a Map of All the Aboriginal Language Groups in Australia
This is a map of all the Aboriginal language groups in Australia. Before European arrival there were approximately 250 spoken Aboriginal languages. Today there are about 25, and the Darug language is one of them. What do you think has happened to all the Aboriginal languages that have been lost? 1 Do you speak my language? This lesson: Learning to speak some of the Darug language Aunty Val Aurisch Speaking at The Gully Culture Camp 2010 Picture soured 20 April 2011 from: http://www.livingcountry.com.au/gallery.cfm 2 Listen to me speak the Darug language Richard Green helps keep his language alive and strong by teaching it to students at Chifley College, Dunheved Campus and at Doonside Technical High School. Listen to Richard Green talk about his language in Darug (and English) by clicking on the picture of Richard. This will take you to to the William Dawes website where you can listen to an mp3 file. Richard Green Picture: Copyright 2009 The Hills Shire Council 3 Can you speak Darug language? Click the Darug name and drag it to the 'Word' column. Select the check button to find out how you went! Words sourced from Yarramundi Kids website on 20 April 2011: http://yarramundikids.tv/yarramundikids/howdoyousay.html 4 A shared historyA brief introduction to Lieutenant William Dawes Lieutenant William Dawes (1762-1836) was known as an officer of marines, scientist and administrator, yet it is his interest in studying the local Eora (Darug) people that tells the story of a shared history. Dawes developed a friendship with a young Darug girl who was about fifteen years old. -
Yurunnhang Bungil Nyumba: Infusing Aboriginal Ways of Being Into Teaching Practice in Australia
The University of Notre Dame Australia ResearchOnline@ND Theses 2020 Yurunnhang Bungil Nyumba: Infusing Aboriginal ways of being into teaching practice in Australia Lisa Buxton The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Education Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Buxton, L. (2020). Yurunnhang Bungil Nyumba: Infusing Aboriginal ways of being into teaching practice in Australia (Doctor of Education). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/248 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. Yurunnhang Bungil Nyumba: Infusing Aboriginal ways of being into teaching practice in Australia Lisa Maree Buxton MPhil, MA, GDip Secondary Ed, GDip Aboriginal Ed, BA. Submitted in partial fulfilment of the requirements for the Doctor of Education School of Education Sydney Campus January, 2020 Acknowledgement of Country Protocols The protocol for introducing oneself to other Indigenous people is to provide information about one’s cultural location, so that connection can be made on political, cultural and social grounds and relations established. (Moreton-Robinson, 2000, pp. xv) I would like firstly to acknowledge with respect Country itself, as a knowledge holder, and the ancients and ancestors of the country in which this study was conducted, Gadigal, Bidjigal and Dharawal of Eora Country. -
You Can't Say That!
You can’t say that! HINTS AND TIPS Artwork: ‘Rhythm of Knowledge’ Josie is from the Gumbaynggirr Nation (the mid-North Coast of NSW). The artwork tells the story of Josie’s interpretation of Aboriginal and Torres Strait Islander students traversing higher education in both undergraduate and postgraduate University degrees. The artwork portrays a symbolic design featuring a Southern Cross Star cluster and a metaphoric ancient body of knowledge travelling across the sky as well as the difficulties and challenges that First Nations people experience within a Western academic institution. However, the artwork is also about triumph and success, as small magical ancestors watch from the universe and cast protection and strength into the students’ academic pathways, providing holistic wellbeing. Context The University of Wollongong (UOW) main campus sits in an area of stunning natural beauty that is the ancestral home of the Australian Aboriginal people of Yuin. Yuin is a substantial stretch of the New South Wales (NSW) South Coast and inland regions, spanning from Sydney’s Broken Bay in the north all the way to the Victorian border in the south. The two major mountains overlooking the Wollongong region, Mount Keira and Mount Kembla, are spiritually significant to local Aboriginal people, representing the protection and constancy of Grandmother and Grandfather, respectively. The three major totems or spiritual guides of this region are the sea eagle of the air, the humpback whale of the ocean and the red-bellied black snake of the land. The majority of the other domestic campuses of UOW (not including Southern Highlands and Liverpool) also sit on Yuin country. -
Aboriginal Design Principles
WAGGA WAGGA SPECIAL ACTIVATION PRECINCT WIRADJURI COUNTRY ABORIGINAL DESIGN PRINCIPLES This document acknowledges the elders, past and present, of the Wiradjuri people as the traditional owners of Wagga Wagga and the lands knowledge. / Explorer Mitchell (1839) described “a beautiful plain; covered with shining verdure [lush green vegetation] and ornamented with trees… gave the country the appearance of an extensive park” Contents Document produced by Michael Hromek WSP Australia Pty Ltd. 01. Wiradjuri Country Descended from the Budawang tribe of the Yuin nation, Michael is currently working at WSP, doing a PhD in architecture People and Design and teaches it at the University of Technology Sydney in the Bachelor of Design in Architecture. [email protected] 02. Aboriginal Planning Principles Research by Sian Hromek (Yuin) Graphic design by Sandra Palmer, WSP 03. Project Site Application of Aboriginal Planning and Design Principles 04. Project Examples Examples of Indigenous planning and design applied to projects of similar scope 05. Indigenous participation strategy Engaging Community through co-design strategies Image above: Sennelier Watercolour - Light Yellow Ochre (254) Please note: In order to highlight the use of Aboriginal Design Principles, this document may contain examples from other Aboriginal Countries. 01 WIRADJURI COUNTRY - 1 - Indigenous specialist services When our Country is acknowledged and returned to us, Aboriginal design principles it completes our songline, makes us feel culturally proud, Indigenous led/ Indigenous people (designers, elders etc) and strengthens our identity and belonging. should be leading or co-leading the Indigenous elements in the design. Wurundjeri Elder, Annette Xiberras. Community involvement/ The local Indigenous community to be engaged in this process, can we use their patterns? Can they design patterns for the project? Appropriate use of Indigenous design/ All Indigenous Indigenous design statement design elements must be approved of by involved Indigenous people / community / elders. -
When Repatriation Doesn't Happen: Relationships Created Through Cultural Property Negotiations
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 2020 When Repatriation Doesn’t Happen: Relationships Created Through Cultural Property Negotiations Ellyn DeMuynck Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Museum Studies Commons, and the Social and Cultural Anthropology Commons When Repatriation Doesn’t Happen: Relationships Created Through Cultural Property Negotiations __________________ A Thesis Presented to the Faculty of the College of Arts, Humanities and Social Sciences University of Denver __________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ___________________ by Ellyn DeMuynck March 2020 Advisor: Christina Kreps Author: Ellyn DeMuynck Title: When Repatriation Doesn’t Happen: Relationships Created Through Cultural Property Negotiations Advisor: Christina Kreps Degree Date: March 2020 Abstract This thesis analyzes the discourse of repatriation in connection to the Encounters exhibition held by the National Museum of Australia in 2015. Indigenous Australian and Torres Strait Islander artifacts were loaned to the Australian museum by the British Museum. At the close of the exhibition, one item, the Gweagal shield, was claimed for repatriation. The repatriation request had not been approved at the time of this research. The Gweagal shield is a historically significant artifact for Indigenous and non- Indigenous Australians. Analysis takes into account the political economy of the two museums and situates the exhibition within the relevant museum policies. This thesis argues that, while the shield has not yet returned to Australia, the discussions about what a return would mean are part of the larger process of repatriation. It is during these discussions that the rights to material culture are negotiated. -
2007. Assessment of the Aboriginal Cultural Heritage Values of the Greater Blue Mountains World Heritage Area
Blue Mountains World Heritage Institute’s Natural and Cultural Heritage Program Assessment of the Aboriginal Cultural Heritage Values of the Greater Blue Mountains World Heritage Area A Report for the Department of Environment and Water Resources By Paul S.C. Taçon, Shaun Boree Hooper, Wayne Brennan, Graham King, Matthew Kelleher, Joan Domicelj, and John Merson 2007 © Blue Mountains World Heritage Institute & Griffith University Table of Contents Page 1. An Introduction to the Assessment Process. 3 2. The Greater Blue Mountains World Heritage Area (GBMWHA) 5 3. The Landscape of Blue Mountains Rock Art. 11 4. Discussion and Significance of Newly Discovered Wollemi Sites 29 5. An Indigenous perspective on the GMBWHA Rock Art 33 6. Comparison of Rock Art in the Sydney Basin and the GBMWHA 37 7. Conclusions and Comparison of the GBMWHA to other regions 39 Appendix 1 Distribution of Aboriginal Heritage Sites within the GBMWHA 46 2 1. An Introduction to the Assessment Process This report is part of a larger series of reports in response to a proposal to place the Greater Blue Mountains World Heritage Area on the National Heritage List. In the brief, Summaries of Indigenous heritage values for the Greater Blue Mountains Area nominated to the National Heritage List, it was required that the cultural heritage of the Greater Blue Mountains area be assessed in comparison to that of other regions as well as against each of the National Heritage List criteria (consultancy brief required output 4). More specifically, Section 324D of the Environment