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Art, Culture and Ambiguity in Wilcannia New South Wales Lorraine Gibson
Art, Culture and Ambiguity in Wilcannia New South Wales Lorraine Gibson Centre for Research on Social Inclusion, Macquarie University The claim of most town whites that Aboriginal people of Wilcannia make art but have no culture and the claim by Aboriginal people of the town that their art work and art designs demonstrate their culture and cultural traditions opens up the powerful and productive dimensions of art and culture for closer scrutiny. In so doing, the ambivalence and ambiguity which saturates these categories is ethnographically revealed. How can the presence and production of art-works in Wilcannia and the white denial of culture be considered? Why indeed do these questions matter, in what ways do they matter, and to whom do they matter? How do the categories of traditional/remote, urban/settled and their avatars intersect with black and white notions of Aboriginal art and Aboriginal culture discursively and experientially? In this paper, I demonstrate and articulate how the stereotypes of traditional/remote and urban/settled Aborigines resonate for Barkindji and non-Aboriginal people in and from Wilcannia, specifically as these relate to discourses of ‘art’ and ‘culture’. I seek to make explicit as well as problematise the ways in which lived culture bleeds into culture as a particular response; of how Barkindji people attune themselves to new demands in relation to local and wider public notions of culture and art and their associated terms. The problems that arise in the delineation of these categories are explored ethnographically, showing how any kind of discussion is inadequate to lived experience. I was working one day with a Barkindji1 artist and Wilcannia man outside Thankakali [your people my people] Aboriginal centre, a Community Development Employment Programme facility in Broken Hill. -
New South Wales Class 1 Load Carrying Vehicle Operator’S Guide
New South Wales Class 1 Load Carrying Vehicle Operator’s Guide Important: This Operator’s Guide is for three Notices separated by Part A, Part B and Part C. Please read sections carefully as separate conditions may apply. For enquiries about roads and restrictions listed in this document please contact Transport for NSW Road Access unit: [email protected] 27 October 2020 New South Wales Class 1 Load Carrying Vehicle Operator’s Guide Contents Purpose ................................................................................................................................................................... 4 Definitions ............................................................................................................................................................... 4 NSW Travel Zones .................................................................................................................................................... 5 Part A – NSW Class 1 Load Carrying Vehicles Notice ................................................................................................ 9 About the Notice ..................................................................................................................................................... 9 1: Travel Conditions ................................................................................................................................................. 9 1.1 Pilot and Escort Requirements .......................................................................................................................... -
ECHUCA-MOAMA BRIDGE CROSSING (NEW SOUTH WALES) Submissions Report April 2016
ECHUCA-MOAMA BRIDGE CROSSING (NEW SOUTH WALES) Submissions report April 2016 BLANK PAGE Roads and Maritime Services ECHUCA-MOAMA BRIDGE CROSSING (NEW SOUTH WALES) Submissions report April 2016 Prepared by GHD Pty Ltd RMS 16.239 ISBN: 978-1-925507-37-9 BLANK PAGE Executive summary Overview of Echuca-Moama bridge crossing Roads and Maritime Services (Roads and Maritime) and VicRoads propose to build a second Murray River bridge crossing between Moama in New South Wales (NSW) and Echuca in Victoria (referred to as the ‘Echuca-Moama bridge crossing’). Echuca and Moama function as a single community and are linked by the existing heritage-listed bridge across the Murray River, the only accessible river crossing in the area. The bridge does not meet current road design standards. Traffic congestion occurs on the bridge. The bridge has restrictions on the height, weight and width of vehicles that can use it. These constraints affect freight transport, local business and tourism, with associated impacts on the region’s productivity and economy. A second bridge crossing is required to provide an alternative route across the Murray River. The Echuca-Moama bridge crossing is required to alleviate congestion on the existing bridge, improve security of access for the local community and provide access across the Murray River for higher mass limit and oversized vehicles. It has been developed in consultation with the local community and stakeholders. NSW proposal Roads and Maritime proposes to build the NSW component of the Echuca-Moama bridge crossing (referred to in this submissions report as ‘the NSW proposal’). The NSW proposal extends north- east from of the high water mark on the Victorian bank of the Murray River to about 320 metres north of the Cobb Highway/Perricoota Road intersection in Moama. -
Sealing the Cobb and Silver City Highways Community Update April 2020
Transport for NSW Sealing the Cobb and Silver City highways Community update I April 2020 The NSW Government is providing $145 million to rebuild and seal the remaining sections of both the Cobb and Silver City highways, bringing the total invested since 2011 to $195 million. Rebuilding these highways will greatly improve the safety and reliability of routes for trade, tourism and local communities. In December 2020 the Far West Project Team earned the title of Transport for NSW "Project Team of the Year" for their ongoing achievements and commitment to deliver. We asked some of the team: What do you enjoy about working in the Far West? Ethan Degoumois, Anthony Tom Smith, Ben Ragenovich, Tayla Doubtfire, Sabrina Trezise, Road Worker: Campbell, Civil Truck Driver: Safety Civil Construction Road Worker: I enjoy working Construction I was born and Environment and Trainee: Connecting out bush with Trainee: bred in the bush Quality Officer: I like working communities gives a good crew. I like working in and I know the I enjoy the remotely in a me a feeling of Weather can be a new places over importance of isolation the Far construction immense pride. challenge, some the Far West and accessible roads West offers. It environment. I In addition, I would days it can be working with the in the outback. forces us to adapt have also become like to be a role 45°C and the next older generation, I enjoy being and grow the close friends with model for younger it could be raining. learning from the part of the team way we work to the person I live generations, stories they tell. -
Colonial Frontier Massacres in Australia 1788-1930: Sources
Colonial Frontier Massacres in Australia 1788-1930: Sources © Ryan, Lyndall; Pascoe, William; Debenham, Jennifer; Gilbert, Stephanie; Richards, Jonathan; Smith, Robyn; Owen, Chris; Anders, Robert J; Brown, Mark; Price, Daniel; Newley, Jack; Usher, Kaine, 2019. The information and data on this site may only be re-used in accordance with the Terms Of Use. This research was funded by the Australian Government through the Australian Research Council, PROJECT ID: DP140100399. http://hdl.handle.net/1959.13/1340762 Colonial Frontier Massacres in Australia 1788-1930: Sources 0 Abbreviations 1 Unpublished Archival Sources 2 Battye Library, Perth, Western Australia 2 State Records of NSW (SRNSW) 2 Mitchell Library - State Library of New South Wales (MLSLNSW) 3 National Library of Australia (NLA) 3 Northern Territory Archives Service (NTAS) 4 Oxley Memorial Library, State Library Of Queensland 4 National Archives, London (PRO) 4 Queensland State Archives (QSA) 4 State Libary Of Victoria (SLV) - La Trobe Library, Melbourne 5 State Records Of Western Australia (SROWA) 5 Tasmanian Archives And Heritage Office (TAHO), Hobart 7 Colonial Secretary’s Office (CSO) 1/321, 16 June, 1829; 1/316, 24 August, 1831. 7 Victorian Public Records Series (VPRS), Melbourne 7 Manuscripts, Theses and Typescripts 8 Newspapers 9 Films and Artworks 12 Printed and Electronic Sources 13 Colonial Frontier Massacres In Australia, 1788-1930: Sources 1 Abbreviations AJCP Australian Joint Copying Project ANU Australian National University AOT Archives of Office of Tasmania -
Barwon-Darling River Salinity. Integrated
Instream salinity models of NSW tributaries in the Murray-Darling Basin Volume 7 – Barwon-Darling River Salinity Integrated Quantity and Quality Model Publisher NSW Department of Water and Energy Level 17, 227 Elizabeth Street GPO Box 3889 Sydney NSW 2001 T 02 8281 7777 F 02 8281 7799 [email protected] www.dwe.nsw.gov.au Instream salinity models of NSW tributaries in the Murray-Darling Basin Volume 7 – Barwon-Darling River Salinity Integrated Quantity and Quality Model April 2008 ISBN (volume 2) 978 0 7347 5990 0 ISBN (set) 978 0 7347 5994 8 Volumes in this set: In-stream Salinity Models of NSW Tributaries in the Murray Darling Basin Volume 1 – Border Rivers Salinity Integrated Quantity and Quality Model Volume 2 – Gwydir River Salinity Integrated Quantity and Quality Model Volume 3 – Namoi River Salinity Integrated Quantity and Quality Model Volume 4 – Macquarie River Salinity Integrated Quantity and Quality Model Volume 5 – Lachlan River Salinity Integrated Quantity and Quality Model Volume 6 – Murrumbidgee River Salinity Integrated Quantity and Quality Model Volume 7 – Barwon-Darling River System Salinity Integrated Quantity and Quality Model Acknowledgements Technical work and reporting by Harry He, Perlita Arranz, Juli Boddy, Raj Rajendran, Richard Cooke and Richard Beecham. This publication may be cited as: Department of Water and Energy, 2008. Instream salinity models of NSW tributaries in the Murray-Darling Basin: Volume 7 – Barwon-Darling River Salinity Integrated Quantity and Quality Model, NSW Government. © State of New South Wales through the Department of Water and Energy, 2008 This work may be freely reproduced and distributed for most purposes, however some restrictions apply. -
Longreach Outback Getaway
5 DAYS LONGREACH OUTBACK GETAWAY dinner at the historic Wellshot Hotel. Then Day 1 | SUN | LONGREACH it’s time for Longreach’s latest sensation, Feel that sense of freedom and adventure TOUR HIGHLIGHTS the Luminescent Longreach Sound & Light as you arrive into Longreach. Fly/Rail guests Camden Park Station Smoko Tour Show, which brings the 100-year story of will be met at Longreach Airport on arrival. Qantas to life. Qantas Founders Museum & You’re standing in the true heartland of Airpark Tour Outback Queensland, home of legends, Drover's Sunset Cruise including larrikins and our pioneering giants. Get Day 3 | TUE | WINTON Smithy's Outback Dinner & Show acquainted on an introductory town Be prepared to be impressed with the Australian Age of Dinosaurs Tour tour with our Savannah Guides Operator changing landscapes as we travel from Waltzing Matilda Centre and Driver-Guide before checking into your Longreach to Winton. We visit the Australian Winton Tour accommodation. Dinner tonight will be at Age of Dinosaurs perched high on a Rosebank Station Tour & the Bird Cage Hotel, a local favourite! magnificent mesa overlooking the plains Morning Tea 4 nights Longreach Motor Inn, where dinosaurs once roamed! Onsite Australian Stockman's Hall of Fame (Optional upgrade to Mitchell Grass dinosaur enthusiasts treat us to a top- Ilfracombe Tour & Historic Retreat or Saltbush Retreat) class interpretive tour of the laboratory, Wellshot Hotel collection room and Dinosaur Canyon. In Luminescent Longreach Sound & Day 2 | MON | LONGREACH Winton see the quirky Arno’s Wall, the Light Show Meet the Smith family at historic Musical Fence and learn the story behind Rosebank Station for an exclusive tour and Australia’s unofficial national anthem at a relaxed homestead morning tea. -
Aboriginal Agency, Institutionalisation and Survival
2q' t '9à ABORIGINAL AGENCY, INSTITUTIONALISATION AND PEGGY BROCK B. A. (Hons) Universit¡r of Adelaide Thesis submitted for the degree of Doctor of Philosophy in History/Geography, University of Adelaide March f99f ll TAT}LE OF CONTENTS ii LIST OF TAE}LES AND MAPS iii SUMMARY iv ACKNOWLEDGEMENTS . vii ABBREVIATIONS ix C}IAPTER ONE. INTRODUCTION I CFIAPTER TWO. TI{E HISTORICAL CONTEXT IN SOUTH AUSTRALIA 32 CHAPTER THREE. POONINDIE: HOME AWAY FROM COUNTRY 46 POONINDIE: AN trSTä,TILISHED COMMUNITY AND ITS DESTRUCTION 83 KOONIBBA: REFUGE FOR TI{E PEOPLE OF THE VI/EST COAST r22 CFIAPTER SIX. KOONIBBA: INSTITUTIONAL UPHtrAVAL AND ADJUSTMENT t70 C}IAPTER SEVEN. DISPERSAL OF KOONIBBA PEOPLE AND THE END OF TI{E MISSION ERA T98 CTIAPTER EIGHT. SURVTVAL WITHOUT INSTITUTIONALISATION236 C}IAPTER NINtr. NEPABUNNA: THtr MISSION FACTOR 268 CFIAPTER TEN. AE}ORIGINAL AGENCY, INSTITUTIONALISATION AND SURVTVAL 299 BIBLIOGRAPI{Y 320 ltt TABLES AND MAPS Table I L7 Table 2 128 Poonindie location map opposite 54 Poonindie land tenure map f 876 opposite 114 Poonindie land tenure map f 896 opposite r14 Koonibba location map opposite L27 Location of Adnyamathanha campsites in relation to pastoral station homesteads opposite 252 Map of North Flinders Ranges I93O opposite 269 lv SUMMARY The institutionalisation of Aborigines on missions and government stations has dominated Aboriginal-non-Aboriginal relations. Institutionalisation of Aborigines, under the guise of assimilation and protection policies, was only abandoned in.the lg7Os. It is therefore important to understand the implications of these policies for Aborigines and Australian society in general. I investigate the affect of institutionalisation on Aborigines, questioning the assumption tl.at they were passive victims forced onto missions and government stations and kept there as virtual prisoners. -
Working Together to Close the Gap in Wilcannia Remote Service Delivery Local Implementation Plan © Commonwealth of Australia 2010 ISBN: 978-1-921647-45-1
Working Together to Close the Gap in Wilcannia Remote Service Delivery Local Implementation Plan © Commonwealth of Australia 2010 ISBN: 978-1-921647-45-1 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission from the Commonwealth, available from the Commonwealth Copyright Administration, Attorney-General’s Department. Requests and inquiries concerning reproduction and rights should be addressed to the Commonwealth Copyright Administration. Attorney-General’s Department, Central Office, 3-5 National Circuit, Canberra ACT 2600 or posted at www.ag.gov.au/cca. Please be aware that this report may contain the images and names of Aboriginal and Torres Strait Islander people who have passed away. Working Together to Close the Gap in Wilcannia Remote Service Delivery Local Implementation Plan Artist Acknowledgement EDDY HARRIS Eddy Harris was born in Wilcannia and is a member of two tribes, the Bakandji, As the Wilcannia representative of the Regional Arts Board, Eddy’s role is to promote and the Wongaibon. Eddy comes from a family of eight children. Eddy is regularly other local artists to get their work seen beyond the region. sought out to provide advice on art, craft and educational involvements for In addition to being an artist, Eddy is currently employed as the Project Support Aboriginal people, as well as for primary and secondary schools. Worker for the Community Safety Research Project for Wilcannia, Broken Hill and Eddy’s work has been shown in a range of galleries throughout Australia, including Menindee. The project is a partnership between Maari Ma Primary Health Care the Australian Aboriginal Art Gallery. -
NSW Light Vehicles Agricultural and Load Exemption Order 2019
NSW Light Vehicle Agricultural and Load Exemption Order 2019 Notice of suitable routes and areas Travel Times, Zones and Travel Conditions – Load Carrying vehicles In accordance with the Order, this notice identifies routes and zones that Roads and Maritime Services has identified as suitable for use at the times and in the manner specified for each route or zone. Part 1 – NSW Urban Zone For the purposes of this Part the NSW Urban Zone is defined as the area bounded by and including: • the Pacific Ocean and the North Channel of the Hunter River, then • north from Stockton bridge along Nelson Bay Road (MR108) to Williamtown, then • west along Cabbage Tree Road (MR302) to Masonite Road near Tomago, then • along Masonite Road to the Pacific Highway (HW10) at Heatherbrae, then • south along the Pacific Highway (HW10) to Hexham, then • west along the New England Highway (HW9) to Weakleys Drive Thornton, then • south along Weakleys Drive to the F3 Sydney Newcastle Freeway at Beresfield, then • along the F3 Sydney Newcastle Freeway to the Hawkesbury River bridge, then • along the Hawkesbury River and the Nepean River to Cobbity, then • a line drawn south from Cobbitty to Picton, then • via Picton Road and Mount Ousley Road (MR95) to the start of the F6 Southern Freeway at Mount Ousley, then • via the F6 Southern Freeway to the Princes Highway at West Wollongong, then • the Princes Highway and Illawarra Highway to Albion Park with a branch west on West Dapto Road to Tubemakers, then • Tongarra Road to the Princes Highway, then • Princes Highway south to the intersection of South Kiama Drive at Kiama Heights, then • a straight line east to the Pacific Ocean. -
There's a Lot Going on in 'Australia': Baz Luhrmann's Claim to the Epic
10 • Metro Magazine 159 There’s a lot going on in Australia Baz Luhrmann’s Claim to the Epic Brian McFarlane REVIEWS BAZ LUHRmann’s EAGERLY AWAITED ‘Event’ FiLM. ou’ve got to admire the cheek of scape of a restricted kind. Does Luhrmann a director who calls his film simply believe that it is only Dorothea Mackellarland YAustralia. It implies that what is (all ‘sweeping plains’ and ‘ragged mountain going on in it is comprehensive enough, or ranges’ and ‘droughts and flooding rains’) at least symptomatic enough, to evoke the that the world at large will recognize as Aus- continent at large. Can it possibly live up to tralia? What he shows us is gorgeous be- such a grandiose announcement of intention? yond the shadow of a doubt – gorgeous, that There have been plenty of films named for is, to look at on a huge screen rather than to cities (New York, New York [Martin Scorsese, live in. It is, though, hardly the ‘Australia’ that 1977], Barcelona [Whit Stillman, 1994], most most of its inhabitants will know intimately, recently Paris [Cédric Klapisch, 2008]), but living as we do in our urban fastnesses, but summoning a city seems a modest enterprise the pictorial arts have done their bit in instill- compared with a country or a continent ing it as one of the sites of our yearning. (please sort us out, Senator Palin). D.W. Griffith in 1924 and Robert Downey Sr in Perhaps it’s really a love story at heart, a love 1986 had a go with America: neither director story in a huge setting that overpowers its is today remembered for his attempt to fragile forays into intimacy. -
Aboriginal Australians Wilcannia Is Found Wanting
Coolabah, No.5, 2011, ISSN 1988-5946, Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona Politics, pain and pleasure: the art of art-making for ‘settled’ Aboriginal Australians Lorraine Gibson Copyright©2011 Lorraine Gibson. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged. Abstract: Since the emergence of the ‘acrylic art movement’ which came out of Papunya in the Western Desert of Australia in the 1970s, Aboriginal art and cultures have become intertwined in public discourse, through government policy, and in visual art worlds. It is arguably through their artworks that Australian Aboriginal people have become increasingly known both within Australia and overseas (Merlan 2001; cf. Fourmille 1994).i Indeed, in many ways, Aboriginal art has come to represent Aboriginal people and their culture (Myers 2002). But what kind of art is acceptably deemed Aboriginal in mainstream art worlds, by Australian Aboriginal people, and why? What does this mean personally, socially and economically for those Aboriginal artists who are located in the south-eastern parts of Australia which were first colonised? For the most part these people are deemed by the mainstream population to have ‘lost their culture’. More than this, they are spoken of by some other Aboriginal people from the more remote and later colonised parts of the continent in similar terms. Based on long-term ethnographic fieldwork with the Barkindji people of Wilcannia, a small country town in the south-east of Australia, this paper explores the role of art making and art talk and the ways in which these are implicated in the politics of culture, in cultural subjectivity, and in the consolidation and (re)creation of cultural identity.