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Anthropology of Indigenous Australia
Anthropology of Indigenous Australia Class code ANTH-UA 9037 Instructor Details Petronella Vaarzon-Morel [email protected] 0428633216 (mobile) Office Hour: Tuesday 5-6pm Class Details Anthropology of Indigenous Australia Tuesdays, 2-5pm September 3 to December 10 Room 3.04 NYU Sydney Academic Centre Science House: 157 Gloucester Street, The Rocks Prerequisites None Class Description This course offers an introduction to some of the classical and current issues in the anthropology of Indigenous Australia. The role of anthropology in the representation and governance of Indigenous life is itself an important subject for anthropological inquiry, considering that Indigenous people of Australia have long been the objects of interest and imagination by outsiders for their cultural formulations of kinship, ritual, art, gender, and politics. These representations—in feature films about them (such as Rabbit-Proof Fence and Australia), New Age Literature (such as Mutant Message Down Under), or museum exhibitions (such as in the Museum of Sydney or the Australian Museum)—are now also in dialogue with Indigenous forms of cultural production, in genres as diverse as film, television, drama, dance, and archiving. The course will explore how Aboriginal people have struggled to reproduce themselves and their traditions on their own terms, asserting their right to forms of cultural autonomy and self-determination. Through the examination of ethnographic texts, historical accounts, films, live performances, and an autobiography, we will consider the ways in which Aboriginalities are being challenged and constructed in contemporary Australia. The course will consist of lectures interspersed with discussions, student presentations, and films/other media; we may also have guest presenters. -
Stephen Page on Nyapanyapa
— OUR land people stories, 2017 — WE ARE BANGARRA We are an Aboriginal and Torres Strait Islander organisation and one of Australia’s leading performing arts companies, widely acclaimed nationally and around the world for our powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national currently in our 28th year. Our dance technique tour of a world premiere work, performed in is forged from over 40,000 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. Each an international tour to maintain our global has a proud Aboriginal and/or Torres Strait reputation for excellence. Islander background, from various locations across the country. Complementing this touring roster are education programs, workshops and special performances Our relationships with Aboriginal and Torres and projects, planting the seeds for the next Strait Islander communities are the heart generation of performers and storytellers. of Bangarra, with our repertoire created on Country and stories gathered from respected Authentic storytelling, outstanding technique community Elders. and deeply moving performances are Bangarra’s unique signature. It’s this inherent connection to our land and people that makes us unique and enjoyed by audiences from remote Australian regional centres to New York. A MESSAGE from Artistic Director Stephen Page & Executive Director Philippe Magid Thank you for joining us for Bangarra’s We’re incredibly proud of our role as cultural international season of OUR land people stories. -
Commercial Driver's License (CDL) Manual
Connecticut Commercial Driver License Manual Ned Lamont Sibongile Magubane Governor Commissioner State of Connecticut Department of Motor Vehicles 60 State Street Wethersfield, CT 06161 ct.gov/dmv R-295 Rev. 03/2020 This material is based upon work supported by the Federal Motor Carrier Safety Administration under Cooperative Agreement No. DTFH61-97-X-00017. Any opinions, findings, conclusions or recommendations expressed in this publication are those of the Author(s) and do not necessarily reflect the view of the Federal Motor Carrier Safety Administration. COPYRIGHT © 2005 AAMVA. All rights reserved This material has been created for and provided to State Driver License Agencies (SDLAs) by AAMVA for the purpose of educating Driver License applicants (Commercial or Non-Commercial). Permission to reproduce, use, distribute or sell this material has been granted to SDLAs only. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without express written permission from the author / publisher. Any unauthorized reprint, use, distribution or sale of this material is prohibited. In January 2015, an RV pulled into a truck stop in Virginia. Observant professional truck driver Kevin Kimmel recognized suspicious activity around that RV, which had pulled back by the truck line, and decided something was off. Instead of turning a blind eye, he made a call that brought law enforcement out to the scene within a few minutes. After interviewing the occupants of the vehicle, they discovered that a young woman, 20 years old, had been kidnapped from Iowa two weeks prior. -
DEADLYS® FINALISTS ANNOUNCED – VOTING OPENS 18 July 2013 Embargoed 11Am, 18.7.2013
THE NATIONAL ABORIGINAL & TORRES STRAIT ISLANDER MUSIC, SPORT, ENTERTAINMENT & COMMUNITY AWARDS DEADLYS® FINALISTS ANNOUNCED – VOTING OPENS 18 July 2013 Embargoed 11am, 18.7.2013 BC TV’s gripping, award-winning drama Redfern in the NBA finals, Patrick Mills, are finalists in the Male Sportsperson Now is a multiple finalist across the acting and of the Year category, joining two-time world champion boxer Daniel television categories in the 2013 Deadly Awards, Geale, rugby union’s Kurtley Beale and soccer’s Jade North. with award-winning director Ivan Sen’s Mystery Across the arts, Australia’s best Indigenous dancers, artists and ARoad and Satellite Boy starring the iconic David Gulpilil. writers are well represented. Ali Cobby Eckermann, the SA writer These were some of the big names in television and film who brought us the beautiful story Ruby Moonlight in poetry, announced at the launch of the 2013 Deadlys® today, at SBS is a finalist with her haunting memoir Too Afraid to Cry, which headquarters in Sydney, joining plenty of talent, achievement tells her story as a Stolen Generations’ survivor. Pioneering and contribution across all the award categories. Indigenous award-winning writer Bruce Pascoe is also a finalist with his inspiring story for lower primary-school readers, Fog Male Artist of the Year, which recognises the achievement of a Dox – a story about courage, acceptance and respect. Aboriginal and Torres Strait Islander musicians, will be a difficult category for voters to decide on given Archie Roach, Dan Sultan, The Deadly Award categories of Health, Education, Employment, Troy Cassar-Daley, Gurrumul and Frank Yamma are nominated. -
DNA Nation Press
PRESS KIT DISTRIBUTOR CONTACT PRODUCTION CONTACT SBS International Blackfella Films Lara von Ahlefeldt Darren Dale Tel: +61 2 9430 3240 Tel: +61 2 9380 4000 Email: [email protected] Email: [email protected] 10 Cecil Street Paddington NSW 2021 Tel: +612 9380 4000 Fax: +612 9252 9577 Email: [email protected] www.blackfellafilms.com.au Production Notes Producer Darren Dale Producer & Writer Jacob Hickey Series Producer Bernice Toni Director Bruce Permezel Production Company Blackfella Films Genre Documentary Series Language English Aspect Ratio 16:9 FHA Duration EP 1 00:51:53:00 EP 2 00:54:54:00 EP 3 00:52:58:00 Sound Stereo Shooting Gauges Arri Amira, F55, DJI Inspire Drone, Blackmagic & Go Pro Logline Who are we? And where do we come from? Short Synopsis Who are we? And where do we come from? Australia’s greatest Olympian Ian Thorpe, iconic Indigenous actor Ernie Dingo, and TV presenter and Queen of Eurovision Julia Zemiro set off on an epic journey of genetic time travel to find out. © 2016 Blackfella Films Pty Ltd Page 2 of 40 Long Synopsis Who are we? And where do we come from? Australia’s greatest Olympian Ian Thorpe, iconic Indigenous actor Ernie Dingo, and TV presenter and Queen of Eurovision Julia Zemiro set off on an epic journey of genetic time travel to find out. DNA is the instruction manual that helps build and run our bodies. But scientific breakthroughs have discovered another remarkable use for it. DNA contains a series of genetic route maps. It means we can trace our mother’s mother’s mother and our father’s father’s father, and so on, back through tens of millennia, revealing how our ancestors migrated out of Africa and went on to populate the rest of the world. -
Reconciliationnews Issue No 30 // September 2014
ReconciliationNews ISSUE NO 30 // September 2014 Rebecca Richards, Rhodes Scholar Top marks for a Coota boy The culture of mathematics 2 ISSUE NO 30 // September 2014 CONTENTS CEO’s message 3 From student to teacher 4 Two cool for schools This is likely to be my final message in Reconciliation News as I will soon be stepping down as CEO of Reconciliation Australia. I have absolutely enjoyed working here for the past four years and 7 Lourdes Hill shares the spirit it has been a privilege to share that time with a Board and staff so committed to the work we do. 8 Rebecca Richards, When I first took up my role, I said how honoured I was to be heading up an organisation that Rhodes Scholar matched my own values, and that is just as true today as it was then. The pathway to recognition and reconciliation is now engaging more Australians than ever before 10 The magic of mentoring and I am proud to have been a part of our key achievements over the past few years. We are now more dynamic and disciplined, our policy and people processes are more reflective of a 12 Top marks for a Coota boy social business and our programs including Reconciliation Action Plans, National Reconciliation Week and the Indigenous Governance Awards have all increased their reach and impact. 15 Students hit the right note We have significantly increased our profile and engagement across all sectors of society— 16 Walking the talk on Kokoda government, corporate, schools, Aboriginal and Torres Strait Islander leaders and communities and non-Indigenous organisations. -
MS 5014 C.D. Rowley, Study of Aborigines in Australian Society, Social Science Research Council of Australia: Research Material and Indexes, 1964-1968
AIATSIS Collections Catalogue Manuscript Finding Aid Index Australian Institute of Aboriginal and Torres Strait Islander Studies Library MS 5014 C.D. Rowley, Study of Aborigines in Australian Society, Social Science Research Council of Australia: research material and indexes, 1964-1968 CONTENTS COLLECTION SUMMARY………………………………………….......page 5 CULTURAL SENSITIVITY STATEMENT……………………………..page 5 ACCESS TO COLLECTION………………………………………….…page 6 COLLECTION OVERVIEW……………………………………………..page 7 BIOGRAPHICAL NOTE………………………………...………………page 10 SERIES DESCRIPTION………………………………………………...page 12 Series 1 Research material files Folder 1/1 Abstracts Folder 1/2 Agriculture, c.1963-1964 Folder 1/3 Arts, 1936-1965 Folder 1/4 Attitudes, c.1919-1967 Folder 1/5 Bibliographies, c.1960s MS 5014 C.D. Rowley, Study of Aborigines in Australian Society, Social Science Research Council of Australia: research material and indexes, 1964-1968 Folder 1/6 Case Histories, c.1934-1966 Folder 1/7 Cooperatives, c.1954-1965. Folder 1/8 Councils, 1961-1966 Folder 1/9 Courts, Folio A-U, 1-20, 1907-1966 Folder 1/10-11 Civic Rights, Files 1 & 2, 1934-1967 Folder 1/12 Crime, 1964-1967 Folder 1/13 Customs – Native, 1931-1965 Folder 1/14 Demography – Census 1961 – Australia – full-blood Aboriginals Folder 1/15 Demography, 1931-1966 Folder 1/16 Discrimination, 1921-1967 Folder 1/17 Discrimination – Freedom Ride: press cuttings, Feb-Jun 1965 Folder 1/18-19 Economy, Pts.1 & 2, 1934-1967 Folder 1/20-21 Education, Files 1 & 2, 1936-1967 Folder 1/22 Employment, 1924-1967 Folder 1/23 Family, 1965-1966 -
Reconciliationnews Issue No 28 // December 2013
ReconciliationNews ISSUE NO 28 // December 2013 Michael Hohnen and Mark Grose and their passion for Indigenous music Rachel Perkins discusses her love of filmmaking Alison Page, bringing people together through the Freshwater Saltwater Arts Alliance 2 ISSUE NO 28 // December 2013 CONTENTS 3 Black Diggers – CEO message the untold story 4 Rachel Perkins: in the frame How quickly this year has flown! All of a sudden we’re talking about Christmas, thinking about a welcome break 7 A tale of two talents by a beach somewhere and looking forward to all that fun 8 Coming home to and food with family and friends. Noongar country 10 Making music with Skinnyfish For most of us, taking a break will probably include music, movies and books, perhaps even a visit to a gallery or a festival. The arts enrich our lives every day and in much the same way 12 Riding the black cockatoo as sport encourages respect and admiration for athletic talent, the arts can provide a real appreciation and understanding of culture. 16 Saltwater Freshwater: bringing people together We’ve devoted this edition of Reconciliation News to the arts and I hope you’ll enjoy the various stories that together illustrate that reconciliation comes in many forms. 19 Bangarra turns 25! The thoughtful voice of film director Rachel Perkins whose work includes First Australians, Mabo and Redfern Now comes through clearly as she reveals her passion for filmmaking. Her quietly 19 Aboriginal artists shine powerful films have helped demystify our hidden history and have fostered better understanding between Aboriginal and Torres Strait Islander people and other Australians. -
Theatre Costume, Celebrity Persona, and the Archive
Persona Studies 2019, vol. 5, no. 2 THEATRE COSTUME, CELEBRITY PERSONA, AND THE ARCHIVE EMILY COLLETT ABSTRACT This essay considers the archived costume in relation to the concept of the celebrity performer’s persona. It takes as its case study the Shakespearean costume of Indigenous actress Deborah Mailman, housed in the Australian Performing Arts Collection. It considers what the materiality of the theatre costume might reveal and conceal about a performer’s personas. It asks to what extent artefacts in an archive might both create a new persona or freezeframe a particular construct of a performer. Central to the essay are questions of agency in relation to the memorialisation of a still living actress and the problematisation of persona in terms of the archived object. Can a costume generate its own persona in relation to the actress? And what are the power dynamics involved in persona construction when an archived costume presents a charged narrative which is very different to the actress’s current construction of her persona? KEY WORDS Costume; Archive; Deborah Mailman; Indigenous; Memory; Shakespeare COSTUME IN THE ARCHIVE: A CHARGED OBJECT In this essay I consider the archived theatre costume in relation to persona studies and what the materiality of costume might reveal or conceal about the celebrity performer’s persona(s). Can an archived costume have its own persona? What complexities arise when the charged historical narrative of an archived costume is at odds with a current persona? And in the following case study of Deborah Mailman, what happens when the framing of a living Indigenous actress’s costume constructs a persona that is quite different to the one that the actress currently constructs for herself? A costume worn by a performer live on stage is remembered in particular ways – and many in the audience might focus more on the performer’s stance, physicality, and verbal prowess than what they are wearing. -
Leah Purcell DROVER’S WIFE
THE Leah Purcell DROVER’S WIFE Currency Press, Sydney Writer’s Note Like many Australians, I’ve grown up with this story and love it. My mother would read or recite it to me, but before she got to that famous last line, I would stop her and say, “Mother, I won’t ever go a drovin’.” I always wanted to do something with this story with me in it as the drover’s wife. There were two forms of inspiration that motivated me to write this play. First came the film idea in 2006, which I wanted to shoot in the Snowy Mountains. That inspiration came when I was filming the feature film Jindabyne, directed by Ray Lawrence. Secondly, I was in a writing workshop. I was there as a director, but got frustrated. So I went home and said it was time to write my next play. I looked at my bookshelf and there it was: my little red tattered book of Henry Lawson’s short stories. The red cover had now fallen off, its spine thread fraying and my drawings inside as a five-year-old fading. In the original story, the drover’s wife sits at the table waiting for a snake to come out of her bedroom, having gotten in via the wood heap, which a ‘blackfella’ stacked hollow. While she waits for the snake, she thinks about her life and its hardships. Her oldest son joins her and she shares her story with him. This is not my version of The Drover’s Wife. -
First Nation Filmmakers from Around the World 10
MEDIA RELEASE EMBARGOED UNTIL 11.00am WEDNESDAY 10 MAY 2017 FIRST NATION FILMMAKERS FROM AROUND THE WORLD The 64th Sydney Film Festival (7–18 June) in partnership with Screen Australia’s Indigenous Department proudly continues support for First Nation storytelling from Australia and around the world. Leading First Nation Australian directors will premiere their new works at the Festival, including Warwick Thornton’s Opening Night film and Official Competition contender We Don’t Need a Map, and Wayne Blair and Leah Purcell’s highly anticipated second series of Cleverman. “Sydney Film Festival is committed to showcasing First Nation filmmakers and storytelling,” said Festival Director Nashen Moodley. “Throughout the Festival audiences will find examples of outstanding Indigenous cinema, from the red sands of Western Australia to the snowy landscapes of the Arctic Circle. These films promise to surprise, provoke and push boundaries.” “We're proud to continue our partnership with Sydney Film Festival to showcase these powerful documentaries from the world's leading Indigenous filmmakers, as well as premiere the innovative work of emerging new talent from around the country,” said Penny Smallacombe, Head of Indigenous at Screen Australia. “We are very pleased to see five films commissioned by NITV take their place alongside such prestigious works from across the world,” said Tanya Orman, NITV Channel Manager. Two important Australian First Nation documentaries will also have their premieres at the Festival. Connection to Country, directed by Tyson Mowarin, about the Indigenous people of the Pilbara’s battle to preserve Australia’s 40,000-year-old cultural heritage from the ravages of mining, and filmmaker Erica Glynn’s raw, heartfelt and funny journey of adult Aboriginal students and their teachers as they discover the transformative power of reading and writing for the first time (In My Own Words). -
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.