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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. -
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. -
Serpent Noun
נָחָׁש serpent noun http://www.morfix.co.il/en/serpent ֶק ֶשת bow ; rainbow ; arc http://www.morfix.co.il/en/%D7%A7%D7%A9%D7%AA http://aratools.com/#word-dict-tab The Secret Power of Spirit Animals: Your Guide to Finding Your Spirit Animals and Unlocking the Truths of Nature By Skye Alexander Page 17 Rainbow Serpent This article is about an Australian Aboriginal mytholog- people,[7] Kunmanggur by the Murinbata,[2] Ngalyod by ical figure. For the aquatic snake found in the south- the Gunwinggu,[2] Numereji by the Kakadu,[3] Taipan by eastern United States, see Farancia erytrogramma. For the Wikmunkan,[2] Tulloun by the Mitakoodi,[3] Wagyl the Australian music festival, see Rainbow Serpent Fes- by the Noongar,[8] Wanamangura by the Talainji,[3] tival. and Witij by the Yolngu.[1] Other names include Bol- The Rainbow Serpent or Rainbow Snake is a com- ung,[4] Galeru,[2] Julunggul,[9] Kanmare,[3] Langal,[2] Myndie,[10] Muit,[2] Ungur,[2] Wollunqua,[2] Wonambi,[2] Wonungar,[2] Worombi,[2] Yero,[2] Yingarna,[11] and Yurlunggur.[2] 2 Development of concept Though the concept of the Rainbow Serpent has ex- isted for a long time in Aboriginal Australian cultures, it was introduced to the wider world through the work of anthropologists.[12] In fact, the name Rainbow Ser- pent or Rainbow Snake appears to have been coined in English by Alfred Radcliffe-Brown, an anthropolo- gist who noticed the same concept going under different Australian Aboriginal rock painting of the “Rainbow Serpent”. names among various Aboriginal Australian cultures, and called -
Les Serpents Arc-En-Ciel Viennent Toujours Du Nord : Relations Passées Et Présentes Entre Une Population Et Un Animal Symboliq
« Les serpents arc-en-ciel viennent toujours du nord » Relations passées et présentes entre une population et un animal symbolique dans le Nord-Ouest de l’Australie Bernard MOIZO [email protected] Résumé La richesse des mythes des Aborigènes d’Australie et le rôle prépondérant des animaux dans cette cosmogonie en font un objet d’étude très attractif pour qui s’intéresse à l’importance du symbolisme animal. Chez les Aborigènes, le concept du “Temps du Rêve”, une période onirique durant laquelle tout a été créé, possédant un début mais pas de fin, leur permet de perpétuer et réactualiser dans leurs activités quotidiennes les liens avec les entités mythiques des temps premiers. La perception du monde animal, autrefois clef de voûte des relations entre les hommes, la nature et la surnature, est devenue pour les Aborigènes un enjeu identitaire. À présent marginalisés, socialement et économiquement, ne subsistant que grâce aux prestations sociales versées par l’État, les Aborigènes tentent de renouer avec leur passé mythique. Dans cet article nous aborderons les liens, passés et présents, entre humains et un animal symbolique. Mots-clés Aborigènes d’Australie, cosmologie, rituels, modernité, changements identitaires ▌ Introduction Comme la plupart des chasseurs-cueilleurs, les Aborigènes entretiennent avec le monde animal un rapport ambigu (cf. E. Dounias (sanglier), M. Fleury, © IRD, 2007 Le symbolisme des animaux. L'animal, clef de voûte de la relation entre l’homme et la nature ? 728 Animal symbolism. Animals, keystone in the relationship between Man and Nature? M. Itchikawa, É. Navet, V. Randa, H. Terashima, cet ouvrage). Pour les Aborigènes, les animaux sont, selon les contextes, des proies, des concurrents, des alliés, ou des modèles. -
Manme Mayh: Gardens of the Stone Country, 2012
1 Two Tasmanian devils (Sarcophilus harrisii) with simple x-ray style features superimpose earlier rock paintings. Duluburreni locality, Mok clan estate. Photo courtesy of the Museum and 2 Art Gallery of the Northern Territory Manme Mayh: Gardens of the Stone Country 1 2 Manme Mayh: Gardens of the Stone Country Contents 5 Foreword – Angus Cameron and Lorna Martin 7 Introduction – Donna Nadjamerrek and Lois Nadjamerrek 8 Art Work 8 Kalarriya (Jimmy) Namarnyilk (dec) 14 Nakadilinj (Don) Namundja 19 Allan Nadjamerrek 23 Namarnyilk (Gavin) Nadjamerrek 27 Maralngurra (Maath) Nadjamerrek 31 Acknowledgements 32 Artist Biographies Djurrih Kawokbebme, the southernmost waterfall on the Liverpool River. The Mok clan estate, Ankung Kunred –Wild Honey Country – ends some ten kilometres upstream. Photo courtesy of the Museum and Art Gallery of the Northern Territory (MAGNT). 3 4 he Stone Country of Western Arnhem Land is a unique, Slowly the nights become cooler, the winds swing to the south- Tremote and richly diverse landscape. It encompasses a vast east as yekke (the early dry season) approaches. It is a good time sandstone plateau escarpment, which rises out of low lying for hunting kunj (kangaroos), fat and easy to get to after the alluvial plains and wetlands. The plateau extends towards the abundance of ‘The Wet’. The andjamko (grevilleas), mandjoh coast in the northwest and gradually merges with the inland (acacias), manbidubidu (eucalypts flower) and mandem (water plains in the south. lilies) are everywhere. Western Arnhem Land burns as manwurrk (hunting fires) and mosaic burning spread across the drying land. Over millions of years water has shaped the sandstone into a rugged mosaic of rivers, gorges, waterfalls and ravines. -
G Iant Snakes
Copyrighted Material Some pages are omitted from this book preview. Giant Snakes Giant Giant Snakes A Natural History John C. Murphy & Tom Crutchfield Snakes, particularly venomous snakes and exceptionally large constricting snakes, have haunted the human brain for a millennium. They appear to be responsible for our excellent vision, as well as the John C. Murphy & Tom Crutchfield & Tom C. Murphy John anxiety we feel. Despite the dangers we faced in prehistory, snakes now hold clues to solving some of humankind’s most debilitating diseases. Pythons and boas are capable of eating prey that is equal to more than their body weight, and their adaptations for this are providing insight into diabetes. Fascination with snakes has also drawn many to keep them as pets, including the largest species. Their popularity in the pet trade has led to these large constrictors inhabiting southern Florida. This book explores what we know about the largest snakes, how they are kept in captivity, and how they have managed to traverse ocean barriers with our help. Copyrighted Material Some pages are omitted from this book preview. Copyrighted Material Some pages are omitted from this book preview. Giant Snakes A Natural History John C. Murphy & Tom Crutchfield Copyrighted Material Some pages are omitted from this book preview. Giant Snakes Copyright © 2019 by John C. Murphy & Tom Cructhfield All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission in writing from the publisher. Printed in the United States of America First Printing March 2019 ISBN 978-1-64516-232-2 Paperback ISBN 978-1-64516-233-9 Hardcover Published by: Book Services www.BookServices.us ii Copyrighted Material Some pages are omitted from this book preview. -
Designing with Indigenous Knowledge: Policy and Protocols for Respectful and Authentic Cross-Cultural Representation in Communication Design Practice
Designing with Indigenous Knowledge: Policy and protocols for respectful and authentic cross-cultural representation in communication design practice A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy at Swinburne University of Technology Faculty of Health, Arts and Design by Russell John Kennedy Master of Arts (Design), Monash University (2000) 2015 Key words Appropriation, collaboration, consultation, design, ethical, Indigenous, knowledge, professional, practice, representation, respect. i ii Preface It is important for me to declare at the outset that I, the author of this PhD dissertation, am not of Aboriginal or Torres Strait Islander decent. I pursue this research from the perspective of a communication designer who is unclear about the positioning of Indigenous culture within Australia’s national identity. My motivation emanates from a concern I have had for many years about the representation, referencing and application of Indigenous culture in professional design practice. The topic of Indigenous culture representation has attracted little academic study in the field of communication design. This lack of specific literature required this dissertation to align knowledge from both the fine arts and social sciences. This required building an informed level of familiarity with fields of cross-cultural research, cultural appropriation, nation building and the law (Indigenous cultural expression and heritage). Having stated that, it should be made clear that this research is positioned firmly in the field of design studies. It references and intersects associated areas of epistemology, as ‘design’ research should. However, this dissertation does not claim to speak with expert authority in the fields law, philosophy, ethics of appropriation or the social sciences. -
Rock Art Thematic Study
Rock Art Thematic Study Jo McDonald and Lucia Clayton 26 May 2016 Report to the Department of the Environment and the Australian Heritage Council Centre for Rock Art Research and Management, University of WA Rock Art Thematic Study Page ii Table of Contents 1 Introduction ....................................................................................................................................................... 1 2 Rock art overview ............................................................................................................................................... 2 2.1 Introduction to rock art ............................................................................................................................... 2 2.2 Regional overview of Australian Aboriginal rock art ..................................................................................... 3 2.2.1 Australian Capital Territory (ACT) ....................................................................................................................... 7 2.2.2 New South Wales ................................................................................................................................................ 7 2.2.3 Northern Territory ............................................................................................................................................. 14 2.2.4 Queensland ...................................................................................................................................................... -
Awakening of the Serpent Energy
AWAKENING OF THE SERPENT ENERGY AN INDIAN-ABORIGINAL PERFORMANCE EXCHANGE Beena Sharma MA Sociology, BA Performing Arts Master of Arts, Honours (Performance) 2001 University of Western Sydney School of Applied Social and Human Sciences Beena Sharma 1 MA (Hons.) thesis AWAKENING OF THE SERPENT ENERGY AN INDIAN-ABORIGINAL PERFORMANCE EXCHANGE Beena Sharma MA Sociology, BA Performing Arts Master of Arts, Honours (Performance) 2001 University of Western Sydney School of Applied Social and Human Sciences Beena Sharma 2 MA (Hons.) thesis CERTIFICATE OF ORIGINALITY This is to certify that this thesis, except where acknowledged within the text, is my original work, and that it has not been presented previously for examination for any other degree at this or any other institution. I also agree to abide by the Copyright Rules of the University. Signed ……………………… Date __ / __ / __ Beena Sharma 3 MA (Hons.) thesis Dedicated to AUM NAMAH SHRI TRIPURA HRIM (Salutation to the Highest Being in the Abstract) and My Gurus and Parents Rajender and Sarla Paul Beena Sharma 4 MA (Hons.) thesis ACKNOWLEDGMENTS I am indebted to numerous people who have either influenced me or have given me valuable advice and assistance in my venture. First and foremost I am grateful to my mother, Sarla Paul in conceptualizing my dream, and to my father retired Wg. Cdr. R. Paul, for translating verses into English and helping me in collecting materials on the Serpent energy. To Neena Bhardwaj, my sister, for organizing the music in India. I would like to offer a heartfelt acknowledgment to my family members, especially my husband Vijay and my daughters Radhika and Sarika, for their tireless support and patience throughout my writing. -
Appreciating the Rich Existence of Australian Aboriginal Culture Through Rock Art
The Stone Canvas: Appreciating the Rich Existence of Australian Aboriginal Culture through Rock Art Lance Kidder and Alexandra Davis April 24, 2013 Alexandra Davis April 24, 2013 Lance Kidder As a culture dating back over 50,000 years, the society and lifestyle of the Aboriginal people is highly connected to rock art, which can be interpreted through and is directly connected to the mythology and art technique of this ancient race. Analysis of Aboriginal rock art provides great insight into the history and lives of the Aboriginal people because their art was so integrally linked with religion, tradition, and daily life. Aboriginals prodigiously created a wide variety of work, including paintings and carvings with wide variety and unique qualities that allowed them to express themselves and their mythology through visual representations that were often quite sacred to the artist and his tribe. This paper intends to examine the motivations behind Aboriginal art, while focusing on the mythology and techniques surrounding its creation. 2 Alexandra Davis April 24, 2013 Lance Kidder Archaeologists estimate that the Australian continent was populated approximately 50,000 years ago by people who ventured south from Southeast Asia. Researchers believe that a small group of people made the short trip across the water by boat or raft during a period of low sea levels such as are experienced during ice ages, and then slowly began increasing in numbers and migrating south, spreading out over Australia (Morwood, 2002). The first sign of cave- dwelling by these Australian Aboriginal people can be dated to around 40,000 years ago, with the earliest discovered rock art on the continent appearing to be about 28,000 years old. -
Australian Aboriginal Geomythology: Eyewitness Accounts of Cosmic Impacts?
Preprint: Submitted to Archaeoastronomy – The Journal of Astronomy in Culture Australian Aboriginal Geomythology: Eyewitness Accounts of Cosmic Impacts? Duane W. Hamacher1 and Ray P. Norris2 Abstract Descriptions of cosmic impacts and meteorite falls are found throughout Australian Aboriginal oral traditions. In some cases, these texts describe the impact event in detail, suggesting that the events were witnessed, sometimes citing the location. We explore whether cosmic impacts and meteorite falls may have been witnessed by Aboriginal Australians and incorporated into their oral traditions. We discuss the complications and bias in recording and analysing oral texts but suggest that these texts may be used both to locate new impact structures or meteorites and model observed impact events. We find that, while detailed Aboriginal descriptions of cosmic impacts and meteorite falls are abundant in the literature, there is currently no physical evidence connecting any of these accounts to impact events currently known to Western science. Notice to Aboriginal Readers This paper gives the names of, or references to, Aboriginal people that have passed away throughout, and to information that may be considered sacred to some groups. It also contains information published in Nomads of the Australian Desert by Charles P. Mountford (1976). This book was banned from sale in the Northern Territory in 1976 as it contained sacred/secret knowledge of the Pitjantjatjara (see Brown 2004:33-35; Neate 1982). No information about the Pitjantjatjara from Mountford’s book is presented in this paper. 1 Department of Indigenous Studies, Macquarie University, NSW, 2109, Australia [email protected] | Office: (+61) 2 9850 8671 Duane Hamacher is a PhD candidate in the Department of Indigenous Studies at Macquarie University in Sydney, Australia. -
SOME ANCIENT and SOME LESSER KNOWN SACRED PLACES Oceania Australia Indigenous Australians
SOME ANCIENT AND SOME LESSER KNOWN SACRED PLACES Oceania Australia Indigenous Australians. • Dreamtime stories vary with location. From a book by James Cowan(text) and Colin Beard (photography). • “The elders of the various tribes I have met consider themselves guardians of a valuable treasure which has been handed down to them from the Dreaming (an age which existed outside time)…. Valley Of The Boomerangs, in a cave, Carnarvon Gorge, Queensland. Note emu feet. Continuing, from the book by James Cowan(text). • …They have discovered a way of worshipping their environment to the exclusion of all other gods, by drawing the land, upon which they rely for survival, into a covenant capable of embodying all their spiritual needs”. • The Pilbara W.A. The Dreamtime. From Aboriginal Australia Art & Culture Centre - Alice Springs. The Dreamtime is the Aboriginal understanding of the world, of it's creation, and it's great stories. The Dreamtime is the beginning of knowledge, from which came the laws of existence. For survival these laws must be observed. An ancestor being: The Rainbow Serpent. The Rainbow Serpent, a preserver of life. • When the rainbow is seen in the sky, it is said to be the Rainbow Serpent moving from one waterhole to another. • This divine/spiritual concept explained why some waterholes never dried up when drought struck. Not so different from other religious beliefs. • The Dreaming world was the old time of the Ancestor Beings. • They emerged from the earth at the time of the creation. • Time began in the world the moment these supernatural beings were "born out of their own Eternity".