DOCSLIB.ORG

Yolngu Boy Music Credits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yolngu Boy Music Credits Original Music By Mark Ovenden Cultural Music Co-Ordinator Stewart Kellaway Cultural Singers Mandawuy Yunupingu Djanga Yunupingu (Ronnie) Guttutjiri Gurruwiwi (Alfred) Gambujdjiki Yunupingu Daneminu Yunupingu (NIcky) Rrawun Maymura Yidaki Players Naikuma Burarrwanga Daneminu Yunupingu (Nicky) Gavin Yomunu Yunupingu Gapanbulu Yunupingu Minbakurri Gurruwiwi Gauwuma Yunupingu Ganga Giri Guitars- Clive Young Keyboards supplied by Roland Corporation Australia 'Neva Mend" (NoKTuRNL/Kram & Whit) Performed by NoKTuRNL, Published by Sony/ATV Music Publishing Australia Licensed from The Festival Mushroom Group "Black Bugs" (Ben Fly), Performed by Regurgitator Taken from the album "Unit" ℗ 1998 Warner Music Australia Licensed from Warner Music Australia Pty Ltd, © 1987 EMI Music Publishing Australia Pty Ltd Licensed by EMI Music Publishing Australia Pty Limited "Gapu" Written by G. Yunupingu, (Yothu Yindi Music/Mushroom Music) Performed by Yothu Yindi, Licensed from The Festival Mushroom Group "Poisonous Love/Ghost Spirit" Written by M. Yunupingu/L. Lowders/S. Kellaway/M. Yunupingu, (Mushroom Music) Performed by Yothu Yindi, Licensed from The Festival Mushroom Group "Treaty" Written by M. Yunupingu/M. Mununggurr/G. Yunupingu/S.Kellaway/ C. Williams/W. Marika/P. Kelly/P. Garrett (Yothu Yindi Music/Mushroom Music) Performed by Yothu Yindi, Licensed from The Festival Mushroom Group "Surrender" Written and Performed by Kelly Howell From "Making Tracks" by Songlines Music Aboriginal Corporation "Farewell" From the album Manmoyi, Written and Performed by the Garmadi Community, Co-Ordinated by Laura Naberhiborhl CD: A CD of the soundtrack was released: CD Australian Children's Television Foundation CMF001 2001 Original Score composed by Mark Ovenden (except "Kakadu" composed by Mark Ovenden and Mandawuy Yunupingu) Special acknowledgment is made of the vocal performance of Mandawuy Yunupingu on "Kakadu" and Djanga Yunupingu (Ronnie) on "Baru" Performed by Mark Ovenden with Cultural Singers: Mandawuy Yunupinqu, Djanga Yunupingu (Ronnie), Gurrutjiri Gurruwiwi (Alfred) Gambujdjiki Yunupinqu, Daneminu Yunupingu (Nicky), Rrawun Maymura Yidaki Players: Naikuma Burarrwanga, Daneminu Yonupinqu (Nicky), Gavin Yomunu Yunupinqu, Gapanbulu Yunupingu, Minbakurri Gurruwiwi, Gauwuma Yunupingu, Ganga Giri Guitars: Clive Young Drums: Bill Heckenburg Cultural Music Co-ordinator: Stewart Kellaway Keyboards supplied by Roland Corporation Australia Samples courtesy of Spectrasonics "Distorted Reality 2” THE SONGS: 1. Treaty, Yothu Yindi (4’03”) 2. Neva Mend, NoKTuRNL (3’13”) 3. Gapu, Yothu Yindi. (5’06”) 4. Surrender, Kelli Howell (3’48”) 5. Ghost Spirits, Yothu Yindi (5’04”) THE SCORE: 6. Walking (Mark Ovenden) (2’39”) 7. Kakadu Part 4 (Mark Ovenden and Mandawuy Yunupingu) (1’50”) 8. Botj's spirit in water & Botj's spirit flies (Mark Ovenden) (1’50”) 9. Opening sequence (Mark Ovenden) (3’27”) 10. Botj on the gangway (Mark Ovenden) (3’10”) 11. Turtle Hunt (Mark Ovenden) (1’15”) 12. Botj and the community (Mark Ovenden) (2’37”) 13. Kakadu Part 1 & 2 (Mark Ovenden and Mandawuy Yunupingu) (1’35”) 14 Goanna Hunt (Mark Ovenden) (2’25”) 15. The Canoe (Mark Ovenden) (2’22”) 16. Baru (Mark Ovenden) (1”42”) 17. Closer (Mark Ovenden) (1’17”) Composer Mark Ovenden: Composer Mark Ovenden had a one line wiki at time of writing, here. There was much more detail about Ovenden and his career at his public LinkedIn listing here. But at least the wiki provided a link to a June 16th 2005 story published in The Age and The Sydney Morning Herald, about composing for the screen, which, inter alia, contained this about Ovenden’s work: Composing the score for the 2000 film Yolngu Boy required Australian expatriot Mark Ovenden to go on a walkabout. Living in Berlin while the film was shot, he tossed musical concepts around with director Stephen Johnson long distance before heading to Gove in East Arnhem Land. The plan was to record traditional songs to use in the score, reflecting the film's theme of the clash between indigenous culture and modern society. Helped by Yothu Yindi's bassist Stu Kellaway, Ovenden drove around in a troop carrier looking for singers to whisk off to a recording studio. "The first guy we recorded was an old man we found standing up to his waist in a bay with a spear hunting stingrays," Ovenden recalls. Later, Ovenden relocated to a friend's spare room in Melbourne where he spent eight weeks working on the score using MIDI (Musical Instrument Digital Interface) and Logic Audio software on a Mac synched to a VHS player. "Less stressful than being in a studio and cheaper," he says. "I had a small budget and planned to use real strings but this never came about due to all the usual stress with deadlines and endless scene re-edits." The finished score was mixed with dialogue and audio effects at Melbourne post-production studio Soundfirm on a digital console. Ovenden's soundtrack received positive feedback, including a Deadly Award - an Aboriginal and Torres Strait Islander music award - and an Australian Centenary Medal. Ovenden now works as a sound designer for Wizoo Sound Design in Bremen, a company developing software instruments co-owned by Oscar-winning composer Hans Zimmer. After 20 years of working as a freelancer, Ovenden says this is his attempt at achieving a normal life. "Although living on the other side of the planet and having a daughter who can't speak a word of your mother language might not be considered so normal, I guess." The film’s press kit provided this short bio: Yolngu Boy's composer, Mark Ovenden, has been heavily involved in the music industry for over two decades and is regarded as one of Australia's leading composers and producers. As composer of the soundtrack for Yolngu Boy, Mark was responsible for bringing the film's music together including the commissioning of the bands Yothu Yindi and Nokturnl as well as approaching Regurgitator for the inclusion of their song Black Bugs on the soundtrack. A musician himself, Mark is also responsible for playing a number of the instruments for the scores that you can hear on the soundtrack of Yolngu Boy. Mark is now based in Germany and over the years has toured and recorded extensively. He has worked with some of Australia's hottest talent including Midnight Oil, Yothu Yindi, Neil Finn and You Am I. The kit also provided these details on the music: Composer Mark Ovenden worked closely with indigenous musicians in Arnhem land and with the natural rhythms of the Australian bush itself to create a unique soundscape for Yolngu Boy. He has created a backdrop that is both true to the indigenous Australian spirit and thoroughly contemporary. Mark uses the most modern techniques of electronic music to harness the beauty and power of indigenous Australian instruments and voices. Mark was responsible for bringing together the film's music including the commissioning of the bands Yothu Yindi and Nokturnl as well as playing most of the instruments for the scores that he composed himself. All of the film's music, except for the didgeridoo played by Ganga Giri in Melbourne, was recorded in the small Yothu Yindi studio just outside Gove in Arnhem Land. Mark had assistance in sourcing singers and didj players for the film from Mandawuy Yunipingu (lead singer and Associate Producer) and Stu Kellaway (bass player) from Yothu Yindi. The first musician that Mark, Stu and Mandawuy found was an old man they had worked with before. At the time he was walking in the bay, in his underpants with his spear ready to hunt a stingray. Reflecting on the time, Mark said, "When we nabbed him, I guess he figured it was a better deal to get payed by us than to spear a stringray." Mark and Stu brought together traditional musicians and recorded traditional songs for each of the animals identified in the film hence they got songs for Manata Ray, Baru (crocodile) songs, hunting songs, Goanna songs and turtle hunt songs. A normal working day was probably only about 2 or 3 hours of actual recording with most of the time spent actually finding people, getting them back to the studio and getting all the technicals done. Mark approached Regurgitator to use their song Black Bugs. It was a song that Mark really wanted to use but didn’t think he would be able to get permission. When Mark was nearing the end of scoring the music he decided to go for it and an approach was made to the band. They gave Mark permission to use their song. He says that Regurgitator really wanted to contribute in some way to this landmark film and “this was a great gesture from the band.” The Yothu Yindi studio is located about 30 metres from the beach at the edge of the bay which meant that on dinner breaks, Mark and Stu could catch, cook and eat fish (and dodge snakes!) before returning to work for the night. At one point in Mark’s life he lived “just down the road” from the recording studio (a mere 450km away!) and thoroughly loved living in one of the most beautiful parts of the world. Mark is now based in Germany and over the years has toured and recorded extensively. He has worked with some of Australia's hottest talent including Midnight Oil, Yothu Yindi, Neil Finn and You Am I . (Below: Mark Ovenden) .
Load more

Recommended publications
  • Into the Mainstream Guide to the Moving Image Recordings from the Production of Into the Mainstream by Ned Lander, 1988
    Descriptive Level Finding aid LANDER_N001 Collection title Into the Mainstream Guide to the moving image recordings from the production of Into the Mainstream by Ned Lander, 1988 Prepared 2015 by LW and IE, from audition sheets by JW Last updated November 19, 2015 ACCESS Availability of copies Digital viewing copies are available. Further information is available on the 'Ordering Collection Items' web page. Alternatively, contact the Access Unit by email to arrange an appointment to view the recordings or to order copies. Restrictions on viewing The collection is open for viewing on the AIATSIS premises. AIATSIS holds viewing copies and production materials. Contact AFI Distribution for copies and usage. Contact Ned Lander and Yothu Yindi for usage of production materials. Ned Lander has donated production materials from this film to AIATSIS as a Cultural Gift under the Taxation Incentives for the Arts Scheme. Restrictions on use The collection may only be copied or published with permission from AIATSIS. SCOPE AND CONTENT NOTE Date: 1988 Extent: 102 videocassettes (Betacam SP) (approximately 35 hrs.) : sd., col. (Moving Image 10 U-Matic tapes (Kodak EB950) (approximately 10 hrs.) : sd, col. components) 6 Betamax tapes (approximately 6 hrs.) : sd, col. 9 VHS tapes (approximately 9 hrs.) : sd, col. Production history Made as a one hour television documentary, 'Into the Mainstream' follows the Aboriginal band Yothu Yindi on its journey across America in 1988 with rock groups Midnight Oil and Graffiti Man (featuring John Trudell). Yothu Yindi is famed for drawing on the song-cycles of its Arnhem Land roots to create a mix of traditional Aboriginal music and rock and roll.
    [Show full text]
  • Paul Clarke Song List
    Paul Clarke Song List Busby Marou – Biding my time Foster the People – Pumped up Kicks Boy & Bear – Blood to gold Kings of Leon – Sex on Fire, Radioactive, The Bucket The Wombats – Tokyo (vampires & werewolves) Foo Fighters – Times like these, All my life, Big Me, Learn to fly, See you Pete Murray – Class A, Better Days, So beautiful, Opportunity La Roux – Bulletproof John Butler Trio – Betterman, Better than Mark Ronson – Somebody to Love Me Empire of the Sun – We are the People Powderfinger – Sunsets, Burn your name, My Happiness Mumford and Sons – Little Lion man Hungry Kids of Hungary Scattered Diamonds SIA – Clap your hands Art Vs Science – Friend in the field Jack Johnson – Flake, Taylor, Wasting time Peter, Bjorn and John – Young Folks Faker – This Heart attack Bernard Fanning – Wish you well, Song Bird Jimmy Eat World – The Middle Outkast – Hey ya Neon Trees – Animal Snow Patrol – Chasing cars Coldplay – Yellow, The Scientist, Green Eyes, Warning Sign, The hardest part Amy Winehouse – Rehab John Mayer – Your body is a wonderland, Wheel Red Hot Chilli Peppers – Zephyr, Dani California, Universally Speaking, Soul to squeeze, Desecration song, Breaking the Girl, Under the bridge Ben Harper – Steal my kisses, Burn to shine, Another lonely Day, Burn one down The Killers – Smile like you mean it, Read my mind Dane Rumble – Always be there Eskimo Joe – Don’t let me down, From the Sea, New York, Sarah Aloe Blacc – Need a dollar Angus & Julia Stone – Mango Tree, Big Jet Plane Bob Evans – Don’t you think
    [Show full text]
  • Teachers' Notes for Secondary Schools
    artback nt: arts development and touring presents teachers’ notes for secondary schools teachers’ notes for secondary schools table of contents History - Djuki Mala [The Chooky Dancers] pg 3 Activity - Djuki Mala Zorba the Greek on YouTube pg 3 Activity - Online video - Elcho Island and The Chooky Dancers pg 3 Activity - Traditional dance comparison pg3 Home - Elcho Island pg 4 History pg 5 Activity - Macassar research pg 5 Activity - ‘Aboriginal’ vs ‘Indigenous’ pg 5 Activity - Gurrumul research pg 6 Activity - ‘My Island Home’ pg 6 Activity - Film: ‘Big Name No Blankets’ pg 6 Community pg 7 Activity - Elcho Island: Google Earth pg 7 Yolngu Culture pg 8 Activity - Film: ‘Yolgnu Boy’ + questions pg 8 Activity - Film: ‘Ten Canoes’ pg 9 Activity - Documentary: ‘Balanda and the Bark Canoes’ pg 9 Activity - Yolgnu culture clips online pg 9 Clans and Moieties pg 9 Activity - Clans and moieties online learning pg 9 Language pg 10 Activity - Yolngu greetings pg 10 Useful links and further resources pg 11 usage notes These notes are intended as a teaching guide only. They are suitable for high school students at different levels and teachers should choose from the given activities those that they consider most suitable for different year groups. The notes were developed by Mary Anne Butler for Artback NT: Arts Development and Touring. Thanks to Stuart Bramston, Shepherdson College, Jonathan Grassby, Linda Joy and Joshua Bond for their assistance. teachers’ notes page 2 of 11 History - Djuki Mala [T he Chooky Dancers] In 2007, on a basketball court in Ramingining, a group of Elcho Island dancers calling themselves the Chooky Dancers choreographed and performed a dance routine to the tune of Zorba the Greek.
    [Show full text]
  • For Those About to Rock’ Cybersimulcasting Live Music on the Internet
    position the experience of different and purcliasing details are available at: and tests of the misuse of market power. nations in promoting competition in http YAvww.circit. rmit.edu.au/publics/ 5 Extending across: carrier interconnection; information and communications sectors ipm_book.html service provider and content creator access to distribution channels; and end-user access to to provide some guidance and signposts services. through the policy development maze. 1 Nevertheless, the study does recognise national differences. For example, in Australia, legislation targeted the development of a dual network Published by RMIT University Press in Ross Kelso is Senior Research Fellow infrastructure between 1991-1997 and carriers for the International Research on December 1999, The Information Policy have invested significantly in infrastructure Maze: Global Challenges - National development. Similarly, in the UK, policy has Communication and Information Responses is the result of a three-year supported infrastructure duplication. With the Technologies at RMIT. project conducted by the Centre for announcement of the US National Information Infrastructure agenda in 1993 there was a Dianne Northfteld is a Research Fellmv International Research on Communication coincidence of industry investment in and Information Technologies infrastructure and new services. at CIRCIT at RMIT and the Harvard (“CIRCIT”) at RMIT, Melbourne Information Infrastructure 1 Including regulation of horizontal and vertical Project, Kennedy School of Australia, and the Program on Information agreements between firms; control of mergers Resources Policy (“PIRP”), Harvard and acquisitions; regulation of horizontal and/or Government, Harvard University. University, U.S.A, Further information vertical integration activities of individual firms; [email protected] ‘For Those About to Rock’ Cybersimulcasting Live Music on the Internet Therese Catanzariti offers a lively analysis of the intellectual property issues in cybersimulcasting.
    [Show full text]
  • 1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania It Is 1968, Rural Western Austra
    1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania Abstract: In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on- screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future. It is 1968, rural Western Australia. As we glide along an undulating bitumen road up ahead we see, from a low camera angle, a school bus moving smoothly along the same route. Periodically a smattering of roadside trees filters the sunlight, but for the most part open fields of wheat flank the roadsides and stretch out to the horizon, presenting a grand and golden vista. As we reach the bus, music that has hitherto been a quiet accompaniment swells and in the next moment we are inside the vehicle with a fair-haired teenager. The handsome lad, dressed in a yellow school uniform, is drawing a picture of a boxer in a sketchpad. Another cut takes us back outside again, to an equally magnificent view from the front of the bus. This mesmerising piece of cinema—the opening of September (Peter Carstairs, 2007)— affords a viewer an experience of tranquillity and promise, and is homage to the notion of a golden age of youth.
    [Show full text]
  • What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
    What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs.
    [Show full text]
  • What Rhymes with Cars & Girls
    MEDIA RELEASE RELEASE 8 January 2015 WHAT RHYMES WITH CARS & GIRLS by Aidan Fennessy music and lyrics by Tim Rogers WORLD PREMIERE weaves together the poetic songs from Cast Johnny Carr, Sophie Ross What Rhymes with Cars and Girls Tim Rogers’ debut solo album and words by award-winning playwright Aidan Musicians Ben Franz, Xani Kolac Fennessy, creating a contemporary Australian tale of love across the class Director Clare Watson divide. Melbourne Theatre Company presents the world premiere of this Musical Director Tim Rogers exciting collaboration at 8pm Thursday 19 February at Arts Centre Melbourne, Set Designer Andrew Bailey Fairfax Studio. Costume Designer Kate Davis Lighting Designer Richard Vabre Drawing on the acting and singing talents of Sophie Ross and Johnny Carr, Sound Designer Russell Goldsmith What Rhymes with Cars and Girls is an intimate musical gem complete with a three-piece band led by Musical Director Tim Rogers. ‘Tim Rogers is a statesman of Director Clare Watson said, ‘I’m thrilled to be working on this delicate and Australian music.’ heartbreaking piece. Aidan has created a textured and lyrical script that is a Music Feeds harmonious marriage with Tim’s cult hit album. I’ve always loved these songs ‘A troubadour from the tip of his and am delighted to be collaborating with this team of hopeless romantics in felt-brimmed hat to the idiosyncratic bringing What Rhymes with Cars and Girls to the stage in a way that’s timeless, chop of his right hand.’ moving and undeniably Australian.’ Rolling Stone This is the ballad of Tash and Johnno, brought together by a conjunction of the stars and a pizza delivery gone awry.
    [Show full text]
  • The Aboriginal
    A STUDY GUIDE BY KATE RAYNOR SCREEN EDUCATION 1 www.metromagazine.com.au www.theeducationshop.com.au Introduction the early years of the twentieth century, the Illin family fled St Pe- tersburg, Russia, to Australia (they went to South America earlier) to IN escape persecution by the Czar. They settled in far north Queens- land, hoping to find a ‘working man’s paradise’. Calling their new home ‘Little Siberia’, they embarked on the arduous, back-breaking task of clearing the rainforest to make way for dairy farms. Soon the Illins encountered the Ngadjon people, traditional owners of the Atherton Tablelands the Russian immigrants now occupied. Leandro Illin, 28, (pictured top right) son of patriarch Nicholas, became involved with Kitty Clark (pictured bottom right), an Aboriginal woman from the area. They had a child together and Leandro applied to the Protector of Aborigines, J.W. Bleakley, for permission to marry. Permission was denied and the police were dispatched to remove Kitty and her children to a local mission. But Leandro was a man of fierce determination and resolve, and he made every effort possible to protect ‘There must Kitty and their child, and to formally secure their union. Pioneers of Love (Julie Nimmo, 2005) is an epic saga, with the twists and have been turns of Illin family history becoming in some sense symbolic of the vast social upheavals of the twentieth century. Through a powerful personal story, we are a lot of love given insight into the complex social and historical realities of life for immigrants and Indigenous people back in the early days of white settlement.
    [Show full text]
  • The History of the Yirrkala School
    The History of the Yirrkala School. Vo 1 rJ u Thinking about Education in the Laynha and Yirrkala Areas. Yirrkala Literature Production Centre 1990 HISTORY OF YIRRKALA COMMUNITY SCHOOL 24 important aspects of the curriculum and the community's and our lives and concerns being put under focus: The History of the Yirrkala Community School I: Focus One - Yo Io u Curriculum- Continuation of studies of Formal Yo 11) u2 thinking about education in the Laynha and Yo Io u Knowledee, This is a continuation of previous activities that have been funded by the Schools Commission as part of the Yirrkala area3. research and study of Galtha Rom41 in this area. This is an exploration of the connections between Non-Aboriginal by Raymattja Marika-Munuf)giritj, Banbapuy Maymuru, Multhara mathematical knowledge and Aboriginal systems of knowledge. Munuf)gurr, Badaf)thun Munyarryun, Gandalal �urruwutthun, and Focus Two - CurrjcuJum Development for Homeland Centre • Yalmay YunupifJu4. Schools - This activity seeks to develop a form of curriculum and staff development that we have labelled an Integrated "Workshop * Yirrkala Community School is sustammg and developing a driven Curriculum"42 It is envisaged that this activity would community based approach in delineating education programs enable exploration of appropriate curriculum forms through a which meet the articulated needs of the communities in the area. focus on strategies for the teaching of non-Aboriginal knowledge by Yo I fJ u teachers.43. This will enable Yirrkala communities to * Community centred and research orientated workshops are the have access to ideas and knowledge that previously has remained core feature of Yirrkala Community School's Program.
    [Show full text]
  • The Value of Inclusion
    The value of inclusion Lesson plan description Australia is populated by a diverse range of people with varied backgrounds and understandings. In order for people to get along in a multicultural society, they may share values including a belief in equality, freedom and respect for one another. Understanding, tolerance and inclusion are also important. Students will explore some of these values through examining and thinking about examples of inclusion, exclusion and segregation in their own lives and in the broader community. Students will play a game and view a film clip on racial segregation in Australia in the 1950s. Students will research the Australian Freedom Rides and reflect on changing attitudes. Students will consider values they admire in another Australian and how they could enact these in their own life. Year levels Middle Childhood (8–11 years) Duration Approximately 50 minutes Note: research will incur additional time. Explicit values focus • Care and Compassion • Doing Your Best • Fair Go • Freedom • Respect • Responsibility • Understanding, Tolerance and Inclusion Key Learning Areas • Studies of Society and Environment • English • Technology Lesson plan Getting started Activity 1: Class game NOTE: the following game needs to be handled sensitively as children who have experienced exclusion in their lives may find it frustrating. Play a familiar class game, modified with ‘new’ rules so that one group of students has additional restrictions imposed upon them. For example, play ‘tips’, but those ‘in’ must tip the other person on both shoulders and both elbows before they can be in. After a couple of minutes of playing, seat the students and ask for their comments on the new game.
    [Show full text]
  • NYUNTU NGALI (You We Two) by Scott Rankin
    Education Resources Pre‐Production STC Ed presents a Windmill and Big hART production NYUNTU NGALI (You We Two) by Scott Rankin PRE‐PRODUCTION RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 About Windmill 3 About Big hART 3 Synopsis 4 Themes 4 Historical and social background of the play 5 Interview with the playwright 6 – 7 PRE‐PRODUCTION EXERCISES Storytelling 8 – 9 We are going 10 Photo: Tony Lewis Pijantjatjara 11 – 12 Education Resource compiled by Education manager Naomi Edwards, Education Coordinator Toni Murphy, Editor Lucy Goleby, Contributors Georgia Close, Kerreen Ely Harper and DiAnne McDonald KEY AIM of exercise or section + Extension Exercises Download and watch Drama Exercises English Exercises Play online NYUNTU NGALI Sydney Theatre Company Education Resources 2010 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. PRE‐PRODUCTION RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about “PETROL: You can’t live without him. ABOUT STCED EVA: Can’t live without him. www.sydneytheatre.com.au/stced/about ROAM: We don’t care if you kill us, do we little one. Nyuntu Ngali Scene Five – Who are you? ” CREATIVE TEAM Writer and Director – Scott Rankin Musical Director and Community Producer – Beth Sometimes Lighting Designer – Nigel Levings Choreographer – Gina Rings Objects Designer – Elliat Rich AV
    [Show full text]
  • Learning in Both Worlds: Academic Journalism As a Research Outcome
    Research Journalism Volume 2 Issue 1 Article 1 October 2012 Learning in Both Worlds: Academic Journalism as a Research Outcome Lisa J. Waller Deakin University Follow this and additional works at: https://ro.ecu.edu.au/research_journalism Waller, Lisa J. (2012) "Learning in Both Worlds: Academic Journalism as a Research Outcome," Research Journalism: Vol. 2: Iss. 1, Article 1. Available at: https://ro.ecu.edu.au/research_journalism/vol2/iss1/1 This work is licensed under a Creative Commons Attribution-Share Alike 2.5 Australia. This Journal Article is brought to you by Research Online. It has been accepted for inclusion in Research Journalism by an authorized administrator of Research Online. For more information, please contact [email protected]. Learning in Both Worlds: Academic Journalism as a Research Outcome Cover Page Footnote Lisa Waller is a PhD candidate at the University of Canberra researching the relationship between news media and bilingual education policy in the Northern Territory as part of the Australian Research Council Discovery Project, Australian News Media and Indigenous Policymaking 1988–2008. She lectures in journalism at Deakin University and has worked as a journalist for the Canberra Times, the Australian and the Australian Financial Review. This journal article is available in Research Journalism: https://ro.ecu.edu.au/research_journalism/vol2/iss1/1 Learning in both worlds: Academic journalism as a research outcome Introduction Writing mainstream journalism on the issue of bilingual education policy from the viewpoint of Yolngu participants was agreed upon as an important outcome for my doctoral research 1 from early in its design. Their ongoing consent to participate rested on me agreeing to wear my journalist hat as well as my academic hat.
    [Show full text]