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SYDNEY ABORIGINAL PEOPLE FIND FINAL RESTING PLACE 3 MARCH, 2005 19Th and 20Th Centuries As Colonial Souvenirs and for Ethnographic Study
www.asgmwp.net Autumn 2005 SYDNEY ABORIGINAL PEOPLE FIND FINAL RESTING PLACE 3 MARCH, 2005 19th and 20th centuries as colonial souvenirs and for ethnographic study. Not NORTH HEAD, MANLY, NSW until the late 20th century have some of I was asked to write this article for Elimatta these people, our ancestors, begun to be about this moving ceremony because I was returned to their own lands to rest in their privileged to be there. It’s a hard task for rightful place. me, not only because of the content, but “When the Europeans invaded, they didn’t remains to develop Repatriation Policies because I am by blood a Queenslander, just take our land, they also stole the for the correct and dignified return of although born and lived most of my life in bodies of our people. They thought we these people. Sydney, part of it on the Northern Beaches. were going to die out, so they wanted to This initiative has been taken by three So I have decided to liberally quote (in measure and study us in the names of Australian institutions, to their credit: the italics) from the Metropolitan Local science and progress,” Mr Welsh said. National Museum of Australia (Canberra), Aboriginal Land Council Media Release of “But we didn’t die out and today we took the Australian Museum (Sydney) and the 3 March 2005, particularly its excerpts our ancestors to their final resting place, in NSW Department of Environment and from the excellent speech given by Rob their own country, with their own people.” Conservation (DEC). -
Australian Elegy: Landscape and Identity
Australian Elegy: Landscape and Identity by Janine Gibson BA (Hons) Submitted in fulfilment of the requirements for the degree of (Doctor of Philosophy) Deakin University December, 2016 Acknowledgments I am indebted to the School of Communication and Creative Arts at Deakin University (Geelong), especially to my principal supervisor Professor David McCooey whose enthusiasm, constructive criticism and encouragement has given me immeasurable support. I would like to gratefully acknowledge my associate supervisors Dr. Maria Takolander and Dr. Ann Vickery for their interest and invaluable input in the early stages of my thesis. The unfailing help of the Library staff in searching out texts, however obscure, as well as the support from Matt Freeman and his helpful staff in the IT Resources Department is very much appreciated. Sincere thanks to the Senior HDR Advisor Robyn Ficnerski for always being there when I needed support and reassurance; and to Ruth Leigh, Kate Hall, Jo Langdon, Janine Little, Murray Noonan and Liam Monagle for their help, kindness and for being so interested in my project. This thesis is possible due to my family, to my sons Luke and Ben for knowing that I could do this, and telling me often, and for Jane and Aleisha for caring so much. Finally, to my partner Jeff, the ‘thesis watcher’, who gave me support every day in more ways than I can count. Abstract With a long, illustrious history from the early Greek pastoral poetry of Theocritus, the elegy remains a prestigious, flexible Western poetic genre: a key space for negotiating individual, communal and national anxieties through memorialization of the dead. -
Decolonising Art and Media in Madrid and Sydney. the Articulation of Political Identities in the (In)Formal Resistance
Decolonising Art and Media in Madrid and Sydney. The Articulation of Political Identities in the (in)formal Resistance by Ángeles Montalvo Chaves Departamento de Antropología Social, Universidad Autónoma de Madrid (UAM) Department of Anthropology, Macquarie University (MQ) This thesis is presented for the degree of Doctor of Philosophy, August 2016 Supervisors: Liliana Suárez Navaz (UAM) Álvaro Pazos Garciandía (UAM) Eve Vincent (MQ) Kalpana Ram (MQ) ABSTRACT This thesis is based on fieldwork conducted in two different urban contexts. I explore the cultural and media practices of Latin American people in Madrid, Spain and Aboriginal people in Sydney, Australia. I argue that both case studies constitute attempts to decolonise the dominant and homogeneous representations of these peoples within mediatised industries. Utilising a range of research methods that include multi-located ethnography, participant observation, interviews and analysis of the creative works of two radio and theatre groups in each location, I evoke different social worlds where political identities of resistance are articulated. Attention to daily practices reveals both groups’ difficulties in accessing commodified media markets, in part because of their physical characteristics. Further, I show how these groups find their own ways to expose their subjectivities and disseminate their creative works, voices and responses, including dialogues with institutions and funding bodies. The analysis of these groups presents different results yet overall shows commonalities in how these collectives use similar tools to counteract the residues of colonialism in the present. Throughout this thesis, colonialism appears as an unfinished power relation between dominant groups and minority groups in Spanish and Australian societies. RESUMEN Esta tesis se basa en el trabajo de campo realizado en dos contextos urbanos distintos. -
Ray in Australia, and Received a 'Dear John Letter'
“ONE TIME AGO”: AN URBAN ABORIGINAL TRIBALOGRAPHY JULIANNE BUTLER DIPLOMA OF ABORIGINAL STUDIES, BACHELOR OF ARTS THESIS SUBMITTED IN FULFILMENT OF THE DEGREE OF MASTER OF SOCIAL SCIENCE FACULTY OF EDUCATION & ARTS THE UNIVERSITY OF NEWCASTLE MARCH, 2009. This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. I hereby certify that the work embodied in this Thesis is the result of original research, the greater part of which was completed subsequent to admission to candidature for the degree. Signature: …………………… Date: …….. 2 TABLE OF CONTENTS Abstract 4 List of Figures 6 Introduction: An Urban Aboriginal Tribalography 8 Chapter 1: Methodology 13 Chapter 2: Literature Review 29 Chapter 3: Memories from the Photo box 59 Chapter 4: The 1960’s and the Public Face of Change 99 Chapter 5: The Multigenerational Voices Speak 129 Conclusion 162 Bibliography 166 3 Abstract I identify as Koori and belong to the Worimi and Bundjalung peoples of N.S.W. I grew up in the inner city suburb of Waterloo and spent school holidays at Port Stephens with my Grandparents who informed me of the world, the ways of the ‘Old People’ and our link with them. -
The Australian Imagination
Introduction to Australian Society: The Australian Imagination Class code SOC-UA 9TBA Instructor Dr Toby Martin Details [email protected] Consultation hours: Wednesdays 2:30pm-4:30pm Class Details Introduction to Australian Society: The Australian Imagination Wednesdays 9:30am Lecture Theatre Ground Floor 10:30-1:30 Tutorials 3rd Floor NYU Sydney Academic Centre Science House, 157 Gloucester St, The Rocks. Prerequisites None Class The Australian imagination is wondrous, vast, quirky and full of contradictions. Australians like to Description see their nation as, variously: the ‘lucky country’, yet with a debt to pay for the theft of Indigenous people’s land; the ‘land of the fair go’, which cruelly detains refugees; a place with a satirical sense of humour, coupled with a noticeably sentimental worldview; a multicultural nation with a history of a ‘white Australia policy’; a place proud of its traditions of egalitarianism and mateship, with rules about who is allowed in ‘the club’; a place with distinctive local traditions, which takes many of its cues from global culture; a place with a history of anti-British and anti-American sentiment that also has had strong political allegiances and military pacts with Britain and the USA; a place of a laid- back, easy going attitude with a large degree of Governmental control of individual liberties; a highly urbanised population that romances ‘the bush’ and ‘the outback’ as embodying ‘real’ Australia; and a place with a history of progressive social policy and a democratic tradition, which has never undergone a revolution. This course will provide ways of making sense of these contradictions. -
Many Stories, One Goal
MANY STORIES, ONE GOAL SUPPORTING INDIGENOUS FOOTBALLERS The artwork featured on the cover and throughout Many Stories, One Goal is by Hawthorn Football Club’s, Jermaine Miller-Lewis. Miller-Lewis began painting at the age of 14, using painting as a relaxation tool. The painting featured above, and throughout the publication, represents a kangaroo in the middle of the tracks. The kangaroo and tracks are surrounded by people (boomerang shapes) with spears. The yellow and brown represents the earthy land, where the people are hunting the kangaroo (or malu or yonga). To see more artwork by Jermaine Miller-Lewis head to: yellowbidiartwork.wix.com/jermainemillerlewis WE ACKNOWLEDGE THE TRADITIONAL“ OWNERS OF THE LAND AND OUR ELDERS BOTH PAST AND PRESENT. 2 MANY STORIES, ONE GOAL. SUPPORTING INDIGENOUS FOOTBALLERS” CONTENTS LETTER FROM PAUL MARSH 6 AFL Players’ Association CEO LETTER FROM SHAUN BURGOYNE 7 Chair of Indigenous Players’ Advisory Board INDIGENOUS PLAYERS’ ADVISORY BOARD 8 THE FRAMEWORK 11 INDUCTION 12 Recruitment of a player Living arrangements Financial considerations Home sickness OUR CULTURE 16 Cultural considerations Family/Kinship Industry Indigenous programs Key dates PERSONAL AND PROFESSIONAL SUPPORT 23 Family support Profesional development Financial planning CLUB REQUIREMENTS 27 CONTACT 29 RESOURCES 30 *Disclaimer - When considering the appropriateness of these guidelines for your organisation or circumstances, please note that these guidelines are general in nature and do not take into account every individual situation -
R-10 Languages
SACSA Companion Document SERIES R–10 Languages (Australian Indigenous) R–10 Languages (Australian Indigenous) Teaching Resource Additional copies of this publication are available from: • For South Australian government schools ONLY E-mail: [email protected] • For other requests, contact Curriculum Corporation PO Box 177, Carlton South Victoria 3053 Telephone orders: 1800 337 405 Facsimile orders: 1300 780 545 E-mail: [email protected] Website: www.curriculum.edu.au 2005, The State of South Australia, Department of Education and Children’s Services Produced by DECS Publishing 266 Port Road, Hindmarsh SA 5007 Edited by Gunta Groves Cover design by Triple Image Design Printed by Hyde Park Press, South Australia ISBN 0 7308 7773 6 R2233/L 2 FOREWORD The R–10 Languages (Australian Indigenous) teaching resource is part of the SACSA Companion Documents series. Underlying the development of this series is the need to promote consistency of curriculum within and across schools in South Australia. These resources are designed to support teachers to engage further with the SACSA Framework and work towards maximising students’ achievement. They arise from the need expressed by many teachers for the requirements of the SACSA Framework to be made more explicit for each year level. The documents are written by practising teachers in close collaboration with curriculum officers, members of professional associations and other committed educators. This resource is a valuable support for teachers working to meet the diverse needs of learners in the range of settings across South Australia. Steve Marshall CHIEF EXECUTIVE 3 ACKNOWLEDGMENTS The following people are acknowledged for their valuable contribution to the development of this resource. -
A Story of Resistance and of Strength
Photograph: James Henry In 1881, the men and women of Coranderrk Aboriginal Reserve had a simple and revolutionary goal: to continue the brilliant experiment in self-determination they had pioneered CAST/CHARACTERS on the scrap of country left to them. TREVOR JAMIESON But the law said they needed Narrator, Reverend Hagenauer, permission. So they went head-to- William Barak, Phinnamore head with the Aboriginal Protection Board at a Victorian Parliamentary MATHEW COOPER Inquiry to be allowed to continue. Reverend Strickland, Commissioner 2, This inspiring true story recreates Christian Ogilvie, Thomas Bamfield, compelling history on stage. Thomas Dunolly, Constable Tevlin “It is honest, open, raw, emotional, JESSE BUTLER poignant; true. There is a strong spirit Commissioner 1, Henry Jennings, in Coranderrk. And to sit in a crowded Robert Wandon, Edward Curr, darkened theatre and witness it, is a John Green, Alfred Davis truly humbling experience.” – Glenn EBONY MCGUIRE Saunders, The Spell of Waking Hours Anne Bon, Alice Grant, Eleanor McKie, CORANDERK is a collaboration Caroline Morgan, Eda Brangy between leading Indigenous and non-Indigenous artists, researchers, education experts and community CREATIVE TEAM members. The production aims to encourage a shared understanding CAST Trevor Jamieson, Mathew Cooper, of the past between Aboriginal and Jesse Butler, Ebony McGuire non-Aboriginal people. DIRECTOR Eva Grace Mullaley WRITERS Andrea James & Giordano Nanni SOUND DESIGNER James Henry DIRECTORS NOTE AUDIO VISUAL DESIGNER Keith Deverell LIGHTING DESIGNER Tegan Evans It is an honour that ILBIJERRI COSTUME DESIGNER Brynna Lowen asked me to direct this story of SET DESIGNERS Brynna Lowen & Tegan Evans such an amazing historical event. -
25Th Birthday Celebrations
www.asgmwp.net Spring 2004 An invitation to join Dave has also been playing music since he was young. Nature is a big part of his life and music, always drawing inspiration the ABORIGINAL SUPPORT GROUP from his farm in Southern NSW. in celebrating its He is responsible for the fragrant garden project created for the Royal Blind Society. 25th We are very excited that Nature Nature has agreed to play at our 25th birthday celebrations. BIRTHDAY Be part of this special occasion! on SUNDAY NOVEMBER 21st at 3pm And how did it all begin? by the shore of Narrabeen Lake at Narrabeen Scout Hall, GENESIS OF A GROUP near the end of Goodwin Street – south of the Tramshed bus stop Once…Many Years Ago People meet in many and different ways. Movements often begin Relive the Group’s long journey On The Road To Reconciliation through happenstance, from small and insignificant events. This that started in 1979. Bring along any photographs and is the story of a group of people living on the Northern Beaches memorabilia of interest that you have as there will be time to of Sydney, who came together because they had a shared reminisce, meet old friends and make new acquaintances. passion to see the right relationships forged between Indigenous We will have a sausage sizzle after 5pm and a birthday cake. and settler Australians. Your contribution of finger food and drinks of your choice would Pam Beasley and Tom Gavranic were both travelling on the top of be appreciated. We have the Scout Hall booked so we can party a double-decker bus along Barrenjoey Road toward Narrabeen. -
Exchanges of Australian Indigenous Music, Dance and Media
Circulating Cultures Exchanges of Australian Indigenous Music, Dance and Media Circulating Cultures Exchanges of Australian Indigenous Music, Dance and Media Edited by Amanda Harris Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: Circulating cultures : exchanges of Australian Indigenous music, dance and media / edited by Amanda Harris. ISBN: 9781925022193 (paperback) 9781925022216 (ebook) Subjects: Social change--Australia--Cross-cultural studies. Culture diffusion--Australia. Intercultural communication in art. Music in intercultural communication. Aboriginal Australians--Music--21st century--Cross-cultural studies. Art, Aboriginal Australian--21st century--Cross-cultural studies. Other Creators/Contributors: Harris, Amanda, 1976- editor. Dewey Number: 306.4840994 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Front cover image: Johnny Divilli and Joanne Nulgit perform Dudu Mardudu (the ‘circling’ plane dance) at the Mowanjum Festival, 11 July 2013. Photo by Matt Scurfield. Copyright Mowanjum Art and Culture Centre. Used with permission. Dudu Marduda (the ‘circling’ plane) is a balga/junba dance-song created by Worrorra composer Wati Ngerdu following the extensive search for a Royal Flying Doctor Service aeroplane that disappeared and crashed after leaving Tablelands Station in the Kimberley in 1956. The dance was revived in 2013 by the performers and the Mowanjum Art and Culture Centre for the annual Mowanjum Festival, after their recovery and circulation of an archival photo of the dance taken in the Mowanjum Community in the late 1950s. -
Popular Music (2016) Volume 35/2
Popular Music (2016) Volume 35/2. © Cambridge University Press 2016, pp. i–ii VOL. 35 NO. 2 May Special Issue Popular Music and Alcohol Popular Issue Editors: Keith Negus John Street Music Contents iii The Contributors KEITH NEGUS AND 161 Introduction: the mediations of music and JOHN STREET alcohol ANGELA McSHANE 166 Drink, song and politics in early modern England ANNEMARIE 191 Temperance battle songs: the musical war McALLISTER against alcohol MARCUS O’DAIR 207 ‘Pardon me, I’m very drunk’: alcohol, creativity and performance anxiety in the case of Robert Wyatt GAVIN CARFOOT 222 ‘Enough is Enough’: songs and messages about alcohol in remote Central Australia ALISON C. EALES 231 ‘One bourbon, one scotch, one beer’: alcohol sponsorship at Glasgow Jazz Festival, 1987–2001 ALASDAIR FORSYTH, 245 ‘I’m there to play music not break up fights’: JEMMA C. LENNOX AND gigging entertainers’ experiences of alcohol- MARTIN CLOONAN related misbehaviour by audiences and its impact on performance Middle Eight DAVE LAING 265 Drink, song and disorder: the sorry saga of the Licensing Act 2003 Reviews RICHARD OSBORNE 270 Vinyl: The Analogue Record in the Digital Age, by Dominik Bartmanski and Ian Woodward BOB ANDERSON 272 The Hank Williams Reader, edited by Patrick Huber, Steve Goodson and David M. Anderson i ii Contents DANIJELA 273 Turbo-Folk Music and Cultural Representations of ŠPIRIĆ-BEARD National Identity in Former Yugoslavia, by Uroš Čvoro KENNY FORBES 276 Please Allow Me to Introduce Myself: Essays on Debut Albums, edited by George Plasketes GUSTAVO BORCHERT 278 Between Nostalgia and Apocalypse: Popular Music and the Staging of Brazil, by Daniel B. -
The Black List Is an Important Addition to Reference Material B
T h e Produced by Screen Australia’s Strategy & Research Unit, The Black List is an important addition to reference material B on Indigenous filmmaking in Australia, cataloguing the work l a of 257 Indigenous Australians with credits as producer, c director, writer or director of photography on a total of k 674 screen productions. L he i Listings go back as far as 1970 for feature films and telemovies, ! Film and TV to 1980 for documentaries and mini-series, and to 1988 for T shorts and series. projects since 1970 Titles are indexed by year and by filmmaker, and the book with also features a statistical summary and timeline of key titles and events. Indigenous Australians in key creative SCREEN A Black roles US TRALIA Li! he OVX:YD+1 T cf[TEChg gOYCEÐÖõÏ pOhM YDOLEY[jg jghf:VO:Yg OYUErCfE:hOoE Black f[VEg Li! ÛÛ #!1!1/ 0 .0 Yhf[DjChO[YÒ _nSKi@mnQKvxK@lm_JURK_apm~\^^@[KlmS@uKHla[K_nSlapRSna@ISUKuKHanSIlUnUI@\@_J Ia^^KlIU@\mpIIKmmvUnS-@ISK\*Kl[U_m¡3`O\?bS5OSn@[U_R^alKnS@_ Ý^U\\Ua_@nnSK Mf[Y[V[Lr[K pmnl@\U@_HawaQ~IK7@lvUI[0Sal_na_vU__U_RnSK @__Km @^Kl@J¡"lQalO[]\5SZWZOV YDOLEY[jgxVXò+1Ó @_J^p\nUi\K@v@lJmQalilaRl@^mmpIS@m7W`a2ba`OZWO\@_JDVS4W`QbWa DVS3ZOQY=WaIK\KHl@nKmnSKmKIa_nK^ial@lxmIlKK_mnalxnK\\Klm@_JnSamKnS@nS@uK Ergh:hOghOCgÐÑ Ra_KHKQalKilauUJU_RJKmIlUinUuK\UmnU_RmaQJl@^@@_JJaIp^K_n@lxnUn\KmvSKlK_JURK_apm pmnl@\U@_mS@uKHKK_IlKJUnKJU_nSK[KxIlK@nUuKla\KmaQilaJpIKlJUlKInalvlUnKlalJUlKInal +OhVEgBrrE:f aQiSanaRl@iSx¼ "*½ E:hjfEg ÐÔ 0SKI@n@\aRpK@U^mnaHK@mIa^ilKSK_mUuK@miammUH\KvUnSU_nSKnU^KiKlUaJmIauKlKJQal +1Df:X: ÐÔ K@ISQal^@n [CjXEYh:fOEg[YL