DOCSLIB.ORG

FROM EARTH to SPIRIT Indigenous Art from Arnhem Land & the Tiwi Islands, NT from Earth to Spirit Indigenous Art from Arnhem Land & the Tiwi Islands, NT

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FROM EARTH to SPIRIT Indigenous Art from Arnhem Land & the Tiwi Islands, NT from Earth to Spirit Indigenous Art from Arnhem Land & the Tiwi Islands, NT 17 FEBRUARY - 26 MARCH 2016 FROM EARTH TO SPIRIT Indigenous Art from Arnhem Land & the Tiwi Islands, NT From Earth to Spirit Indigenous art from Arnhem Land & the Tiwi Islands, NT While culturally and linguistically distinct, the practices of mark making, painting and carving – with roots in storytelling and ceremony – are deeply embedded within Tiwi Islands and Arnhem Land cultural and spiritual traditions. As part of the oldest known living culture in the world, these artists and their ancestors have long been making artwork and imagery that expresses their profound knowledge of, and connection to, Country: its land, creation stories and NORTHERN TERRITORY ceremonies. It is through this atavistic connection that earth and spirit come together in almost every aspect of Indigenous life – universal law, ceremony, sacred sites, and in artworks that through their making become infused with ancestral power. The raw medium of natural ochres used for illustration and design, create artworks that are organic and of the everyday, as well as the ephemeral and otherworldly. From Earth to Spirit brings together art works Arnhem Land is a vast region in the Oenpelli), Ramingining and Maningrida. from the University Collection and private northeastern corner of the Northern Milingimbi, Groote Eylandt and Ngukurr collectors including bark paintings, ochres on Earth: the land, connection to Territory, covering an area of almost that also have established art centres to canvas, works on paper, prints and carvings, Country, the body, the ceremonial 100,000 km2. The East, Central support local artists. that span more than 60 years of heritage ground, sacred sites, animals, paint and West Arnhem Lands are home and culture, a culture that has seen immense and materials: ochre, clay, bark, to different inhabitants with distinct change during that time. From mid-twentieth wood, ash, paper, stone languages, cultural practices and The Tiwi Islands are situated 80km century bark paintings, to contemporary artistic traditions. Further, the diverse north of Darwin, where Melville Island paintings in new mediums, these significant Spirit: the Ancestors, creation landscapes across Arnhem Land are and Bathurst Island are home to the works illustrate the ongoing complexity and stories, traditional law, sacred central to understanding the art and Tiwi. Sustained contact with outsiders richness of the visual and spiritual traditions sites, spirits in the land, ceremony, culture of its people; rocky escarpments only began in the 20th century, making of this part of the world. design, song, dance, knowledge to seasonal floodplains, open forests Tiwi culture and ceremonial practice Naomi Stewart to dense jungles, freshwater lagoons highly distinct from any other Indigenous Curator - From Earth to Spirit to countless river systems leading group on the mainland. However, as towards the coast, all hold significance with their Arnhem Land neighbours, the for connection to Country. The region’s landscape in and around the islands are The University of Newcastle respects and acknowledges the Aboriginal Nations on main township is Nhulunbuy, 600km central to both everyday and spiritual whose traditional lands the university has presence, and the cultural significance and east of Darwin, though many people life. It is this cared-for country through history of the land, its Custodians and Elders, past, present and into the future. live in remote area outstations on their which ancestors travelled, created the The University and Gallery acknowledges the Pambalong clan of the Awabakal people, traditional country. Major population seasons and marked their journeys, on whose traditional land the gallery is built. centres that are also active hubs providing theTiwi people with sources of for artists are Yirrkala (just outside sustenance and artistic inspiration over We respectfully advise Aboriginal & Torres Strait Islander viewers that this exhibition and catalogue feature Nhulunbuy), Gunbalanya (formerly countless generations. images and names of artists who have passed away and may contain culturally sensitive material from ancestors. Kunwinjku (Gunwinggu) bark painters Art from Arnhem Land from Gunbalanya (Oenpelli) often depict these figures on monochrome backgrounds with blocks of raw colour and a linear or cross-hatching infill technique called raark: a method of imbuing the painting with the power of Thousands of rock painting sites the beings depicted.3 The renowned scattered across Arnhem Land are Kunwinjku bark artist, Yirawala (below testament to the ancient art traditions of left), painted countless variations of his people from this area. Ochres used for clan subjects, using the raark technique painting are taken locally from the earth to great effect. and combined with water to create a paste: ochre or iron clay pigments Kuninjku painters from Maningrida and Eastern Arnhem Land, around areas produce red, yellow and white, while around Central Arnhem Land, have such as Yirrkala, is well known for a more charcoal produces black. Arnhem become known for painting figurative geometric style of painting with filled in Land is renowned for the bark painting, designs with more pronounced cross- backgrounds, a similar method and use sculpture and weaving traditions of hatching. Non-figurative designs of raark known as dhulang or miny’tji.4 its artists, who continue to use natural associated with ceremony, body design The artists of Yirrkala were among the first earth pigments as their chosen medium and sacred sites, are also common Indigenous Australians to recognise the to express their unique relationship and are used by innovative artists potential use of of illustrated oral literature with the land and its embedded stories. such as John Marwurndjul and Samuel in the form of cultural designs as a political Artworks, like paintings on the body or Namundja (below), who use raark tool and put this into practice with the rock face, serves as a vital link between to fill the entire surface of their work, Yirrkala Church Panels and the Yirrkala people and the ancestral spirits. expanding the visual resonance of their Bark Petition that recorded Yolngu law and ceremonial designs beyond the frame. land ownership.5 The inhabitants of Arnhem Land share their country with a range of For Yolngu artists, clan relationship to land supernatural beings who mark the and sea are highly important in determining landscape with their presence as what is rendered in paint, with both style sacred sites. Bark paintings made in and artistic subject also determined by the stone country of Western Arnhem moiety (social or kinship group) and the Land often include naturalistic or associated rights and responsibilities of figurative depictions of these ancestral the individual artist: and spiritual beings from the creation Everything in the Yolngu universe – Spirit Beings, period (Djang), as well as significant animals and flora that inhabit the plant and animal species, clan groups, areas of landscape.1 They include Ngalyod land and water are one of two moieties: either (omnipotent creative being, the rainbow Dhuwa or Yirritja.6 serpent), yawkyawk (female water spirit, In this way, Yolngu artists are custodians or mermaid), Namarrkon (lightning of certain creation (Wangarr) stories and spirit), and mimih spirits (shy, slender ceremonies that encompass specific figures who live in rocky escarpments. land areas, sacred sites and determine Aboriginal people in this region believe relationships to other Yolngu, Sacred they painted the very first rock art).2 Beings and the natural world. The Tiwi word jilamara roughly For Tiwi people, ochre markings applied Art from the Tiwi Islands translates as ‘design’ and refers to the during important rites also relate to intricate ochre patterning traditionally important characters from the creation applied to the bodies of dancers and period (Palaneri) whose epic tales the surface of carved poles and other underpin their understanding of past objects used during these ceremonies. and present worlds. These beings can Artists recreate these individual patterns appear in artworks in pattern, human or Major sources of inspiration for artists in their art, often using a pwoja, or animal form, and are used to relate oral of this remote region lie at the core of traditional wooden comb, to create stories about how the land, sea and Tiwi customary practice: the performance series of finely dotted lines over a dark were made, as well as explaining the of two main life cycle ceremonies ground, or by using a brush for more origins of Law and culture. and the epic creation narratives of irregular or spontaneous daubs of raw 1 Crossing Country: The Alchemy of Western Arnhem Land Art, Art Gallery of New South Wales, Exhibition Education the Ancestors. Tiwi traditionally paint colour.10 This enduring relationship Kit, 2004, unpaginated. their bodies and objects for ceremony between the application of ochre 2 ibid. using natural earth pigments or ochres to the body’s surface or ceremonial 3 Wally Caruana, ‘Patterns of Power: Arnhem Land and its surrounds,’ Aboriginal Art, 1993, Thames and Hudson: and this practice is a foundation for ground and the layering of paint onto London, 27. contemporary artmaking in the Tiwi the surface of art objects is shared and 4 ibid 25. Islands, where ochres are the medium celebrated across many Aboriginal and 5 Buku-Larrngay Mulka Art Centre, Yirrkala, http://www. used on carvings, as well as for Torres Strait Islander communities. yirrkala.com/buku-art-centre/about/history
Load more

Recommended publications
  • Comet and Meteorite Traditions of Aboriginal Australians
    Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 2014. Edited by Helaine Selin. Springer Netherlands, preprint. Comet and Meteorite Traditions of Aboriginal Australians Duane W. Hamacher Nura Gili Centre for Indigenous Programs, University of New South Wales, Sydney, NSW, 2052, Australia Email: [email protected] Of the hundreds of distinct Aboriginal cultures of Australia, many have oral traditions rich in descriptions and explanations of comets, meteors, meteorites, airbursts, impact events, and impact craters. These views generally attribute these phenomena to spirits, death, and bad omens. There are also many traditions that describe the formation of meteorite craters as well as impact events that are not known to Western science. Comets Bright comets appear in the sky roughly once every five years. These celestial visitors were commonly seen as harbingers of death and disease by Aboriginal cultures of Australia. In an ordered and predictable cosmos, rare transient events were typically viewed negatively – a view shared by most cultures of the world (Hamacher & Norris, 2011). In some cases, the appearance of a comet would coincide with a battle, a disease outbreak, or a drought. The comet was then seen as the cause and attributed to the deeds of evil spirits. The Tanganekald people of South Australia (SA) believed comets were omens of sickness and death and were met with great fear. The Gunditjmara people of western Victoria (VIC) similarly believed the comet to be an omen that many people would die. In communities near Townsville, Queensland (QLD), comets represented the spirits of the dead returning home.
    [Show full text]
  • Fishing the Tiwi Islands Welcome to Our Islands
    FISHING THE TIWI ISLANDS WELCOME TO OUR ISLANDS The Tiwi Islands are made up of Melville and Bathurst Islands and numerous smaller, adjacent islands. The Vernon Islands also form part of the Tiwi estate. The Tiwi Traditional Owners and custodians of the area welcome you to our islands and ask that you respect and recognise the cultural importance of our land and waters. CODE OF Conduct RESPect THE RIGHts OF TRADITIONAL OWNERS. • Understand and observe all fishing regulations and no fishing zones. Report illegal fishing activities to the FISHWATCH hotline 1800 891 136 or the Tiwi Land Council HQ at Pickataramoor - 08 8970 9373. • Take no more fish than your immediate needs and carefully return excess or unwanted fish into the water unharmed. • Be courteous to all water users and those who belong to local Tiwi communities. • Respect Tiwi cultural ceremonies. This may mean that a particular area is temporarily closed to access. • Do not land ashore without first obtaining a separate Aboriginal land permit, from the Tiwi Land Council and abide by alcohol restrictions for the area. • Respect sacred sites and do not enter any part of the waters containing identified sacred sites unless specifically permitted to do so by the Tiwi Land Council. • Do not clean or dispose of fish within the vicinity of a community. • Prevent pollution and protect wildlife by removing rubbish and dispose of correctly to avoid potentially entrapping birds and other aquatic creatures. TIWI AND VERNON ISLANDS zones PERMIT FREE access The Tiwi have agreed to provide permit free access to the intertidal waters of the Tiwi and the Vernon Islands in the areas as outlined in the attached map.
    [Show full text]
  • Tiwi Times September 2013
    September 2013 T I W I T I M E S Tiwi Islands Training and Employment Boar d Tiwi Islands Graduation 2013 Inside Tiwi Islands Training & Employment Board (TITEB) celebrated their eighth graduation This ceremony on Wednesday the 25th of September. The day began with distinguished guests and staff of TITEB jumping aboard the new Sealink ferry at Cullen bay Darwin. Issue Due to the fantastic efforts of the RJCP & TITEB staff Wurrumiyanga training centre was 2 transformed into a beautiful staging area fit for the ceremony. Graduation 2013 3 4 5 RJCP News 6 SEE Program 7 Graduation 2013 8 Special Awards Quote of the Month Education is the means by which people can achieve and understand regardless of their race or their Background. Mr Francis Xavier Kurrupuwu MLA Design and Publication © 2003 Tiwi Islands Training & Employment Board Tiwi Times September 2013 Graduation 2013 Before the graduation proceedings began, there was a traditional smoking ceremony for a much respected and well known Tiwi elder who had passed away earlier that week. Graduating students all gathered in the main classroom where they were gowned and ready to receive their well earned certificates. Mr Francis Xavier Kurrupuwu, member for Arafura, presented the key note speech. Page 2 Tiwi Times September 2013 Graduation 2013 Karina Coombes, TITEB Business student and apprentice of the year presented the student response speech. Steve Sunk and his assistants were presented with beautiful bird carvings in appreciation for volunteering their time and efforts to prepare and cook lunch for the graduates and guests. The graduates stood proudly with their certificate in front of their families while they were congratulated through traditional song and dance.
    [Show full text]
  • Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA
    arts Article Cultural Tourism: Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA Marie Geissler Faculty of Law Humanities and the Arts, University of Wollongong, Wollongong, NSW 2522, Australia; [email protected] Received: 19 February 2019; Accepted: 28 April 2019; Published: 20 May 2019 Abstract: This paper explores how the appeal of the imagery of the Arnhem Land bark painting and its powerful connection to land provided critical, though subtle messaging, during the post-war Australian government’s tourism promotions in the USA. Keywords: Aboriginal art; bark painting; Smithsonian; Baldwin Spencer; Tony Tuckson; Charles Mountford; ANTA To post-war tourist audiences in the USA, the imagery of Australian Aboriginal culture and, within this, the Arnhem Land bark painting was a subtle but persistent current in tourism promotions, which established the identity and destination appeal of Australia. This paper investigates how the Australian Government attempted to increase American tourism in Australia during the post-war period, until the early 1970s, by drawing on the appeal of the Aboriginal art imagery. This is set against a background that explores the political agendas "of the nation, with regards to developing tourism policies and its geopolitical interests with regards to the region, and its alliance with the US. One thread of this paper will review how Aboriginal art was used in Australian tourist designs, which were applied to the items used to market Australia in the US. Another will explore the early history of developing an Aboriginal art industry, which was based on the Arnhem Land bark painting, and this will set a context for understanding the medium and its deep interconnectedness to the land.
    [Show full text]
  • The Making of Indigenous Australian Contemporary Art
    The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Marie Geissler All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................
    [Show full text]
  • Annual Report 2010–11
    ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher.
    [Show full text]
  • Does the Media Fail Aboriginal Political Aspirations?
    DOES THE MEDIA 45 years of news media reporting of FAIL ABORIGINAL key political moments POLITICAL Amy Thomas Andrew Jakubowicz ASPIRATIONS? Heidi Norman AIATSIS Research Publications DOES THE MEDIA FAIL ABORIGINAL POLITICAL ASPIRATIONS? 45 years of news media reporting of key political moments Amy Thomas Andrew Jakubowicz Heidi Norman DOES THE MEDIA FAIL ABORIGINAL POLITICAL ASPIRATIONS? First published in 2019 by Aboriginal Studies Press Copyright @ New South Wales Government All rights reserved. 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 an information storage and retrieval system, without prior permission in writing form the publisher. The Australian Copyright Act 1968 (the Act) allows a maximum of one chapter or 10 per cent of this book, which ever is the greater, to be photocopied by any educational institution for its education purposes provided that the educational institution (or body that administers it) has given a remuneration notice to Copyright Agency Limited (CAL) under the Act. The opinions expressed in this book are the author’s own and do not necessarily reflect the view of AIATSIS or ASP. Aboriginal and Torres Strait Islander people are respectfully advised that this publication contains names and images of deceased persons and culturally sensitive information. ISBN: 9780855750848 (pb) ISBN: 9780855750855 (ePub) ISBN: 9780855750862 (kindle) ISBN: 9780855750930 (ebook PDF) Printed in Australia by Ligare Design and Typsetting by 33 Creative Cover image: Tessa Ferguson and Edwin Jangalaros presenting the Larrakia petition outside Government House, Darwin. The petition was 3.3 metres long, featuring one thousand signatures and thumbprints collected by Gwalwa Daraniki.
    [Show full text]
  • Minutes of the Ordinary Meeting Held in the Wurrumiyanga Office on Wednesday, 23 January 2013 at 10Am
    MINUTES OF THE ORDINARY MEETING HELD IN THE WURRUMIYANGA OFFICE ON WEDNESDAY, 23 JANUARY 2013 AT 10AM 1 Welcome & Apologies 1.1 Welcome The meeting opened at 10:25 am. The Mayor welcomed Councillors and guests. 1.2 Present Mayor: Lynette De Santis Councillors: Deputy Mayor Marius Puruntatameri, Andrew Tipungwuti, Peter Rioli, Therese Bourke, Emmanuel Rioli, Crystal Johnson, Brian Tipungwuti, Leslie Tungutalum, Gawin Tipiloura, Barry Puruntatameri Officers: Lawrence Costa (A/CEO), Daniel Lesperance (Human Resources Manager), Denise Officer (Events Manager), Fab. Kantilla (Community Services and Events Assistant), Bruce Moller (Governance Manager), Sally Ullungura (Governance Support Officer). Public: Francis Xavier Kurrupuwu (Member for Arafura), Kate Wheen (DLG), Che Walsh (DLG) Minutes: Bruce Moller (Governance Manager) 1.3 Apologies Councillor John Naden, Alan Hudson (CEO), Rosanna De Santis (Director Corporate and Community Services), Brendan Cann (CFO), Renee Burchell ( Assistant Director Business Development) 1.4 Leave of Absence Nil 1.5 Declaration of Interest of Members or Staff Nil Minutes of the ORDINARY MEETING held on WEDNESDAY, 23 JANUARY 2013 (Unconfirmed) Page 1 of 9 1.6 Confirmation of Previous Minutes Ordinary Meeting - 12 December 2012 1 RESOLUTION Moved: Peter Rioli Seconded: Crystal Johnson That the Minutes of the Ordinary Meeting held on 12 December 2012 as circulated, be confirmed as a true and correct record of that meeting. CARRIED 2 VISITORS AND PRESENTATIONS Nil 3 BUSINESS ARISING 3.1 PROPOSED MEETING WITH TIWI LAND COUNCIL At the 12 December 2012 Ordinary Council Meeting Council asked the CEO to write to the Tiwi Land Council to arrange for a joint meeting early in 2013.
    [Show full text]
  • Tiwi Revisited: a Reanalysis of Traditional Tiwi Verb Morphology
    TIWI REVISITED A reanalysis of Traditional Tiwi verb morphology Aidan Wilson Submitted in total fulfilment of the degree of Master of Arts (Linguistics) December 2013 Department of Linguistics and Applied Linguistics School of Languages and Linguistics Faculty of Arts The University of Melbourne For Anita Pangiramini, Justin Puruntatameri, and all people whose languages have gone silent. May they and their words always be remembered. Abstract Traditional Tiwi is a language isolate within the Australian language group, traditionally spoken on the Tiwi Islands, north of Darwin. This language exhibits the most complex verb structure of any Australian language. Altogether there are 18 distinct verb slots; 14 prefixes and 4 suffixes. They encode subject, object and oblique arguments, they inflect for tense, aspect and mood, the location and direction of events with respect to the speaker, and the time of day that an event takes place. They also take prefixes and suffixes denoting associated motion, can be argument-raised by a causative or detransitivised by derivational morphology, and can take incorporated nominals, incorporated verbs, and incorporated comitative or privative arguments. Traditional Tiwi has not been adequately described. Previous descriptions are limited and do not cover verb morphology with enough detail. This thesis brings together previous descriptions, early recorded data, and adds newly collected data and findings to produce an updated description of the language, with special reference to the verb morphology. I focus in particular on two aspects of the verb morphology: agreement and incorporation. The Traditional Tiwi agreement system of inflecting verbs shows a high degree of complexity due to the interactions between subject, object and tense marking.
    [Show full text]
  • 'Old' and 'New' in Western Arnhem Land Bark Painting
    6. Categories of ‘Old’ and ‘New’ in Western Arnhem Land Bark Painting Luke Taylor Introduction This chapter compares two instances of development in the market for bark painting in western Arnhem Land at the towns of Oenpelli (Kunbarlanya) and Maningrida, east of Kakadu National Park in the Northern Territory. The intention is to compare the impacts of the agency of art collectors with that of the artists on the developing market for bark paintings, including a consideration of the entanglements of art creation and its respective intellectual frames in intercultural circumstances. In particular, I examine the effects of western categories used to define the bark paintings and how this in turn shapes the translation of their meaning in different periods. In addition, western curatorial perspectives of the art have influenced the expectations of the market and thus the trajectory of market development in each locale. Theoretical conversations of the western art world often play out with little regard for the non-western artist’s perspective. Western concepts of ‘fine art’ obscure the fact that non-western artists have a strong understanding of the historical circumstances of their art production, of what the works mean in the context of their ever-increasing engagements with the market, while possessing local theories of aesthetic value. Art history and anthropology as western disciplines of thought are now required to be reflective of their own categories, and to acknowledge the existence of a multiplicity of alternate histories of arts in the world context. Spencer at Oenpelli Baldwin Spencer travelled to Oenpelli in 1912 and his collection of bark paintings, made with the help of Paddy Cahill, brought this art to world prominence.1 Spencer worked with Kakadu-speaking artists and with a group called the Kulunglutji from further east, who are most likely to have been 1 Spencer 1914, 1928.
    [Show full text]
  • Final Report
    final report knowledge for managing Australian landscapes Kantri is for Laif (Country is for Life) A Strategy for the Promotion of Indigenous Knowledge and the Development of Indigenous Livelihoods on the Remote north Australian Indigenous Estate. A Land & Water Australia, CRC-TSM and NAILSMA Project Initiative Published by Land & Water Australia Product Code PN30198 Postal address GPO Box 2182, Canberra ACT 2601 Office location Level 1, The Phoenix 86 Northbourne Avenue, Braddon ACT 2612 Telephone 02 6263 6000 Email [email protected] Internet www.lwa.gov.au © Commonwealth of Australia, July 2009 Disclaimer The information contained in this publication is intended for general use, to assist public knowledge and discussion and to help improve the sustainable management of land, water and vegetation. It includes general statements based on scientific research. Readers are advised and need to be aware that this information may be incomplete or unsuitable for use in specific situations. Before taking any action or decision based on the information in this publication, readers should seek expert professional, scientific and technical advice and form their own view of the applicability and correctness of the information. To the extent permitted by law, the Commonwealth of Australia, Land & Water Australia (including its employees and consultants), and the authors of this publication do not assume liability of any kind whatsoever resulting from any person’s use or reliance upon the content of this publication. Kantri is for Laif (Country is for Life) Na‐ja narnu‐yuwa narnu‐walkurra barra, wirrimalaru, barni‐wardimantha, Barni‐ngalngandaya, nakari wabarrangu li‐wankala, li‐ngambalanga kuku, li‐ngambalanga murimuri, li‐ngambalanga ngabuji, li‐ngambalanga kardirdi kalu‐kanthaninya na‐ja narnu‐yuwa, jiwini awarala, anthaa yurrngumantha barra.
    [Show full text]
  • Agenda Ordinary Council Meeting Thursday, 27 August 2020
    AGENDA ORDINARY COUNCIL MEETING THURSDAY, 27 AUGUST 2020 Notice is given that the next Ordinary Council Meeting of Tiwi Islands Regional Council will be held on: Thursday, 27 August 2020 at Pirlangimpi Boardroom (Teleconference 0392606160) Commencing at 10:30 am Your attendance at the meeting will be appreciated. Valerie Rowland Chief Executive Officer Ordinary Meeting 27 August 2020 AGENDA 1 WELCOME & APOLOGIES 1.1 Welcome 1.1.1 Opening of Meeting 1.1.2 CEO welcome to Councillors & guests 1.2 Apologies 1.3 Present 1.4 Leave of Absence 1.5 Declaration of Interest of Members or Staff Section 73 of the Northern Territory Local Government Act states: Section 73 Conflict of interest (1) A member has a conflict of interest in a question arising for decision by the council, local board or council committee if the member or an associate of the member has a personal or financial interest in how the question is decided. (2) This section does not apply if the interest is: (a) an interest in a question about the level of allowances or expenses to be set for members; or (b) an interest that the member or associate shares in common with the general public or a substantial section of the public; or (c) an interest as an elector or ratepayer that the member or associate shares in common with other electors or ratepayers; or (d) an interest that the member or an associate has in a non-profit body or association; or (e) an interest of the member or an associate: (i) in appointment or nomination for appointment to a body with predominantly charitable objects; or (ii) in payment or reimbursement of membership fees, or expenses related to membership, in such a body; or (f) an interest so remote or insignificant that it could not reasonably be regarded as likely to influence a decision.
    [Show full text]