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Cultural Plan
APPENDIX 12 ATTACHMENT 1 Cultural Plan 2021 - 2025 This plan is available upon request in alternative languages and formats upon request. joondalup.wa.gov.au ii City of Joondalup – Cultural Plan 2021 City of Joondalup – Cultural Plan 2021 iii Contents Executive Summary ............ iv Context .............................. 4 Culture in the City of Joondalup .............. 8 Developing the Plan ............ 14 The Plan ............................ 17 Reviewing the Plan and Monitoring Progress ........... 23 The City acknowledges the custodians of this land, the Whadjuk Noongar and their Elders past, present and emerging. The City acknowledges and respects their continuing culture and the contribution they make to the life of this city and this region. iv City of Joondalup – Cultural Plan 2021 Executive Summary Since its early days, the City has developed a The resulting Cultural Plan has been developed to reputation for managing high quality cultural respond to these community sentiments, increasing destinations, assets and events, many of which access to the arts, and embedding cultural moments appeal to visitors from the wider Perth metropolitan in everyday life. The Plan provides strategic direction area. In doing so the City has successfully for the City of Joondalup’s activities for the period of demonstrated how culture plays a significant 2021 - 2025, ensuring investment is directed towards role in visitor and resident attraction, community the programming and infrastructure most valued cohesiveness and quality of life. by the community. This includes strategic initiatives which grow the City’s cultural capacity and audience, From its inception as a newly formed local in consideration of future plans for signficant cultural government in the late 1990s, the City of Joondalup infrastructure including the proposed Joondalup has successfully implemented cultural events such as Performing Arts Facility. -
Brian Manning a Blast from the Past: an Activist's Account of the Wave
Brian Manning A Blast From the Past: An activist’s account of the Wave Hill walk-off The 6th Vincent Lingiari Memorial Lecture Delivered by Brian Manning Northern Territory University 23rd August 2002 Photo - Manning Collection [from Freedom Day website - http://freedomday.info/] There was an expectation amongst Aboriginal Workers that the 1965 application to vary the Cattle Industry Award by the North Australian Workers Union would at last grant them wage justice and remove laws which arbitrarily denied them equal value for equal work. For a seven day week, working from sun-up to sun-down Aboriginal pastoral workers in the Northern Territory were paid around 3 pounds 6 shillings ($7.00) when white workers were paid around 23 pounds ($46). In addition Aboriginal workers were to be fed in accordance with a schedule in the Wards Employment Ordinance, which provided for an adequate and varied nutritious diet. Daily fare in the Wave Hill stock camps consisted of dry-salted beef, dry bread, tea and sugar. Employer advocates asserted that most Aboriginal workers were merely hose-holders; an inference that they were only capable of watering the vegetable garden on the station and therefore were not deserving of the same wage and conditions as non-Aboriginal workers. Contrary to the argument expounded by many of the employers that Aborigines either couldn’t handle money or alternatively had nothing to spend it on there was eager anticipation amongst Aboriginal Communities who would be able buy up on consumer goods: radios, record players, records, stockmen’s outfits clothes and toys for their wives and kids and maybe even a second hand motorcar when the travelling hawkers came round. -
Leviathan Mr Stirling Tuckey Tells of the Era of “Leviathan”, a Cargo Vessel That Worked Between Fremantle and Mandurah
Leviathan Mr Stirling Tuckey tells of the era of “Leviathan”, a cargo vessel that worked between Fremantle and Mandurah. Black Bess There would be only a handful of people in the township of Mandurah today who would remember the Leviathan. Most of them would remember her as “Black Bess” or just plain Wilson’s boat, but she and her builder deserve to take a place in the early history of Mandurah for it was the venture of an old man, helped by his two sons, who worked hard for many long hours, days, months and even years, barely existing at times for lack of money or even food, to accomplish a purpose. This was to provide for Mandurah a seagoing vessel to carry cargo to and from Fremantle and help put Mandurah on the map. Well do I remember the day when she was launched! The chocks were knocked from beneath her hull and with quite some persuasion she slid down into the creek barely deep enough for her to float. From the “big bridge” she looked immense. She must have been the biggest ship ever to be within the Mandurah bar. 3 PINJARRA Road Mandurah, Western Australia | T: (08) 9550 3681 | E: [email protected] Leviathan Continued Fremantle to Mandurah Before the Great War the only means of transport between Fremantle and Mandurah was by sea (cargo only) or rail to Pinjarra and then by horse and coach or some other form of horse transport to the township. The road to Fremantle was for the greater part a track through the sand, except for patches of stony outcrop for miles north of Mandurah. -
Cockburn City Herald
Volume 32 No 40 Your local INDEPENDENT newspaper 41 Cliff Street, Fremantle Saturday October 2, 2021 Letterboxed to: Coogee, Port Coogee (North Coogee) and Spearwood Street Press: Success, Yangebup, Wattleup, Jandakot, Ph: 9430 7727 Fax 9430 7726 www.fremantleherald.com Beeliar, Bibra Lake, Atwell, South Lake, Henderson, Aubin Grove, Munster, Hamilton Hill and Coolbellup Email: [email protected] • On Saturday, South Fremantle Football Club (above) will play in the WAFL Grand Final at Optus Stadium, where they managed to get a training session in this week (bottom). Can they do it? The premier family club, record membership over – they beat South a really valuable jump on up from the covid-19 by STEPHEN POLLOCK Fremantle in the semis and Claremont.” canvas when we hosted SOUTH FREMANTLE Bulldogs CEO Cameron Mr Britt says the and won the Grand Final Football Club are Britt says they copped a few Bulldogs have a strong in Fremantle, so we really preparing for some old- knocks and bruises in the connection to Freo and want want to extend that feeling school rough-and-tumble punishing encounter. to bring home the trophy for and win on Saturday at “Subiaco played a very the local community. the magnificent Optus when they play Subiaco hard and physical style of “We are the premier Stadium.” in the WAFL Grand Final football,” he says. family club in the WAFL, “We are the pride of on Saturday (October 2). “Some injuries picked up and a key component of the Fremantle and will do our Last weekend the in that game forced some local fabric in Fremantle,” best to win our 15th WAFL Bulldogs fended off a changes for our prelim final, he says. -
Port Related Structures on the Coast of Western Australia
Port Related Structures on the Coast of Western Australia By: D.A. Cumming, D. Garratt, M. McCarthy, A. WoICe With <.:unlribuliuns from Albany Seniur High Schoul. M. Anderson. R. Howard. C.A. Miller and P. Worsley Octobel' 1995 @WAUUSEUM Report: Department of Matitime Archaeology, Westem Australian Maritime Museum. No, 98. Cover pholograph: A view of Halllelin Bay in iL~ heyday as a limber porl. (W A Marilime Museum) This study is dedicated to the memory of Denis Arthur Cuml11ing 1923-1995 This project was funded under the National Estate Program, a Commonwealth-financed grants scheme administered by the Australian HeriL:'lge Commission (Federal Government) and the Heritage Council of Western Australia. (State Govenlluent). ACKNOWLEDGEMENTS The Heritage Council of Western Australia Mr lan Baxter (Director) Mr Geny MacGill Ms Jenni Williams Ms Sharon McKerrow Dr Lenore Layman The Institution of Engineers, Australia Mr Max Anderson Mr Richard Hartley Mr Bmce James Mr Tony Moulds Mrs Dorothy Austen-Smith The State Archive of Westem Australia Mr David Whitford The Esperance Bay HistOIical Society Mrs Olive Tamlin Mr Merv Andre Mr Peter Anderson of Esperance Mr Peter Hudson of Esperance The Augusta HistOIical Society Mr Steve Mm'shall of Augusta The Busselton HistOlical Societv Mrs Elizabeth Nelson Mr Alfred Reynolds of Dunsborough Mr Philip Overton of Busselton Mr Rupert Genitsen The Bunbury Timber Jetty Preservation Society inc. Mrs B. Manea The Bunbury HistOlical Society The Rockingham Historical Society The Geraldton Historical Society Mrs J Trautman Mrs D Benzie Mrs Glenis Thomas Mr Peter W orsley of Gerald ton The Onslow Goods Shed Museum Mr lan Blair Mr Les Butcher Ms Gaye Nay ton The Roebourne Historical Society. -
20193-Waca His
Job No. 20193 WACA Ground Improvement Project Western Australian Cricket Association Grounds, East Perth Heritage Impact Statement Prepared for: Cox Architecture December 2020 ABN 91 277 671 706 1/315 Rokeby Road, Subiaco Western Australia 6008 Telephone 08 9381 1666 Facsimile 08 9381 1566 [email protected] www.griffithsarchitects.com.au Griffiths Architects is a leading architectural firm in Perth, Australia. Griffiths Architects was born out of a practice of which Philip Griffiths was a co-director for over 20 years. The company emerged from a desire to diversify the range of work covered by the practice, and to take a fresh approach to design. The practice undertakes commissions in architecture, heritage, urban, interior design, interpretation and heritage assessments. Griffiths Architects provides professional advice on a range of issues related to these areas of our discipline. The practice has won architectural, planning, and heritage awards for a wide range of projects located throughout the state. Griffiths Architects has a great depth of experience across numerous project types and delivers innovative solutions that embrace environmental responsibility with elegant and simple solutions. The projects are the product of working closely with clients, carefully assessing their expectations, and delivering high quality results. Cover: Looking south towards the Lillee-Marsh Stand. Griffiths Architects 2016. Revision History Date of this revision: 17 December 2020 Distribution Document Version Author Status Date HIS 01 -
Record of the Week
ISSUE 754 / 16 NOVEMBER 2017 TOP 5 MUST-READ ARTICLES record of the week } CISAC reports global Sober Mary J Blige. Produced royalty collections for by Maths Time Joy, the songwriters, music Mahalia track has received some composers and Asylum/Atlantic Records serious love online from publishers grew by Sober: out now / Album: Spring 2018 The Fader, Dummy and 6.8% to €8bn in 2016. Complex, including a recent (RotD) Sober from 19-year-old session video for the Berlin- singer-songwriter Mahalia is based Colors studio that has } Steve Stoute launches an exquisite R&B gem that clocked up over 1.9 million in three months last night (15 Mixmag, her music is quickly UnitedMasters, with showcases why she is a views on YouTube. Her music November) at the Hoxton becoming synonymous with backing from Alphabet. rising star and one to watch has so far amassed over eight Square Bar and Kitchen, the trials of everyday life for (Medium) for in 2018. With its chilled million combined streams Mahalia will be supporting today’s youth. And if, like boom-bap beat offering and garnered support from Jorja Smith on her UK tour us, you adore clever and } Viagogo and Stubhub a gorgeous soundbed for 1Xtra, Radio 1, The Guardian, in February next year before expressive songwriting with have their offices Mahalia’s smooth vocals, the NME and a position within headlining Omeara in London a luscious vibe and sublime raided. (Guardian) track effortlessly glides along i-D’s prestigious Class of on 14 March. Recently hailed vocals, then Mahalia is one in a hazy vibe reminiscent 2018 list. -
Brisbane Gala the Triffid 4Th December 2019
BRISBANE GALA THE TRIFFID 4TH DECEMBER 2019 The Director of the NLMAs, Larry Heath, would like to send his thanks to everyone who has helped make this night possible. In particular The Triffid, our home for the Gala, as well as: The NLMAs Board... Aeron Clark (Music Tasmania, TAS) Andrew Tuttle (APRA AMCOS, QLD) Damian Cunningham (Elastic Entertainment, NSW) Dallas Frasca (Musician, VIC) Katie Noonan (Musician, QLD) Mark Smith (MusicNT, NT) Michelle Padovan (QMusic, QLD) Mike Harris (WAM, WA) Ruth O’Brien (Artist & Disability Advocate, ACT) Sian Walden (Little Acorn Music, SA) ...and all the team & volunteers! With a particular mention to our Queensland event manager Helen Nash, who has been working with us since we started. And for the invaluable assistance of Lucy Joseph on admin, Filipe Franzoni on video, Mick Radojkovic on scripts, Michael Katsavos on socials and Maddi Johnson on graphics. And of course a big thanks to all our sponsors & judges. #NLMAs Program 6.30pm: Doors Open, Drinks and Food Served 7.30pm: Opening Performance: The Blockades 7.35pm: MCs Jeremy Neale, Patience Hodgson and Aimon Clark welcome you to the 2019 National Live Music Awards 7.40pm: Queensland Awards 7.55pm: LIVE: Jack Carty 8.00pm: Genre Awards Part One 8.20pm: LIVE: Little Georgia 8.25pm: Genre Awards Part Two 8.40pm: Live Legend Induction 8.55pm: International Achievement Awards 9:00pm: LIVE: Live Legend - Deborah Conway 9.10pm: Live Photographer of the Year Live Event & Musicianship Awards 9.30pm: LIVE: William Barton 9.35pm: The NLMA, Best New Act Live Voice of the Year & Live Act of the Year 9.50pm: Closing Performance 10pm: Dessert and Drinks QLD AWARDS LIVE ACT OF THE YEAR Presented by Brisbane City Council Cub Sport Sahara Beck LIVE EVENT San Mei BIGSOUND Thelma Plum Caloundra Music Festival WAAX CMC Rocks Queensland Jungle Love Festival LIVE VOICE OF THE YEAR Woodford Jack Carty Katie Noonan ALL AGES ACHIEVEMENT Monica Sottile (Sweater Curse) To be revealed on stage.. -
Annual Report 2017
CONTENTS President’s Report 4 Treasurer’s Report 6 CEO’s Report 8 QMusic Program Report 10 QMusic Management Committee 16 QMusic Staff 19 Income & Expenditure Statement 22 Assets & Liabilities Statement 23 Statement of Cash Flows 24 3/374 Brunswick Street PO Box 878 Fortitude Valley QLD 4006 Notes to the Financial Statements 25 Australia T (07) 3257 0013 Statement by Members of the Committee 30 E [email protected] www.qmusic.com.au Independent Audit Report 31 Queensland Music Network Incorporated ABN 14 083 014 720 Disclaimer to the Detailed Income & Expenditure Statement 33 Promoting the artistic value, cultural worth and commercial potential of Queensland music. Detailed Income and Expenditure Statement 34 QMusic - The Queensland Music Network - is a registered non-profit association dedicated to developing, servicing and representing the Queensland music industry. QMusic acknowledges that Aboriginal and Torres Strait Islanders are the custodians of the land and recognise the disadvantage caused by colonisation and dispossession. Aboriginal and Torres Strait Islander music plays a critical role in the broader Australian music context and Australian culture overall. QMusic is committed to working with community to build opportunities for Aboriginal and Torres Strait Islander artists and music businesses. QMusic acknowledges the support and funding of the Queensland Government, Australia Council for the Arts and APRA AMCOS 2017 ANNUAL REPORT 3 PRESIDENT’S REPORT Like the wider music industry, QMusic has known its share of challenging times in more than two decades in existence. Those times have helped to place the positive moments into perspective. And 2017 will go down as a strong year for QMusic. -
Critical and Creative Approaches Ed. Jan Shaw, Philippa Kelly, LE Semler
Published in Storytelling: Critical and Creative Approaches ed. Jan Shaw, Philippa Kelly, L. E. Semler (Basingstoke: Palgrave, 2013), pp. 83-113. Transnational Glamour, National Allure: Community, Change and Cliché in Baz Luhrmann’s Australia. Meaghan Morris What are the links between stories and the wider social world—the contextual conditions for stories to be told and for stories to be received? What brings people to give voice to a story at a particular historical moment? … and as the historical moment shifts, what stories may lose their significance and what stories may gain in tellability? (Plummer 25). The vantage points from which we customarily view the world are, as William James puts it, ‘fringed forever by a more’ that outstrips and outruns them (Jackson 23-24). Poetry from the future interrupts the habitual formation of bodies, and it is an index of a time to come in which what today exists potently—even if not (yet) effectively— but escapes us will find its time. (Keeling, ‘Looking for M—’ 567) 1 The first time I saw Baz Luhrmann’s Australia I laughed till I cried. To be exact, I cried laughing at dinner after watching the film with a group of old friends at an inner suburban cinema in Sydney. During the screening itself I laughed and I cried. As so often in the movies, our laughter was public and my tears were private, left to dry on my face lest the dabbing of a tissue or an audible gulp should give my emotion away. The theatre was packed that night with a raucously critical audience groaning at the dialogue, hooting at moments of high melodrama (especially Jack Thompson’s convulsive death by stampeding cattle) and cracking jokes at travesties of history perceived on screen. -
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. -
October 10 2018
INAUGURAL CEREMONY October 10 2018 “I know that there are vast numbers of men who support woman and huge numbers of women who want more so together let’s create the mother of all paradigm shifts.” Jenny Morris Chrissy Amphlett PHOTOGRAPHER: TONY MOTT 2 1 “I know that there are vast numbers of men who support woman and huge numbers of women who want more so together let’s create the mother of all paradigm shifts.” Jenny Morris Chrissy Amphlett PHOTOGRAPHER: TONY MOTT 2 1 A FEW WORDS Message From AWMA Founding Director Message from the Premier & Ministers & Executive Producer It is our great pleasure to welcome you to the first Australian Women in Music Awards. VICKI GORDON We’re proud that Queensland is the inaugural home to this phenomenal program. The Queensland Government is committed to promoting the work of women in all fields, including the arts, and positions of leadership. We have pledged to appoint 50 per cent women to government boards by 2020, because we know that companies This evening we will make Australian music history. that appoint more women do better. The inaugural Australian Women in Music Awards is the result of many Australian women contribute a great deal to the country’s contemporary music industry, and yet only one in five voices and many visions coming together, all of whom refuse to allow registered songwriters and composers in our nation are women. Women also represent almost half of all Australians women’s contribution in the Australian Music Industry to be sidelined with a music qualification, and yet hold only one in four senior roles in our key music industry organisations.