DOCSLIB.ORG

Framing the Crimes of Colonialism Critical Images of Aboriginal Art and Law

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Framing the Crimes of Colonialism Critical Images of Aboriginal Art and Law Chapter 8 Framing the crimes of colonialism Critical images of aboriginal art and law Chris Cunneen ‘Painting is our foundation. White man calls it art’ Galarrwuy Yunupingu (quoted in Isaacs, 1999: xi). Introduction This chapter considers images of crime and law, and what we, through the lens of cultural criminology, might learn of the nature and experiences of crime represented through the image. Cultural criminology opens a new space for understanding crime, especially where the image is produced by those who are victims of crime and simultaneously without access to other channels of communication within mainstream social and political institutions. The images considered in this chapter are particular: Australian Aboriginal art. These art- works function on two levels, as an expression of Aboriginal law and, more extensively, as a critique of the imposed colonial law. Both in traditional and contemporary society, Aboriginal art is a powerful medium for expressing Aboriginal law and culture. Aboriginal art plays a special role in understanding law in a society that did not rely on the written text. In this context, the image has sacred standing quite distinct from the commodity status of art in contemporary capitalist societies. Art also provides an important material expression and critique of the colonizing process, both as an historical record of events such as massacres, segregation and the denial of civil and political rights, and as an ongoing contemporary postcolo- nial critique of the outcomes of colonization, dispossession and racial discrimina- tion. Aboriginal artists are constantly engaging colonialism, law and the criminal justice system as subject matter for their art. The production of the image is a tool of resistance. There is a sense in which Indigenous art unhinges colonial law as an abstract expression of power and grounds it firmly in the lived experiences of Aboriginal people. For the cultural/critical criminologist, art becomes a rich source of ideas, documentation and insight into the inner workings of an oppressive state formation 55378-Hayward-Ch-08.indd378-Hayward-Ch-08.indd 111515 110/8/20090/8/2009 77:49:14:49:14 PPMM 116 Chris Cunneen and the modes of resistance engendered by oppression. The image becomes a critical tool in both deconstructing oppression and in understanding the political dynamics and contours of resistance. Methodologically, the image becomes both a window on the experiences of victimization (particularly in the cases of state crime considered in this chapter), and a source of documentation of disturbing criminal events (such as mass murder) where the criminal justice institutions of the colonial state have chosen to ignore or deny the existence of such events. Focus Interpreting aboriginal artwork through cultural criminology I have approached Aboriginal art as part of an ongoing project in relation to broadening our understanding of the ‘state crimes’ of colonial regimes and the potential for reparations for historical injustices against Indigenous people in Australia (Cunneen, 2005, 2008). The origins of this research derive from two somewhat disparate strands of influences and thoughts about the production and function of the image. The first is an interest in the technologies and ‘arts’ of resistance. In particular, this was sparked by an interest in some of the academic work on political murals in Northern Ireland. Cultural criminology provides the opportunity to shift the epistemological priority given to certain forms of knowl- edge, and to treat seriously the importance of the image in understanding state crime and political resistance. The second strand has been the role of art in Indigenous society as an expression of law. I have been interested for sometime in debates around the recognition of Aboriginal customary law and the way in which the debate often trivializes the expression of law in a society that does not rely on written texts. It seems self-evident that various forms of art – such as painting, sculpture, dance and song – will have a special place in reproducing social, moral and religious meanings. In short, if law is not reproduced through the written text it will be reproduced in other forms. Cultural criminology offers the potential to revalorize alternative conceptions of the expression of law, that is an understanding of law constituted through the image, rather than law consti- tuted and reproduced as written text. Let us look at these two strands of influence in more detail. An understanding of the northern Irish murals has been influenced by the extensive work of Rolston (2001, 2003, 2004). A key concern has been the role of the murals as public art in imagining community and reaffirming particular identities. The public murals also reinforce and recreate specific historical narra- tives and meanings. As Rolston (2004: 118) states, ‘through these cultural arte- facts they articulate their political hopes and fears, their view of their own identity, their hopes of their past and future, and the political obstacles which they 55378-Hayward-Ch-08.indd378-Hayward-Ch-08.indd 111616 110/8/20090/8/2009 77:49:14:49:14 PPMM Framing the crimes of colonialism 117 see facing them currently or in the future’. I draw three interconnected points from this literature. First, the art work is not seen as simply Art but is clearly bound-up with political activity. The work is both artistic (that, it has a clear aesthetic value) and self-consciously political. The aesthetics and the politics are arguably one. Secondly, the artists are organic to their communities. Their poli- tics is part of the culture and politics of the community they represent, and it is integral to those politics. The art and the artists can be seen more specifically as organic in a Gramscian sense, as growing out of a political constituency and speaking to and for that community. Thirdly, the art has the power to articulate and celebrate historical and political causes and aspirations. In Sivanandan’s (1990) terms, it is part of the way ‘communities of resistance’ develop, under- stand themselves and maintain solidarity and support. The example of the murals of Northern Ireland leads more generally into the literature on the technologies and arts of resistance. Scott (1990: xi) discusses how shared critiques of domination occur among ‘subordinates’ outside the immediate control of the dominant. The subordinate are likely ‘to create and defend a social space in which offstage dissent to the official transcript of power relations may be voiced’. There is a difference between what is said in the face of power to what is said ‘offstage’ – this is the ‘hidden transcript’ which is pro- duced for a different audience than the public transcript. The extent to which these transcripts are hidden will vary on a range of factors. When the affronts of power are ‘suffered systematically by a whole race, class, or strata, then the fan- tasy [of revenge and confrontation] can become a collective cultural product’ (1990: 9). The work of historians like EP Thompson (1974) also has influenced our understandings of resistance. Thompson was interested in the popular discon- tent, riot and disorder among working class and rural poor. He was interested in the traditions of counter theatre and theatrical symbolism and ‘the acts of dark- ness’. Similarly, Bakhtin’s (1984) celebration of carnival and riot as part of medieval folk culture, of the process of turning the ‘world inside out’ presented new understandings of resistance – an understanding we attempted to apply in a study of leisure-based antipolice riots (Cunneen et al., 1989). Overall these lead to a focus on the cultures of resistance among the subordinated – to what Scott calls the ‘infrapolitics of subordinate groups’ that constitute various forms of resistance (1990: 19). These broad approaches to the cultures of resistance provide a context for the analysis of Indigenous art. The second strand to the argument involves a consideration of Aboriginal art as a powerful medium for expressing Aboriginal law and culture. Aboriginal art plays a special role in understanding law in a society that did not rely on the written text. Stated simply, this is the idea that we can see Aboriginal art as ‘law’. By ‘law’, I mean the body of rules that govern a society, rules that generally reflect moral and ethical principles, which proscribe certain forms of behaviour, and are enforceable through sanctions or punishment. As lawyers or criminologists, we see and understand the following as law. 55378-Hayward-Ch-08.indd378-Hayward-Ch-08.indd 111717 110/8/20090/8/2009 77:49:14:49:14 PPMM 118 Chris Cunneen Crimes Act 1900 Part 3 – Offences against the person Division 1 – Homicide 17 (Repealed) 17A Date of death (1) The rule of law that it is conclusively presumed that an injury was not the cause of death of a person if the person died after the expiration of the period of a year and a day after the date on which the person received the injury is abrogated. (2) This section does not apply in respect of an injury received before the commencement of this section. 18 Murder and manslaughter defined (1) (a) Murder shall be taken to have been committed where the act of the accused, or thing by him or her omitted to be done, causing the death charged, was done or omitted with reckless indifference to human life, or with intent to kill or inflict grievous bodily harm upon some person, or done in an attempt to commit, or during or immediately after the commission, by the accused, or some accomplice with him or her, of a crime punishable by imprisonment for life or for 25 years. (b) Every other punishable homicide shall be taken to be manslaughter. (2) (a) No act or omission which was not malicious, or for which the accused had lawful cause or excuse, shall be within this section.
Load more

Recommended publications
  • Australian Aboriginal Art
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online Australian Aboriginal Art Patrick Hutchings To attack one’s neighbours, to pass or to crush and subdue more remote peoples without provocation and solely for the thirst for dominion—what is one to call it but brigandage on a grand scale?1 The City of God, St Augustine of Hippo, IV Ch 6 ‘The natives are extremely fond of painting and often sit hours by me when at work’ 2 Thomas Watling The Australians and the British began their relationship by ‘dancing together’, so writes Inge Clendinnen in her multi-voiced Dancing With Strangers 3 which weaves contemporary narratives of Sydney Cove in 1788. The event of dancing is witnessed to by a watercolour by Lieutenant William Bradley, ‘View in Broken Bay New South Wales March 1788’, which is reproduced by Clendinnen as both a plate and a dustcover.4 By ‘The Australians’ Clendinnen means the Aboriginal pop- ulation. But, of course, Aboriginality is not an Aboriginal concept but an Imperial one. As Sonja Kurtzer writes: ‘The concept of Aboriginality did not even exist before the coming of the European’.5 And as for the terra nullius to which the British came, it was always a legal fiction. All this taken in, one sees why Clendinnen calls the First People ‘The Australians’, leaving most of those with the current passport very much Second People. But: winner has taken, almost, all. The Eddie Mabo case6 exploded terra nullius, but most of the ‘nobody’s land’ now still belongs to the Second People.
    [Show full text]
  • STUDY GUIDE by Marguerite O’Hara, Jonathan Jones and Amanda Peacock
    A personal journey into the world of Aboriginal art A STUDY GUIDE by MArguerite o’hArA, jonAthAn jones And amandA PeAcock http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins Front cover: (top) Detail From GinGer riley munDuwalawala, Ngak Ngak aNd the RuiNed City, 1998, synthetic polyer paint on canvas, 193 x 249.3cm, art Gallery oF new south wales. © GinGer riley munDuwalawala, courtesy alcaston Gallery; (Bottom) Kintore ranGe, 2009, warwicK thornton; (inset) hetti perKins, 2010, susie haGon this paGe: (top) Detail From naata nunGurrayi, uNtitled, 1999, synthetic polymer paint on canvas, 2 122 x 151 cm, mollie GowinG acquisition FunD For contemporary aBoriGinal art 2000, art Gallery oF new south wales. © naata nunGurrayi, aBoriGinal artists aGency ltD; (centre) nGutjul, 2009, hiBiscus Films; (Bottom) ivy pareroultja, rrutjumpa (mt sonDer), 2009, hiBiscus Films Introduction GulumBu yunupinGu, yirrKala, 2009, hiBiscus Films DVD anD WEbsitE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series.
    [Show full text]
  • Becoming Art: Some Relationships Between Pacific Art and Western Culture Susan Cochrane University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1995 Becoming art: some relationships between Pacific art and Western culture Susan Cochrane University of Wollongong Recommended Citation Cochrane, Susan, Becoming art: some relationships between Pacific ra t and Western culture, Doctor of Philosophy thesis, , University of Wollongong, 1995. http://ro.uow.edu.au/theses/2088 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. BECOMING ART: SOME RELATIONSHIPS BETWEEN PACIFIC ART AND WESTERN CULTURE by Susan Cochrane, B.A. [Macquarie], M.A.(Hons.) [Wollongong] 203 CHAPTER 4: 'REGIMES OF VALUE'1 Bokken ngarribimbun dorlobbo: ngarrikarrme gunwok kunmurrngrayek ngadberre ngarribimbun dja mak kunwarrde kne ngarribimbun. (There are two reasons why we do our art: the first is to maintain our culture, the second is to earn money). Injalak Arts and Crafts Corporate Plan INTRODUCTION In the last chapter, the example of bark paintings was used to test Western categories for indigenous art. Reference was also made to Aboriginal systems of classification, in particular the ways Yolngu people classify painting, including bark painting. Morphy's concept, that Aboriginal art exists in two 'frames', was briefly introduced, and his view was cited that Yolngu artists increasingly operate within both 'frames', the Aboriginal frame and the European frame (Morphy 1991:26). This chapter develops the theme of how indigenous art objects are valued, both within the creator society and when they enter the Western art-culture system. When aesthetic objects move between cultures the values attached to them may change.
    [Show full text]
  • Schools Reconciliation Challenge E
    Introduction 2 How to Enter 2 About the NSW Reconciliation Council 3 Schools Reconciliation Challenge 4 Why Reconciliation? 5 Why Art? 5 2011 Artwork Gallery 6 Exploring the theme: Our Place 7 Sample Art Lessons 8 Culturally Appropriate Teaching 12 Strategies for teaching Aboriginal Students 13 Terminology 13 Lift Out Reconciliation Timeline 16 Fact Sheets 14 Reconciliation 14 Aboriginal NSW 21 Australian Aboriginal and Torres Strait Islander Peoples 25 2011 Schools Reconciliation Honour Roll 29 Entry Form 31 Terms and Conditions 32 "#$%&'&()*'+)&, The Schools Reconciliation Challenge is an art competition for young This kit has been people in NSW aged 10–16. This resource is a teaching kit which endorsed and is builds upon the objectives outlined in the NSW Creative Arts Syllabus supported by the K-6 and NSW Visual Arts Syllabus 7–10. Aboriginal Education Activities contained within help students to explore the relationship Consultative Group NSW between artist, artworks, the audience and the world, whilst developing (AECG NSW) their own artmaking practice by creating work to submit in the competition. Aboriginal and Torres Strait Islander readers are warned that this publication may contain references to deceased persons. Effort has been undertaken to ensure that the information contained in this book is correct, and the NSW Reconciliation Council regrets any offence that errors or omissions may cause. ! .(/'01($$2*'3/1$41)2)5&)$4'6(522/47/'8 ./9:'!;'-<!- .(/'59&'$='9/1$41)2)5&)$4'>'&(9$%7('&(/'/?/*'$='?$%47'@/$@2/ The Schools Reconciliation Challenge is an annual art competition for young people aged 10–16, running for the duration of Term 1 (closing on April 5 2012).
    [Show full text]
  • The Conversation Rise of Indigenous Art Speaks Volumes About Class in Australia February 24, 2014
    FORT GANSEVOORT Rise of Indigenous art speaks volumes about class in Australia February 24, 2014 The children of the wealthy know that mainstream culture belongs to them. urbanartcore.eu The Conversation is running a series, Class in Australia, to identify, illuminate and debate its many manifestations. Here, Joanna Mendelssohn examines the links between Indigenous art and class. The great story of recent Australian art has been the resurgence of Indigenous culture and its recognition as a major art form. But in a country increasingly divided by class and wealth, the rise of Indigenous art has had consequences undreamed of by those who first projected it onto the international exhibiting stage. 5 NINTH AVENUE, NEW YORK, 10014 | [email protected] | (917) 639-3113 FORT GANSEVOORT The 1970s export exhibitions of Arnhem Land bark paintings and reconceptualisations of Western Desert ceremonial paintings had their origins in different regions of the oldest culture. In the following decade, urban Indigenous artists began to make their presence felt. Trevor Nickolls, Lin Onus, Gordon Bennett, Fiona Foley, Bronwyn Bancroft, Tracey Moffatt – all used the visual tools of contemporary western art to make work that was intelligent, confronting, and exhibited around the world. The continuing success of both traditional and western influenced art forms has led to one of the great paradoxes in Australian culture. At a time when art schools have subjugated themselves to the metrics-driven culture of the modern university system, when creative courses are more and more dominated by the children of privilege, some of the most interesting students and graduates are Indigenous.
    [Show full text]
  • Atomic Testing in Australian Art Jd Mittmann
    ATO MIC TEST ING IN AUST RAL IAN ART JD MIT TMA NN Around the world artists have be en conce rned wit h Within a radius of 800m the dest ruction is co mplete . and Walle r. He docume nted the Austr alian New Gui nea nuclear iss ues, from the first application of atomic bomb s Over 70,000 die instantl y. campaign and its afte rmath . at Hi roshima and Nagasaki, to at omic testing, uraniu m A person stan ds lost amongst the ruins of a house . In 1946 he was se nt to Japan whe re he witnes sed mining, nuc lear waste tra nspo rt and storage, and We don’t see the chi ld’s exp ression, but it can only be the effects of the ato mic bomb. He doc umented the va st scenarios of nuclear Armageddon. The Australian artisti c one of shock and suffering. A charred tree towers ov er dest ruction from a distant vi ewpoint, spa ring the viewe r response to Bri tish atomic te sting in the 195 0s is les s the rubble. Natu re has withe red in the on slaught of hea t the ho rri fic deta ils. His sketch Rebuilding Hiroshim a well-know n, as is the sto ry of the tests . and shock waves. Simply titled Hi roshima , Albe rt Tucker’ s shows civil ians clearing away the rubble. Li fe ha s Cloaked in se crec y, the British atomic testing progra m small wate rcolour is quiet and conte mplative.
    [Show full text]
  • Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada
    Sydney College of the Arts The University of Sydney Doctor of Philosophy 2018 Thesis Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada Rolande Souliere A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Rolande Souliere i ACKNOWLEDGEMENTS I would like to thank Dr. Lynette Riley for her assistance in the final process of writing this thesis. I would also like to thank and acknowledge Professor Valerie Harwood and Dr. Tom Loveday. Photographer Peter Endersbee (1949-2016) is most appreciated for the photographic documentation over my visual arts career. Many people have supported me during the research, the writing and thesis preparation. First, I would like to thank Sydney College of the Arts, University of Sydney for providing me with this wonderful opportunity, and Michipicoten First Nation, Canada, especially Linda Petersen, for their support and encouragement over the years. I would like to thank my family - children Chloe, Sam and Rohan, my sister Rita, and Kristi Arnold. A special thank you to my beloved mother Carolyn Souliere (deceased) for encouraging me to enrol in a visual arts degree. I dedicate this paper to her.
    [Show full text]
  • Affirmations of Identity
    Stage 4 Mandatory Course Units Unit of Work Aboriginal Artists Forms Frames Conceptual Framework 1 A Cultural Jimmy Pike 2D - printmaking Structural Artist, artwork, Journey Kevin Gilbert Cultural audience Dennis Nona Banduk Marika Ellen Jose Pooaraar 2 Ceramic Thancoupie 3D - ceramics Structural Artist, artwork, Creatures Female Indigenous world artists 3 Unforgettable Robert Campbell Jr 2D - painting Cultural Artist, artwork, Tucker Pantjiti Mary McLean world, audience Lawrence Leslie 4 Ancestors and Lena Yarinkura 3D - fibre, Cultural Artist, artwork, Family Members Jenny Watson sculpture world Stage 5 Elective Course Units Unit of Work Aboriginal Artists Forms Frames Conceptual Framework 5 Reconciliation Alice Hinton-Bateup 2D - printmaking, Cultural Artist, artwork, David Spearim digital media world, audience Robert Campbell Jnr 6 Objects in the Yvonne Koolmatrie 3D - sculpture, Structural Artist, artwork, Landscape Lorraine Connelly- fibre Cultural world Northey 7 Cultural Michael Riley 2D - photography, Structural Artist, artwork, Intersections Rea digital media, Cultural world, audience Darren Siwes computer Brenda L Croft generated and Brook Andrew enhanced graphics 8 Place, Possession Lin Onus 2D - digital Cultural Artist, artwork, and Dispossession Gordon Bennett imaging, collage, Postmodern world, audience photomontage 26 UNIT 1 – A Cultural Journey Overview Unit of A Cultural Journey work Duration One term Stage 4 Year 7 or 8 Unit In this unit of work students study Jimmy Pike’s Woman Carrying the Two description Boys. The artist’s historical and cultural links with the Great Sandy Desert in Western Australia are used to explain the ways in which an artwork can Practice, represent a culturally specific experience and understanding of the world. artmaking Students undertake a study of cultural and historical issues of other and critical Aboriginal and Torres Strait Islander printmakers.
    [Show full text]
  • Printmaking As an Expanding Field in Contemporary Art Practice
    Printmaking as an Expanding Field in Contemporary Art Practice: A Case Study of Japan, Australia and Thailand Marjorie Anne Kirker Dip.F.A. (Hons), University of Auckland; M.A. Art History, Courtauld Institute of Art, London Doctor of Philosophy Submission for Final Examination Creative Industries Faculty Department of Visual Arts Queensland University of Technology 2009 1 Statement of original authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person, except where due reference is made. Marjorie Anne Kirker Signature: Date: 2 TABLE OF CONTENTS Acknowledgments .......................................................................................................... 6 Abstract ........................................................................................................................... 7 Chapter 1 THE PROBLEM AND ITS CONTEXT .............................................................. 10 1.1 The Research Problem and Its Significance ............................................................. 10 1.2 Key Research Questions to Be Addressed ................................................................ 15 1.3 Objectives of the Research ...................................................................................... 16 Chapter 2 LITERATURE INFORMING RESEARCH PROBLEM ....................................
    [Show full text]
  • Paintings from Warmun ST PAUL St Gallery One 25 September – 23 October 2015
    Paintings from Warmun ST PAUL St Gallery One 25 September – 23 October 2015 These paintings all come from artists working in Warmun, a community of about 400 people located 200 kilometres south of Kununurra in the Kimberley region of far north Western Australia. The Warmun Art Centre there was founded by Queenie McKenzie, Madigan Thomas, Hector Jandany, Lena Nyadbi, Betty Carrington and Patrick Mung Mung, members of the contemporary painting movement that began in the mid-1970s. Warmun Art Centre is owned and governed by the Gija people, its income returned to the community. Today some 50 emerging and established Gija artists work there. The works are by Warmun artists Mabel Juli, David Cox, Lena Nyadbi, Churchill Cann, Gordon Barney, Phyllis Thomas and Shirley Purdie. In these paintings the material is the work; they are earth and mineral as well as images. While they are stylistically very different in approach, all share the ochre, charcoal and natural earth pigments that typify contemporary Aboriginal painting in the Kimberley region. Coloured by iron oxide, ochre ranges from subtle yellow to deep red-brown. Mawandu or white ochre (extensively used in Mabel Juli’s work, alongside black ochre) is distinctive to the Kimberley area. This is a naturally occurring white clay that forms deep in the ground along certain riverbeds. Mixing natural pigments with mawandu provides range of colours including lime greens, greys, and a rare pink, all of which are produced at Warmun and traded with art centres across the region. ‘I don’t paint another country, I paint my own’, says Mabel Juli.
    [Show full text]
  • Aboriginal Art and Healing
    ABORIGINAL ART AND HEALING Donna Leslie 1st May, 2001 I should like to thank Dr Colette Rayment and the RLA committee for their invitation to give this lecture, concurrent with the Heritage Art Award, and I want to express my respect on being here, on the traditional lands of the Eora people. Introduction The effort by many Australians to heal deep wounds of our collective past has been evident in the healing journeys to\vards Reconciliation undertaken recently throughout this country. These journeys have required an empathic imagination, for in a sense they are an invitation to walk in the shoes of another and to understand more deeply our shared Australian heritage. My talk tonight is about artistic work that also can be interpreted as a journey - a journey towards coming to terms with certain disturbing and regrettable aspects of our common heritage. I am not speaking about art as a psychotherapeutical tool, but rather as a practical medium for naturally and creatively expressing human experience. Aboriginal realities reflect complex cross-cultural histories, and these histories have long been the subject of a great deal of contemporary Aboriginal art. Tonight I \vish to present for your reflection three approaches by Aboriginal artists - or in one case by a cross-cultural team - that use art as a healing medium and are examples of creative journeying towards \vholeness. The first of these is Another Vielv ~Valking Trail in Melbourne, in \vhich a group of artists offers another perspective on l\ttelbourne's history. Another Vietv is a symbolic journey that some find confronting, but it is a journey intended positively to engage the vie\ver and to act as a medium of transformation.
    [Show full text]
  • Children Fall Catalogue 2020
    CHILDREN’S PICTURE CHILDREN’S PICTURE BOOKS For rights enquiries and further information please contact Natasha Solomun, Director, The Rights Hive at [email protected] Publisher: Serenity Press Budgie Rescue Format: Paperback Books Page extent: 32pp Sarah, Duchess of York Publication date: November 2020 Rights held: World Join Budgie the Little Helicopter as he flies around and helps to rescue animals from all over. From Kubby the Koala to Turtle, there’s endless adventures to be had! AUTHOR Sarah Ferguson, The Duchess of York, is the author of several children’s books, including Ballerina Rosie; Tea for Ruby, illustrated by Robin Preiss Glasser; and the Little Red series as well as a memoir, Finding Sarah. The Duchess is a devoted spokesperson for many charitable organizations, including Changes for Children. She has two daughters, Princess Beatrice and Princess Eugenie. For rights enquiries and further information please contact Natasha Solomun, Director, The Rights Hive at [email protected] The Duchess Serenity Collection Sarah, Duchess of York Publisher: Serenity Press Format: Picture book, Junior fiction Page extent: various Publication date: April 2020 Rights held: World The Enchanted Oak Tree –Open the antique gate and enter a secret garden where a world of enchantment and wonder awaits… Children will delight in this charming tale about an old oak tree that is not what it seems, for frolicking fairies make their home among its sheltering branches. Genie Gems – Mission to Devon - 8 - 10 year old chapter book. A schoolgirl on a planet saver quest… An evil lord who wants to harm the environment and bring misery to all who live on the planet… Join Genie Gems on a rescue mission that will demand all her courage, the support of a loyal band of friends plus a touch of magic if she is to succeed in defeating Lord Darkly.
    [Show full text]