26 March 2017 EXHIBITION WALL LABELS Drafted by Max Dela
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RECONCILIATION ACTION PLAN Buŋgul Sydney Festival 2020
RECONCILIATION ACTION PLAN Buŋgul Sydney Festival 2020 ACKNOWLEDGEMENT OF COUNTRY Sydney Festival would like to acknowledge the Traditional Owners of the land on which the Festival takes place, and pay respect to the 29 clans of the Eora Nation. We acknowledge that this land falls within the boundaries of the Metropolitan Local Aboriginal Land Council. We would also like to acknowledge our Darug neighbours in Parramatta. We pay respect to Elders both past and present, and all Aboriginal and Torres Strait Islander peoples whichever Aboriginal and Torres Strait Islander nation they come from. INTRODUCTION Originally launched in 2013, our Reconciliation Action Plan (RAP) outlines our commitment towards improving outcomes for Aboriginal and Torres Strait Islander peoples by creating and fostering an organisational environment that cherishes respect, creates opportunity and builds cultural awareness. Sydney Festival recognises that Sydney is a vast, complex and exuberant city of cultural contrasts and social diversity, that Sydney’s Aboriginal and Torres Strait Islander heritage and contemporary cultures lie deep within the city’s identity and are key to an enlightened and progressive festival. COVER IMAGE: ALWAYS Sydney Festival 2019 2 1 Four Thousand Fish Sydney Festival 2018 A MESSAGE FROM THE EXECUTIVE DIRECTOR The Sydney Festival Reconciliation Action Plan remains our organisation's commitment to ensure that we keep moving forward on this vital issue for our nation. We are committed to working towards improving outcomes for Aboriginal and Torres Strait Islander peoples by creating and fostering an organisational environment that cherishes respect, creates opportunity and builds cultural awareness. We will continue to set ourselves new measurable goals, at the same time as maintaining ongoing successful initiatives as part of the ongoing journey for this organisation and our community. -
Graphic Encounters Conference Program
Meeting with Malgana people at Cape Peron, by Jacque Arago, who wrote, ‘the watched us as dangerous enemies, and were continually pointing to the ship, exclaiming, ayerkade, ayerkade (go away, go away)’. Graphic Encounters 7 Nov – 9 Nov 2018 Proudly presented by: LaTrobe University Centre for the Study of the Inland Program Melbourne University Forum Theatre Level 1 Arts West North Wing 153 148 Royal Parade Parkville Wednesday 7 November Program 09:30am Registrations 10:00am Welcome to Country by Aunty Joy Murphy Wandin AO 10:30am (dis)Regarding the Savages: a short history of published images of Tasmanian Aborigines Greg Lehman 11.30am Morning Tea 12.15pm ‘Aborigines of Australia under Civilization’, as seen in Colonial Australian Illustrated Newspapers: Reflections on an article written twenty years ago Peter Dowling News from the Colonies: Representations of Indigenous Australians in 19th century English illustrated magazines Vince Alessi Valuing the visual: the colonial print in a pseudoscientific British collection Mary McMahon 1.45pm Lunch 2.45pm Unsettling landscapes by Julie Gough Catherine De Lorenzo and Catherine Speck The 1818 Project: Reimagining Joseph Lycett’s colonial paintings in the 21st century Sarah Johnson Printmaking in a Post-Truth World: The Aboriginal Print Workshops of Cicada Press Michael Kempson 4.15pm Afternoon tea and close for day 1 2 Thursday 8 November Program 10:00am Australian Blind Spots: Understanding Images of Frontier Conflict Jane Lydon 11:00 Morning Tea 11:45am Ad Vivum: a way of being. Robert Neill -
Peta Clancy Christopher Day Destiny
Peta Clancy Christopher Day Destiny Deacon Michaela Gleave Nasim Nasr Sara Oscar Julie Rrap Khaled Sabsabi Yhonnie Scarce Angela Tiatia Christian Thompson Kawita Vatanajyankur Daniel von Sturmer Justene Williams William Yang Under the sun: Reimagining Max Dupain’s Sunbaker Published to accompany the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker presented at The State Library of New South Wales 18 February – 17 April 2017 Monash Gallery of Art 6 May – 6 August 2017 Australian Centre for Photography Director Cherie McNair Curator Claire Monneraye Exhibition Partners Curatorial Assistant Casuarina Bird Education & Public Programs Manager Antoinette Clements ACP acknowledges the key contribution of Catherine Baldwin, Interim Director to the project development and completion. ACP thanks all the staff members from the State Library of New South Wales and Monash Gallery of Art that have contributed to the development of this project. Commissioning Partners Funding Partners John and Kate Armati Andrew and Kate Jerogin Lisa Paulsen Neill and Jane Whiston Medich Foundation This project has been assisted by the Australian government through the Department of Communication and the Arts’ Catalyst—Australian Arts and Culture Fund. Graphic Design Kirk Palmer Design Printer Shepson Printing ISBN 978-0-6480417-0-2 @ Australian Centre for Photography Message from the Minister What better way to celebrate Australian contemporary photography than to attend Under the sun: Reimagining Max Dupain’s Sunbaker, an innovative and thought-provoking exhibition in which 15 leading artists respond to Max Dupain’s iconic image, Sunbaker. In Under the sun, each newly-commissioned work represents a unique interpretation of the 1937 photograph and incorporates a wide range of techniques, showcasing the talent and diversity of the participating artists. -
DEADLYS® FINALISTS ANNOUNCED – VOTING OPENS 18 July 2013 Embargoed 11Am, 18.7.2013
THE NATIONAL ABORIGINAL & TORRES STRAIT ISLANDER MUSIC, SPORT, ENTERTAINMENT & COMMUNITY AWARDS DEADLYS® FINALISTS ANNOUNCED – VOTING OPENS 18 July 2013 Embargoed 11am, 18.7.2013 BC TV’s gripping, award-winning drama Redfern in the NBA finals, Patrick Mills, are finalists in the Male Sportsperson Now is a multiple finalist across the acting and of the Year category, joining two-time world champion boxer Daniel television categories in the 2013 Deadly Awards, Geale, rugby union’s Kurtley Beale and soccer’s Jade North. with award-winning director Ivan Sen’s Mystery Across the arts, Australia’s best Indigenous dancers, artists and ARoad and Satellite Boy starring the iconic David Gulpilil. writers are well represented. Ali Cobby Eckermann, the SA writer These were some of the big names in television and film who brought us the beautiful story Ruby Moonlight in poetry, announced at the launch of the 2013 Deadlys® today, at SBS is a finalist with her haunting memoir Too Afraid to Cry, which headquarters in Sydney, joining plenty of talent, achievement tells her story as a Stolen Generations’ survivor. Pioneering and contribution across all the award categories. Indigenous award-winning writer Bruce Pascoe is also a finalist with his inspiring story for lower primary-school readers, Fog Male Artist of the Year, which recognises the achievement of a Dox – a story about courage, acceptance and respect. Aboriginal and Torres Strait Islander musicians, will be a difficult category for voters to decide on given Archie Roach, Dan Sultan, The Deadly Award categories of Health, Education, Employment, Troy Cassar-Daley, Gurrumul and Frank Yamma are nominated. -
Funkoars the Greatest Hits Mp3, Flac, Wma
Funkoars The Greatest Hits mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: The Greatest Hits Country: Australia Released: 2006 MP3 version RAR size: 1474 mb FLAC version RAR size: 1390 mb WMA version RAR size: 1605 mb Rating: 4.7 Votes: 176 Other Formats: TTA MOD MP4 WMA RA AUD FLAC Tracklist Hide Credits 1 Hurro 2:23 2 Da Na Na 3:52 3 The Greatest Skit 1:19 4 The Greatest Hit 3:39 5 Black Out 4:00 6 You Know It 3:17 The Symphony 7 3:47 Featuring, Songwriter – Vents 1* Swank Stedly Presents 8 1:51 Percussion – Brave HandlebarsVocals – Swank Stedly 9 C.O.T.Y 3:58 10 And Now For Something Completely Different... 3:23 11 Sesta Vs. Pressure 1:16 What I Want 12 4:30 Featuring – Hilltop HoodsSongwriter – Pressure , Suffa 13 Masterpiece 3:31 Meet The Family 14 3:13 Featuring, Songwriter – PegzProducer – Suffa 15 The Reason 4:42 Companies, etc. Pressed By – AAV Regency – 91074.1 Mastered At – Disk-Edits Credits Mastered By – Neville Clark Mixed By – DJ Reflux Photography By [Funkoars Pictures] – Andrew Boyle Photography By [Model Pictures] – PJ Producer – Heat Vision & Jack (tracks: 3, 8, 11), Sesta (tracks: 5, 9, 15), Trials (tracks: 1, 2, 4, 6, 10, 12, 13) Recorded By – Heat Vision & Jack Scratches – DJ Reflux Songwriter – Hons (tracks: 1, 2, 4, 6, 7, 9, 10, 12 to 15), Sesta (tracks: 1, 2, 4 to 7, 9, 10, 12 to 15), Trials (tracks: 1, 2, 4 to 7, 9, 10, 12 to 15) Notes Recorded at Sesta's House Tracks 3, 8 and 11 are short comedy skits Mastered at Disk Edits. -
The Australian Theatre Family
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him. -
Koorie Heritage Trust Annual Report 2015 – 2016 Contents
Koorie Heritage Trust Annual Report 2015 – 2016 Contents Page 2 Wominjeka/Welcome: Vision and Purpose Page 5 Chairperson’s Report Page 6 Chief Executive Officer’s Report Page 12 Our Programs Koorie Family History Service Cultural Education Retail and Venue Hire Collections, Exhibitions and Public Programs Page 42 Activities Page 43 Donors and Supporters Page46 Governance Page 48 Staff Page 50 Financial Report www.koorieheritagetrust.com ABN 72 534 020 156 The Koorie Heritage Trust acknowledges and pays respect to the Traditional Custodians of Melbourne, on whose lands we are located. Warning: Aboriginal and Torres Strait Islanders are advised that this document may contain the names and/or images of people who have passed away. Cover Image: Koorie Heritage Trust, view from level 2, Yarra Building. Photo James Murcia, 2015 Terminology Design: Darren Sylvester The term Koorie is commonly used to describe Aboriginal people of Southeast Australia; Editor: Virginia Fraser however, we recognise the diversity of Aboriginal people living throughout Victoria including Publication Co-ordinator: Giacomina Pradolin Koories and other Aboriginal and Torres Strait Islander (ATSI) people from around Australia. We Text: Koorie Heritage Trust staff have used the term Aboriginal in parts of the report to include all people of ATSI descent. Wominjeka/Welcome: Vision and Purpose Our Vision To live in a society where Aboriginal culture and history are a fundamental part of Victorian life. Our Purpose To promote, support and celebrate the continuing journey of the Aboriginal people of South Eastern Australia. Our Motto Gnokan Danna Murra Kor-ki/Give me your hand my friend. Our Values Respect, honesty, reciprocity, curiosity. -
Tyrendarra Indigenous Land
Australian Heritage Database Class : Indigenous Item: 1 Identification List: National Heritage List Name of Place: Tyrendarra Indigenous Land (Peters Property) Other Names: Place ID: 106105 File No: 2/02/137/0001 Nomination Date: 28/04/2009 Principal Group: Places of significance to Aboriginal people Assessment Recommendation: Place does not meet any NHL criteria Assessor's Comments: Other Assessments: Location Nearest Town: Tyrendarra Distance from town (km): 4 Direction from town: NW Area (ha): 140 Address: Tyrendarra, VIC, 3285 LGA: Glenelg Shire, VIC Location/Boundaries: Approximately 140ha, 5km north west of Tyrendarra and adjacent to the northern bank of the Fitzroy River, comprising the whole of the Tyrendarra Indigenous Land (Peters Place), consisting of the following land parcels; Lot 154C 2763, Lot 155B 2763 and Lot 2001 2763. Assessor's Summary of Significance: Official Values: Criterion Values Rating Historic Themes: Nominator's Summary of Significance: Page 1 Australian Heritage Database Agenda Item 2.1.3 Assessment report - prelimininary decision Class : Indigenous The Budj Bim National Heritage Landscape, which includes the Tyrendarra IPA property, was included on the National Heritage List against the criteria listed below: The place has outstanding heritage value to the nation because of the place's importance in the course, or pattern, of Australia's natural or cultural identity. The place has outstanding heritage value to the nation because of the places' possession of uncommon, rare or endangered aspects of Australia's natural or cultural history The place has outstanding heritage value to the nation because of the place's importance in demonstrating a high degree of creative or technical achievement at a particular period The place has outstanding heritage value to the nation because of the place's importance as part of indigenous tradition Description: Peters Property is a 200ha property located approximately 20 km north east of the coastal city of Portland, and 4km north-west of the Tyrendarra township in south western Victoria. -
Robert Hunter (Huntersbx) on Twitter
Robert Hunter (HunterSBX) on Twitter http://twitter.com/ Twitter Search Home Profile Messages Who To Follow AliaK Settings Help Switch to Old Twitter Sign out New Tweet Robert Hunter @HunterSBX Perth Western Australia Rapper, a parent to a Son named Marley. A cancer patient. That's what I am. Message Following Unfollow Timeline Favorites Following Followers Lists » HunterSBX Robert Hunter @ @I_Am_Simplex Kirks massive BBQ bonananza! Was just Trials, Daz, Kirk, me, a digital 1 of 134 20/04/11 1:50 PM Robert Hunter (HunterSBX) on Twitter http://twitter.com/ camera, 3 cartons of Pale. 21 minutes ago Favorite Retweet Reply » HunterSBX Robert Hunter @ @funkoars the confusion of being in a photo within a photo of your own penis is something that will always confuse me. #scaredofthedick 26 minutes ago Favorite Retweet Reply » HunterSBX Robert Hunter I didn't make, fund, or have anything to do with said Doco, I just consented to them following me around. I am honored that they did but. 31 minutes ago Favorite Retweet Reply » HunterSBX Robert Hunter @ @funkoars yeh no shit hey! That's an integral part of the whole picture! Hahah! I'm just glad they don't have too much footage of my penis 33 minutes ago Favorite Retweet Reply » HunterSBX Robert Hunter Check this video out -- Hunter: The Documentary (short teaser) youtube.com/watch?v=LVNc8b… via @youtube <~~ pretty strange feeling. 1 hour ago Unfavorite Undo Retweet Reply » HunterSBX Robert Hunter Exclusive: Drapht''s "Sing It (The Life of Riley)" music video - NovaFM Videos novafm.com.au/video_exclusiv… <-- good shit! 1 hour ago Favorite Retweet Reply » HunterSBX Robert Hunter Turned on the computer and lost all inspiration to write... -
Aboriginal Art - Resistance and Dialogue
University of New South Wales College of Fine Arts School of Art Theory ABORIGINAL ART - RESISTANCE AND DIALOGUE The Political Nature and Agency of Aboriginal Art A thesis submitted by Lee-Anne Hall in fulfilment of the requirements for the degree of Master of Art Theory CFATH709.94/HAL/l Ill' THE lJNIVERSllY OF NEW SOUTH WALES COLLEGE OF FINE ARTS Thesis/Project Report Sheet Surnune or Funily .nune· .. HALL .......................................................................................................................................................-....... -............ · · .... U · · MA (TH' rn ....................................... AbbFinlname: . ·......... ' ....d ........... LEE:::ANNE ......................lend.............. ................. Oher name/1: ..... .DEBaaAH. ....................................- ........................ -....................... .. ,CVlalJOn, or C<ltal &1YCOIn '"" NVCfllt)'ca It:.... ..................... ( ............................................ School:. .. ART-����I��· ...THEORY ....... ...............................··N:t�;;�?A�c·���JlacjTn·ar··................................... Faculty: ... COLLEGE ... OF. ...·Xr"t F.J:blll:...................... .AR'J: ..................... .........................-........................ n,1e:........ .................... •••••••••••••••••••••••••••••••••• .. •••••• .. •••••••••••••••••••••••••• .. •• • .. ••••• .. ••••••••••• ..••••••• .................... H ................................................................ -000000000000••o00000000 -
Surrealism-Revolution Against Whiteness
summer 1998 number 9 $5 TREASON TO WHITENESS IS LOYALTY TO HUMANITY Race Traitor Treason to whiteness is loyaltyto humanity NUMBER 9 f SUMMER 1998 editors: John Garvey, Beth Henson, Noel lgnatiev, Adam Sabra contributing editors: Abdul Alkalimat. John Bracey, Kingsley Clarke, Sewlyn Cudjoe, Lorenzo Komboa Ervin.James W. Fraser, Carolyn Karcher, Robin D. G. Kelley, Louis Kushnick , Kathryne V. Lindberg, Kimathi Mohammed, Theresa Perry. Eugene F. Rivers Ill, Phil Rubio, Vron Ware Race Traitor is published by The New Abolitionists, Inc. post office box 603, Cambridge MA 02140-0005. Single copies are $5 ($6 postpaid), subscriptions (four issues) are $20 individual, $40 institutions. Bulk rates available. Website: http://www. postfun. com/racetraitor. Midwest readers can contact RT at (312) 794-2954. For 1nformat1on about the contents and ava1lab1l1ty of back issues & to learn about the New Abol1t1onist Society v1s1t our web page: www.postfun.com/racetraitor PostF un is a full service web design studio offering complete web development and internet marketing. Contact us today for more information or visit our web site: www.postfun.com/services. Post Office Box 1666, Hollywood CA 90078-1666 Email: [email protected] RACE TRAITOR I SURREALIST ISSUE Guest Editor: Franklin Rosemont FEATURES The Chicago Surrealist Group: Introduction ....................................... 3 Surrealists on Whiteness, from 1925 to the Present .............................. 5 Franklin Rosemont: Surrealism-Revolution Against Whiteness ............ 19 J. Allen Fees: Burning the Days ......................................................3 0 Dave Roediger: Plotting Against Eurocentrism ....................................32 Pierre Mabille: The Marvelous-Basis of a Free Society ...................... .40 Philip Lamantia: The Days Fall Asleep with Riddles ........................... .41 The Surrealist Group of Madrid: Beyond Anti-Racism ...................... -
A Reflection on the First 30 Days of the 1972 Aboriginal Embassy
A REFLECTION ON THE FIRST THIRTY DAYS OF THE EMBASSY By Gary Foley From the book: Foley, G, Schaap, A & Howell, E 2013, The Aboriginal Tent Embassy. [electronic resource] : Sovereignty, Black Power, Land Rights and the State, Hoboken : Taylor and Francis, 2013 It was in the first four weeks of the 1972 Aboriginal Embassy protest that a small group of Aboriginal activists rapidly improvised and transformed an opportunistic accident into an effective protest that captured world attention and brought significant historical and political change in Australia.1 What had begun as a simple knee-jerk reaction to an Australia Day statement on Land Rights by the Australian Prime Minister, resulted in the accidental discovery that there was no law in Canberra that prevented the activists from staging a protest camp on the lawns of Parliament. The swift action of the activists to take advantage of this situation enabled them to gain political advantage over the McMahon Government in the propaganda war and political battle that would take place over the next six months. Exactly how these events unfolded has never been written about in detail. Even in Scott Robinson’s (ch.1 in this volume) or in Kathy Lothian’s (2007) accounts, the crucial early days are not fully examined. Yet if we are to gain a better understanding of why the Aboriginal Embassy was able to become such an effective protest action, it is important to gain an awareness of how it all began. So in this chapter I will examine some of the factors that enabled the already highly effective group of Aboriginal activists from the Redfern Black Power collective to create a highly effective challenge to the political power structure and force a major change in policy.