DOCSLIB.ORG

Protocols for Producing Indigenous Australian Media Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Protocols for Producing Indigenous Australian Media Arts 2ND EDITION Protocols for producing Indigenous Australian media arts Media arts Australia Council for the Arts 372 Elizabeth Street, Surry Hills NSW 2010 PO Box 788, Strawberry Hills NSW 2012 ABN 38 392 626 187 Telephone +61 2 9215 9000 Toll-free 1800 226 912 Facsimile +61 2 9215 9111 Email [email protected] www.australiacouncil.gov.au Media arts 01 Contents Australia Council for the Arts Introduction 2 Reproducing works 26 372 Elizabeth Street, Surry Hills NSW 2010 Accessing archival audio-visual material 26 Using this guide 3 PO Box 788, Strawberry Hills NSW 2012 Licensing the use of works 26 What are protocols? 3 ABN 38 392 626 187 Assigning copyright versus licensing 26 What is media art? 4 Telephone +61 2 9215 9000 What are Indigenous communal The special nature of Indigenous media art 5 Toll-free 1800 226 912 Facsimile +61 2 9215 9111 moral rights? 27 Indigenous heritage 7 Email [email protected] Managing copyright to protect Current protection of heritage 8 www.australiacouncil.gov.au your interests 28 This publication is available online Copyright notice 28 at www.australiacouncil.gov.au Principles and protocols Moral rights notice 29 © Australia Council 2007 Respect 10 When is copyright infringed? 29 First published 2002, edited and revised 2007. This work Acknowledgement of country 10 Fair dealing provisions 29 is copyright. Apart from any use as permitted under the Accepting diversity 11 Crown use of artworks 30 Copyright Act 1968, no part may be reproduced by Representation 11 any process without prior written permission from the Library copying 30 Australia Council for the Arts. Requests and inquiries Living cultures 11 Educational copying 30 concerning reproduction and rights should be addressed Indigenous control 11 Further copyright information 30 to the Director Marketing and Communication, Australia Engaging Indigenous contributors 12 Proper returns and royalties 31 Council for the Arts, PO Box 788, Strawberry Hills NSW Communication, consultation and consent 13 2012 Australia or to [email protected]. Copyright collecting societies 32 Collaborating with other artists 14 Continuing cultures 33 ISBN 978-1-920784-36-2 Commissioning Indigenous artists 14 Recognition and protection 33 Design Bright Red Oranges Interpretation, integrity and authenticity 14 Print e2e managment pty ltd Cover Christian Bumbarra Thompson, Emotional CD-ROM and database works 15 Implementation Striptease 2003. Image courtesy of the artist Adapting materials 15 1. Respect 34 and Gallery Gabrielle Pizzi. Adaptation of works 16 Indigenous design element: 2. Indigenous control 34 Traditional motifs 16 joorroo, Darrell Sibosado 2002 3. Communication, consultation Photographs 16 and consent 35 Indigenous imagery 17 4. Interpretation, integrity and authenticity 36 Indigenous songs 18 5. Secrecy and confidentiality 36 Film footage 18 6. Attribution and copyright 36 Internet publishing 20 Attribution 37 Secrecy and confidentiality 21 Copyright 37 Representation of deceased people 21 The Australia Council respects Indigenous 7. Proper returns and royalties 37 Secret and sacred material 22 communities and culture. Readers should be 8. Continuing cultures 38 aware that this protocol guide may contain Personal privacy 22 9. Recognition and protection 38 references to members of the Indigenous Attribution and copyright 22 References 39 community who have passed away. What is copyright? 22 Bibliography 43 Requirements of copyright 23 Contacts 44 Copyright exceptions 23 IMportant Notice Acknowledgements 48 The information included in this guide is How long does copyright last? 23 current as at September 2007. This document What rights do copyright owners have? 23 was first published under the title ‘New Reproduction right 24 Media Cultures’ in 2002. This guide provides general advice only. It is not intended to be Collaborative works 24 legal advice. If you have a particular legal Communal ownership versus issue, we recommend that you seek joint ownership 25 independent legal advice from a suitably What are moral rights? 25 qualified legal practitioner. Media art protection 25 Media arts 02 Media arts 03 Introduction Introduction Introduction • Indigenous and non-Indigenous artists Although each guide in the suite addresses The principles and protocols section examines • people working within related fields cultural protocols specific to an artform, the the nine principles that support the protection of Australia’s unique Indigenous artistic and of Indigenous artform practice same underlying principles are common to each. Indigenous cultural heritage. It includes valuable cultural expression is rooted in thousands of • Australian and state/territory We hope Indigenous people, and those working information on protocols specific to the use of years of heritage and continuing practice. government agencies with them, will be inspired and encouraged to cultural heritage material in media arts practice. When the Musée du Quai Branly opened in Paris • industry agencies and peak organisations use the principles as a framework for developing A number of case studies and commentaries in 2006, visitors were spellbound by the immense protocols appropriate to their specific projects, from Indigenous media artists identify pitfalls • galleries, museums and arts centres power of the vast collection of Australian language groups, regions and communities. and offer readers valuable advice. • educational and training institutions Indigenous artworks, including special landmark We also hope the guides will spark debate The guide also contains general information and • Indigenous and targeted mainstream media. commissions on the ceilings and façade and that additional protocols will be developed advice on the main laws in Australia governing by eight of Australia’s best known Indigenous The protocol guides endorse Indigenous cultural across artforms. the use and reproduction of arts and cultural contemporary artists. In May 2007, Emily and intellectual property rights – the rights Send any comments about this guide or any expression. For this second edition, we have Kngwarreye’s Earth’s Creation was sold at auction of Indigenous people to own and control their suggestions for improvement to the Australia integrated copyright, licensing and royalty for more than $1 million, the highest price ever cultural heritage. These rights are confirmed Council for the Arts: information into the principles and protocols for a painting by a female artist in Australia. in the 2006 United Nations Declaration of the section. So one section deals with attribution Rights of Indigenous Peoples1, which says Executive Director While works by individual artists such as these and copyright and another with proper returns Indigenous people have the right to practice Aboriginal and Torres Strait Islander arts and royalties. are protected by copyright, there are often no and revitalise their cultural traditions and Australia Council for the Arts legal rights around the broader reproduction customs. ‘This includes the right to maintain, PO Box 788 The implementation section summarises some and use of Indigenous cultural heritage material. protect and develop the past, present and Strawberry Hills NSW 2012 of the key points and provides a checklist for Australia does not yet have a law that prevents future manifestations of their cultures, such [email protected] applying protocols to a media arts project. alteration, distortion or misuse of traditional as archaeological and historical sites, artefacts, We have also included a list of contacts symbols, songs, dances, performances or rituals designs, ceremonies, technologies and Using this guide and references to access relevant people that may be part of the heritage of particular visual and performing arts and literature.’ This guide is designed to be an initial point of Indigenous language groups. and information. In Our culture: our future 2, Terri Janke reference in planning a work of media art with That is where the Australia Council for the Arts’ recommended significant changes to laws, Indigenous media art practitioners, or using Indigenous cultural material in such a work. What are protocols? protocol guides come in. The five guides in the policy and procedures to protect Indigenous When you need specific advice on the cultural In 1997, when media art was an emerging field, suite spell out clearly the legal as well as the cultural knowledge and expression. many Indigenous commentators noted the The Australian Government has yet to issues of a particular group, we recommend ethical and moral considerations for the use of potential for that artform to reproduce and deal make a determination on this matter. you speak to people in authority or engage Indigenous cultural material. They can help people an Indigenous cultural consultant with relevant with Indigenous cultural content in unprecedented to do the right thing. In Australia, Indigenous heritage comprises all knowledge and experience. ways. Indigenous artists and communities were These guides recognise that in Indigenous objects, sites and knowledge transmitted from keen to participate, however, media art allowed generation to generation. Indigenous people Reading this guide from cover to cover is an Australian communities the artist is a custodian important and highly recommended first step. Indigenous cultural material to be copied, digitised of culture, with obligations as well as privileges. have a living heritage. Their connection
Load more

Recommended publications
  • 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&ltltal &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
    [Show full text]
  • GUMURRII News
    GUMURRII News Issue 12 Acknowledgement of Country Griffith University acknowledges the people who are the traditional custodians of the land, pays respect to the Elders, past and present, and extends that respect to other Aboriginal and Torres Strait Islander peoples. Contents 3 Welcome 4 Welcome messages 5 GUMURRII SSU office news 6 Griffith | Aboriginal and Torres Strait Islander Units 7 Indigenous Research Unit 8 Recognising all who served their Country: Naming the forgotten soldiers 9 Student profiles — Kim Ah Sam 10 Student profiles — Amanda Wrigley | Callum Robinson 11 Student profiles — Violet Singh | Chantay Link 12 Valedictory dinner 2017 14 Graduating students 15 Queensland College of Art — Honour students 16 Walk and Talk provides path to reconciliation 17 NAIDOC Week 2018 18 Gold Coast 2018 Commonwealth Games 19 Griffith News | Community 20 Griffith News | Alumni 21 Useful information 1 2 Welcome The GUMURRII Student Support Unit is the heart of Griffith University’s Aboriginal and Torres Strait Islander community and is located on each of Griffith’s five campuses. 2018 marks 30 years for GUMURRII SSU—the dedicated student support unit for Aboriginal and Torres Strait Islander students at Griffith University. New GUMURRII logo The new logo for GUMURRII Student Support Unit symbolises the five campuses with the five traditional owners of the land and depict the career pathways to learning and development, joined by the red to symbolise their journey at Griffith University. 3 Welcome messages Message from Message from the Deputy the Director Vice Chancellor (Engagement) Each year I look forward to our GUMURRII For over thirty years the GUMURRII Valedictory dinner, and last year’s event Student Support Unit has been fundamental was extra special.
    [Show full text]
  • Visual Arts Visual Arts Australia Council for the Arts 372 Elizabeth Street, Surry Hills NSW 2010 PO Box 788, Strawberry Hills NSW 2012 ABN 38 392 626 187
    2ND EDITION Protocols for producing Indigenous Australian visual arts Visual arts Australia Council for the Arts 372 Elizabeth Street, Surry Hills NSW 2010 PO Box 788, Strawberry Hills NSW 2012 ABN 38 392 626 187 Telephone +61 2 9215 9000 Toll-free 1800 226 912 Facsimile +61 2 9215 9111 Email [email protected] www.australiacouncil.gov.au Visual arts 01 Contents Australia Council for the Arts Introduction 2 What happens when artists sell 372 Elizabeth Street, Surry Hills NSW 2010 their paintings? 23 Using this guide 3 PO Box 788, Strawberry Hills NSW 2012 Collaborative works 23 What are protocols? 3 ABN 38 392 626 187 Communal ownership vs. joint ownership 24 What are the Indigenous visual arts? 4 Telephone +61 2 9215 9000 Commissioned photographs 24 Special nature of Indigenous visual arts 5 Toll-free 1800 226 912 Facsimile +61 2 9215 9111 What are moral rights? 24 Indigenous heritage 6 Email [email protected] Licensing use of artworks 25 Current protection of heritage 6 www.australiacouncil.gov.au Managing copyright to protect This publication is available online your interests 25 at www.australiacouncil.gov.au Principles and protocols When is copyright infringed? 26 © Australia Council 2007 Respect 9 The Myer report 27 First published 2002, edited and revised 2006. This work Acknowledgment of country 9 Publishing and reproduction of is copyright. Apart from any use as permitted under the Public art – acknowledging land 10 Indigenous art 27 Copyright Act 1968, no part may be reproduced by any Accepting diversity 10 process without prior written permission from the Australia Indigenous communal moral rights 28 Council for the Arts.
    [Show full text]
  • A Study Guide by Roger Stitson
    TALKING LANGUAGE © ATOM 2014 A STUDY GUIDE BY ROGER STITSON http://www.metromagazine.com.au ISBN: 978-1-74295-453-0 http://www.theeducationshop.com.au This study guide contains a range of class activities relevant to each specific episode. There are also episode synopses at the beginning of each section. The activities on each episode are in self- contained sections throughout the study guide. Later in the study guide there is a section devoted to a general conclusion to the entire series. There is also a dedicated Media Studies section of activities relevant to the construction, purposes and outcomes of the series. This section may also be applied to individual episodes. Series Synopsis Talking Language, presented by Ernie Dingo, is a personal Ernie visits must answer: what is the future of Aboriginal journey providing a unique understanding of how knowledge languages in their community? of Aboriginal languages is shaped by ancestral connections to the land, stars, water, sea and the air we breathe. CURRICULUM LINKS Ernie visits six people from across Australia whose stories This study guide is mainly aimed at middle and upper–sec- of a spiritual connection to country highlight some of the ondary school levels, with relevance to English, Australian benefits and current challenges people face to maintain, History, Geography, Indigenous Studies, Language Studies, revive and create languages within their communities. Sustainability, Interpersonal Development, Personal Learning, Cultural Studies, Ethics and Philosophy and Media Studies. Throughout his journey Ernie explores the complex bal- ance between language, stories and relationship to country. CREDITS Importantly, he discovers how these relationships have been affected by a different type of relationship to country Made by CAAMA Productions for Imparja Television.
    [Show full text]
  • Brenda L.Croft
    Up in the sky, behind the clouds Brenda L. Croft I do what I do because I like doing it, I’m not chasing fame … Photography is just a medium for me, a way of putting across my views and images to the world. It’s no big deal.1 Big sky. Flat, open plains. Scudding clouds, as if swept across the canvas by a colossal invisible hand. The plane shudders as its landing gear drops – clunk – and, when its wing dips to the right, the black soil of Moree rises up in greeting. I was travelling there to meet with the family and friends of Michael Riley (1960– 2004), whose mother’s people were part of the Moree Kamilaroi community, and whose father’s people came from the red-soil western plains of Dubbo, Wiradjuri country, to the south, where I had travelled some weeks earlier. How do you measure a person’s life? Through their creative output? Their traces left behind, the memento mori? Through the reminiscences of others, in the spoken and written word? Through their family, their ancestors and descendants? Michael left us physically in August 2004, aged 44, suffering the after- effects of childhood poverty – the fate of too many Indigenous people in Australia, a First-World country, where the majority of the Indigenous people continue to live in Third-World conditions. By any standards Michael’s life was extraordinary and he has left behind a body of work that encompasses the complexity of contemporary Aboriginal life in myriad forms: portraiture, social-documentary and conceptual photography and film, and fine-art film.
    [Show full text]
  • Beyond the Aesthetic a STUDY OF
    Beyond the Aesthetic A STUDY OF INDIGENEITY AND NARRATIVE IN CONTEMPORARY AUSTRALIAN ART – VOLUME ONE – Catherine Slocum December 2016 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University © Copyright by Catherine Slocum 2016 All Rights Reserved INDIGENOUS AUSTRALIANS SHOULD BE AWARE THAT THIS DOCUMENT CONTAINS NAMES AND IMAGES OF DECEASED PERSONS. ii THE TERM ‘INDIGENOUS AUSTRALIANS’ HAS BEEN ADOPTED AND MAINTAINED THROUGHOUT THIS THESIS. THERE ARE MANY DIFFERENT DISPLAYS OF THIS TERM, HOWEVER THIS TERM IS USED AS IT INCLUDES THOSE WHO IDENTIFY AS ABORIGINAL, TORRES STRAIT ISLANDER AND ABORIGINAL AND TORRES STRAIT ISLANDER. iii DECLARATION I declare that this thesis is wholly my own original work unless otherwise referenced or acknowledged. ………………………………………… Catherine Slocum December 2016 iv ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my supervisor Professor Paul Pickering for the continuous support of my PhD study and research. His insightful comments and valuable discussion are gratefully acknowledged. My sincere thanks are extended to Dr Thuy Do for her useful comments in the final stages and Dr Lan Tran for her valuable assistance during the course of my study. A very special thanks to Vernon Ah Kee, Tony Albert, Brook Andrew, Daniel Boyd, Dianne Jones, Christopher Pease and Christian Thompson whose work I feel privileged to have been given the opportunity to study at length. The project would not have been possible without the specialist Indigenous Australian collection at the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) Library in Canberra. I gratefully acknowledge the financial support of the College of Arts and Social Sciences at the Australian National University.
    [Show full text]
  • U Places and People: Taking Aboriginal Understandings Seriously in Land and Sea Management
    YolYol\\\\uu Places and People: Taking Aboriginal Understandings Seriously in Land and Sea Management Margaret Leanne Ayre B. For. Sc. (Hons), University of Melbourne Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy 2002 Department of History and Philosophy of Science The University of Melbourne Abstract In this thesis I look at the work of managing Yol\u Aboriginal estates by the Dhimurru Land Management Aboriginal Corporation (Dhimurru) and Yol\u Aboriginal communities of NE Arnhem Land. I examine the practices of doing contemporary land and sea management at Dhimurru drawing on work I did at Dhimurru assisting in the development of a plan of management for the Yol\u place, }anydjaka (Cape Arnhem in English), and negotiating a curriculum/pedagogy for Dhimurru Yol\u Rangers. I examine the mobilisation strategies of the environmental sciences and Yol\u knowledges which together perform the ‘object of management’ in Dhimurru’s practice, ‘}anydjaka/Cape Arnhem’, as a multiplicity: a Yol\u-managed place. Showing ‘}anydjaka/Cape Arnhem’ as a multiplicity (multiple but partially connected objects) allows us to understand place as multiple materialities performed through sets of routine, but quite often very different, sets of practices. The work of managing ‘}anydjaka/Cape Arnhem’ is the work of managing multiple realities within which the object of management is continually performed as partial, messy, contingent and local. I contend that in order to take Yol\u understandings seriously in land and sea management we need to understand Dhimurru’s unique ontology as a knowledge landscape characterised by an emergent methodology I call ‘journeying-naming- tracing’.
    [Show full text]
  • Ownership and Appropriation ASA Monographs ISSN 0066–9679 the Relevance of Models for Social Anthropology, Ed M
    Ownership and Appropriation ASA Monographs ISSN 0066–9679 The Relevance of Models for Social Anthropology, ed M. Banton Political Systems and the Distribution of Power, ed M. Banton Anthropological Approaches to the Study of Religion, ed M. Banton The Social Anthropology of Complex Societies, ed M. Banton The Structural Study of Myth and Totemism, ed E.R. Leach Themes in Economic Anthropology, ed R. Firth History and Social Anthropology, ed I.M. Lewis Socialization: The Approach from Social Anthropology, ed P. Mayer Witchcraft Confessions and Accusations, ed M. Douglas Social Anthropology and Language, ed E. Ardener Rethinking Kinship and Marriage, ed R. Needham Urban Ethnicity, ed A. Cohen Social Anthropology and Medicine, ed J.B. Loudon Social Anthropology and Law, ed I. Hamnett The Anthropology of the Body, ed J. Blacking Regional Cults, ed R.P. Werbner Sex and Age as Principles of Social Differentiation, ed J. La Fontaine Social and Ecological Systems, ed P C Burnham and R.F. Ellen Social Anthropology of Work, ed S. Wallman The Structure of Folk Models, ed L. Holy and L. Stuchlik Religious Organization and Religious Experience, ed J. Davis Semantic Anthropology, ed D. Parkin Social Anthropology and Development Policy, ed R. Grillo and A. Rew Reason and Morality, ed J. Overing Anthropology at Home, ed A. Jackson Migrants, Workers, and the Social Order, ed J.S. Eades History and Ethnicity, ed E. Tonkin, M. McDonald and M. Chapman Anthropology and the Riddle of the Sphinx: Paradox and Change in the Life Course, ed P. Spencer Anthropology and Autobiography, ed J. Okely and H.
    [Show full text]
  • Valuing Art, Respecting Culture
    VALUING ART, RESPECTING CULTURE PROTOCOLS FOR WORKING WITH THE AUSTRALIAN INDIGENOUS VISUAL ARTS AND CRAFT SECTOR You can show/hide bookmarks by clicking this icon in the tools palette above. Care has been taken in compiling this document, to obtain the appropriate permissions for reproduction of images, and to respect cultural and intellectual property rights. Readers are advised however, that unintentional offence or distress may be caused by the use of images, or names of persons who have passed away since printing and publication of the document. General Editor and Principal Consultant Doreen Mellor Web links to many Indigenous artists, support organisations and retail Authors Doreen Mellor and Terri Janke outlets can be accessed via the Visual Arts Net website. In addition, the Copy Editor Lorraine Rogge Executive Summaries of Valuing Art, Respecting Culture can be downloaded from the site. Site address www.visualarts.net.au Designer Creative consultancy provided by Jones Davis Creative Pty Ltd ©National Association for the Visual Arts Ltd Copyright in any ‘prior material’ used in this publication remains with the original author. Funded by the Aboriginal and Torres Strait Islander Commission ISBN 0 9585 474 0 8 (ATSIC); the Commonwealth Government through the Australia Council's Aboriginal and Torres Strait Islander Arts Board; and the Cover image ©Brian Nyinawanga “Visions of the City” 1994. Northern Territory Government's Department of Arts and Museums. Screenprint. Image courtesy of the Museum and Art Gallery of the Northern Territory. “When Brian Nyinawanga visited Sydney, it was the first major city he had seen apart from Darwin. It made a significant impression upon him, particularly the claustrophobic streets with their tall buildings, depicted here in classic plan perspective.
    [Show full text]
  • Protecting Australian Indigenous Art: Ownership, Copyright and Marketing Issues for NSW Schools
    Protecting Australian Indigenous Art: ownership, copyright and marketing issues for NSW schools Protecting Australian Indigenous Art: ownership, copyright and marketing issues for NSW schools Warnings • This text might identify Aboriginal or Torres Strait Islander people who are now deceased in ways that inadvertently give offence to particular families or communities. • Nothing in this document should be construed as legal advice. The purpose of this publication is to provide general information to teachers and students on issues relating to Indigenous cultural and intellectual property. Anyone needing legal advice should contact a qualified legal practitioner. Published on the internet in 2006 by the Board of Studies NSW, GPO Box 5300, Sydney 2001, Australia. Tel: (02) 9367 8111 Fax: (02) 9367 8484 Website: www.boardofstudies.nsw.edu.au ISBN 17414 7422 1 2006331 © 2006 Copyright Board of Studies NSW for and on behalf of the Crown in right of the State of New South Wales. This document contains Material prepared by the Board of Studies NSW for and on behalf of the State of New South Wales. The Material is protected by Crown copyright. All rights reserved. No part of the Material may be reproduced in Australia or in any other country by any process, electronic or otherwise, in any material form or transmitted to any other person or stored electronically in any form without the written prior permission of the Board of Studies NSW, except as permitted by the Copyright Act 1968. School students in NSW and teachers in schools in NSW may copy reasonable portions of the material for the purposes of bona fide research or study.
    [Show full text]
  • Project Notes
    Education Kit - Project Notes Djalkiri is a cross-cultural art project which commemorates the 150th anniversary of the publication of On the Origin of the Species by Charles Darwin. In 2009 Nomad Art Productions in Darwin brought a group of artists, scientists and printmakers together for a cross- cultural collaborative workshop in northern Australia. During the project nine Indigenous and non-Indigenous artists created art about the land, knowledge, history and events of the region. The result is an exhibition that explores the unspoiled environment of remote Blue Mud Bay in Arnhem Land and records knowledge of the natural environment, heritage, traditions and change. The Djalkiri Education Kit provides an introduction to the exhibition from an educational perspective. More information can be found in the Djalkiri exhibition catalogue. We are standing on their names Djalkiri:Blue Mud Bay • Project Notes Contents Message from Blue Mud Bay 3 Traditional Land Owners 4 Monsoon Traders (Macassans) 4 The Place 5 Life and Death in Baniyala 5 The Project 6 The Workshop 7 The Journey - Howard Morphy 7 Sea Rights 8 Collaborative Printmaking 9 The Printmaking Process 9 History of Aboriginal Printmaking 10 The Environment of the Top End 11 Ethno-biology in the Northern Territory 11 Glenn Wightman - Ethno-biologist 11 Laynhapuy Rangers Caring for Country 11 The Northern Territory Herbarium 12 How Plants are Named 12 Aboriginal Knowledge and Plant Use 12 Organising Knowledge Yolngu Way 13 Artwork Plant and Animal Species 14 Artists and Participants 16 Djambawa Marawili AM 17 Liyawaday Wirrpanda 18 Marrirra Marawili 19 Marrnyula Mununggurr 20 Mulkun Wirrpanda 21 Fiona Hall 22 John Wolseley 23 Jörg Schmeisser 24 Judy Watson 25 Basil Hall 26 Glenn Wightman 26 Howard Morphy 26 Peter Eve 26 Angus Cameron 27 Rose Cameron 27 Curriculum Links 27 Web Sites 28 Indigenous Knowledge and Protocols 29 2 We are standing on their names Djalkiri:Blue Mud Bay • Project Notes Message from Blue Mud Bay “Yolngu.
    [Show full text]
  • Building Our Future, Strengthening Our Lives 31St July – 3Rd August Sponsors Contents Principal Sponsor
    Building Our Future, Strengthening Our Lives 31st July – 3rd August SPONSORS CONTENTS PRINCIPAL SPONSOR CHAIRMAN'S WELCOME 3 CEO'S WELCOME 4 THE REGION 6 GANBULAPULA & GULKULA 7 LANGUAGE 9 FOUR DAY PROGRAM 10 PLATINUM SPONSOR OFFICIAL MEDIA PARTNER BUNGGUL 12 GARMA KEY FORUM 15 YOLNGU HEROES 18 MERCHANDISE ARTISTS 20 YOUTH FORUM 22 SILVER SPONSOR CULTURAL ACTIVITIES 27 GARMA MUSIC 28 CINEMA 32 GAPAN GALLERY 35 IN KIND SUPPLIER ACROSS THE GROUNDS 36 EXPO 38 OUR SUPPORTERS 40 FESTIVAL INFORMATION 44 GENERAL SPONSOR EXPO 47 SITE MAP 50 ACKNOWLEDGING OUR SUPPORTERS We would like to thank our team of supporters, donators and volunteers that work tirelessly behind the scenes. Garma photography credits to Peter Eve, Catherine Acin, Vanessa GARMA IS AN Hunter, David Sproule. Many thanks to: Alix Lee Graham Cook Richard Janus ALCOHOL Anita Lang Hilary Da Costa Sherrill Allen Colin Mathews Louise Denver Silma Igram & DRUG FREE EVENT Darren Liebman Lynette Ryan Stephen Ferguson Elizabeth Geyer Patsy Pynn The Monthly CHAIRMAN, YOTHU YINDI FOUNDATION WELCOME MR GALARRWUY YUNUPINGU AM Garma has become something very real and it is again a great pleasure to have many friends and guests on our land, living amongst us. The land where Garma is held is Gulkula and this land is one of the central points of the Yolngu world. It is where Ganbulabula led famous ceremonies and created much of importance that remains in the Yolngu world. Many things happened at the ceremonies held in our eternal time-place wangarr that remain relevant to us today – grievances were voiced, disputes were healed, young men and women were instructed in higher learning and – above all – leadership was shown.
    [Show full text]