Reconciliation News October 2019
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Can’T Be What You Can’T See’: the Transition of Aboriginal and Torres Strait Islander Students Into Higher Education
‘Can’t be what you can’t see’: The Transition of Aboriginal and Torres Strait Islander Students into higher education Literature Review 2014 Fremantle Broome Sydney Cover Artwork: ‘Seeing Country’ by Yangkana Laurel Yangkana Laurel is a Walmajarri artist and educator from the Kadjina Community in the Kimberley region of Western Australia on the edge of the Great Sandy Desert - part of Millijidee Station. Along with her sisters, brothers and mothers, Yangkana advocated to set up the remote Wulungarra Community School. Yangkana’s commitment to education in this small community is replicated across the many universities we visited and encapsulated in the innovative models that support more Aboriginal and Torres Strait Islander students to transition to higher education. ‘Can’t be what you can’t see’: The Transition of Aboriginal and Torres Strait Islander Students into higher education Literature Review 2014 The University of Notre Dame Australia (UNDA) Southern Cross University (SCU) Batchelor Institute of Indigenous Tertiary Education (BIITE) Project Leaders: Professor Lyn Henderson-Yates (UNDA), Professor Patrick Dodson (UNDA), Professor Marguerite Maher (UNDA), Project Management: Bruce Gorring (UNDA), Sue Thomas (UNDA) Project Team Members: Stephen Kinnane (UNDA), Dr Judith Wilks (SCU), Katie Wilson (SCU), Terri Hughes (BIITE), Sue Thomas (UNDA), Professor Neil Drew (UNDA), Dr Keith McNaught (UNDA), Dr Kevin Watson (UNDA) Report Authors: Dr Judith Wilks (SCU), Katie Wilson (SCU) “Can’t be what you can’t see”: The Transition of Aboriginal and Torres Strait Islander students into higher education: Literature Review: 20/12/13 OLT ID SI11-2138 (UNDA; SCU; BIITE) Support for the production of this report/publication has been provided by the Australian Government Office for Learning and Teaching. -
Johnathon Davis Thesis
Durithunga – Growing, nurturing, challenging and supporting urban Indigenous leadership in education John Davis-Warra Bachelor of Arts (Aboriginal & Torres Strait Islander Studies & English) Post Graduate Diploma of Education Supervisors: Associate Professor Beryl Exley Associate Professor Karen Dooley Emeritus Professor Alan Luke Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Education Queensland University of Technology 2017 Keywords Durithunga, education, Indigenous, leadership. Durithunga – Growing, nurturing, challenging and supporting urban Indigenous leadership in education i Language Weaves As highlighted in the following thesis, there are a number of key words and phrases that are typographically different from the rest of the thesis writing. Shifts in font and style are used to accent Indigenous world view and give clear signification to the higher order thought and conceptual processing of words and their deeper meaning within the context of this thesis (Martin, 2008). For ease of transition into this thesis, I have created the “Language Weaves” list of key words and phrases that flow through the following chapters. The list below has been woven in Migloo alphabetical order. The challenge, as I explore in detail in Chapter 5 of this thesis, is for next generations of Indigenous Australian writers to relay textual information in the languages of our people from our unique tumba tjinas. Dissecting my language usage in this way and creating a Language Weaves list has been very challenging, but is part of sharing the unique messages of this Indigenous Education field research to a broader, non- Indigenous and international audience. The following weaves list consists of words taken directly from the thesis. -
Store Nutrition Report and Market Basket Survey.Pdf
Store Nutrition Report and Market Basket Survey April 2014 Nganampa Health Council Erin McLean, Kate Annat and Prof Amanda Lee April 2014 Executive Summary The report provides Market Basket pricing and data analysis of Mai Wiru compliance with standardised food and nutrition checklists from stores on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in South Australia collected in April 2014. The report focuses on the Mai Wiru group stores (Pipalyatjara, Kanpi, Amata, Fregon and Pukatja). Pricing data was also collected from Mimili (Outback Stores), Indulkana (independent) and Coles and IGA Foodlands supermarkets in Alice Springs. The purpose of this report is to provide key recommendations for Mai Wiru store councils to aid decision-making regarding food and nutrition issues. Data was collected in-store from 7-11 April 2014. Information was collected on the price, availability and promotion of foods, as well as Mai Wiru store achievement of the Remote Indigenous Stores and Takeaways (RIST) checklist benchmarks and implementation of nutrition recommendations from the previous Market Basket report (September, 2013). Nutrition promotion activities were also performed in all the Mai Wiru stores, including one pot cooking demonstrations and installation of sugar-in-food displays and posters. Results show that, in April 2014, Mai Wiru stores: • Are clean, functional and well stocked; • Provide a wide range of healthy foods and beverages; and • Price healthy foods at a competitive rate for remote areas. In April 2014 the average price of the Market Basket in the Mai Wiru stores was $734 dollars and had increased only 0.3% since September 2014. In comparison to the other stores monitored during the same period the Mai Wiru store prices were 4.3% less than Mimili, 1.0% more than Indulkana, only 13.0% more than Alice Springs IGA Foodlands and 34.4% more than Coles. -
A Long Way to Go in Nuclear Debate, Says Aboriginal Congress of SA
Aboriginal Way Issue 60, Spring 2015 A publication of South Australian Native Title Services Aboriginal Congress of South Australia A long way to go in nuclear debate, says Aboriginal Congress of SA In early August, the Aboriginal During July and August, the Royal Parry Agius, Alinytjara Wiluara Natural waste dump” and the Royal Commission Congress of South Australia Commission engaged regional and Resources Board Member reinforced the is nothing more than mere formality. convened in Port Augusta to remote communities including Coober notion of an appropriate timeline in his Karina Lester, Aboriginal Congress discuss the issues and concerns Pedy, Oak Valley, Ceduna, Port Lincoln, submission. Mr Agius wrote, “we note of SA member said it is clear by the of potential expansion of uranium Port Augusta, Whyalla, Port Pirie, levels of concern within our communities submissions to the Royal Commission mining in SA, including the Ernabella, Fregon, Mimili, Indulkana, that suggest that the timeframe for that Aboriginal People do not support development of a nuclear Ceduna, Amata, Kanpi and Pipalyatjara. consultation on the risks and opportunities the Nuclear Fuel Cycle. waste dump. through the Royal Commission is Aboriginal Congress of SA Chair, insufficient”. Through the initial “Our views are clear in the submissions The State Government launched a Tauto Sansbury said the engagement conversations with community members and we need to ensure that this gets public inquiry on the Nuclear Fuel Cycle with Aboriginal Communities is there is, he added, “a level of confusion across to the Commissioner. We need by calling a Royal Commission in March. welcomed however the consultation about what was being discussed”. -
Aboriginal and Torres Strait Islander Histories
BANGARRA DANCE THEATRE EDUCATION NOTES ACKNOWLEDGEMENT OF COUNTRY Bangarra Dance Theatre pays respect and acknowledges the traditional custodians of the land on which we meet, create, and perform. We also wish to acknowledge the Aboriginal and Torres Strait Islander peoples whose customs and cultures inspire our work. INDIGENOUS CULTURAL AND INTELLECTUAL PROPERTY (ICIP) Bangarra acknowledges the industry standards and protocols set by the Australia Council for the Arts Protocols for Working with Indigenous Artists (2007). Those protocols have been widely adopted in the Australian arts to respect ICIP and to develop practices and processes for working with Aboriginal and Torres Strait Islander people and cultural heritage. Bangarra incorporates ICIP into the very heart of our projects, from storytelling, to dance, to set design, language and music. © Bangarra Dance Theatre 2019 Last updated December 2019 WARNING Aboriginal and Torres Strait Islander people should be aware that these Education Notes contain names and images of, and quotes from, deceased persons. Photo Credits Front Cover: Elma Kris, Rika Hamaguchi and Tyrel Dulvarie, photos by Daniel Boud & Jacob Nash, image created by Jacob Nash Back Cover: Elma Kris, photo by Daniel Boud 2 INTRODUCTION Bangarra is rooted in two worlds, and through dance we connect to both, embodying ancient practices and igniting contemporary songlines. Our productions are our contemporary acts of ceremony, our way of protecting and preserving our unique songline. Knowledge Ground: 30 years of sixty five thousand is a curated collection of the arfefacts of these ceremonies – iconic set pieces, soundscapes, and costumes, which reveal the influences and themes that underpin our practice. -
A Collaborative History of Social Innovation in South Australia
Hawke Research Institute for Sustainable Societies University of South Australia St Bernards Road Magill South Australia 5072 Australia www.unisa.edu.au/hawkeinstitute © Rob Manwaring and University of South Australia 2008 A COLLABORATIVE HISTORY OF SOCIAL INNOVATION IN SOUTH AUSTRALIA Rob Manwaring∗ Abstract In this paper I outline a collaborative history of social innovation in South Australia, a state that has a striking record of social innovation. What makes this history so intriguing is that on the face of it, South Australia would seem an unlikely location for such experimentation. This paper outlines the main periods of innovation. Appended to it is the first attempt to collate all these social innovations in one document. This paper is unique in that its account of the history of social innovation has been derived after public consultation in South Australia, and is a key output from Geoff Mulgan’s role as an Adelaide Thinker in Residence.1 The paper analyses why, at times, South Australia appears to have punched above its weight as a leader in social innovation. Drawing on Giddens’ ‘structuration’ model, the paper uses South Australian history as a case study to determine how far structure and/or agency can explain the main periods of social innovation. Introduction South Australia has a great and rich (albeit uneven) history of social innovation, and has at times punched above its weight. What makes this history so intriguing is that on the face of it, South Australia is quite an unlikely place for such innovation. South Australia is a relatively new entity; it has a relatively small but highly urbanised population, and is geographically isolated from other Australian urban centres and other developed nations. -
Bangarra Dance Theatre: Rethinking Indigeneity in Australia
Bangarra Dance Theatre: Rethinking Indigeneity in Australia A thesis by: Charlotte Schuitenmaker 10212795 rMA Art Studies Supervisor: Dr. B. Titus Second reader: Prof. Dr. J.J.E. Kursell University of Amsterdam 21/01/2019 CONTENT INTRODUCTION……………………………………………………………….. 3 1 – BANGARRA’S EXPRESSIONS…...…………………………………………9 1.1 – Dance and Indigenous Australia………………………………………9 1.1.1 – Dance and music as modes of expression…………………...11 1.1.2 – Dance and music as systems of authority…………………...14 1.2 – Contemporary dancing………………………………………………..15 1.2.1 – Contemporary dance: An Overview......................................15 1.2.2 – Bangarra’s dance…………………………………………….20 1.3 – Presenting Indigeneity………………………………………………...22 1.3.1 – Bangarra’s performances…………………………………….22 1.3.2 – Bangarra’s promotion………………………………………. 31 2 – REASSEMBLING BANGARRA: THE INSTITUTION AS AND WITHIN A NETWORK……………………. 34 2.1 – Bangarra’s establishment……………………………………………...37 2.2 – A Page family business: choreographer, dancer and songman………. 39 2.3 – The theatre…………………………………………………………… 45 2.4 – Audiences and tickets………………………………………………....49 2.5 – Institutions and modernity...................................................................51 3 – MESSAGES: THE POLITICS OF IDENTITY AND STORIES…………54 3.1 – Indigeneity as identity…………………………………………………55 3.2 – Contemporary storytelling…………………………………………….60 3.2.1 – Stories: past-present-future…………………………….…....64 CONCLUSION……………………………………………………………….……67 REFERENCES……………………………………………………….……….……71 2 INTRODUCTION The Bangarra Dance Theatre Company is a Sydney-based institution that produces contemporary dance theatre shows inspired by Indigenous cultures in Australia. Carole Johnson, a dancer of African-American heritage, established the company in 1989, with Stephen George Page as Artistic Director since 1991. Page’s Aboriginal heritage stems from both the Nunukul people and the Munaldjali, a clan of the Yugambeh tribe in the south east of Queensland. Since 1992 the company has produced new shows almost annually and the team tours across the country. -
PITJANTJATJARA Council Inc. FINDING
PITJANTJATJARA MS 1497 PITJANTJATJARA Council Inc. FINDING AID Australian Institute of Aboriginal and Torres Strait Islander Studies Library MS 1497 PITJANTJATJARA COUNCIL ARCHIVES A3a/B1 Minutes of meetings of the Pitjanjatjara Council 1976-1981 Originals and copies (see also MS 1168) In English and Pitjantjatjara Contents: I. Pitjantjatjara Council Inc. Minutes of meetings (originals) 1) Amata, SA, 13 July 1976, 11 p., map 2) Docker River, NT, 7 September 1976, 6p. 3) Ipdulkana, 1 December 1976, 8p. 4) Blackstone (Papalankutja), WA, 22-23 February 1977, 12p. 5) Ernabella (Pukatja), SA, 19-20 April 1977, 5p. 6) Warburton, WA, 21 -22 June 1977, 10p. 7) Amata, SA, 3 August 1977, 4p. (copy) 8) Ernabella, SA, 26-27 September 1977, 4p. 9) Puta Puta, SA, 28-29 November 1977, 7p. 10) Fregon, SA, 21-22 February 1978, 9p. 11) Mantamaru (Jamieson), WA, 2-3 May 1978, 6p. 12) Pipalyatjara, SA, 17-18 July 1978, 6p. 13) Mimili, SA, 3-4 October 1978, 10p. 14) Uluru (Ayers Rock), NT, 4-5 December 1978, 6p. 15) Irrunytju (Wingelinna), 7-8 February 1979, 6p. 16) Amata, SA, 3-4 April 1979, 6p. • No minutes issued for June and August 1979 meetings 17) Nyapari, SA, 15-16 November 1979, 9p. 18)lndulkana, 10-11 December 1979, 6p. 19) Adelaide, SA, 13-14 February 1980, 6p. 20) Adelaide, SA, 13-14 February 1980 - unofficial report by WH Edwards, 2p. 21) Blackstone (Papulankutja), WA, 17-18 April 1980,3p. 22) Jamieson (Mantamaru), WA, 22 July 1980, 4p. 23) Katjikatjitjara, 10-11 November 1980, 4p. (copy) 24) Docker River, 9-11 February 1981, 5p. -
Dubboo Life of a Songman Program Credits
Dubboo: Life of A Songman Program Credits Directed by WAYNE BLAIR & NEL MINCHIN Produced by IVAN O’MAHONEY Cultural Producers BANGARRA DANCE THEATRE Edited by NICK MEYERS ASE Music by DAVID PAGE “DUBBOO – LIFE OF A SONGMAN” Co-presented by Carriageworks & Bangarra Dance Theatre Artistic Director STEPHEN PAGE Creative Ensemble ARCHIE ROACH DJAKAPURRA MUNYARRYUN URSULA YOVICH BEN GRAETZ HUNTER PAGE-LOCHARD BRENDON BONEY BANGARRA DANCERS STEPHEN PAGE JENNIFER IRWIN JACOB NASH ALANA VALENTINE MATT COX Music Production & Arrangement STEVE FRANCIS String Arrangements IAIN GRANDAGE 1 String Quartet VERONIQUE SERRET STEPHANIE ZARKA CARL ST. JACQUES PAUL GHICA Stage Director PETER SUTHERLAND Director, Technical & Production JOHN COLVIN Rehearsal Director DANIEL ROBERTS Production Manager CAT STUDLEY Company Manager CLOUDIA ELDER Stage Manager LILLIAN HANNAH U Head Electrician CHRIS DONNELLY Head of Wardrobe MONICA SMITH Sound & AV Technician EMJAY MATTHEWS Production Trainee STEPH STORR Bangarra extends their thanks to the many people who helped bring together this celebration. A special thank you to the Page family for entrusting the company with this important work to honour their brother, son and uncle. Featured Bangarra productions Brolga (2001), Fish (1997), Spear (2015 feature film), Skin (2000), Ninni (1994), Bush, Praying Mantis Dreaming (1992), Ochres (1995) Key Credits STEPHEN PAGE FRANCES RINGS DJAKAPURRA MUNYARRYUN DAVID PAGE 2 STEVE FRANCIS JOHN MATKOVIC PETER ENGLAND JENNIFER IRWIN JOSEPH MERCURIO EMILY AMISANO MARK HOWETT ARCHIE -
A Guide to Traditional Owner Groups For
A Guide to Traditional Owner Groups Th is m ap w as e nd orse d by th e Murray Low e r Darling Rive rs Ind ige nous Nations (MLDRIN) for Water Resource Plan Areas - re pre se ntative organisation on 20 August 2018 Groundwater and th e North e rn Basin Aboriginal Nations (NBAN) re pre se ntative organisation on 23 Octobe r 2018 Bidjara Barunggam Gunggari/Kungarri Budjiti Bidjara Guwamu (Kooma) Guwamu (Kooma) Bigambul Jarowair Gunggari/Kungarri Euahlayi Kambuwal Kunja Gomeroi/Kamilaroi Mandandanji Mandandanji Murrawarri Giabel Bigambul Mardigan Githabul Wakka Wakka Murrawarri Githabul Guwamu (Kooma) M Gomeroi/Kamilaroi a r a Kambuwal !(Charleville n o Ro!(ma Mandandanji a GW21 R i «¬ v Barkandji Mutthi Mutthi GW22 e ne R r i i «¬ am ver Barapa Barapa Nari Nari d on Bigambul Ngarabal C BRISBANE Budjiti Ngemba k r e Toowoomba )" e !( Euahlayi Ngiyampaa e v r er i ie Riv C oon Githabul Nyeri Nyeri R M e o r Gomeroi/Kamilaroi Tati Tati n o e i St George r !( v b GW19 i Guwamu (Kooma) Wadi Wadi a e P R «¬ Kambuwal Wailwan N o Wemba Wemba g Kunja e r r e !( Kwiambul Weki Weki r iv Goondiwindi a R Barkandji Kunja e GW18 Maljangapa Wiradjuri W n r on ¬ Bigambul e « Kwiambul l Maraura Yita Yita v a r i B ve Budjiti Maljangapa R i Murrawarri Yorta Yorta a R Euahlayi o n M Murrawarri g a a l rr GW15 c Bigambul Gomeroi/Kamilaroi Ngarabal u a int C N «¬!( yre Githabul R Guwamu (Kooma) Ngemba iv er Kambuwal Kambuwal Wailwan N MoreeG am w Gomeroi/Kamilaroi Wiradjuri o yd Barwon River i R ir R Kwiambul !(Bourke iv iv Barkandji e er GW13 C r GW14 Budjiti -
The Uniqueness of the Blackwords Resource: Memoir of an Indexer
The Uniqueness of the BlackWords Resource: Memoir of an Indexer IRENE HOWE AustLit, University of Queensland Since its launch in 2007 BlackWords has enjoyed strong Indigenous leadership and a dedicated Indigenous team, allowing Indigenous storytellers, academics and researchers to determine its look, content, and scope. The BlackWords team of researchers and indexers is a community consisting of individuals from across institutions such as the University of Queensland, the University of Western Australia, Flinders University, the University of Sydney, the University of Wollongong and AIATSIS, each of whom has brought their own expertise and specialist interest to the database (BlackWords; Holt; Kilner 62). In a sense, Indigenous control of BlackWords falls within the context of the traditional Aboriginal kinship system. BlackWords has had many mothers, fathers, aunties, uncles, sisters, brothers, cousins and non-Indigenous members, who have nurtured it from its early establishment. Within this relationship, they represent the national team consisting of national coordinators and research assistants. This extended family are those people who are members and/or descendants of diverse Aboriginal and Torres Strait Island groups and communities as distant as Western Australia and the Torres Straits Islands. The non-Indigenous, or those with no blood relations, come in the form of the cross-cultural connection between BlackWords and AustLit. For example, Joan Keating, a Senior Researcher and Content Editor from AustLit, gave valuable help to the BlackWords team. From its establishment in 2006, she contributed her knowledge, guidance, training and skills, providing information on bibliographic protocols, and indexing procedures. Kerry Kilner, in her role as Director of AustLit, has also been instrumental in the establishment and continued development of BlackWords. -
Darkemu-Program.Pdf
1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers.