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Geography and Archaeology of the Palm Islands and Adjacent Continental Shelf of North Queensland
ResearchOnline@JCU This file is part of the following work: O’Keeffe, Mornee Jasmin (1991) Over and under: geography and archaeology of the Palm Islands and adjacent continental shelf of North Queensland. Masters Research thesis, James Cook University of North Queensland. Access to this file is available from: https://doi.org/10.25903/5bd64ed3b88c4 Copyright © 1991 Mornee Jasmin O’Keeffe. If you believe that this work constitutes a copyright infringement, please email [email protected] OVER AND UNDER: Geography and Archaeology of the Palm Islands and Adjacent Continental Shelf of North Queensland Thesis submitted by Mornee Jasmin O'KEEFFE BA (QId) in July 1991 for the Research Degree of Master of Arts in the Faculty of Arts of the James Cook University of North Queensland RECORD OF USE OF THESIS Author of thesis: Title of thesis: Degree awarded: Date: Persons consulting this thesis must sign the following statement: "I have consulted this thesis and I agree not to copy or closely paraphrase it in whole or in part without the written consent of the author,. and to make proper written acknowledgement for any assistance which ',have obtained from it." NAME ADDRESS SIGNATURE DATE THIS THESIS MUST NOT BE REMOVED FROM THE LIBRARY BUILDING ASD0024 STATEMENT ON ACCESS I, the undersigned, the author of this thesis, understand that James Cook University of North Queensland will make it available for use within the University Library and, by microfilm or other photographic means, allow access to users in other approved libraries. All users consulting this thesis will have to sign the following statement: "In consulting this thesis I agree not to copy or closely paraphrase it in whole or in part without the written consent of the author; and to make proper written acknowledgement for any assistance which I have obtained from it." Beyond this, I do not wish to place any restriction on access to this thesis. -
Submission to the Enquiry of the House Of
SUBMISSION TO THE INQUIRY OF THE HOUSE OF REPRESENTATIVES STANDING COMMITTEE ON COMMUNICATIONS INFORMATION TECHNOLOGY AND THE ARTS INTO COMMUNITY BROADCASTING Submission 80 FROM THE NATIONAL INDIGENOUS TELEVISION (NITV) COMMITTEE Executive Summary In September 2005 the Australian Government announced that from 1 July 2006 it will fund the establishment of an Indigenous television service. The National Indigenous Television (NITV) Committee1 is charged with the implementation of the new service; provisionally named National Indigenous Television (NITV). The NITV Committee proposes that NITV, as a fully fledged, government licenced broadcast service, should be provided with the same digital spectrum access as the other mainstream broadcasters. Such an allocation would provide an opportunity for NITV to act as a “channel multiplexer” to provide digital carriage of local community broadcasters. This would allow the community services to continue to be provided with spectrum “free of charge”, without the need for them to provide their own expensive technical infrastructure for digital services. 1 See Appendix 1 for NITV Committee members. The NITV Committee is a voluntary, industry representative group which was formed by the Australian Indigenous Communications Association (AICA) to develop an effective strategy for the establishment of a national Indigenous television service. The group comprises representatives from AICA, Indigenous Remote Communications Association Aboriginal and Torres Strait Islanders Corporation (IRCA), Indigenous Screen Australia (ISA), IMPARJA Television and those with specific contributing industry expertise. Submission The House of Representatives Standing Committee on Communications Information Technology and The Arts is conducting an enquiry into community broadcasting and seeks input from involved organisations on:- • The scope and role of community broadcasting • Content and programming requirements • Technological opportunities • Opportunities and threats to achieving a diverse and robust network of community broadcasters 1. -
Than One Way to Catch a Frog: a Study of Children's
More than one way to catch a frog: A study of children’s discourse in an Australian contact language Samantha Disbray Submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy. Department of Linguistics and Applied Linguistics University of Melbourne December, 2008 Declaration This is to certify that: a. this thesis comprises only my original work towards the PhD b. due acknowledgement has been made in the text to all material used c. the text is less than 100,000 words, exclusive of tables, figures, maps, examples, appendices and bibliography ____________________________ Samantha Disbray Abstract Children everywhere learn to tell stories. One important aspect of story telling is the way characters are introduced and then moved through the story. Telling a story to a naïve listener places varied demands on a speaker. As the story plot develops, the speaker must set and re-set these parameters for referring to characters, as well as the temporal and spatial parameters of the story. To these cognitive and linguistic tasks is the added social and pragmatic task of monitoring the knowledge and attention states of their listener. The speaker must ensure that the listener can identify the characters, and so must anticipate their listener’s knowledge and on-going mental image of the story. How speakers do this depends on cultural conventions and on the resources of the language(s) they speak. For the child speaker the development narrative competence involves an integration, on-line, of a number of skills, some of which are not fully established until the later childhood years. -
Contents What’S New
July / August, No. 4/2011 CONTENTS WHAT’S NEW Quandamooka Native Title Determination ............................... 2 Win a free registration to the Joint Management Workshop at the 2011 National Native 2012 Native Title Conference! Title Conference: ‘What helps? What harms?’ ........................ 4 Just take 5 minutes to complete our An extract from Mabo in the Courts: Islander Tradition to publications survey and you will go into the Native Title: A Memoir ............................................................... 5 draw to win a free registration to the 2012 QLD Regional PBC Meeting ...................................................... 6 Native Title Conference. Those who have What’s New ................................................................................. 6 already completed the survey will be automatically included. Recent Cases ............................................................................. 6 Legislation and Policy ............................................................. 12 Complete the survey at: Native Title Publications ......................................................... 13 http://www.tfaforms.com/208207 Native Title in the News ........................................................... 14 If you have any questions or concerns, please Indigenous Land Use Agreements (ILUAs) ........................... 20 contact Matt O’Rourke at the Native Title Research Unit on (02) 6246 1158 or Determinations ......................................................................... 21 [email protected] -
Digital Songlines: the Adaption of Modern Communication Technology at Yuendemu, a Remote Aboriginal Community in Central Australia
Digital Songlines: the adaption of modern communication technology at Yuendemu, a remote Aboriginal Community in Central Australia by Lydia Buchtmann A thesis submitted in partial fulfilment of the requirements for the Degree of Masters ofArts (Research) in Communication at the University of Canberra April 2000 AKNOWLEDGEMENTS Special thanks to: The Warlpiri and Pitjantjatjara people for their hospitality and willingness to share their achievements with me. Tom Kantor, Declan O'Gallagher, Ronnie Reinhart and Robin Granites at the Warlpiri Media Association. Chris Ashby and Will Rogers, as well as Marina Alice, Alec Armstrong and Dale Nelson at PY Media. Clint Mitchell and George Henna at CAAMA and Greg McFarland and all the staff at Imparja. Melinda Hinkson for pointing me in the right direction and giving me sound advice on where to start. Jennifer Deger, Evan Wyatt, Philip Batty and Helen Molnar for sharing their experiences in Aboriginal broadcasting. Gertrude Stotz from the Pitjantjatjara Land Council for her knowledge of the Warlpiri and Toyotas. Nick Peterson for pointing out Marika Moisseeff's work. The National Indigenous Media Association, especially Gerry Pyne at the National Indigenous Radio Service. Nikki Page at 5UV for her insight into training. Mike Hollings at Te Mangai Paho for assistance in helping me to understand Maori broadcasting. Lisa Hill and Greg Harris at ATSIC for bringing me up-to-date with the latest in indigenous broadcasting policy. The helpful staff at the Australian Institute ofAboriginal and Torres Strait Islander Studies Library. My supervisors Dr Elisabeth Patz and Dr Glen Lewis at the University of Canberra for keeping me on track. -
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. -
'Noble Savages' on the Television
‘Nobles and savages’ on the television Frances Peters-Little The sweet voice of nature is no longer an infallible guide for us, nor is the independence we have received from her a desirable state. Peace and innocence escaped us forever, even before we tasted their delights. Beyond the range of thought and feeling of the brutish men of the earli- est times, and no longer within the grasp of the ‘enlightened’ men of later periods, the happy life of the Golden Age could never really have existed for the human race. When men could have enjoyed it they were unaware of it and when they have understood it they had already lost it. JJ Rousseau 17621 Although Rousseau laments the loss of peace and innocence; little did he realise his desire for the noble savage would endure beyond his time and into the next millennium. How- ever, all is not lost for the modern person who shares his bellow, for a new noble and savage Aborigine resonates across the electronic waves on millions of television sets throughout the globe.2 Introduction Despite the numbers of Aboriginal people drawn into the Australian film and television industries in recent years, cinema and television continue to portray and communicate images that reflect Rousseau’s desires for the noble savage. Such desires persist not only in images screened in the cinema and on television, but also in the way that they are dis- cussed. The task of ridding non-fiction film and television making of the desire for the noble and the savage is an essential one that must be consciously dealt with by both non- Aboriginal and Aboriginal film and television makers and their critics. -
Visitor Responses to Palm Island in the 1920S and 1930S1
‘Socialist paradise’ or ‘inhospitable island’? Visitor responses to Palm Island in the 1920s and 1930s1 Toby Martin Tourists visiting Queensland’s Palm Island in the 1920s and 1930s followed a well-beaten path. They were ferried there in a launch, either from a larger passenger ship moored in deeper water, or from Townsville on the mainland. Having made it to the shallows, tourists would be carried ‘pick a back’ by a ‘native’ onto a ‘palm-shaded’ beach. Once on the grassy plains that stood back from the beach, they would be treated to performances such as corroborees, war dances and spear-throwing. They were also shown the efforts of the island’s administration: schools full of happy children, hospitals brimming with bonny babies, brass band performances and neat, tree-fringed streets with European- style gardens. Before being piggy-backed to their launches, the tourist could purchase authentic souvenirs, such as boomerangs and shields. As the ship pulled away from paradise, tourists could gaze back and reflect on this model Aboriginal settlement, its impressive ‘native displays’, its ‘efficient management’ and the ‘noble work’ of its staff and missionaries.2 By the early 1920s, the Palm Island Aboriginal reserve had become a major Queensland tourist destination. It offered tourists – particularly those from the southern states or from overseas – a chance to see Aboriginal people and culture as part of a comfortable day trip. Travellers to and around Australia had taken a keen interest in Aboriginal culture and its artefacts since Captain Cook commented on the ‘rage for curiosities amongst his crew’.3 From the 1880s, missions such as Lake Tyers in Victoria’s Gippsland region had attracted 1 This research was undertaken with the generous support of the State Library of NSW David Scott Mitchell Fellowship, and the ‘Touring the Past: History and Tourism in Australia 1850-2010’ ARC grant, with Richard White. -
Mckee, Alan (1996) Making Race Mean : the Limits of Interpretation in the Case of Australian Aboriginality in Films and Television Programs
McKee, Alan (1996) Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs. PhD thesis. http://theses.gla.ac.uk/4783/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Making Race Mean The limits of interpretation in the case of Australian Aboriginality in films and television programs by Alan McKee (M.A.Hons.) Dissertation presented to the Faculty of Arts of the University of Glasgow in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Glasgow March 1996 Page 2 Abstract Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences. -
Highways Byways
Highways AND Byways THE ORIGIN OF TOWNSVILLE STREET NAMES Compiled by John Mathew Townsville Library Service 1995 Revised edition 2008 Acknowledgements Australian War Memorial John Oxley Library Queensland Archives Lands Department James Cook University Library Family History Library Townsville City Council, Planning and Development Services Front Cover Photograph Queensland 1897. Flinders Street Townsville Local History Collection, Citilibraries Townsville Copyright Townsville Library Service 2008 ISBN 0 9578987 54 Page 2 Introduction How many visitors to our City have seen a street sign bearing their family name and wondered who the street was named after? How many students have come to the Library seeking the origin of their street or suburb name? We at the Townsville Library Service were not always able to find the answers and so the idea for Highways and Byways was born. Mr. John Mathew, local historian, retired Town Planner and long time Library supporter, was pressed into service to carry out the research. Since 1988 he has been steadily following leads, discarding red herrings and confirming how our streets got their names. Some remain a mystery and we would love to hear from anyone who has information to share. Where did your street get its name? Originally streets were named by the Council to honour a public figure. As the City grew, street names were and are proposed by developers, checked for duplication and approved by Department of Planning and Development Services. Many suburbs have a theme. For example the City and North Ward areas celebrate famous explorers. The streets of Hyde Park and part of Gulliver are named after London streets and English cities and counties. -
Trachoma Arts-Based Health Promotion Brings Hygiene to Life in Remote Indigenous Communities
Trachoma arts-based health promotion brings hygiene to life in remote Indigenous communities 13th National Rural Health Conference Darwin NT May 2015 The arts and health Creating arts and health experiences to improve community and individual health and wellbeing. The arts have been used and well documented in primary health and acute care, in community health at any point in the health care continuum In creatively birthing and ageing For mental health For race, gender, sexuality and religious inclusion In death and dying across urban, regional rural and remote Australia There is clear empirical evidence that arts and health activity is a health-promoting endeavour for all members of society. Australian National Arts and Health Framework 2013 Indigenous Australian children are born with better eyesight than non-Indigenous children Indigenous Australian adults experience 6 x blindness Taylor HR, et al., National Indigenous Eye Health Survey - Minum Barreng (Tracking Eyes). 2009, Melbourne: Indigenous Eye Health Unit, Melbourne School of Population Health in collaboration with the Centre for Eye Research Australia and the Vision CRC. Trachoma • Major cause of preventable blindness globally • Australia only high income country • WHO Alliance for Global Elimination by 2020 • Developing countries declared/declaring elimination Oman, Ghana, Morocco, Iran, Vietnam, Myanmar, Gambia, Ghana Around 232 million people live in trachoma endemic areas of 53 countries and need treatment. www.trachomaatlas.org Stages of trachoma It is a hygiene related disease It will be eliminated by 2020 Trachoma in Australia Causes 9% blindness and vision loss in Indigenous Australians Active trachoma in remote Indigenous communities – later stages around the country Limited and overcrowded housing, lack of safe and functional washing facilities, poor personal and community hygiene Spreads from child to child, shared sleeping spaces, dirty faces Children’s eye, nose, ear secretions common and normalised Trachoma • Eliminated with the WHO S.A.F.E. -
The Genesis of Thea Astley's the Multiple Effects of Rainshadow
The Genesis of Thea Astley’s The Multiple Effects of Rainshadow CHERYL TAYLOR JAMES COOK UNIVERSITY My purpose in this essay, which extends a project commenced a decade ago (Taylor 2009), is to analyse the sources of Thea Astley’s The Multiple Effects of Rainshadow, including but going beyond the list provided in the author’s ‘Acknowledgments.’ In truth, Astley’s achievement in Multiple Effects as in her other fiction far surpasses the sum of contributions that she derived from earlier writings. The mostly forgotten books that she lists as ‘[i]mpulses’ and her bequest to the Fryer Library of her newspaper sources and hand-written notes suggest that she may have welcomed a study of this novel’s genesis. The essay begins with an overview of the place of Multiple Effects in Astley’s oeuvre and the literary and political contexts for Astley’s increasing engagement with the history of Aboriginal dispossession. It then turns in detail to the novel itself and offers an excavation of the sources that inform its historical narrative. In doing this I hope to demonstrate something about Astley’s creative process: the extent and detail of her research, the ways in which her novel creatively reworks this archive, and some of the effects of that on the kind of history that Astley tells. Following the publication in 1994 of Coda, intended as the title indicates to be Astley’s last novel, the Keating Labor government awarded her a five-year Creative Fellowship of $325,000. Thus encouraged, after ‘one year of musing and two years of writing’ (Sayer 18) at Cambewarra on the NSW south coast, Astley published Multiple Effects in August 1996.