DOCSLIB.ORG

The Future of Live Music in South Australia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Future of Live Music in South Australia The Future of Live Music in South Australia Live Music Thinker: Martin Elbourne THE DON DUNSTAN FOUNDATION ProjEcT partners The Don Dunstan Foundation Level 3, 230 North Terrace THE UNIVERSITY OF ADELAIDE SA 5005 www.reverb.net.au © The Don Dunstan Foundation, 2013 www.dunstan.org.au Recommendation 13: Continue the 49 Contents 4 implementation of The National Indigenous Contemporary Music Action Plan within SA and about the residency 7 appraisal of its progress and outcomes. Recommendation 14: Invest in creative hubs that 50 about martin elbourne 9 provide artistic stimulation and rehearsal spaces for musicians, and support ‘cross fertilisation’ of the arts. overview 11 Recommendation 15: Develop a Government 51 Policy to reduce barriers to creative hubs. Context 15 Recommendation 16: Form a new creative hub 53 from an existing cluster of creative organisations. governance and leadership 29 Recommendation 1: Create the South Australian 30 development of industry Professions 55 Contemporary Music Advisory Council (SACMAC) to develop strategies for the economic development of Recommendation 17: Ensure a high quality 58 the local music industry and to champion it. website exists to profile contemporary musicians, and include quality film clips, statistics on their performance history, and other information that acts education and Creative development for artists 33 as criteria to indicate the current status of the artists. Recommendation 2: Implement the proposed 33 new national curriculum for the Arts to its fullest Recommendation 18: Establish a network of 58 in South Australia and maximise opportunities for accomplished professionals – Friends of SA. creative musical expression in children. Recommendation 19: Develop music industry 59 Recommendation 3: Better equip generalist 34 specific traineeships or internships. primary school teachers to deliver a quality music curriculum. Recommendation 20: Establish Creative 61 Entrepreneur Award – Contemporary Music. Recommendation 4: Make music education in 36 high schools more accessible and engaging. audience development 63 Recommendation 5: Integrate TAFE music courses 38 into Adelaide College of the Arts. Recommendation 21: Designate an existing area 63 within the City of Adelaide as the Central Cultural and Recommendation 6: Increase the visibility 39 Entertainment District (CCED) to enhance the city’s of existing educational opportunities through a profile and facilitate promotion of the area to increase prospectus of all available post-secondary music visitor numbers, and to attract business and activity. courses across South Australia. Recommendation 22: 64 Recommendation 7: Work in conjunction with 39 Develop a comprehensive gig guide. the Centre for Aboriginal Studies in Music (CASM) to increase opportunities and pathways for Indigenous Recommendation 23: 67 musicians via a ‘one stop shop’ website. Develop strategies for large scale contemporary music events. Recommendation 8: Establish a new international, 41 Recommendation 24: tertiary level institution in Adelaide for contemporary 69 Support and subsidise under-age shows in the city music education and development. and regional areas. Recommendation 9: Increase the funding to Arts 43 Recommendation 25: 69 SA’s Contemporary Music Fund to better support Create a one-off annual celebration of local music. artists, entrepreneurs and industry organisations. Recommendation 26: Support local and national 70 Recommendation 10: 45 Establish the ‘Music media to promote and represent South Australian Industry Development Initiative (MIDI)’, a music and artists. industry development office for local mid-career artists and entrepreneurs to raise their performance to Recommendation 27: Undertake targeted 72 national and international standards. research to better understand the market through identifying: Recommendation 11: 46 Make high-level training • Barriers to the consumption of live music (such as opportunities available to all career artists. gig times, transport issues, entry prices) • Live music interests of cultural and demographic Recommendation 12: 48 Provide artists with training groups currently not catered for (e.g. international in new online platforms to distribute their music. students) 4 | Creating and sustaining the musiC eCology of south australia trade and economic development 75 regulation 95 Recommendation 28: Develop a long term 75 Recommendation 38: Invest in research on 96 strategy and lay the foundations for a comprehensive problem behaviour, and the environments that reduce music industry. its incidence, to inform future pathways. Recommendation 29: Establish a universally 77 Recommendation 39: Create a framework 98 accepted set of performance metrics to assess the for collaboration and planning, having a common health of the music industry in South Australia across language as its foundation, for communication across time . the music industry, SAPOL, the Liquor and Gambling Commissioner, local councils and residents. Recommendation 30: Development of music 79 related industries and creation of music industry Recommendation 40: State Government to take 100 clusters. the lead on clarification of roles and responsibilities held by regulatory and enforcement bodies. Recommendation 31: Venue owners to form an 83 association. Recommendation 41: A more flexible approach to 101 the Late Night Trading Code of Practice. Recommendation 32: Develop Adelaide’s export 84 potential and trade pathways based on market Recommendation 42: Encourage a culture of 102 research. early and late night activity, reducing the early morning issues of anti-social behaviour. sector growth in metropolitan and 87 regional areas Recommendation 43: Reduce barriers to live 103 music created by legislation meant for other purposes Recommendation 33: Develop Port Adelaide 87 and encourage dedicated live music venues. as a live music destination. Recommendation 44: Establish a ‘one stop shop’ 108 Recommendation 34: Develop a strategy to 88 for development and licensing applications. strengthen regional touring and create a touring circuit. Recommendation 45: Encourage shared 108 Recommendation 35: Build on large events as 90 responsibility in planning. part of a strategy to engage bands in regional centres. Recommendation 46: Create a set of regulations 109 Recommendation 36: Regional Development 91 and guidelines specific to noise management by live Australia Barossa to develop and pilot a regional music music venues and related building development. development strategy as part of their Events Strategy: • Establish a touring circuit of wineries Recommendation 47: Encourage local councils to 111 • Establish a permanent stage and other create their own live music plans in conjunction with infrastructure local development plans. • Local Council to employ a booker and publish a regional gig guide Recommendation 48: 113 • Develop a contemporary music festival/ Amend the Liquor Licensing Act. showcasing event • Incorporate live music in community and visitor Recommendation 49: Work with the Federal 117 venues through Government to achieve changes to the Building Code; - The revival of the Barossa International Music small to medium venues that come under class 9b. Festival - The celebration of the Barossa tradition of choirs and bands acknowledgements 120 - Including live music into other arts event such as the SALA Festival • Leverage Adelaide events such as the Fringe along with the positive attributes of the Barossa • Support the development of emerging local artists by the provision of i) a rehearsal studio space and ii) mobile audio systems for performances • Apply the small venue licence provisions to the Barossa and remove the needs test in the South Australian Liquor Licensing Act • Develop creative hubs, and music industry clusters, encouraging for example music instrument artisans • Establish a venue for arena size shows at a winery. Recommendation 37: Create an outreach of the 93 Northern Sound System and provide a rehearsal space in Gawler. Creating and sustaining the musiC eCology of south australia | 5 About the Residency The project has encompassed the work of the Thinker in Residence, Martin Elbourne, and was at the outset titled ‘Reverb’, a name denoting its topic and one of its major objectives which is to create movement and reverberation across the contemporary music community in Adelaide. Its intended outcome is to create collaboration and unified action for a healthy, more sustainable music scene. Over two periods of residency, Martin has worked and consulted with venue owners, training organisations, musicians, regulators, councils, government departments and Ministers, and organisations to devise strategies to strengthen the live music scene. The residency has been supported by its partners the Adelaide City Council, the Department of Planning, Transport and Infrastructure, Arts SA, Department of the Premier and Cabinet, Renewal SA, and Regional Development Australia Barossa. All partners contributed financially and the project would not have been possible without this. They also contributed their skills and knowledge. The thinker’s residency program was designed by the State Government to bring world experts into direct contact with South Australia’s decision makers. Leaders in their field commit to periods of residency in Adelaide in order to work with the community and government in developing ideas and approaches that can potentially be applied to the local context. Each ‘thinker’ is engaged to provide a set of
Load more

Recommended publications
  • South Australian Music Industry Strategy
    South Australian Music Industry Strategy Music Development Office, February 2018 A collaborative plan to accelerate growth of the music sector in South Australia www.mdo.sa.gov.au/strategy Stakeholder consultation More than 2100 people, including businesses, musicians The South Australian Music Industry Strategy responds to and consumers, had input into the process of developing the five major themes that arose during the consultation this collaborative strategy for the South Australian music period, together with extensive research and analysis of industry. Consultation included: local, national and international trends. It also builds on previous work, such as the 2013 Martin Elbourne Live • an online survey, which received 1369 unique responses Music Thinker in Residency. and had a total sample size of 174 music businesses The Music Development Office would like to acknowledge and thank everyone who provided • one on one interviews with more than 30 key industry stakeholders from a range of disciplines, including invaluable advice and generously shared their media, education, studios, labels and management knowledge and experience during the process of developing this strategy. • discussions with members from 12 industry bodies. The stakeholders who took part in the process included local, state and national government and industry associations, training organisations, venue owners, event organisers, regulators, and musicians. Image front cover: WOMADelaide, image courtesy of Arts Project Australia Image this page: St. Jerome’s Laneway
    [Show full text]
  • Living in Australia
    Unit 2 Place and liveability Living in Australia Both Indigenous Australians and early European settlers to Australia made decisions about where to live based on the availability of resources they needed to survive – things like water, food and shelter. The factors that influence where people live today are more varied. As well as needing access to food, water and shelter, people also choose where to live based on things like access to services (such as hospitals and schools), environmental quality (such as access to clean air and parklands) and safety. Connections to family, friends and places also influence where we live. Where we choose to live can also change over time due to a range of factors, such as work and property prices. In retirement, many people opt for a sea change or tree change to enjoy a more relaxed lifestyle. chapter Source 1 An oblique aerial photograph of the Melbourne showing the suburb of St Kilda in the foreground4 4A 4B DRAFT Where do Australians live and How do people connect why? to places? 1 What features shown in Source 1 tell you that many 1 What common interests or hobbies might people people live in the suburb of St Kilda? who live in St Kilda share? 2 Why do you think people choose to live in 2 How might the lifesavers at St Kilda Beach be St Kilda? considered a community of their own? 112 oxford big ideas humanities 7 victorian curriculum chapter 4 living in australia 113 4A Where do Australians live and why? Islander peoples have developed very strong connections with your learning 4.1 4.1 Why we live where we do their places.
    [Show full text]
  • Music Industry Strategy
    Music Industry Strategy A collaborative plan to accelerate the development of the music sector in South Australia, in partnership between government and industry February 2017 Draft Discussion Paper Adelaide, City of Music Why the time is right for a collaborative strategy for the industry…. The South Australian music sector is getting noticed nationally – recent quotes in the national media include: “Adelaide is shaking off its City of Churches moniker and finding its groove again. Is this MUSIC SECTOR STRATEGY SECTOR MUSIC Australia’s new music capital?” Virgin Voyeur (inflight) magazine, October 2016 “The state’s creative scene (is) proving to be one of the most promising in the world” TheMusic.com.au, October 2016 3 Contents 1. Introduction 4. Opportunities I. Why an Industry Strategy? I. Our suggestions & your ideas II. Aims & objectives III. Methodology 5. What’s working Well? South Australian Music STRATEGY IV. The role of the Music Development Office Industry Case Studies I. Event Case Study: Umbrella Winter City Sounds 2. The International and National Music II. Education Case Study: Sia Furler Institute Sector III. Label Case Study: Tsuba and Isle of Jura Records INDUSTRY INDUSTRY I. Global music industry trends (format, IV. Youth Engagement Case Study: Northern Sound market, audience and technology System trends) II. The Australian music industry 6. Government support for the Music Industry MUSIC MUSIC I. Adelaide City Council 3. The Music Sector in South Australia II. Local government I. Adelaide: UNESCO City of Music III. State government – MDO & St Paul’s II. Snapshot of the music sector in South IV. Regulatory reform Australia V.
    [Show full text]
  • The Globalising World: Changing Policies and Australian Identity
    The Globalising World: Changing policies and Australian identity A unit of work for the Australian Curriculum: History, Year 10 Contents The Australian Human Rights Commission Introduction 4 encourages the dissemination and exchange of information provided in this publication. Links to the Australian Curriculum 5 All material presented in this publication is provided under Creative Commons Attribution Focus 9 3.0 Australia, with the exception of: Teaching and Learning Activities 10 • the Australian Human Rights Commission Logo Teacher support 11 • photographs and images • any content or material provided Achievement, learning and assessment 13 by third parties. The details of the relevant licence conditions are Sequences 15 available on the Creative Commons website, as is the full legal code for the CC BY 3.0 AU licence. Sequence 1—Migration experiences: Post-War to the 1970s 16 Sequence 2—Dismantling the White Australia Policy Attribution in the 1970s 38 Material obtained from this publication is to be attributed to the Australian Human Rights Sequence 3—Multiculturalism and migration in the Commission with the following copyright notice: 1980s and 1990s 52 © Australian Human Rights Commission 2014. ISBN 978-1-921449-64-2 Sequence 4—Shaping multicultural Australia since 2000 62 Design and layout Dancingirl Designs Resources 83 Cover photograph A migrant family arrives at Walsh Bay, Sydney, aboard the Italian ship, Resources for this unit 84 Napoli, 11 March 1950. Fairfax Media archives. Program Planner 91 Electronic format This publication can be found in electronic Sequence 2 Resource Sheet: The Racial format on the website of the Australian Human Discrimination Act 93 Rights Commission: www.humanrights.gov.au/ publications/index.html.
    [Show full text]
  • Inequality in South Australia
    Inequality in South Australia KEY DETERMINANTS OF WELLBEING Volume 1 : The Evidence 2004 Hetzel D, Page A, Glover J, Tennant S Government of South Australia Published by Department of Health Copyright © State of South Australia 2004 This work may be reproduced and used subject to acknowledgement of the source of any material so reproduced. National Library of Australia Cataloguing in Publication entry Inequality in South Australia: the key determinants of wellbeing. Volume 1, The evidence. ISBN 0 7308 9322 7. 1. Equality - South Australia. 2. Income distribution - South Australia. 3. Social justice - South Australia. 4. South Australia - Social conditions. I. Hetzel, Diana. II. South Australia. Dept. of Health. 305.099423 This report was produced by the Public Health Information Development Unit (PHIDU), The University of Adelaide, for the South Australian Department of Health. The project was funded and supported by the then Department of Human Services. The views expressed in this report are solely those of the authors and should not be attributed to the South Australian Government. Suggested citation: Hetzel D, Page A, Glover J, Tennant S. Inequality in South Australia: Key determinants of wellbeing. Volume 1: The Evidence. Adelaide: DH (SA), 2004. Enquiries about or comments on this publication should be addressed to: PHIDU, The University of Adelaide, South Australia 5005 Phone: 08-8303 6239 or e-mail: [email protected] For further information about addressing inequality, contact: Chief Policy Officer, Health Promotion SA,
    [Show full text]
  • Women in Music Mentor Program 2020 Advisory Committee
    Women In Music Mentor Program 2020 Advisory Committee Ali Tomoana A proud Māori/Samoan woman and Mother, Ali is the Co-Founder/Director of Brisbane-based Indie Record Label and Artist Management agency, Soul Has No Tempo. With a joint passion for cultivating and supporting local music, Ali & her husband Gavin created SHNT as a one-stop-shop for emerging artists to perform, create and release music. Managing breakthrough Australian artist Jordan Rakei through his early development and reloca- tion to London, Ali now proudly represents Ladi6, Tiana Khasi and Ella Haber, along with Melbourne-based singer-songwriter, Laneous, and is inspired daily by the qualities that make each artist unique. As a label, SHNT dive deep into music that pushes the boundaries of Soul, while exploring new methods in which their artists can control their freedom of expression as creators. Anne Wiberg Anne established her own business as a freelance promoter, music programmer and event and project producer in late 2017. Recent clients have included AIR Awards (Australian Independent Records), State Government for the annual Ruby Awards, South Australia’s premier arts awards, Darwin Festival as Music Programmer, Adelaide Festival as Producer of “Picaresque” with Robyn Archer for the 2019 season, Insite Arts, Mercury Cinema, and Adelaide Fringe Festival as content producer in 2018 and Gala Director for the 2020 event. For the past twelve months, she has worked as a consultant for the Adelaide Botanic Gardens and State Herbarium to assist the organisation with developing a public arts program for winter months. As well as starting to promote her own live music events, she also produces programs and talent for private and corporate events.
    [Show full text]
  • How Are They Faring? South Australia's 2020 Report Card
    How are they faring? South Australia’s 2020 Report Card for children and young people Acknowledgements Thank you to the Parliament of South Australia for passing the Children and Young People (Oversight and Advocacy Bodies) Act 2016 to improve the outcomes of children and young people in South Australia. Thank you to the Government of South Australia for gazetting South Australia’s first Outcomes Framework for Children and Young People on 14 November 2019. A special thanks to the community of South Australia, the children, young people, parents, carers and families represented by the data, figures and words in this report card. The Child Development Council acknowledges the traditional custodians and recognise their cultural heritage, beliefs and ongoing relationship with the land, pays respect to Elders past and present and acknowledges children and young people who are current and future leaders. A note on COVID-19 The data in this report card reflect results and conditions prior to the Coronavirus COVID-19 pandemic. We acknowledge the unprecedented, additional challenges for many children, young people, families and communities at this time and that the effects may be long-lived. The pandemic may disproportionately compound disadvantage and economic hardship and many are likely to require additional support or services. Language and definitions The term ‘children and young people’ is inclusive of all babies, children and young people from birth up to the age of 18 years. The term ‘Aboriginal’ is used respectfully to refer to Australian Aboriginal and Torres Strait Islander children, young people, adults, families and communities. GPO Box 1152 Adelaide South Australia 5001 T (08) 8463 6429 E [email protected] W www.childrensa.sa.gov.au © Government of South Australia, July 2020 Author: Child Development Council.
    [Show full text]
  • AUSTRALIAN BROADCASTING CORPORATION ANNUAL REPORT 2020 Front Cover: Jeremy Fernandez Reporting from Rosedale, New South Wales
    AUSTRALIAN BROADCASTING CORPORATION ANNUAL REPORT 2020 Front cover: Jeremy Fernandez reporting from Rosedale, New South Wales. Image: David Sciasci Frances Djulibing as Ruby in Operation Buffalo. Image: Ben King / Porchlight Films Letter to the Minister 9 September 2020 The Hon Paul Fletcher MP Minister for Communications, Cyber Safety and the Arts Parliament House Canberra ACT 2600 Dear Minister The Board of the Australian Broadcasting Corporation is pleased to present its Annual Report for the year ended 30 June 2020. The report was prepared for section 46 of the Public Governance, Performance and Accountability Act 2013, in accordance with the requirements of that Act and the Australian Broadcasting Corporation Act 1983. It was approved by the Board on 9 September 2020 and provides a streamlined, yet full, overview of the ABC’s performance and delivery in line with its Charter remit. The ABC walked beside Australians through the stress, fear and change of late 2019 and early 2020, a time full of uncertainty. It provided constant support for audiences with its wide-ranging and comprehensive news coverage, and help and distraction through quality discussion, entertainment, music, children’s content and specialist services. We adapted to our new operating circumstances expediently, while facing our internal challenges head on. There can be no better example of the ABC’s dedication to Australian stories, culture and experience than its activities throughout 2019-20. I trust you will find the same reflected within this report. Sincerely,
    [Show full text]
  • Animal Welfare Standards and Australia's Live Exports Industry to Indonesia: Creating an Opportunity out of a Crisis
    Washington University Global Studies Law Review Volume 12 Issue 1 2013 Animal Welfare Standards and Australia's Live Exports Industry to Indonesia: Creating an Opportunity Out of a Crisis Marie T. Hastreiter Washington University School of Law Follow this and additional works at: https://openscholarship.wustl.edu/law_globalstudies Part of the Animal Law Commons, and the International Law Commons Recommended Citation Marie T. Hastreiter, Animal Welfare Standards and Australia's Live Exports Industry to Indonesia: Creating an Opportunity Out of a Crisis, 12 WASH. U. GLOBAL STUD. L. REV. 181 (2013), https://openscholarship.wustl.edu/law_globalstudies/vol12/iss1/5 This Note is brought to you for free and open access by the Law School at Washington University Open Scholarship. It has been accepted for inclusion in Washington University Global Studies Law Review by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. ANIMAL WELFARE STANDARDS AND AUSTRALIA’S LIVE EXPORTS INDUSTRY TO INDONESIA: CREATING AN OPPORTUNITY OUT OF A CRISIS I. INTRODUCTION In June 2011, ABC TV’s Four Corners program aired footage of the outrageous cruelty and living conditions live cattle within the Australian live export industry experience when exported from Australia to Indonesia.1 Four Corners viewers witnessed Indonesian slaughterhouse workers beating and whipping cattle before slaughtering them and to the horror of many, actually dismembering cattle while they were still conscious. The footage generated significant public outcry, leading the Australian government to suspend the live export of cattle to Indonesia.2 While animal activists and the general public praised the suspension, the agricultural industry, particularly beef producers, were angered and worried.
    [Show full text]
  • Understanding Where Immigrants Live
    Understanding Where Immigrants Live Hugo, Graeme, Understanding Where authors who write on this topic in Australia. His Immigrants Live Bureau of Immigration, style in this publication fits well into the Bure a u ' s Multicultural and Population Research, objective for its Understanding series, which is Canberra, Australian Government Publishing designed to provide authoritative, balanced Service, 1995. coverage at a level suitable for schools and non- specialists readers. I have great pleasure in by Graeme Hugo welcoming the publication to the Bureau's list. Department of Geography, University of John Nieuwenhuysen, Director, Bureau of Adelaide Immigration, Multicultural and Population Research Foreword The Author The location decisions of immigrants arriving in Australia have recently been the subject of great Graeme Hugo is Professor of Geography at the public attention. In particular, the reasons why University of Adelaide. He obtained his PhD. so many of today's settlers choose Sydney, and from the Australian National University (ANU) the consequences for its urban infrastructure, in 1975 and is widely regarded as one of the have aroused interest and controversy. foremost demographers in Australia and the Southeast Asian region. He has held visiting In Understanding Where Immigrants Live, one of positions at the University of Iowa, University Australia's leading demographers, Professor of Hawaii, Hassanuddin University (Indonesia) Graeme Hugo, provides an excellent, clear and the ANU, and is the author of over a overview of many features of this subject. hundred books, chapters in books and articles in Professor Hugo divides the work into three scholarly journals. Much of his early work dealt main parts: the geographical distribution of with population issues in Southeast Asia, but in immigrants, the causes of their geographical recent years he has worked extensively on concentration in Australia, and its implications.
    [Show full text]
  • Report on the Inquiry Into the Australian Music Industry
    The Parliament of the Commonwealth of Australia Report on the inquiry into the Australian music industry House of Representatives Standing Committee on Communications and the Arts March 2019 Canberra © Commonwealth of Australia 2019 ISBN 978-1-74366-993-8 (Printed version) ISBN 978-1-74366-994-5 (HTML version) This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 Australia License. The details of this licence are available on the Creative Commons website: http://creativecommons.org/licenses/by-nc-nd/3.0/au/. Foreword The Australian music industry is a challenging and highly-competitive industry in which to pursue a career. Many Australians dream of a career in the music industry and being able to make a living out of their passion and talent for music. Australians pursuing a career in the music industry invest significant time, money, and effort—often with little return. It is vital that the Australian music industry works to ensure that artists and other industry careers are supported and sustainable, and that a diverse range of Australian artists are able to thrive. Investment in the support and promotion of Australian artists is essential to the retention of talent and, ultimately, the sustainability and growth of the Australian music industry. Recorded music The Australian recorded music industry has experienced significant disruption as a result of technological advances and the rapid digitisation of the distribution of music, forcing the industry to adapt and evolve. It is no small challenge to successfully provide a competitive and attractive alternative to ‘free’ music. The recorded music industry’s recent return to growth and decrease in the number of consumers downloading music illegally is evidence of the industry’s successful adaption to the digital disruption.
    [Show full text]
  • South Australia's First Expedition
    South Australia’s First Expedition: three generations of settler-colonial social mobility. by Heidi Ing Thesis submitted to Flinders University for the degree of Doctor of Philosophy College of Humanities, Arts and Social Sciences 9 October 2020 i Table of Contents List of Figures ........................................................................................................................ ii List of Tables ........................................................................................................................ iii Thesis Summary ................................................................................................................... vi Declaration .......................................................................................................................... vii Acknowledgements ........................................................................................................... viii Chapter One: Following Immigrants on the Move .................................................................. 1 Chapter Two: Selling South Australia .................................................................................... 35 Chapter Three: South Australia’s First Expedition ................................................................. 58 Chapter Four: Locating South Australia’s First Expedition .................................................... 87 Chapter Five: Career Mobility of the First Expedition. ........................................................ 103 Chapter Six: Locating
    [Show full text]