DOCSLIB.ORG

Urban Representations: Cultural Expression, Identity and Politics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Urban Representations: Cultural Expression, Identity and Politics Urban Representations: Cultural expression, identity and politics Urban Representations: Cultural expression, identity and politics Edited by Sylvia Kleinert and Grace Koch Developed from papers presented in the Representation and Cultural Expression stream at the 2009 AIATSIS National Indigenous Studies Conference ‘Perspectives on Urban Life: Connections and reconnections’ First published in 2012 by AIATSIS Research Publications © Australian Institute of Aboriginal and Torres Strait Islander Studies, 2012 © in individual chapters is held by the authors, 2012 All rights reserved. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act 1968 (the Act), no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the publisher. The Act also allows a maximum of one chapter or 10 per cent of this publication, whichever is the greater, to be photocopied or distributed digitally by any educational institution for its educational purposes, provided that the educational institution (or body that administers it) has given a remuneration notice to Copyright Agency Limited (CAL) under the Act. Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) GPO Box 553, Canberra ACT 2601 Phone: (61 2) 6246 1111 Fax: (61 2) 6261 4285 Email: [email protected] Web: www.aiatsis.gov.au National Library of Australia Cataloguing-in-Publication entry: Title: Urban representations [electronic resource] : cultural expression, identity, and politics : developed from papers presented in the Representation Stream at the AIATSIS 2009 National Indigenous Studies Conference ‘Perceptions of Urban Life : Connections and Reconnections’ / edited by Sylvia Kleinert and Grace Koch. ISBN: 9781922102003 (ebook : pdf) Subjects: City and town life—Australia. Cities and towns—Australia—Social aspects. Aboriginal Australians. Torres Strait Islanders. Other Authors/Contributors: Kleinert, Sylvia. Koch, Grace. Dewey Number: 307.760994 Cover design by Inprint Pty Ltd Contents Contributors vii Introduction 1 Sylvia Kleinert and Grace Koch Chapter 1 21 Making murals, revealing histories: Murals as an assertion of Aboriginality in Melbourne’s inner north Fran Edmonds Chapter 2 49 Making a mark: Negotiations in the sale of Aboriginal art Barbara Ashford Chapter 3 63 Possum skin cloaks as a vehicle for healing in Aboriginal communities in the south-east of Australia Vicki Couzens and Lee Darroch Chapter 4 69 Beyond the didjeridu: The representation of Aboriginality in the music of a selection of Australian fi lms (1971 to 2002) Anthony Linden Jones Chapter 5 91 Neither dots nor bark: Positioning the urban artist Suzanne Spunner Chapter 6 101 Brisbane’s Annual Sports and Cultural Festival: Connecting with community and culture through festivals Lisa Ruhanen and Michelle Whitford Published by AIATSIS Research Publications v Contributors Barbara Ashford is a social anthropologist whose main interests are economic anthropology and the social creation of value. Barbara gained her PhD in Anthropology in 2009 at The University of Queensland after submitting her study of an Aboriginal art dealership situated in Brisbane. She has also worked extensively in education as a teacher. Vicki Couzens is a Keerray Wurrong woman from the Western district of Victoria. She has a partner, fi ve daughters and seven grandchildren. In late 1999 she returned to her birthplace, her home Country — Warrnambool — after living in East Gippsland for the previous ten years. Art has been an integral part of her life, but until about 15 years ago she was more of a spectator than a participant. Although during her teens and early 20s she made sporadic ventures into the arts, it wasn’t until her early 30s that she began working seriously exhibiting and performing. Her family has a strong connection to the arts. Her grandfather, Nicholas Couzens, was an ex ceptional artist, painting portraits, nudes and landscapes. Vicki believes he worked primarily in oils in the early to mid-1900s in and around the Port Campbell – Peterborough area. Uncle Stan Couzens became well known in his later years, taking up painting after his retirement. Aunty Zelda was a basket weaver extraordinaire. Several cousins and their children are also practising artists. Vicki’s own children have all participated in arts programs/festivals and are artists in their own right, and she fi nds it interesting and exciting having so many of the family working in the arts. In 2008 a collective exhibition, Ngathook mangoorroo watanoo…(‘I come from…’): The Couzens Family Exhibition, was held at Melbourne Museum. Lee Darroch is a proud Yorta Yorta, Mutti Mutti and Boon Wurrung woman. She has lived on Gragin (Raymond Island) with her partner, David, and two children, Ben and Zenzi, for the past 25 years. Lee runs her own arts business, Gurranyin Arts, and practises across a wide variety of art media, including basket weaving, possum skin cloak making, jewellery making, pastel drawings and painting. She is the part- time Program Coordinator for Banmirra Arts, an Aboriginal not-for-profi t arts organisation. Lee has worked in community arts and community arts education as the Koori Arts Worker for East Gippsland Aboriginal Arts Corporation part-time for Published by AIATSIS Research Publications vii Urban Representations: Cultural expression, identity and politics the past ten years. She was a Director for Riverbark Arts Pty Ltd, a Koori arts and cultural company that she runs together with Treahna Hamm and Vicki Couzens. The three women, together with Amanda Reynolds, have written a book about possum skin cloaks entitled Wrapped in a Possum Skin Cloak: The Tooloyn Koortakay Collection in the National Museum of Australia. Lee’s arts practice is informed by a strong philosophy of recreating and revitalising traditional arts practices. She has exhibited widely across Australia, Samoa, Japan, Italy and Greece. Lee’s artwork can be found in many of the major public collections, including National Gallery of Australia, National Museum of Australia, National Gallery of Victoria, Melbourne Museum, Aboriginal Affairs Victoria and Koorie Heritage Trust. Fran Edmonds received her PhD from The University of Melbourne in 2008. This was an exploration of the history of south-east Australian Aboriginal art and its connection to identity and wellbeing. She is currently a research fellow in the School of Culture and Communication at The University of Melbourne, where she is involved in researching the creative capacity of digital technology to support contemporary Aboriginal culture. Sylvia Kleinert is an Adjunct Senior Research Fellow at the Australian National University. Until 2010 she was Associate Professor of Australian Indigenous Art at Charles Darwin University. During 1997–2003 she held an Australian Research Council Postdoctoral Fellowship and a Research Fellowship in the Centre for Cross Cultural Research at the Australian National University. Working across art history and anthropology, her research addresses questions related to Indigenous art and culture. She has published both nationally and internationally on the Hermannsburg School, Aboriginal art in south-eastern Australia, Indigenous prison art, cultural tourism and cultural heritage. She is co-editor (with Margo Neale) of the major reference work The Oxford Companion to Aboriginal Art and Culture (2000). Other edited publications include as Coordinating Editor (with Djon Mundine and David McNeill), Aboriginal Art in the Public Eye, Art Monthly supplement 1992/3; Symbolic Souvenirs, special issue of Tourism, Culture and Communication, volumes 3/4, 1999/2000; editor (with Nicole Bearman and Ian Were), Louise Hamby and Diana Young, Art on a String (2003); and editor, Crossing Cultures: Politics, identity and culture (2006). Grace Koch has a special interest in fi lm, as one of her relatives was a fi lm star in Hollywood in the 1920s and 1930s. She has a background in ethnomusicology and audiovisual archiving, and has published both nationally and internationally in those fi elds. In 2008 The Hon. Peter Garrett appointed her to the inaugural Board of the National Film and Sound Archive. She has worked at AIATSIS for more than 30 years in the Audiovisual Archives, the Library and, presently, as Native Title Research and Access Offi cer. She has been a consultant with the Central Land Council for fi ve land viii Published by AIATSIS Research Publications Contributors claims under both the Aboriginal Land Rights (Northern Territory) Act 1976 (Cth) and the Native Title Act 1993 (Cth). Her most recent research has centred on how Federal Court judges and Aboriginal Land Commissioners have recognised the importance of song and ceremony as evidence in land claims. Anthony Linden Jones is a musicologist, performer, composer of fi lm scores and concert music, and Music Director of a community a cappella choir. He teaches music at the Eora Centre for Aboriginal Studies in Sydney and at the Sydney Conservatorium of Music, and is a current PhD student at Sydney Conservatorium of Music, researching the representation of Aboriginality in Australian fi lm music. In 2011 he held a Scholars and Artists in Residence fellowship with the National Film and Sound Archive in Canberra. Dr Lisa Ruhanen is a Senior Lecturer and Postgraduate Coursework Program
Load more

Recommended publications
  • Pre-Contact Astronomy Ragbir Bhathal
    Journal & Proceedings of the Royal Society of New South Wales, Vol. 142, p. 15–23, 2009 ISSN 0035-9173/09/020015–9 $4.00/1 Pre-contact Astronomy ragbir bhathal Abstract: This paper examines a representative selection of the Aboriginal bark paintings featuring astronomical themes or motives that were collected in 1948 during the American- Australian Scientific Expedition to Arnhem Land in north Australia. These paintings were studied in an effort to obtain an insight into the pre-contact social-cultural astronomy of the Aboriginal people of Australia who have lived on the Australian continent for over 40 000 years. Keywords: American-Australian scientific expedition to Arnhem Land, Aboriginal astron- omy, Aboriginal art, celestial objects. INTRODUCTION tralia. One of the reasons for the Common- wealth Government supporting the expedition About 60 years ago, in 1948 an epic journey was that it was anxious to foster good relations was undertaken by members of the American- between Australia and the US following World Australian Scientific Expedition (AAS Expedi- II and the other was to establish scientific tion) to Arnhem Land in north Australia to cooperation between Australia and the US. study Aboriginal society before it disappeared under the onslaught of modern technology and The Collection the culture of an invading European civilisation. It was believed at that time that the Aborig- The expedition was organised and led by ines were a dying race and it was important Charles Mountford, a film maker and lecturer to save and record the tangible evidence of who worked for the Commonwealth Govern- their culture and society.
    [Show full text]
  • Palaeoworks Technical Papers 9
    Palaeoworks Technical Papers 9 Geochemistry and identification of Australian red ochre deposits Mike Smith & Barry Fankhauser National Museum of Australia, Canberra, ACT 2601 and Centre for Archaeological Research, Australian National University, ACT 0200, Australia. Email: [email protected] September 2009 Note This information has been prepared for students and researchers interested in identifying ochre in archaeological contexts. It is open to use by everyone with the proviso that its use is cited in any publications, using the URL as the place of publication. Any comments regarding the information found here should be directed to the authors at the above address. © Mike Smith & Barry Fankhauser 2009 Preface Between 1994 and 1998 the authors undertook a project to look at the feasibility of using geochemical signatures to identify the sources of ochres recovered in archaeological excavations. This research was supported by AIATSIS research grants G94/4879, G96/5222 and G98/6143.The two substantive reports on this research (listed below) have remained unpublished until now and are brought together in this Palaeoworks Technical Paper to make them more generally accessible to students and other researchers. Smith, M. A. and B. Fankhauser (1996) An archaeological perspective on the geochemistry of Australian red ochre deposits: Prospects for fingerprinting major sources. A report to the Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra. Smith, M. A. and B. Fankhauser (2003) G96/5222 - Further characterisation and sourcing of archaeological ochres. A report to the Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra. The original reports are reproduced substantially as written, with the exception that the tables listing samples from ochre quarries (1996: Tables II/ 1-11) have been revised to include additional samples.
    [Show full text]
  • Australian Aboriginal Art
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online Australian Aboriginal Art Patrick Hutchings To attack one’s neighbours, to pass or to crush and subdue more remote peoples without provocation and solely for the thirst for dominion—what is one to call it but brigandage on a grand scale?1 The City of God, St Augustine of Hippo, IV Ch 6 ‘The natives are extremely fond of painting and often sit hours by me when at work’ 2 Thomas Watling The Australians and the British began their relationship by ‘dancing together’, so writes Inge Clendinnen in her multi-voiced Dancing With Strangers 3 which weaves contemporary narratives of Sydney Cove in 1788. The event of dancing is witnessed to by a watercolour by Lieutenant William Bradley, ‘View in Broken Bay New South Wales March 1788’, which is reproduced by Clendinnen as both a plate and a dustcover.4 By ‘The Australians’ Clendinnen means the Aboriginal pop- ulation. But, of course, Aboriginality is not an Aboriginal concept but an Imperial one. As Sonja Kurtzer writes: ‘The concept of Aboriginality did not even exist before the coming of the European’.5 And as for the terra nullius to which the British came, it was always a legal fiction. All this taken in, one sees why Clendinnen calls the First People ‘The Australians’, leaving most of those with the current passport very much Second People. But: winner has taken, almost, all. The Eddie Mabo case6 exploded terra nullius, but most of the ‘nobody’s land’ now still belongs to the Second People.
    [Show full text]
  • ART ABORIGÈNE, AUSTRALIE — Samedi 7 Mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie
    ART ABORIGÈNE, AUSTRALIE — Samedi 7 mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie Samedi 7 mars 2020 Paris — Salle VV, Quartier Drouot 3, rue Rossini 75009 Paris — 16h30 — Expositions Publiques Vendredi 6 mars de 10h30 à 18h30 Samedi 7 mars de 10h30 à 15h00 — Intégralité des lots sur millon.com Département Experts Index Art Aborigène, Australie Catalogue ................................................................................. p. 4 Biographies ............................................................................. p. 56 Ordres d’achats ...................................................................... p. 64 Conditions de ventes ............................................................... p. 65 Liste des artistes Anonyme .................. n° 36, 95, 96, Nampitjinpa, Yuyuya .............. n° 89 Riley, Geraldine ..................n° 16, 24 .....................97, 98, 112, 114, 115, 116 Namundja, Bob .....................n° 117 Rontji, Glenice ...................... n° 136 Atjarral, Jacky ..........n° 101, 102, 104 Namundja, Glenn ........... n° 118, 127 Sandy, William ....n° 133, 141, 144, 147 Babui, Rosette ..................... n° 110 Nangala, Josephine Mc Donald ....... Sams, Dorothy ....................... n° 50 Badari, Graham ................... n° 126 ......................................n° 140, 142 Scobie, Margaret .................... n° 32 Bagot, Kathy .......................... n° 11 Tjakamarra, Dennis Nelson .... n° 132 Directrice Art Aborigène Baker, Maringka ...................
    [Show full text]
  • RECONCILIATION ACTION PLAN Buŋgul Sydney Festival 2020
    RECONCILIATION ACTION PLAN Buŋgul Sydney Festival 2020 ACKNOWLEDGEMENT OF COUNTRY Sydney Festival would like to acknowledge the Traditional Owners of the land on which the Festival takes place, and pay respect to the 29 clans of the Eora Nation. We acknowledge that this land falls within the boundaries of the Metropolitan Local Aboriginal Land Council. We would also like to acknowledge our Darug neighbours in Parramatta. We pay respect to Elders both past and present, and all Aboriginal and Torres Strait Islander peoples whichever Aboriginal and Torres Strait Islander nation they come from. INTRODUCTION Originally launched in 2013, our Reconciliation Action Plan (RAP) outlines our commitment towards improving outcomes for Aboriginal and Torres Strait Islander peoples by creating and fostering an organisational environment that cherishes respect, creates opportunity and builds cultural awareness. Sydney Festival recognises that Sydney is a vast, complex and exuberant city of cultural contrasts and social diversity, that Sydney’s Aboriginal and Torres Strait Islander heritage and contemporary cultures lie deep within the city’s identity and are key to an enlightened and progressive festival. COVER IMAGE: ALWAYS Sydney Festival 2019 2 1 Four Thousand Fish Sydney Festival 2018 A MESSAGE FROM THE EXECUTIVE DIRECTOR The Sydney Festival Reconciliation Action Plan remains our organisation's commitment to ensure that we keep moving forward on this vital issue for our nation. We are committed to working towards improving outcomes for Aboriginal and Torres Strait Islander peoples by creating and fostering an organisational environment that cherishes respect, creates opportunity and builds cultural awareness. We will continue to set ourselves new measurable goals, at the same time as maintaining ongoing successful initiatives as part of the ongoing journey for this organisation and our community.
    [Show full text]
  • STUDY GUIDE by Marguerite O’Hara, Jonathan Jones and Amanda Peacock
    A personal journey into the world of Aboriginal art A STUDY GUIDE by MArguerite o’hArA, jonAthAn jones And amandA PeAcock http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins Front cover: (top) Detail From GinGer riley munDuwalawala, Ngak Ngak aNd the RuiNed City, 1998, synthetic polyer paint on canvas, 193 x 249.3cm, art Gallery oF new south wales. © GinGer riley munDuwalawala, courtesy alcaston Gallery; (Bottom) Kintore ranGe, 2009, warwicK thornton; (inset) hetti perKins, 2010, susie haGon this paGe: (top) Detail From naata nunGurrayi, uNtitled, 1999, synthetic polymer paint on canvas, 2 122 x 151 cm, mollie GowinG acquisition FunD For contemporary aBoriGinal art 2000, art Gallery oF new south wales. © naata nunGurrayi, aBoriGinal artists aGency ltD; (centre) nGutjul, 2009, hiBiscus Films; (Bottom) ivy pareroultja, rrutjumpa (mt sonDer), 2009, hiBiscus Films Introduction GulumBu yunupinGu, yirrKala, 2009, hiBiscus Films DVD anD WEbsitE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series.
    [Show full text]
  • Graphic Encounters Conference Program
    Meeting with Malgana people at Cape Peron, by Jacque Arago, who wrote, ‘the watched us as dangerous enemies, and were continually pointing to the ship, exclaiming, ayerkade, ayerkade (go away, go away)’. Graphic Encounters 7 Nov – 9 Nov 2018 Proudly presented by: LaTrobe University Centre for the Study of the Inland Program Melbourne University Forum Theatre Level 1 Arts West North Wing 153 148 Royal Parade Parkville Wednesday 7 November Program 09:30am Registrations 10:00am Welcome to Country by Aunty Joy Murphy Wandin AO 10:30am (dis)Regarding the Savages: a short history of published images of Tasmanian Aborigines Greg Lehman 11.30am Morning Tea 12.15pm ‘Aborigines of Australia under Civilization’, as seen in Colonial Australian Illustrated Newspapers: Reflections on an article written twenty years ago Peter Dowling News from the Colonies: Representations of Indigenous Australians in 19th century English illustrated magazines Vince Alessi Valuing the visual: the colonial print in a pseudoscientific British collection Mary McMahon 1.45pm Lunch 2.45pm Unsettling landscapes by Julie Gough Catherine De Lorenzo and Catherine Speck The 1818 Project: Reimagining Joseph Lycett’s colonial paintings in the 21st century Sarah Johnson Printmaking in a Post-Truth World: The Aboriginal Print Workshops of Cicada Press Michael Kempson 4.15pm Afternoon tea and close for day 1 2 Thursday 8 November Program 10:00am Australian Blind Spots: Understanding Images of Frontier Conflict Jane Lydon 11:00 Morning Tea 11:45am Ad Vivum: a way of being. Robert Neill
    [Show full text]
  • John Gould and David Attenborough: Seeing the Natural World Through Birds and Aboriginal Bark Painting by Donna Leslie*
    John Gould and David Attenborough: seeing the natural world through birds and Aboriginal bark painting by Donna Leslie* Abstract The English naturalist and ornithologist, John Gould, visited Australia in the late 1830s to work on a major project to record the birds of Australia. In the early 1960s, around 130 years later, the English naturalist, David Attenborough, visited Australia, too. Like his predecessor, Attenborough also brought with him a major project of his own. Attenborough’s objective was to investigate Aboriginal Australia and he wanted specifically to look for Aboriginal people still painting in the tradition of their ancestors. Arnhem Land in the Northern Territory was his destination. Gould and Attenborough were both energetic young men, and they each had a unique project to undertake. This essay explores aspects of what the two naturalists had to say about their respective projects, revealing through their own published accounts their particular ways of seeing and interpreting the natural world in Australia, and Australian Aboriginal people and their art, respectively. The essay is inspired by the author’s curated exhibition, Seeing the natural world: birds, animals and plants of Australia, held at the Ian Potter Museum of Art from 20 March to 2 June 2013. An exhibition at the Ian Potter Museum of Art, Seeing the natural world: birds, animals and plants of Australia currently showing from 20 March 2013 to 2 June 2013, explores, among other things, lithographs of Australian birds published by the English naturalist and ornithologist John Gould [1804-1881], alongside bark paintings by Mick Makani Wilingarr [c.1905-1985], an Aboriginal artist from Arnhem Land in the Northern Territory (Chisholm 1966; McCulloch 2006: 471; Morphy 2012).
    [Show full text]
  • An Actor Prepares: What Brian Told Me by Liza-Mare Syron
    An Actor Prepares: what Brian told me by Liza-Mare Syron “I felt a feeling of shame for not knowing my own heritage, my own history, and my lack of understanding of Culture and its place in performance practice for Aboriginal artists and performers.” An Actor Prepares: what Brian told me by Liza-Mare Syron This original work is published by the Australian Script Centre, trading as AustralianPlays.org 77 Salamanca Place, Hobart 7004 Tasmania, Australia Tel +61 3 6223 4675 Fax +61 3 6223 4678 [email protected] www.australianplays.org ABN 63 4394 56892 © 2011 Liza- Mare Syron MAKING COPIES This work may be copied under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Australia (CC BY-NC-ND 3.0) http://creativecommons.org/licenses/by-nc-nd/3.0/au/ You are free: • to copy, distribute and display the work Under the following conditions: • Attribution — You must give the original author credit. • Non-Commercial — You may not use this work for commercial purposes. • No Derivative Works — You may not alter, transform, or build upon this work. AUSTRALIAN SCRIPT CENTRE The Australian Script Centre has been selectively collecting and distributing outstanding Australian playscripts since 1979. The ASC owns and manages the online portal AustralianPlays.org in collaboration with Currency Press, Playlab and Playwriting Australia. For more information contact the ASC at: Tel: +61 3 6223 4675 Fax: +61 3 6223 4678 [email protected] ww.ozscript.org 2 An Actor Prepares: what Brian told me by Liza-Mare Syron I came to my identity as an Aboriginal person in 1979, I was sixteen.
    [Show full text]
  • Central Land Council and Northern Land Council
    CENTRAL LAND COUNCIL and NORTHERN LAND COUNCIL Submission to the Productivity Commission Draft Report into Resources Sector Regulation 21 August 2020 TABLE OF CONTENTS 1. KEY TERMS ____________________________________________________________ 4 2. INTRODUCTION ________________________________________________________ 5 PART 1 – DETAILED RESPONSE AND COMMENTARY_________________________ 5 3. LEGAL CONTEXT _______________________________________________________ 5 3.1. ALRA NT ______________________________________________________________ 5 3.2. Native Title Act _________________________________________________________ 6 3.3. The ALRA NT is not alternate to the Native Title Act. __________________________ 6 4. POLICY CONTEXT ______________________________________________________ 6 4.1. Land Council Policy Context ______________________________________________ 6 4.2. Productivity Commission consultation context ________________________________ 8 5. RECOMMENDATIONS AND COMMENTS __________________________________ 9 5.1. The EPBC Act, and Northern Territory Environmental Law has recently been subject to specialised review _________________________________________________________ 9 5.2. Pt IV of the ALRA NT has recently been subject to specialised review _____________ 9 5.3. Traditional owners are discrete from the Aboriginal Community and have special rights ____________________________________________________________________ 10 5.4. Free Prior Informed Consent _____________________________________________ 11 5.5. Inaccuracies in the draft Report
    [Show full text]
  • Narrative and Co-Existence: Mediating Between Indigenous and Non-Indigenous Stories
    Narrative and Co-Existence: Mediating Between Indigenous and Non-Indigenous Stories Kathryn Angela Trees BA (Hons) Murdoch University A thesis submitted for the degree of Doctor of Philosophy at Murdoch University November 1998 Abstract This thesis demonstrates how theory and praxis may be integrated within a postcolonial, or more specifically, anticolonial frame. It argues for the necessity of telling, listening and responding to personal narratives as a catalyst for understanding the construction of identities and their relationship to place. This is achieved through a theorisation of narrative and critique of postcolonialism. Three sites of contestation are visited to provide this critique: the “Patterns of Life: The Story of Aboriginal People of Western Australia” exhibition at the Perth Museum; a comparison of Western Australian legislation that governed the lives of Aboriginal people from 1848 to the present and, the life story of Alice Nannup; and, an analysis of the Australian Institute Judicial Association’s “Aboriginal Culture: Law and Change” seminar for magistrates. Most importantly, this work calls for strategies for negotiating a just basis for coexistence between Indigenous and non-Indigenous Australians. ii Table of Contents Abstract ii Table of Contents iii Acknowledgements v Introduction 1 Chapter One Maps of Place: Maps of Identity 11 1.1 Who am I? Who are you? 11 1.2 A metaphor of mapping 19 1.3 Mapping “Lines of Flight” 23 1.4 Learning to trace 24 1.5 Irish gold prospector 26 1.6 Child explorer of mangrove swamps
    [Show full text]
  • Art Gallery of South Australia Major Achievements 2003
    ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2003 – 30 June 2004 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-second Annual Report of the Art Gallery Board of South Australia for the Gallery’s 123rd year, ended 30 June 2004. Michael Abbott QC, Chairman Art Gallery Board 2003–2004 Chairman Michael Abbott QC Members Mr Max Carter AO (until 18 January 2004) Mrs Susan Cocks (until 18 January 2004) Mr David McKee (until 20 July 2003) Mrs Candy Bennett (until 18 January 2004) Mr Richard Cohen (until 18 January 2004) Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr. Philip Speakman (commenced 20 August 2003) Mr Andrew Gwinnett (commenced 19 January 2004) Mr Peter Ward (commenced 19 January 2004) Ms Louise LeCornu (commenced 19 January 2004) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2003-2004 6 Issues and Trends 9 Major Objectives 2004–2005 11 Resources and Administration 13 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 29 Appendix B2 Members of the Art Gallery of South Australia 29 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 30 Appendix B4 Art Gallery Staff and Volunteers 31 Appendix C Staff Public Commitments 33 Appendix D Conservation 36 Appendix E Donors, Funds, Sponsorships 37 Appendix F Acquisitions 38 Appendix G Inward Loans 50 Appendix H Outward Loans 53 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 61 Appendix K Gallery Guide Tour Services 61 Appendix L Gallery Publications 62 Appendix M Annual Attendances 63 Information Statement 64 Appendix N Financial Statements 65 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance.
    [Show full text]