DOCSLIB.ORG

In North East Arnhem Land, the Realization of a Cultural Centre – Led by Yolngu – Sets an Important Precedent for the Creation of Sacred Indigenous Architecture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In North East Arnhem Land, the Realization of a Cultural Centre – Led by Yolngu – Sets an Important Precedent for the Creation of Sacred Indigenous Architecture Revisited Garma Cultural Knowledge Centre Architect Build Up Design Words by Elizabeth Grant Photography by Peter Eve In North East Arnhem Land, the realization of a cultural centre – led by Yolngu – sets an important precedent for the creation of sacred Indigenous architecture. 100 Architecture Australia Completed in 2014, the Garma Cultural Knowledge protector of the land. Gumatj clan leader Galarrwuy The Garma Cultural Centre sets an architectural precedent based on Yunupingu AM describes the anchor’s significance: Knowledge Centre, located 1 at Gulkula in Wiwatj (North two-way knowledge transfer, a long-established Yolngu East Arnhem Land). practice of combining Indigenous customs with The anchor represents unity and strength. Architecture is used by the introduced ways to negotiate a creative synthesis. It anchors Yolngu to our land and makes Indigenous clients as a medium to convey oral Here, that synthesis was with architect Simon Scally real our ties to the ceremonial meeting histories and tell their story. of Build Up Design, and the result is a powerful and ground at Gulkula. Our guests are anchored distinctly Yolngu place – a building that expresses to us and share in our cultural strength.3 Yolngu’s interconnected approach to politics, social identities, ancestral law, kinship relations, education Many sacred narratives are incorporated into and religion, and exerts their ownership of the land. the building’s design. For example, the late Gulumbu While joyful and light, the project exudes gravitas, Yunupingu’s internationally famed work Garak, The highlighting the significance of place, sacred Universe – an interpretation of Yolngu cosmology – was knowledge and knowledge transfer to Yolngu. interpreted as a series of laser-cut Corten steel panels The Knowledge Centre is located at Gulkula installed along the balconies as privacy and sun shields. (known as Djalkiri Wanga in Yolngu Matha, the Yolngu Elsewhere, yellow-painted external panels and linguistic family) in Miwatj (North East Arnhem Land). dark red timber work – using the local and culturally The late Mungurrawuy Yunupingu, a revered cultural significant gadayka, or grey stringybark (Eucalyptus leader from the Gumatj clan within the Yirritja kinship tetrodonta) – replicates the colours of the ochre that group, described Gulkula as “an all-encompassing represents the blood of the region’s Yirritja and Dhuwa philosophical, physical, cosmological, theoretical kinship groups. This colour palette demonstrates clan place” where Yolngu “have danced from the beginning.”2 affiliations, frees users of the space from the potential It is a sacred place, cosmologically associated with dangers of mystical powers, and links the past to the many Wangarr (Dreaming) stories: it was at Gulkula present. In The Handbook of Contemporary Indigenous that the yidaki (didgeridoo or didjeridu) was brought to Architecture, Shaneen Fantin postulates the material the people, an act that imbued the land with spiritual selection may demonstrate ancestral affiliations: properties from the escarpment above to the ocean below. The sound of the yidaki remains a call to the To use a particular material or resource is clans of Miwatj to unite in ceremonies that have been to imbue the thing one is building, or creating, performed at Gulkula since time immemorial. with the stories and qualities that the resource The building is located on the sacred contains in ancestral law. For example, escarpment with spectacular views down to the ocean. stringybark (Eucalyptus tetrodonta) for Telling stories through architecture was an essential Yolngu people has a moiety (Dhuwa) that component of the design, with a series of complex links to a number of important ancestral Wangarr narratives layered into the project. The floor histories associated with ethno-architecture plan, for example, references the shape of an anchor, from Arnhem Land. A building or structure with a round window at the front of the building made from stringybark has, therefore, an referencing the anchor’s “ring.” The anchor symbol identity anchored in the Dhuwa moiety. Metal is embedded in Yolngu cultures as a result of their or steel products have been categorised by historic relationship with the Macassan people from the Yolngu under the opposite moiety (Yirritja) modern-day Indonesia. Over centuries, it has become a and are associated with a different set of symbol rich in significance, even appearing in the stories, many originating with the Macassan Wangarr story of the female warrior Bayini, the spiritual history of northern Australia.4 May / Jun 2019 101 Garma Cultural Knowledge Centre Key 1 Conference room 2 Seminar room 3 Meeting room 4 Office 5 Tea room 6 Verandah 7 Plant 7 6 4 2 5 4 1 3 Site plan 01 5 10 m 1:1000 102 Architecture Australia The project is based on a two-way knowledge transfer, in which Indigenous customs and knowledge gained through Westernized processes come together to strengthen Yolngu culture and maintain autonomy. The design allows occupants to remain continually connected to the surrounding landscape. Multiple entries and exits also accommodate socio- spatial preferences and avoidance practices. Yellow-painted external panels and dark red timber work in culturally significant gadayka (grey stringybark) represents the blood of the region’s Yirritja and Dhuwa kinship groups. Laser-cut Corten steel panels on the balconies interpret Gulumbu Yunupingu’s internationally famed work Garak, The Universe. May / Jun 2019 103 Garma Cultural Knowledge Centre In this project, the choice of steel and metal The Garma Cultural Knowledge Centre Clan performances at the opening of the Garma with timber flooring and posts may align the building is a powerful agent in preserving and conveying Cultural Knowledge Centre with Yirritja kinship law, history and the identity of the cultural knowledge, reinforcing the strength, allowed cultural knowledges Gumatj Clan who developed the building. Importantly, and demonstrating the ingenuity of Yolngu cultures. to be embedded into the building, establishing it as to allow Aboriginal people to use the building with Unravelling processes of cultural production an important Yolngu place. ease, it is designed to accommodate Yolngu socio- behind the project’s architecture reveals significant spatial preferences and avoidance practices – it has complexities of Yolngu knowledge, power and identity, multiple entries and exits to enable people to move of land rights, politics and social systems, of religious away from one another as needed, while allowing beliefs and the forces of representation. occupants to stay continually connected to the The efforts to sustain and to further build surrounding landscape.5 upon these unique traditions, taking into account the The Garma Cultural Knowledge Centre poverty of remote Australia, economic and political was initially conceived as a training centre and pressures from without, and personal pressures from a venue for a range of cultural activities, but the within, are heroic. agenda for the centre has evolved. Yolngu have always rigorously resisted outside control and occupation Elizabeth Grant is an associate professor of architecture and urban design at RMIT, an adjunct professor of architecture in the Faculty of their lands and view themselves as unceded. of Arts and Design at the University of Canberra and an adjunct associate As such, discussions regarding Yolngu futures, land professor at the Indigenous Design Place in the School of Architecture use and other matters need to be conducted at the University of Queensland. She is the lead editor of The Handbook of Contemporary Indigenous Architecture (Springer, 2018). in an appropriate setting, at a significant place on Yolngu Country. The Knowledge Centre dispels any Footnotes notion that Yolngu have been alienated, disempowered 1. Yolngu (or Yolŋu) are an aggregation of Indigenous Australian people or subjugated in their engagement with the dominant inhabiting north-eastern Arnhem Land in the Northern Territory of Australia. non-Aboriginal Australia. 2. Brenda L. Croft, “Biography: Gulumbu Yunupingu,” National Gallery Yolngu activists, artists and performers of Australia, 2012, nga.gov.au/Exhibition/NIAT07/Detail. have been at the global forefront for decades, and cfm?MnuID=1&SubMnuID=1&BioArtistIRN=30380&IRN=165869. this project has broken new ground in the field 3. Yothu Yindi Foundation, “Gulkula and Ganbulapula,” 2014, yyf.com.au/ of Indigenous architecture, as Kelly Greenop and pages/?ParentPageID=2&PageID=109. I explain in The Handbook of Contemporary 4. Shaneen Fantin, and Gudju Gudju Fourmile, “Design in Perspective: Indigenous Architecture: Reflections on Intercultural Design Practice in Australia” in Elizabeth Grant, Kelly Greenop, Albert L Refiti and Daniel J Glenn (eds), The Handbook of Contemporary Indigenous Architecture (Singapore: Springer, 2018), 433–464. This appears to be the first Australian example where Indigenous clients have exerted absolute 5. Elizabeth Grant, “Garma Cultural Knowledge Centre,” Australian Design Review, June 2015. control over their cultural knowledge, using architecture as a medium to convey oral 6. Elizabeth Grant and Kelly Greenop, “Contemporary Australian Aboriginal and Torres Strait Islander Community, Public and Institutional Architecture” histories and to tell their story. During the in Elizabeth Grant, Kelly Greenop, Albert L Refiti and Daniel J Glenn (eds), design process, the meanings and symbols The Handbook of Contemporary Indigenous
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]
  • Nhulunbuy Itinerary
    nd 2 OECD Meeting of Mining Regions and Cities DarwinDarwin -– Nhulunbuy Nhulunbuy 23 – 24 November 2018 Nhulunbuy Itinerary P a g e | 2 DAY ONE: Friday 23 November 2018 Morning Tour (Approx. 9am – 12pm) 1. Board Room discussions - visions for future, land tenure & other Join Gumatj CEO and other guests for an open discussion surrounding future projects and vision and land tenure. 2. Gulkula Bauxite mining operation A wholly owned subsidiary of Gumatj Corporation Ltd, the Gulkula Mine is located on the Dhupuma Plateau in North East Arnhem Land. The small- scale bauxite operation aims to deliver sustainable economic benefits to the local Yolngu people and provide on the job training to build careers in the mining industry. It is the first Indigenous owned and operated bauxite mine. 3. Gulkula Regional Training Centre & Garma Festival The Gulkula Regional training is adjacent to the mine and provides young Yolngu men and women training across a wide range of industry sectors. These include; extraction (mining), civil construction, building construction, hospitality and administration. This is also where Garma Festival is hosted partnering with Yothu Yindi Foundation. 4. Space Base The Arnhem Space Centre will be Australia’s first commercial spaceport. It will include multiple launch sites using a variety of launch vehicles to provide sub-orbital and orbital access to space for commercial, research and government organisations. 11:30 – 12pm Lunch at Gumatj Knowledge Centre 5. Gumatj Timber mill The Timber mill sources stringy bark eucalyptus trees to make strong timber roof trusses and decking. They also make beautiful furniture, homewares and cultural instruments.
    [Show full text]
  • Balnhdhurr - a Lasting Impression Yirrkala Print Space
    BALNHDHURR - A LASTING IMPRESSION BALNHDHURR - A LASTING IMPRESSION YIRRKALA PRINT SPACE a lasting impression WARNING Aboriginal and Torres Strait Islander people are respectfully advised that this publication contains the names and images of deceased persons 2 3 4 5 CONTENTS Foreword 8 Introduction 10 Early Linocuts 14 Early Colour Reduction Linocuts 16 Early Collagraphs 18 Early Screenprints 22 Japanese Woodblocks 26 Etchings 30 Berndt Crayon Etchings 32 String Figure Prints 34 Ngarra – Young Ones Portraits 38 Gunybi Ganambarr Portraits 40 Seven Sisters 42 Djalkiri – We are Standing on Their Names 48 Mother / Daughter 50 Midawarr Suite 52 The Yuta Project 56 Gapan Gallery 60 Afterword 62 List of Works 66 Acknowledgements 68 6 7 THE SONG OF THE PRESS I arrived at Buku-Larrnggay Mulka Centre in May 1995 just as Andrew and Dianne Blake were bringing into fruition Steve Fox’s vision for a dedicated Print Space. The new studio was built onto the existing 1960’s handbuilt cypress pine ex- mission hospital building which had been the art centre since 1975. Since then I have been an interested observer. A nosy neighbor listening to the music coming over the fence. From within an art centre, which is a vehicle for serious lawmen and women to represent their law in natural media as a political and artistic act of resistance to the dominant settler culture, comes a completely different tune. A lilting, gentle, persistent, sweet melody of (mostly) women humbly working together to make beautiful things. It has been the sound of laughter and considerateness. The sound of compassion and empathy and respect and dignity.
    [Show full text]
  • KUNINJKU PEOPLE, BUFFALO, and CONSERVATION in ARNHEM LAND: ‘IT’S a CONTRADICTION THAT FRUSTRATES US’ Jon Altman
    3 KUNINJKU PEOPLE, BUFFALO, AND CONSERVATION IN ARNHEM LAND: ‘IT’S A CONTRADICTION THAT FRUSTRATES US’ Jon Altman On Tuesday 20 May 2014 I was escorting two philanthropists to rock art galleries at Dukaladjarranj on the edge of the Arnhem Land escarpment. I was there in a corporate capacity, as a direc- tor of the Karrkad-Kanjdji Trust, seeking to raise funds to assist the Djelk and Warddeken Indigenous Protected Areas (IPAs) in their work tackling the conservation challenges of maintain- ing the environmental and cultural values of 20,000 square kilometres of western Arnhem Land. We were flying low in a Robinson R44 helicopter over the Tomkinson River flood plains – Bulkay – wetlands renowned for their biodiversity. The experienced pilot, nicknamed ‘Batman’, flew very low, pointing out to my guests herds of wild buffalo and their highly visible criss-cross tracks etched in the landscape. He remarked over the intercom: ‘This is supposed to be an IPA but those feral buffalo are trashing this country, they should be eliminated, shot out like up at Warddeken’. His remarks were hardly helpful to me, but he had a point that I could not easily challenge mid-air; buffalo damage in an iconic wetland within an IPA looked bad. Later I tried to explain to the guests in a quieter setting that this was precisely why the Djelk Rangers needed the extra philanthropic support that the Karrkad-Kanjdji Trust was seeking to raise. * * * 3093 Unstable Relations.indd 54 5/10/2016 5:40 PM Kuninjku People, Buffalo, and Conservation in Arnhem Land This opening vignette highlights a contradiction that I want to explore from a variety of perspectives in this chapter – abundant populations of environmentally destructive wild buffalo roam widely in an Indigenous Protected Area (IPA) declared for its natural and cultural values of global significance, according to International Union for the Conservation of Nature criteria.
    [Show full text]
  • Yolngu Boy Tail Credits
    Directed by Stephen Johnson Producers Patricia Edgar Gordon Glenn Writer Chris Anastassiades Executive Producers Patricia Edgar Stephen Johnson Associate Producers Galarrwuy Yunupingu Mandawuy Yunupingu Director of Photography Brad Shield Editor Ken Sallows Original Music By Mark Ovenden Production Designer Sarah Stollman Casting Director Maggie Miles Line Producer Elisa Argenzio Lorrpu John Sebastian (Sebbie) Pilakui Botj Sean Mununggurr Milika Nathan Daniels Yuwan Lirrina Mununggurr Matjala Makuma Yunupingu Dawu Nungki Yunupingu Maralitja Man Mangatjay Yunupingu Policeman Gurkula Lunginy Gerard Buyan Garrawurra Botj (9 years) Garritjpi Garawirrtja Lorrpu (9 years) Buywarri Mununggurr Milika (9 years) Buwata Mununggurr Ruwu (I Wanna Kick!) Yithangarra Wunungmurra Lorrpu's Father Lalambarri Yunupingu Milika's Father Balupalau Yunupingu Botj's Dad Malati Yunupingu Botj's Mother Merriki Ganambarr Umpire Garry Dhurrkay Football Coach Vernon Kenneth Lesley Patullo Dhunthun Andrew Galitju Burarrwanga Crying Woman Allyson Mills Ngarli Woman at Hospital Mary Yunupingu Djarrak Player Grant Gambley Crowd #1 Gurumin Marika Policeman at Wharf Joe Clements 1st Assistant Director John Martin Script Editors Gordon Glenn Stephen Johnson Sound Recordist Andrew Belletty Continuity Chrissie O'Connell Costume Designer Jill Johanson Make Up and Hair Designer Trish Glover Dramaturg Nico Lathouris Location Manager Peter Muston Production Accountant Janine Martorejo Moneypenny Services Post Production Supervisor Elisa Argenzio Focus Puller Brett Matthews Clapper
    [Show full text]
  • Appropriate Terminology, Indigenous Australian Peoples
    General Information Folio 5: Appropriate Terminology, Indigenous Australian Peoples Information adapted from ‘Using the right words: appropriate as ‘peoples’, ‘nations’ or ‘language groups’. The nations of terminology for Indigenous Australian studies’ 1996 in Teaching Indigenous Australia were, and are, as separate as the nations the Teachers: Indigenous Australian Studies for Primary Pre-Service of Europe or Africa. Teacher Education. School of Teacher Education, University of New South Wales. The Aboriginal English words ‘blackfella’ and ‘whitefella’ are used by Indigenous Australian people all over the country — All staff and students of the University rely heavily on language some communities also use ‘yellafella’ and ‘coloured’. Although to exchange information and to communicate ideas. However, less appropriate, people should respect the acceptance and use language is also a vehicle for the expression of discrimination of these terms, and consult the local Indigenous community or and prejudice as our cultural values and attitudes are reflected Yunggorendi for further advice. in the structures and meanings of the language we use. This means that language cannot be regarded as a neutral or unproblematic medium, and can cause or reflect discrimination due to its intricate links with society and culture. This guide clarifies appropriate language use for the history, society, naming, culture and classifications of Indigenous Australian and Torres Strait Islander people/s. Indigenous Australian peoples are people of Aboriginal and Torres
    [Show full text]
  • The Land and Its People
    CHAPTER 2 THE LAND AND ITS PEOPLE The environment of Northern Australia can seem Earlier settlers in southern Australia may have 1 Boys fishing, Elin Beach, an odd mix. While it has an intimate familiarity found the native vegetation there strange too Hopevale, Cape York Peninsula. Photo by to local Indigenous people, to those accustomed but were able to transform it to a more homely Kerry Trapnell to temperate Australia, it has a strange character. fashion, with European plants and animals. That Fires seem too pervasive and frequent; many has not been the case in the North; for most of the native trees are at least semi-deciduous Australians, it remains a foreign and unfamiliar (they lose their leaves to save water during the landscape, and even its society seems different. Dry season); there is too much grass, some of it taller than a person; the eucalypts don’t have In this chapter we provide an overview of the that familiar evocative reassuring smell; even North’s geography and consider how it differs the colours of the bush seem somewhat harder. from the rest of Australia. We also introduce Parts of the landscape seem decidedly African its regions, weather, landscape features and in flavour, with the boab trees but without the people. Finally, we discuss the North’s current lions. Indeed, the link across the Indian Ocean land tenure and economies, as well as the way is explicitly marked: the Kimberley region is in which the land is managed. These facts and named for its resemblance to the landscape figures provide the background necessary to in southern Africa of the same name.
    [Show full text]
  • 9 Presidential Address the Discovery Of
    CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Queensland eSpace 9 PRESIDENTIAL ADDRESS THE DISCOVERY OF AUSTRALIA [By SIR RAPHAEL CILENTO.] (Read on September 25, 1958.) Accidental Factors As far back almost as recorded history goes there had been speculation about the existence of a great "Southland" extending to the South Pole to balance the great land mass of the North. Ancient Chinese geo­ graphers are said to mention recognisable places in Western New Guinea; the Japanese claim their sailors knew New Guinea, Cape York Peninsula, and the Gulf of Carpentaria many centuries ago; the Malays from Indonesia certainly visited our northern coasts, for cen­ turies as they do still. From the beginning of the 14th century, however, while the Moslem power declined in the West (in Spain and North Africa) it revived to a new pitch of fanatical fervour in the Middle East, with the incoming of the Turks. They straddled Asia Minor and Mesopotamia and cut the caravan routes by which Europe was sup­ plied with spices. The best intelligences of Western Europe began to search ancient geographical treatises for a new route to the "Spice Islands," which are the East Indies — Indonesia—lying above the shores of Queensland. This search for the "Spice Islands" was eventually to result in the charting of all Africa southerly; the discovery of the West Indies and of North, South and Central America westerly; of the Pacific Ocean and its islands behind the unsuspected land mass of America, and, last of all, of Queensland—^the first found finger of Aus­ tralia.
    [Show full text]
  • KAKADU–ARNHEM LAND REGION, NORTHERN TERRITORY J. Nott
    KAKADU–ARNHEM LAND REGION, NORTHERN TERRITORY J. Nott School of Tropical Environment Studies and Geography, James Cook University, PO Box 6811, Cairns, QLD 4870 [email protected] INTRODUCTION Alleged variations in the characteristics of weathering profiles have played a significant role in interpreting the evolution of Darwin Region landscape in the north of the Northern Territory. The region, ARNHEM Walker River which experiences a monsoonal tropical wet–dry climate, is part LAND Groote of the North Australian Craton (Figure 1) and has a landscape Kakadu N.P. Eylandt that is much older than previously assumed. This greater age Gulf of Parsons Range Carpentaria of landscape is indicated by a change from marine Cretaceous Tawallah and sediments on the lowland plain to terrestrial Cretaceous sediments Yiyinti Ranges on the upland plateau, and also by the in situ (as opposed to NORTHERN TERRITOR Y ‘detrital’) nature of deep weathering profiles across the lowland plains. A brief account of the changing views on the age and Kimberley evolution of the landscape in the north of the Northern Territory Region is presented below. NT QLD WA PHYSICAL SETTING SA The landscape of the north of the Northern Territory (Figure 1) NSW is dominated by plains of low relief and generally flat topped VIC Australian Craton uplands eroded from Proterozoic sandstones. The plains, by TAS North Australian Craton contrast, are generally underlain by Proterozoic metasediments and granites. Cretaceous marine sediments, associated with the 400 km Neocomian to Albian marine transgression(s), rest unconformably RRAfKAL01-03 upon the Proterozoic strata in the plains region.
    [Show full text]
  • Yolngu Life in the Northern Territory of Australia: the Significance of Community and Social Capital
    On-Line Papers Copyright This online paper may be cited or briefly quoted in line with the usual academic conventions. You may also download them for your own personal use. This paper must not be published elsewhere (e.g. to mailing lists, bulletin boards etc.) without the author’s explicit permission. Please note that if you copy this paper you must: • include this copyright note • not use the paper for commercial purposes or gain in any way • you should observe the conventions of academic citation in a version of the following form: www.cdu.edu.au/centres/inc/pdf/Yolngulife.pdf Publication Details: This web page was last revised on 12/12/2006 Yolngu Life in the Northern Territory of Australia: The Significance of Community and Social Capital Michael Christie and John Greatorex. School Charles Darwin University, Darwin, Aus- tralia http://www.cdu.edu.au/centres/inc [email protected] [email protected] Yolngu Life in the Northern Territory of Australia: The Significance of Community and Social Capital Michael Christie and John Greatorex The notion of social capital has had wide currency in mainstream social policy debate in recent years, with commonly used definitions emphasising three factors: norms, networks and trust. Yolngu Aboriginal people have their own perspectives on norms, networks and trust relationships. This article uses concepts from Yolngu philosophy to explore these perspectives in three contexts: at the former mission settlements, at homeland centres, and among "long-grassers" in Darwin. The persistence of the components of social capital at different levels in particular contexts should be seen by government policy makers as an opportunity to engage in a social development dialogue with Yolngu, aimed at identifying the specific contexts in which Yolngu social capital can be maximised.
    [Show full text]
  • Dutch Exploration of Australia
    EBOOK REAU5058_sample SAMPLE Contents Teachers’ Notes 4 Section 3: Early Exploration Curriculum Links 5 of the Land 42 List of Acknowledgements 6 Exploring the Australian Land 43 More Explorations of the Australian Land 44 Early Explorers of the Land 45 Section 1: Maritime Explorers Crossing the Blue Mountains 46 of Australia and Indigenous John Oxley 47 7 Australians Discovering Gold 48 Early Dutch Maritime Explorers of Australia 8 Life on the Goldfields 49 Early British Maritime Explorers of Australia 9 Goldfields Language 50 The Dutch 10 The Gold Rush 51 Putting Things in Order 11 The Eureka Flag 52 Timeline of Early Maritime Explorers 12 William Dampier 13 Captain James Cook 14 Section 4: Australian Gathering Evidence on the Endeavour 15 Bushrangers 53 Maritime Explorers Meet the First Australians 16 Bushrangers 54 Aboriginal Musical Instruments 17 Bushranging 55 The First Australians 1 18 The Wild Colonial Boy 56 The First Australians 2 19 Infamous Bushrangers 57 Aboriginal Hunting and Gathering Tools 20 Gardiner and Power 58 Aboriginal Music 21 Ben Hall 59 Aboriginal Art 22 Ben Hall 60 Ideas in Aboriginal Art 23 Ned Kelly 61 Careful Use of the Natural Environment 24 Ned Kelly 62 Explorers and the First Australians 25 Celebrating Aboriginality 26 SAMPLEAnswers 63-68 Section 2: European Colonisation 27 The First Fleet 28 European Colonies and Expansion 29 The Three Fleets 30 The Journey 31 Captain Arthur Phillip 32 Early Problems 33 New Colonies 34 Convict Life 35 Convict Folk Songs 1 36 Convict Folk Songs 2 37 Convict Love 38 Port Arthur Convict Colony 39 Impact of Colonisation on Aborigines 40 Negative Impact on Aborigines 41 3 History of Australia Early Dutch Maritime Explorers of Australia In the 1600s many ships were sent from Holland to look for a faster way to reach the East Indies (Indonesia) because at this time Holland traded goods with the people there.
    [Show full text]
  • The Part Borne by the Dutch in the Discovery of Australia 1606-1765
    THE PART BORNE BY THE DUTCH IN THE DISCOVERY OF AUSTRALIA 1606-1765. BY J. E. HEERES, LL. D. PROFESSOR AT THE DUTCH COLONIAL INSTITUTE DELFT PUBLISHED BY THE ROYAL DUTCH GEOGRAPHICAL SOCIETY IN COMMEMORATION OF THE XXVth ANNIVERSARY OF ITS FOUNDATION (No. 19. Little map of the world from the Journal of the Nassau fleet, 1626) LONDON LUZAC & CO, 46 GREAT RUSSELL STREET W. C. 1899 (ebook produced by Colin Choat) CONTENTS. Page Images in English Page Images in Dutch List of books, discussed or referred to in the work List of Maps and Figures Introduction DOCUMENTS: I. Dutch notions respecting the Southland in 1595 II. Notices of the south-coast of New Guinea in 1602 III. Voyage of the ship Duifken under command of Willem Jansz(oon) and Jan Lodewijkszoon Rosingeyn to New Guinea.--Discovery of the east-coast of the present Gulf of Carpentaria (1605-1606) IV. Fresh expedition to New Guinea by the ship Duifken (1607) V. Voyage of the ships Eendracht and Hoorn, commanded by Jacques Le Maire and Willem Corneliszoon Schouten through the Pacific Ocean and along the north-coast of New Guinea (1616) VI. Project for the further discovery of the Southland--Nova Guinea (1616) VII. Voyage of de Eendracht under command of Dirk Hartogs(zoon). Discovery of the West-coast of Australia in 1616: Dirk Hartogs-island and -road, Land of the Eendracht or Eendrachtsland (1616) VIII. Voyage of the ship Zeewolf, from the Netherlands to India, under the command of supercargo Pieter Dirkszoon and skipper Haevik Claeszoon van Hillegom.--Further discovery of the West-coast of Australia (1618) IX.
    [Show full text]