Continuity and Change in Warlpiri Practices of Marking the Landscape
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Corroboree Moderne
Corrected draft May 2004 CORROBOREE MODERNE ----------------------------------------------------------------------------------------------------------------------------------------------- Dressed in a brown wool bodystocking specially made by Jantzen and brown face paint, an American dancer, Beth Dean played the young boy initiate in the ballet CORROBOREE at a Gala performance before Queen Elizabeth 11 and Prince Phillip on Feb 4 1954 . “On stage she seems to exude some of the primitive passion of the savage whose rites she presents” (1a) “If appropriations do have a general character, it is surely that of unstable duality. In some proportion, they always combine taking and acknowledgment, appropriation and homage, a critique of colonial exclusions, and collusion in imbalanced exchange. What the problem demands is therefore not an endorsement or rejection of primitivism in principle, but an exploration of how particular works were motivated and assessed.” (1) CORROBOREE "announced its modernity as loudly as its Australian origins…all around the world" (2) 1: (BE ABORIGINAL !) (3) - DANCE A CORROBOREE! The 1950s in the Northern Territory represents simultaneously the high point of corroboree and its vanishing point. At the very moment one of the most significant cultural exchanges of the decade was registered in Australian Society at large, the term corroboree became increasingly so associated with kitsch and the inauthentic it was erased as a useful descriptor, only to be reclaimed almost fifty years later. Corroboree became the bastard notion par excellence imbued with “in- authenticity.” It was such a popularly known term, that it stood as a generic brand for anything dinky-di Australian. (4) Corroboree came to be read as code for tourist trash culture corrupted by white man influence. -
The Gunditjmara Land Justice Story Jessica K Weir
The legal outcomes the Gunditjmara achieved in the 1980s are often overlooked in the history of land rights and native title in Australia. The High Court Onus v Alcoa case and the subsequent settlement negotiated with the State of Victoria, sit alongside other well known bench marks in our land rights history, including the Gurindji strike (also known as the Wave Hill Walk-Off) and land claim that led to the development of land rights legislation in the Northern Territory. This publication links the experiences in the 1980s with the Gunditjmara’s present day recognition of native title, and considers the possibilities and limitations of native title within the broader context of land justice. The Gunditjmara Land Justice Story JESSICA K WEIR Euphemia Day, Johnny Lovett and Amy Williams filming at Cape Jessica Weir together at the native title Bridgewater consent determination Amy Williams is an aspiring young Jessica Weir is a human geographer Indigenous film maker and the focused on ecological and social communications officer for the issues in Australia, particularly water, NTRU. Amy has recently graduated country and ecological life. Jessica with her Advanced Diploma of completed this project as part of her Media Production, and is developing Research Fellowship in the Native Title and maintaining communication Research Unit (NTRU) at the Australian strategies for the NTRU. Institute of Aboriginal and Torres Strait Islander Studies. The Gunditjmara Land Justice Story JESSICA K WEIR First published in 2009 by the Native Title Research Unit, the Australian Institute of Aboriginal and Torres Strait Islander Studies GPO Box 553 Canberra ACT 2601 Tel: (61 2) 6246 1111 Fax: (61 2) 6249 7714 Email: [email protected] Web: www.aiatsis.gov.au/ Written by Jessica K Weir Copyright © Australian Institute of Aboriginal and Torres Strait Islander Studies The views expressed in this publication are those of the authors and not necessarily those of the Australian Institute of Aboriginal and Torres Strait Islander Studies. -
Fact Sheet Number 14
FACT SHEET No. #4 DEEP TIME AND DRAGON DREAMING: THE SUSTAINABLE ABORIGINAL SPIRITUALITY OF THE SONG LINES, FROM CELEBRATION TO DREAMING John Croft update 28th March 2014 This Factsheet by John Croft is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License. Permissions beyond the scope of this license may be available at [email protected]. ABSTRACT: It is suggested that in a culture that is suicidal, to get a better understanding of what authentic sustainability is about requires us to see through the spectrum of a different culture. Australian Aboriginal cultures, sustainable for arguably 70,000 years, provide one such useful lens. TABLE OF CONTENTS INTRODUCTION .............................................................................................................................2 AN INTRODUCTION TO ABORIGINAL CULTURE ............................................................................... 4 THE UNSUSTAINABILITY OF CIVILISED CULTURES ........................................................................... 6 DREAMING: AN ALTERNATIVE VIEW OF TIME? ............................................................................. 10 ABORIGINAL DREAMING, DEEP ECOLOGY AND THE ECOLOGICAL SELF ....................................... 17 DREAMING AND SUSTAINABILITY ................................................................................................. 21 DISCOVERING YOUR OWN PERSONAL SONGLINE ......................................................................... 24 _____________________________________________________________________________________D -
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. -
"Jacky Jacky Was a Smart Young Fella": a Study of Art and Aboriginality in South East Australia 1900-1980 Sylvia Klein
"Jacky Jacky Was a Smart Young Fella": A study of art and Aboriginality in south east Australia 1900-1980 Sylvia Kleinert A thesis submitted for the degree of Doctor of Philosophy of The Australian National University, April 1994. xiv A note on the title The title of my thesis, "Jacky Jacky Was a Smart Young Fella" is a well-known south eastern Aboriginal song. As in any folk tradition, the origins of the song are obscure and wording varies according to time, place and performer. My title follows the version sung in 1961 by Alick Jackomos, a lifelong supporter of Victorian Aborigines and recorded by Alan West, then a curator at the Museum of Victoria. Some performers, including Percy Mumbulla from the south coast and Alick Jackomos attribute the song to the Wallaga Lake community, others, like the Aboriginal singer, Jimmy Little, and the ethnographer, Anna Vroland, favour Lake Tyers. In 1968 Percy Mumbulla claimed Jacky Jacky was a corroboree song taught to him by Sam Drew (Bubela) however the Lake Tyers informants cited by Vroland attribute the English verses to Captain Newman, manager of Lake Tyers station in 1928- 1931 : they maintain the chorus refers to the arrival of steamer traffic between Bairnsdale and Orbost at the turn of the century. The tune, in all cases, resembles the Liverpool song, "Johnny Todd". The song thus selectively incorporates from Aboriginal and non-Aboriginal traditions. Most particularly, "Jacky Jacky" encapsulates the way that south eastern Aborigines accommodated a colonial presence by parodying, and thereby gaining some control over, existing stereotypes. Through this inversion, humour becomes a tactical weapon in a song of political protest played back to the majority culture. -
Aboriginal Astronomy
Teacher Resource Episode 29 25th October 2016 Aboriginal Astronomy 1. Briefly summarise the Aboriginal Astronomy story. 2. Most people think that Stonehenge was a prehistoric planetarium used to observe and map the stars. True or false? Students will develop a deeper 3. About how old do they think Stonehenge is? understanding of Aboriginal 4. In which state is the Wurdi Youang stone arrangement and how old astronomy and Dreaming stories do scientists think the site may be? about them. 5. What is a constellation? 6. The Yolngu people know the saucepan as… 7. What does it tell the story of? 8. Describe the Emu in the Sky constellation. 9. How did Indigenous people use the sky as a calendar? Science – Year 3 10. What constellations do you know? Share what you know with Science involves making another student. predictions and describing patterns and relationships (ACSHE050) Science – Year 7 Scientific knowledge has changed peoples’ understanding of the After watching the BtN story, respond to the following questions: world and is refined as new evidence becomes available (ACSHE119) What did you SEE in this video? Predictable phenomena on Earth, What do you THINK about what you saw in this video? including seasons and eclipses, What does this video make your WONDER? are caused by the relative positions of the sun, Earth and the What did you LEARN from this story? moon (ACSSU115) How did this story make you FEEL? What was SURPRISING about this story? Class discussion Begin with a discussion about what students know about astronomy. Clarify their understanding or terms such as astronomy, astronomer and constellation. -
German Lutheran Missionaries and the Linguistic Description of Central Australian Languages 1890-1910
German Lutheran Missionaries and the linguistic description of Central Australian languages 1890-1910 David Campbell Moore B.A. (Hons.), M.A. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Social Sciences Linguistics 2019 ii Thesis Declaration I, David Campbell Moore, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text and, where relevant, in the Authorship Declaration that follows. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis contains published work and/or work prepared for publication, some of which has been co-authored. Signature: 15th March 2019 iii Abstract This thesis establishes a basis for the scholarly interpretation and evaluation of early missionary descriptions of Aranda language by relating it to the missionaries’ training, to their goals, and to the theoretical and broader intellectual context of contemporary Germany and Australia. -
Than One Way to Catch a Frog: a Study of Children's
More than one way to catch a frog: A study of children’s discourse in an Australian contact language Samantha Disbray Submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy. Department of Linguistics and Applied Linguistics University of Melbourne December, 2008 Declaration This is to certify that: a. this thesis comprises only my original work towards the PhD b. due acknowledgement has been made in the text to all material used c. the text is less than 100,000 words, exclusive of tables, figures, maps, examples, appendices and bibliography ____________________________ Samantha Disbray Abstract Children everywhere learn to tell stories. One important aspect of story telling is the way characters are introduced and then moved through the story. Telling a story to a naïve listener places varied demands on a speaker. As the story plot develops, the speaker must set and re-set these parameters for referring to characters, as well as the temporal and spatial parameters of the story. To these cognitive and linguistic tasks is the added social and pragmatic task of monitoring the knowledge and attention states of their listener. The speaker must ensure that the listener can identify the characters, and so must anticipate their listener’s knowledge and on-going mental image of the story. How speakers do this depends on cultural conventions and on the resources of the language(s) they speak. For the child speaker the development narrative competence involves an integration, on-line, of a number of skills, some of which are not fully established until the later childhood years. -
Sorry Day Is a Day Where We Remember the Stolen Generations
Aboriginal Heritage Office Yarnuping Education Series Ku-ring-gai, Lane Cove, North Sydney, Northern Beaches, Strathfield and Willoughby Councils © Copyright Aboriginal Heritage Office www.aboriginalheritage.org Yarnuping 5 Sorry Day 26th May 2020 Karen Smith Education Officer Sorry Day is a day where we remember the Stolen Generations. Protection & Assimilation Policies Have communities survived the removal of children? The systematic removal and cultural genocide of children has an intergenerational, devastating effect on families and communities. Even Aboriginal people put into the Reserves and Missions under the Protectionist Policies would hide their children in swamps or logs. Families and communities would colour their faces to make them darker. Not that long after the First Fleet arrived in 1788, a large community of mixed ancestry children could be found in Sydney. They were named ‘Friday’, ‘Johnny’, ‘Betty’, and denied by their white fathers. Below is a writing by David Collins who witnessed this occurring: “The venereal disease also has got among them, but I fear our people have to answer for that, for though I believe none of our women had connection with them, yet there is no doubt that several of the Black women had not scrupled to connect themselves with the white men. Of the certainty of this extraordinary instance occurred. A native woman had a child by one of our people. On its coming into the world she perceived a difference in its colour, for which not knowing how to account, she endeavoured to supply by art what she found deficient in nature, and actually held the poor babe, repeatedly over the smoke of her fire, and rubbed its little body with ashes and dirt, to restore it to the hue with which her other children has been born. -
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 -
Central Land Council Confines It’S Submission to the Following Terms of Reference, As They Relate to the Protection of Sacred Sites in the Northern Territory
Submission to the Joint Standing Committee on Northern Australia – Inquiry into the destruction of 46,000 year old caves at the Juukan Gorge in the Pilbara region of Western Australia August 2020 Contents Terms of Reference ................................................................................................................... 3 Executive Summary ................................................................................................................... 3 Recommendations .................................................................................................................... 4 Abbreviations and Acronyms .................................................................................................... 6 Introduction ............................................................................................................................... 7 Guiding principles when reviewing Indigenous heritage legislation ...................................... 8 Term of reference (f): The interaction of state indigenous heritage regulations with Commonwealth laws................................................................................................................. 9 Interaction of Aboriginal and Torres Strait Islander Heritage Protection Act (Cth) with the Northern Territory Sacred Sites Act ....................................................................................... 9 The ATSIHP Act .................................................................................................................... -
Indigenous Archives
INDIGENOUS ARCHIVES 3108 Indigenous Archives.indd 1 14/10/2016 3:37 PM 15 ANACHRONIC ARCHIVE: TURNING THE TIME OF THE IMAGE IN THE ABORIGINAL AVANT-GARDE Khadija von Zinnenburg Carroll Figure 15.1: Daniel Boyd, Untitled TI3, 2015, 56th International Art Exhibition – la Biennale di Venezia, All the World’s Futures. Photo by Andrea Avezzù. Courtesy: la Biennale di Venezia. Daniel Boyd’s Untitled T13 (2015) is not an Aboriginal acrylic dot painting but dots of archival glue placed to match the pixel-like 3108 Indigenous Archives.indd 342 14/10/2016 3:38 PM Anachronic Archive form of a reproduction from a colonial photographic archive. Archival glue is a hard, wax-like material that forms into lumps – the artist compares them to lenses – rather than the smooth two- dimensional dot of acrylic paint. As material evidence of racist photography, Boyd’s paintings in glue at the 2015 Venice Biennale exhibition physicalised the leitmotiv of archives. In Boyd’s Untitled T13 the representation of the Marshall Islands’ navigational charts is an analogy to the visual wayfinding of archival photographs. While not associated with a concrete institution, Boyd’s fake anachronic archive refers to institutional- ised racism – thus fitting the Biennale curator Okwui Enwezor’s curatorial interest in archival and documentary photography, which he argues was invented in apartheid South Africa.1 In the exhibition he curated in 2008, Archive Fever: Uses of the Document in Contemporary Art, Enwezor diagnosed an ‘archival fever’ that had afflicted the art of modernity since the invention of photography. The invention, he believed, had precipitated a seismic shift in how art and temporality were conceived, and that we still live in its wake.