Current Relations Between Aborigines and Dominant Australian Culture
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Roger-Bonastre-Sirerol-CANTANDO
+ PAPELES DEL FESTIVAL de música española DE CÁDIZ Revista internacional Nº 9 Año 2012 Música hispana y ritual CONSEJERÍA DE CULTURA Y DEPORTE Centro de Documentación Musical de Andalucía Depósito Legal: GR-487/95 I.S.S.N.: 1138-8579 Edita © JUNTA DE ANDALUCÍA. Consejería de Cultura y Deporte. Centro de Documentación Musical de Andalucía Carrera del Darro, 29 18002 Granada [email protected] www.juntadeandalucia.es/cultura/centrodocumentacionmusical Facebook: http://www.facebook.com/DocumentacionMusicalAndalucia Twitter: http://twitter.com/CDMAndalucia Música Oral del Sur + Papeles del Festival de música española de Cádiz es una revista internacional dedicada a la música de transmisión oral, desde el ámbito de la antropología cultural a la recuperación del Patrimonio Musical de Andalucía y a la nueva creación, con especial atención a las mujeres compositoras. Dirigida a musicólogos, investigadores sociales y culturales y en general al público con interés en estos temas. Presidente LUCIANO ALONSO ALONSO, Consejero de Cultura y Deporte de la Junta de Andalucía. Director REYNALDO FERNÁNDEZ MANZANO y MANUEL LORENTE RIVAS Presidente del Consejo Asesor JOSÉ ANTONIO GONZÁLEZ ALCANTUD (Universidad de Granada) Consejo Asesor MARINA ALONSO (Fonoteca del Museo Nacional de Antropología. INAH – Mexico DF) SERGIO BONANZINGA (Universidad de Palermo - Italia) FRANCISCO CANOVAS (Auditorio Nacional de España) EMILIO CASARES RODICIO (Dir. del Instituto Complutense de Ciencias Musicales) TERESA CATALÁN (Conservatorio Superior de Música -
“I Rep for My Mob” Blackfellas Rappin' from Down-Unda1 Chiara
“I Rep for My Mob” Blackfellas Rappin’ from Down-Unda1 Chiara Minestrelli In an era of decentering globalizing forces that continuously shift the locale of cultural production and consumption from global markets to local realities and vice versa, music has come to play a crucial role in redefining the value of regional discourses. Hip hop music,2 with its long and solid history of indigenization in different parts of the globe, has provided marginalized and stigmatized communities around the world with accessible “artistic tools” of self-expression. Tony Mitchell (2001), Samy H. Alim, Awad and Pennycook (2009), Sujatha Fernandes (2011) and more recently Christopher Malone and George Martinez (2014), amongst others, have explored the multifaceted and compelling expressivity of “glocal” discourses articulated through hip hop. Many are the local stories of struggle and empowerment that have gained global recognition thanks to the new media. Recent emblematic cases of this movement from the local to the global are well represented by three distinct and yet interrelated cases that testify the power of hip hop as an amplifier for unique stories. The first example is that Sonita Alizadeh, a young Afghani girl who used her personal experience to convey a message of dissent against the issue of child marriage with a hip hop track called “Brides for Sale” (2014). In a similar fashion, with the track “Kodaikanal Won’t” (2015) a young Indian Tamil woman, Sofia Ashraf, launched her protest against the pollution of Kodaikanal (India) caused by the multinational company Unilever. Fitting into a similar “template,” Kylie Sambo, a young Indigenous activist from Australia’s Northern Territory, released the track “Muckaty” (2010),3 where she lamented the Australian govern-ment’s decision to create a nuclear waste dump on Indigenous land. -
NOTES for TEACHERS TELL ME WHY for YOUNG ADULTS By
NOTES FOR TEACHERS TELL ME WHY FOR YOUNG ADULTS by ARCHIE ROACH SYNOPSIS Tell Me Why for Young Adults is an abridged version of Archie Roach AM’s highly acclaimed adult memoir, Tell Me Why, the Story of My Life and My Music, first published in 2019. Intimate, moving and utterly compelling, Archie’s life story traces the enormous odds he overcomes and his experiences of family and community, love and heartbreak, survival and renewal – and the healing power of music. The book also contains a playlist for young people curated by Archie, and the lyrics of many of his songs – in themselves powerful historical testimonies. Through a series of conversations, facilitated online during COVID-19, Archie connected with Elders and young people, enabling them to record their thoughts, memories and song lyrics. Some of their powerful words are included in the book. To view the conversations and to access an extensive suite of lesson plans and videos, please visit the Archie Roach Stolen Generations Resources, freely available on ABC Education. Created using song, books and stories to promote critical conversations across the country, the Resources are the result of a unique collaboration between the Archie Roach Foundation and Culture is Life. The focus was Archie’s iconic single ‘Took the Children Away’ from his multi-award-winning 1990 debut album Charcoal Lane, celebrating its 30th anniversary this year. After the pandemic shut down what was to be his final Australian tour, Roach re-recorded the Songs of Charcoal Lane at his kitchen table, on his mother’s ancestral homelands, Gunditjmara country, in south-western Victoria. -
Twang and Trauma in Australian Indige- Nous Popular Music
Politik Nummer 1 | Årgang 23 | 2020 Of country and country: Twang and trauma in Australian Indige- nous popular music Simon Philpott, Reader in Postcolonial Politics and Popular Culture, School of Geogra- phy, Politics and Sociology, University of Newcastle Over the last half century, as part of a wider struggle for recognition, respect, reconcili- ation and justice, Indigenous Australians and others supporting their claims have in- creasingly been heard in popular music. Indigenous musicians are increasingly insistent that white Australia must change. By the time Jimmy Little released his much loved song, ‘Royal Telephone’, in 1963, he had long been Australia’s most prominent Indigenous recording artist. His music was out of the US gospel tradition via Nat King Cole and Jim Reeves. The “royal telephone” of the song describes the direct line between believer and god. With one exception, Little was silent in his music on the plight of Indigenous Australians although his earliest years were spent on a reservation that a large number of people eventually walked ofF, so poor were the living conditions. Little was a rare Indigenous presence in Australian music, respected For his individual talent and probably liked because his work did not raise un- comFortable questions about the past. Liking and respecting individual Indigenous people while disliking and rejecting their culture is something white Australians have successFully psychologically negotiated For decades. For example, Christine Anu’s (1995) cover of ‘My Island Home’ (1987), which celebrates Anu’s love of her Torres Strait island home and was a major hit in the year of its release, Featured as one of the songs in the closing ceremony of the Sydney Olympics, and now has well over 1 million views on Youtube. -
Reconciliation News April 2016
Reconciliation News Reconciliation The State of Reconciliation, in Action Reconciliation 25 years on in Australia 35 APRIL 2016 2 Issue No 35 / April 2016 CONTENTS 3 The State of Reconciliation in Australia 6 Jackie Huggins on 25 years of reconciliation: ‘we’ll see the human essence still shining through’ 8 Reconciliation in Action 10 Indigenous health leaders helped give us a plan to close the gap, and we must back it Welcome to the fi rst edition of Reconciliation 14 Laying the Foundations of Truth News for 2016. This year marks the 25th 16 The 2016 Indigenous Governance Anniversary of the establishment of the Council Awards for Aboriginal Reconciliation; 15 years since 18 Public Art that Makes its Mark: ‘Be Deadly’ Reconciliation Australia began and 10 years of 22 ‘They Took the Children Away’ achievement in our Reconciliation Action Plan (RAP) program. Reconciliation Australia acknowledges Traditional Owners of Country These milestones provide a signifi cant opportunity for all Australians to throughout Australia and recognises the engage more deeply in reconciliation, and to increase understanding of the continuing connection to lands, waters impact of our shared history and cultures. Together we are all part of driving and communities. We pay our respect reconciliation for the benefi t of all Australians. to Aboriginal and Torres Strait Islander cultures; and to Elders both past and present. During this year’s National Reconciliation Week, our theme - ‘Our History, Our Story, Our Future’ – speaks to Australia’s continued journey towards Reconciliation Australia Old Parliament House reconciliation and in this edition of Reconciliation News, we consider more King George Terrace closely ‘Our History’ – and what these refl ections mean for ‘Our Story’, and Parkes ACT 2504 ‘Our Future’. -
Ruby Hunter, 1955-2010 John Harding and Oliver Haag Ruby
Zeitschrift für Australienstudien / Australian Studies Journal ZfA 26/2012 Seite | 111 In Memory of a Deadly Voice: Ruby Hunter, 1955-2010 John Harding and Oliver Haag Ruby Hunter was more than a song writer: her songs are autobiographical, socio-critical and eminently historical, revolving around political issues, such as the Stolen Generations, Indigenous sovereignty and women’s issues. Her music, partly performed in collaboration with her life partner Archie Roach, is not merely entertainment and pleasure. Hunter’s songs are deeply personal. They reveal her own experiences of having been forcibly removed from her family and the path of becoming a devoted artist, activist and intellectual. Ruby’ Story tells of her own life as a member of the Stolen Generation—without bitterness or reproach. Let My Children Be is a powerful voice for diversity and plurality in Australian society. Ruby Hunter was born in South Australia in 1955 and died of a heart attack in February 2010. Despite her relatively short life, she became a songwriter of international recognition. Zeitschrift für Australienstudien honours Ruby Hunter’s life and work. It presents a poem by John Harding which captures Hunter’s road to becoming an artist and includes a selected discography of her songs. I raise my glass to Ruby by John Harding I remember the 80’s in suburban Fitzroy, my youth at that time meant my memory is clear. You could see the camaraderie that exuded silently from all the Kooris, a smile a kiss and a handshake our passports to each other. 112 | Seite Obituaries You could honestly smell the love and respect we had for one another. -
Murundak: Songs of Freedom Music Film Feature Article by Megan Spencer (C) 2011
murundak: songs of freedom Music film feature article by Megan Spencer (c) 2011 First published on the MusicNT website, February 2011. Natasha Gadd is one half of of the talented filmmaking team behind murundak – songs of freedom, the brand new documentary about Indigenous music group, The Black Arm Band. Natasha and partner Rhys Graham co-directed and co-shot the film, the former also in editing and producing roles. The project took four years to make across several states – the Northern Territory included – plus two continents: Australia and Europe. The Black Arm Band is an Indigenous music group which grew out of the tail end of the Howard era, a period in which Indigenous politics were forced to redefine against the backdrop of the Federal “intervention”. Songs of 'resistance', 'hope', 'anger' and 'freedom' came from this 'gathering' of diverse Aboriginal singers and performers born over several generations and each at different points in their respective careers. Featured in the film is a ‘who’s who’ of Australian Indigenous music: Dan Sultan, Archie Roach, the late Auntie Ruby Hunter, Kutcha Edwards, Joe Geia, Bart Willoughby, Lou Bennett, Steven Pigram, Emma Donovan and Ursula Yovich, just to name a few. Included also is NT singing royalty, Shellie Morris, front and centre with a powerful Territory story of her own to tell, and a singing voice to match. Subtitled “a journey into the heart of Aboriginal protest music”, in other filmmakers' hands murundak – songs of freedom could have easily been a botched exercise. (Think 'worthy' ABC- TV doc with earnest voiceover, over-explaining every scene and cut way-fast ‘lest the audience reach for the remote’.) Emma Donovan in a scene from 'murundak'. -
“Singing Trauma Trails”: Songs of the Stolen Generations in Indigenous Australia
“Singing Trauma Trails”: Songs of the Stolen Generations in Indigenous Australia KATELYN BARNEY & ELIZABETH MACKINLAY Introduction We may go home, but we cannot relive our childhoods. We may reunite with our mothers, fathers, sisters, brothers, aunties, uncles, communities, but we cannot relive the 20, 30, 40 years that we spent without their love and care, and they cannot undo the grief and mourning they felt when we were separated from them. 1 For the pain, suffering and hurt of these Stolen Generations, their descendants and for their families left behind, we say sorry. To the mothers and the fathers, the brothers and the sisters, for the breaking up of families and communities, we say sorry. And for the indignity and degradation thus inflicted on a proud people and a proud culture, we say sorry. 2 In 1997, the National Inquiry into the Separation of Aboriginal and Torres Strait Islander children from their families acknowledged that Indigenous Australian 3 children were forcibly removed from their families and communities. 4 This practice of forcibly removing Aboriginal children from their families occurred from the early nineteenth century up until the 1970s as part of a long-term government plan to assimilate Indigenous Australian people into the dominant non-Indigenous Australian community. 5 Known as the “Stolen Generations,” without doubt not one Indigenous Australian family has escaped the effects of the trauma of removal. Atkinson suggests that trauma trails of the Stolen Generations “run across country and generations from original locations of violence as people moved away from the places of pain. These trauma trails carried fragmented, fractured people and families.” 6 In 2008 the Australian government finally formally acknowledged and apologized for the loss of language, culture, and identity of Indigenous Australian children who were removed from their families. -
STOLEN by Jane Harrison
Education Resources STC Ed presents Theatre In Practice Workshop STOLEN By Jane Harrison RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 Themes 2 Synopsis 3 Historical and social background 4‐8 Additional Resources 9‐14 Education Resource written by Kerreen Ely‐Harper and compiled by Education Coordinator Toni Murphy KEY AIM of exercise or section Extension Exercises Download and watch + Drama Exercises English Exercises Play online STOLEN Sydney Theatre Company Education Resources 2011 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. STOLEN WORKSHOP RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about ABOUT STCED www.sydneytheatre.com.au/stced/about CREATIVE TEAM Director – Leah Purcell “ CAST SANDY That bit of red desert. I still tba remember it. Sandy At The End Of The Road Stolen ” THEMES The Stolen Generations Memory Family Aboriginal Experience Oral History STOLEN 2 Sydney Theatre Company Pre‐Production Education Resources 2011 www.sydneytheatre.com.au/stced © Sydney Theatre Company SYNOPSIS The Stolen characters tell and enact their individual stories from childhood to adulthood. They are linked by having been stolen from their families and placed in the same children’s home at different times between the 1940s and 1960s. Jimmy wants to be returned to his mother who he’s been told is dead. He is eager to be ‘a real good boy’ so he can get out of the children’s home but his attempts to please make no difference to his situation. -
90032 Stolen Secondstep.Indd
Stolen Generations Victoria Second Step Engaging students with the Stolen Generations A resource for Victorian teachers Acknowledgements Second Step would not have been made possible without assistance from a number of people. Firstly, at Stolen Generations Victoria: Aunty Lyn Austin, Uncle Syd Jackson, Jeannie McIntyre and Brad Brown. For those who assisted with advice in the initial stages: Anthony Balla, Jenny Bates, Matt Bell , Melissa Brickell, Greta Clarke, Deb Connell, Delsie Lillyst, Brian McKinnon, Loretta O’Neil, Moira Rayner, Liz Suda and Uncle Larry Walsh. And fi nally: All the members of the Stolen Generations who have shared their stories, experiences, knowledge and advice. Alister McKeich Senior Policy and Education Offi cer, Stolen Generations Victoria Keeping up to Date Stolen Generations Victoria, located in Preston, stays up to date with the latest news, publications and debates regarding the Stolen Generations in Victoria and across the country. Contact them if you would like to fi nd out more information, or to receive their quarterly newsletter. The organization also has number of members who are willing to speak to students in schools. Stolen Generations Victoria PO Box 101, Preston 3072, Victoria (03) 9470 3477 www.stolengenerationsvictoria.org.au [email protected] Furthermore, you can book a Stolen Generations Workshop with Banyip Kidjeka. These cultural education workshops focus on the impact of government policies for the removal of Aboriginal children from their families, delivered by two remarkable and inspiring members of the Stolen Generations. Contact Cathy Dean [email protected] (03) 9719 7395 Artwork “Cootamundra Girls Home” The front cover shows a painting by Rita Wenberg titled “Cootamundra Girls Home”. -
Blackwords: Our Truths - Aboriginal Writers and the Stolen Generations
BlackWords: Our truths - Aboriginal writers and the Stolen Generations Dr Anita Heiss From The BlackWords Essays edited by Kerry Kilner and Gus Worby. See: http://www.austlit.edu.au/austlit/page/8665956 This paper extends the discussion of other papers in this collection in its use of government policy as a stimulus to writing. It shows how Aboriginal literature – and the ways its stories have morphed into other forms of media narratives – foregrounds broad political and social debates in the most intimate and engaging of ways. I aim here to demonstrate that stories, poetry, songs, plays and memoirs are ‘living’ evidence of truths otherwise untold or appropriated. The works referred to here are powerful and challenging. Introduction Denial of identity, the heartache and pain of loss, and the physical removal from family, cultural practices and familiar surrounds were all part of the process of assimilating Aboriginal people into white society. This process of ‘disconnection’ was a significant strategy in Government policies of ‘protection’ in the 1800s, right through until the late 1960s. Under a range of Government Acts and Policies of Protection carried out through the States and Territories of Australia, a community of removed children known as the Stolen Generations was created. The Stolen Generations In New South Wales there was a government body called the Aborigines Protection Board which was set up in 1883. In 1940 the Aborigine Protection Board changed its name to the Aborigines Welfare Board and they controlled Aborigines until 1969. There was one of these kinds of Boards in every state and territory of Australia. -
On the Rise of Aboriginal Australian Hip Hop Rhyan Clapham and Benjamin Kelly
Clapham and Kelly: “I Got the Mics On, My People Speak”: On the Rise of Aboriginal A “I Got the Mics On, My People Speak”: On the Rise of Aboriginal Australian Hip Hop Rhyan Clapham and Benjamin Kelly Journal of Hip Hop Studies, Special Issue If I Ruled the World: Putting Hip Hop on the Atlas Volume 6, Issue 2, Winter 2019, pp. 208 – 232 DOI: https://doi.org/10.34718/3ejp-w986 Published by VCU Scholars Compass, 2019 1 Journal of Hip Hop Studies, Vol. 6, Iss. 2 [2019], Art. 18 “I Got the Mics On, My People Speak”: On the Rise of Aboriginal Australian Hip Hop Rhyan Clapham and Benjamin Kelly Abstract In this paper, an Aboriginal rapper and settler-Australian Indigenous Studies lecturer collaborate to provide an overview of the Aboriginal Australian Hip Hop scene. We contextualize the development of Aboriginal Hip Hop as part of a long postcolonial tradition of Aboriginal engagement with Black transnationalism. By analysing rap lyrics, Hip Hop videos, and related commentary, we demonstrate the ways in which Aboriginal hip hoppers have adapted elements of Hip Hop culture to suit their own cultures, histories, and structural position as a colonized minority under the rule of a modern settler-colonial state. We conclude by considering Aboriginal engagement with Hip Hop culture as part of the ongoing development of Aboriginal cultures in an era of globalization. Journal of Hip Hop Studies 208 https://scholarscompass.vcu.edu/jhhs/vol6/iss2/18 2 Clapham and Kelly: “I Got the Mics On, My People Speak”: On the Rise of Aboriginal A Introduction From the Bronx to the bush, via the Block at the heart of Aboriginal Sydney, the sounds, style, and substance of Hip Hop have been resonating with Aboriginal Australia for over three decades.