Brian Manning a Blast from the Past: an Activist's Account of the Wave
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Critical and Creative Approaches Ed. Jan Shaw, Philippa Kelly, LE Semler
Published in Storytelling: Critical and Creative Approaches ed. Jan Shaw, Philippa Kelly, L. E. Semler (Basingstoke: Palgrave, 2013), pp. 83-113. Transnational Glamour, National Allure: Community, Change and Cliché in Baz Luhrmann’s Australia. Meaghan Morris What are the links between stories and the wider social world—the contextual conditions for stories to be told and for stories to be received? What brings people to give voice to a story at a particular historical moment? … and as the historical moment shifts, what stories may lose their significance and what stories may gain in tellability? (Plummer 25). The vantage points from which we customarily view the world are, as William James puts it, ‘fringed forever by a more’ that outstrips and outruns them (Jackson 23-24). Poetry from the future interrupts the habitual formation of bodies, and it is an index of a time to come in which what today exists potently—even if not (yet) effectively— but escapes us will find its time. (Keeling, ‘Looking for M—’ 567) 1 The first time I saw Baz Luhrmann’s Australia I laughed till I cried. To be exact, I cried laughing at dinner after watching the film with a group of old friends at an inner suburban cinema in Sydney. During the screening itself I laughed and I cried. As so often in the movies, our laughter was public and my tears were private, left to dry on my face lest the dabbing of a tissue or an audible gulp should give my emotion away. The theatre was packed that night with a raucously critical audience groaning at the dialogue, hooting at moments of high melodrama (especially Jack Thompson’s convulsive death by stampeding cattle) and cracking jokes at travesties of history perceived on screen. -
Ray in Australia, and Received a 'Dear John Letter'
“ONE TIME AGO”: AN URBAN ABORIGINAL TRIBALOGRAPHY JULIANNE BUTLER DIPLOMA OF ABORIGINAL STUDIES, BACHELOR OF ARTS THESIS SUBMITTED IN FULFILMENT OF THE DEGREE OF MASTER OF SOCIAL SCIENCE FACULTY OF EDUCATION & ARTS THE UNIVERSITY OF NEWCASTLE MARCH, 2009. This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. I hereby certify that the work embodied in this Thesis is the result of original research, the greater part of which was completed subsequent to admission to candidature for the degree. Signature: …………………… Date: …….. 2 TABLE OF CONTENTS Abstract 4 List of Figures 6 Introduction: An Urban Aboriginal Tribalography 8 Chapter 1: Methodology 13 Chapter 2: Literature Review 29 Chapter 3: Memories from the Photo box 59 Chapter 4: The 1960’s and the Public Face of Change 99 Chapter 5: The Multigenerational Voices Speak 129 Conclusion 162 Bibliography 166 3 Abstract I identify as Koori and belong to the Worimi and Bundjalung peoples of N.S.W. I grew up in the inner city suburb of Waterloo and spent school holidays at Port Stephens with my Grandparents who informed me of the world, the ways of the ‘Old People’ and our link with them. -
Hats Off to Kate
CELEBRATING THE CITY OF FREMANTLE SUMMER 2019 // ISSUE 03 8 PAW-SOME PLACES Check out Freo’s best dog-friendly places and open spaces 10 SAFETY IN OUR CITY Go behind the scenes with a day in the life of our Community Safety team 22 READY, SET, SHOP! Summer shopping is a breeze in Freo. You can also win $500! Hats off to Kate fremantle.wa.gov.au FRE-OH! SUMMER 2019 // WHAT’S INSIDE 5 10 18 22 Highlights WHAT’S INSIDE 5 BETWEEN THE FLAGS 3 IN THE SPOTLIGHT We chat with Jack Dowie, president of Fremantle Surf Life Saving People and Places Club, about what makes the club special and how to have a great day out at the beach. 4 NEWSDESK 12–13 BRIGHT FUTURE FOR PAST TREASURE 6–7 FRESH ON THE SCENE The Manning Buildings are a Freo icon and are getting a new lease Check out some of the latest ventures to call our port city home. on life. Tony Manning takes us through a family heirloom. We also look at the rise of Paddy Troy Mall, which will be a new focal point in DOG DAYS OF SUMMER the CBD. 8–9 Shining a light on some of Freo’s most dog-friendly places. 18–19 SUBURB SNAPSHOT Find your Mojos, and plenty more besides, at North Fremantle. 16–17 FESTIVAL CITY This historic suburb, wedged between the ocean and the river, has A wrap-up of the biggest and best festivals and features. been a home to artists and musicians and has a very strong sense of community. -
International & Australian Posters
International & Australian Posters Collectors’ List No. 157, 2012 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY Australian & International Events, Performances... Established 1977 1. “The Recruiting Officer,” 1790. Letterpress 103a Anzac Parade, Kensington (Sydney) NSW handbill, 25.1 x 17.2cm (paper). Laid down on acid- free paper. Post: PO Box 93, Kensington NSW 2033, Australia $1,250 Text includes “Theatre Royal, Covent Garden… This present Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Thursday, February 25, 1790, will be presented a comedy, called The Recruiting Officer. After which will be performed, Email: [email protected] • Web: joseflebovicgallery.com for the 39th time, a pantomime, called Harlequin’s Chpalet Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 [sic]…” A cast list for both plays is included. Written by George Farquhar in 1706, The Recruiting Officer was the Member of • Association of International Photography Art Dealers Inc. first play performed in Australia, in June 1789 in Sydney. This International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. handbill is for the London performance of 1790. 2. George E. Mason (Brit.). Mason’s Instructions For COLLECTORS’ LIST No. 157, 2012 Fingering The Fretted Violin. A Diagram For The Use Of Students, c1890. Lithograph, International & Australian Posters 64.6 x 25cm. Foxing and stains overall, repaired tears, creases, pinholes, and missing portions. On exhibition from Wednesday, 13 June to Saturday, 4 August. -
Rosalie Kunoth-Monks and the Making of Jedda
Rosalie Kunoth-Monks and the making of Jedda Karen Fox Filmmaker Charles Chauvel described the casting for Jedda, released in Australia in 1955, as ‘a unique experiment’. He referred to the casting of two Aboriginal people, who had never acted before, as the film’s stars. Much scholarship has examined the film itself, analysing its themes and its representations of Aboriginal people. Less attention has been paid to the ways in which its Aboriginal stars, Rosalie Kunoth-Monks and Bob Wilson, experienced starring in the film.1 This paper focuses on Kunoth-Monks, who was for a brief time widely known and acclaimed throughout Australia, and whose starring role continued to be remembered throughout her life, even as she moved into areas of activity far removed from the film industry.2 Writing on the practice of film history, Barbara Klinger has advocated an approach which seeks to provide a ‘total history’ through investigating ‘a film’s “ancillary” texts’ (for example, promotional material and popular media texts).3 For historians interested in filmic representations of, by or for Indigenous peoples, the narratives found in texts surrounding the participation of Indigenous peoples in filmmaking can be as rich as the films themselves for analysis. In this paper, I critically explore narratives about Kunoth-Monks’ experience of filmmaking, and recurring representations of her, which appeared in the popular print media, in publicity material for the film and in the memoirs of Chauvel’s wife and filmmaking partner, Elsa, as well as Kunoth-Monks’ own memories. Exploring her brief time as a film star provides insight not only into the film and the Chauvels’ attempt to represent Aboriginal people on film, but also into the ambiguous and sometimes uncomfortable experience of being simultaneously a traditional Aboriginal woman and a film star. -
Special List Index for GRG52/90
Special List GRG52/90 Newspaper cuttings relating to aboriginal matters This series contains seven volumes of newspaper clippings, predominantly from metropolitan and regional South Australian newspapers although some interstate and national newspapers are also included, especially in later years. Articles relate to individuals as well as a wide range of issues affecting Aboriginals including citizenship, achievement, sport, art, culture, education, assimilation, living conditions, pay equality, discrimination, crime, and Aboriginal rights. Language used within articles reflects attitudes of the time. Please note that the newspaper clippings contain names and images of deceased persons which some readers may find distressing. Series date range 1918 to 1970 Index date range 1918 to 1970 Series contents Newspaper cuttings, arranged chronologically Index contents Arranged chronologically Special List | GRG52/90 | 12 April 2021 | Page 1 How to view the records Use the index to locate an article that you are interested in reading. At this stage you may like to check whether a digitised copy of the article is available to view through Trove. Articles post-1954 are unlikely to be found online via Trove. If you would like to view the record(s) in our Research Centre, please visit our Research Centre web page to book an appointment and order the records. You may also request a digital copy (fees may apply) through our Online Enquiry Form. Agency responsible: Aboriginal Affairs and Reconciliation Access Determination: Open Note: While every effort has been made to ensure the accuracy of special lists, some errors may have occurred during the transcription and conversion processes. It is best to both search and browse the lists as surnames and first names may also have been recorded in the registers using a range of spellings. -
Māori and Aboriginal Women in the Public Eye
MĀORI AND ABORIGINAL WOMEN IN THE PUBLIC EYE REPRESENTING DIFFERENCE, 1950–2000 MĀORI AND ABORIGINAL WOMEN IN THE PUBLIC EYE REPRESENTING DIFFERENCE, 1950–2000 KAREN FOX THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Fox, Karen. Title: Māori and Aboriginal women in the public eye : representing difference, 1950-2000 / Karen Fox. ISBN: 9781921862618 (pbk.) 9781921862625 (ebook) Notes: Includes bibliographical references and index. Subjects: Women, Māori--New Zealand--History. Women, Aboriginal Australian--Australia--History. Women, Māori--New Zealand--Social conditions. Women, Aboriginal Australian--Australia--Social conditions. Indigenous women--New Zealand--Public opinion. Indigenous women--Australia--Public opinion. Women in popular culture--New Zealand. Women in popular culture--Australia. Indigenous peoples in popular culture--New Zealand. Indigenous peoples in popular culture--Australia. Dewey Number: 305.4880099442 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover image: ‘Maori guide Rangi at Whakarewarewa, New Zealand, 1935’, PIC/8725/635 LOC Album 1056/D. National Library of Australia, Canberra. Cover design and layout by ANU E Press Printed by Griffin Press This edition © 2011 ANU E Press Contents Acknowledgements . vii Abbreviations . ix Illustrations . xi Glossary of Māori Words . xiii Note on Usage . xv Introduction . 1 Chapter One . -
Double Lives : Rex Battarbee & Albert Namatjira
Double Lives Double Lives : Rex Battarbee & Albert Namatjira Martin Edmond Thesis for a Doctorate of Creative Arts The University of Western Sydney July 26, 2013 Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare I have not submitted this material, either in full or in part, for a degree in this or any other institution. signed: ……………………………………… Acknowledgments I would like to thank Nigel Roberts for the generous gift of his archive of research materials; Ivor Indyk for wise supervision; Nick Jose for intelligent readings; Gayle Quarmby for the conversations; Stephen Williamson at the Araluen Centre and Nic Brown at Flinders University Art Musuem for showing me the works; all those at Ngarrutjuta / Many Hands; Maggie Hall for her constant support. Abstract This thesis consists of a creative component which is a dual biography of the two water colour painters, Rex Battarbee and Albert Namatjira, whose relationship was to have a decisive impact on Australian art; and an exegesis which describes the process of the making of that biography in such a way as to illuminate the issues, contentious or otherwise, that may arise during the progress of a biographical inquiry. The dual biography is focussed upon the public lives of the two men, one white Australian, the other Indigenous Australian of the Arrernte people, and especially upon their professional activities as painters. It is not an exercise in psychological inquiry nor an attempt to disclose the private selves of the two artists; rather, my interest is in describing the means by which each man found his calling as an artist; the relationship, life-long, which developed between them; the times in which they lived and how this affected the courses of their lives; and the results of their work in the public sphere. -
Strictly Fanciful
Strictly fanciful • Germaine Greer • December 17, 2008 THE scale of the disaster that is Baz Luhrmann’s Australia is gradually becoming apparent. When the film was released in Australia in November it found the odd champion, none more conspicuous than Marcia Langton, professor of Australian indigenous studies at Melbourne University, who frothed and foamed in The Sunday Age about this “fabulous, hyperbolic film”. Luhrmann has “given Australians a new past”, she gushed, “a myth of national origin that is disturbing, thrilling, heartbreaking, hilarious and touching”. Myths are by definition untrue. Langton knows the truth about the northern cattle industry but evidently sees it as her duty to ignore it, and welcome a fraudulent and misleading fantasy in its place, possibly because the fantasy is designed to promote the current government policy of reconciliation, of which she is a chief proponent. Reconciliation is the process by which Australians of all shades forgive and forget the outrages of the past and become one happy nation. State and federal governments have pumped money into reconciliation and created a new class of Aboriginal entrepreneurs who accept the values of the property- owning democracy and are doing very well out of it. Luhrmann’s fake epic, set in 1939, shows Aboriginal people as intimately involved in the development of the Lucky Country; the sequel would probably show Nullah, the Aboriginal boy who narrates the film, setting up an Aboriginal corporation and using mining royalties to build a luxury resort on the shores of Faraway Bay. Unfortunately for the reconciliation gravy-train and all aboard it, Luhrmann’s lack of faith in his own invention is obvious. -
The Representation of Aborigines in Australian Film
Kunapipi Volume 10 Issue 1 Article 12 1988 Breaking the Frame: The Representation of Aborigines in Australian Film Graeme Turner Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Turner, Graeme, Breaking the Frame: The Representation of Aborigines in Australian Film, Kunapipi, 10(1), 1988. Available at:https://ro.uow.edu.au/kunapipi/vol10/iss1/12 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Breaking the Frame: The Representation of Aborigines in Australian Film Abstract It is hard to deny that Australia has a racist past, and is only now coming to terms with a racist present. Even the bicentennial celebrations in January 1988 failed to confront the guilt of the past, attempting to observe a tactful silence on the Aboriginal’s role in Australia’s achievements as a nation. This silence is bound to be broken, however. The Bicentennial year will see the reenactment of the arrival of the First Fleet, but it will also see the continuation of Justice Muirhead’s royal commission into the alarming number of black Australians who have died in police custody in the last few years, and the completion of Justice Einfeld’s report on the 1987 race riots on the Queens- land/N.S.W. border. In at least one capital city, stencilled messages saying, ‘Celebrate 88, kill an Abo’, have appeared on pavements and walls. Given such events, and given the relationship between the ideologies of a culture and its representations of itself in film, it is hardly surprising that racism still structures the representation of Aborigines in Australian film. -
Student Activities Pg
An Artback NT Education Resource An Artback NT Education Resource STILL IN MY MIND — STUDENT ACTIVITIES PG. 1 ITINERARY 2018 2020 Godinymayin Yijard River Arts and Culture Centre, Geraldton Regional Art Gallery, Geraldton, WA Katherine, NT Fremantle Arts Centre, Perth, WA Charles Darwin University, Darwin, NT Blue Mountains Cultural Centre, Katoomba, NSW 2019 2021 Araluen Arts Centre, Alice Springs, NT Drill Hall Gallery, Australian National University, ACT South Australian Museum, Adelaide, SA For up-to-date itinerary information visit artbacknt.com.au/what-we-do/visual-arts/currently-touring AUTHORISATIONS & ACKNOWLEDGEMENTS WARNING: Indigenous people are respectfully Still in my mind: Gurindji location, experience and advised that names and images of deceased visuality was developed and curated by Brenda L. Croft people may appear in the Still in my mind as practice-led doctoral research, funded through an catalogue and Education Resource. Australian Research Council Discovery Indigenous Award (2012 – 15), in partnership with Karungkarni All images are subject to copyright and have been Art and Culture Aboriginal Corporation, UNSW reproduced with authorisation from the relevant Galleries, UNSW Art & Design, UQ Art Museum, and lenders, photographers and agencies, including supported by the Australian Research Council Centre Karungkarni Art Centre, the representative body of Excellence for the Dynamics of Language, UQ. for the artists of Kalkaringi and Daguragu. The touring exhibition is presented by Artback NT The artists in Still in my mind are from various with support from Visions of Australia. language groups including Mudburra, Bilinarra and Gurindji, however only Gurindji and English are used in this document. These materials were developed by Artback NT for use in schools and at exhibition venues. -
The Cultural Journeys of Dictionaries of National Biography
‘TRUE BIOGRAPHIES OF NATIONS?’ THE CULTURAL JOURNEYS OF DICTIONARIES OF NATIONAL BIOGRAPHY ‘TRUE BIOGRAPHIES OF NATIONS?’ THE CULTURAL JOURNEYS OF DICTIONARIES OF NATIONAL BIOGRAPHY EDITED BY KAREN FOX Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (print): 9781760462741 ISBN (online): 9781760462758 WorldCat (print): 1097202530 WorldCat (online): 1097202413 DOI: 10.22459/TBN.2019 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode The ANU.Lives Series in Biography is an initiative of the National Centre of Biography at The Australian National University, ncb.anu.edu.au. Cover design and layout by ANU Press This edition © 2019 ANU Press CONTENTS Acknowledgements ..........................................vii 1. The Cultural Journeys of Dictionaries of Biography. 1 Karen Fox PART I: THE DIGITAL AGE 2. Individual Lives and National Truths: Locating Biographies within a National Encyclopedia .............................21 Jock Phillips 3. The Irish World: How to Revise a Long-Standing Dictionary Project .......................................37 Turlough O’Riordan 4. What is National Biography For? Dictionaries and Digital History ......................................57 Philip Carter 5. Using Lives: The Australian Dictionary of Biography and Its Related Corpora ...................................79 Melanie Nolan PART II: THE REPRESENTATIONAL CHALLENGE 6. Why Gender Matters: Fostering Diversity in the American National Biography with Lessons Learned from Notable American Women . 101 Susan Ware 7. Women and the Biographies of Nations: The Biographical Dictionary of Scottish Women .