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Indigenous Exceptionalism and the Constitutional 'Race Power'
Langton.x_Langton.x 1/02/13 9:31 AM Page 1 Indigenous Exceptionalism and the Constitutional ‘Race Power’ Marcia Langton Constitutional recognition of Indigenous Australians is a fraught topic, presenting legal as well as moral challenges, and involves a large set of issues beyond my scope here. I want to explore in this chapter the problem of how to recognise Indigenous Australians in the Constitution, a matter given much thought by the members of the Expert Panel appointed by Prime Minister Gillard in December 2010. Upon the release of the Expert Panel Report in January 2012, some commentators made extraordinary and mistaken claims about its recommendations and findings. One person contended that Aboriginal child bride practices would be legalised, should the government accept these recommendations. Another claim was that it was a racist attack on Australians. None of this is the case, of course, but the hysterical response to the propositions of the Expert Panel, well founded in constitutional law and history, tells us something. Most Australians know very little about our Constitution; few have read it, and even fewer understand it. The main challenge for those who agree with our findings is the poorly understood friction between bring- ing Indigenous Australians firmly into the national polity, and maintaining their exceptionalist status as inexorably different. I hope to suggest a solution to this dilemma; it is not original, 1 SPACE PLACE & CULTURE Langton.x_Langton.x 1/02/13 9:31 AM Page 2 INDIGENOUS EXCEPTIONALISM AND THE CONSTITUTIONAL ‘RACE POWER’ but is a new synthesis of a powerful idea drawn from human rights theory and the Expert Panel’s work. -
Australian Aboriginal Art
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online Australian Aboriginal Art Patrick Hutchings To attack one’s neighbours, to pass or to crush and subdue more remote peoples without provocation and solely for the thirst for dominion—what is one to call it but brigandage on a grand scale?1 The City of God, St Augustine of Hippo, IV Ch 6 ‘The natives are extremely fond of painting and often sit hours by me when at work’ 2 Thomas Watling The Australians and the British began their relationship by ‘dancing together’, so writes Inge Clendinnen in her multi-voiced Dancing With Strangers 3 which weaves contemporary narratives of Sydney Cove in 1788. The event of dancing is witnessed to by a watercolour by Lieutenant William Bradley, ‘View in Broken Bay New South Wales March 1788’, which is reproduced by Clendinnen as both a plate and a dustcover.4 By ‘The Australians’ Clendinnen means the Aboriginal pop- ulation. But, of course, Aboriginality is not an Aboriginal concept but an Imperial one. As Sonja Kurtzer writes: ‘The concept of Aboriginality did not even exist before the coming of the European’.5 And as for the terra nullius to which the British came, it was always a legal fiction. All this taken in, one sees why Clendinnen calls the First People ‘The Australians’, leaving most of those with the current passport very much Second People. But: winner has taken, almost, all. The Eddie Mabo case6 exploded terra nullius, but most of the ‘nobody’s land’ now still belongs to the Second People. -
Multimillion-Selling Singer Crystal Gayle Has Performed Songs from a Wide Variety of Genres During Her Award-Studded Career, B
MultiMillion-selling singer Crystal Gayle has performed songs from a wide variety of genres during her award-studded career, but she has never devoted an album to classic country music. Until now. You Don’t Know Me is a collection that finds the acclaimed stylist exploring the songs of such country legends as George Jones, Patsy Cline, Buck Owens and Eddy Arnold. The album might come as a surprise to those who associate Crystal with an uptown sound that made her a star on both country and adult-contemporary pop charts. But she has known this repertoire of hardcore country standards all her life. “This wasn’t a stretch at all,” says Crystal. “These are songs I grew up singing. I’ve been wanting to do this for a long time. “The songs on this album aren’t songs I sing in my concerts until recently. But they are very much a part of my history.” Each of the selections was chosen because it played a role in her musical development. Two of them point to the importance that her family had in bringing her to fame. You Don’t Know Me contains the first recorded trio vocal performance by Crystal with her singing sisters Loretta Lynn and Peggy Sue. It is their version of Dolly Parton’s “Put It Off Until Tomorrow.” “You Never Were Mine” comes from the pen of her older brother, Jay Lee Webb (1937-1996). The two were always close. Jay Lee was the oldest brother still living with the family when their father passed away. -
Manual for Preserving and Digitising AV Archives
Manual for preserving and digitising AV archives Produced by Ina as part of the MedMem project, based on recommendations from the SNRT and other partners. July 2011 1 2 Forward This manual on preserving audiovisual or broadcast archives has been drawn up on the basis of recommendations made by the SNRT and other partners of the MedMem project during their meeting in Alexandria in December 2010 We hope that the manual will be a guide to Medmem’s partners for several years, helping them to: Set up preventative conservation measures Share experiences and good practices Continue with or set up a preservation and digitisation programme Devise tangible arguments to convince their management of the urgent necessity to have such a programme To do this we have written the manual in four parts: The sales pitch: why preserve and digitise archives? First steps: where to begin? How to set up a pilot study? Methods: How to design a preservation plan. How to set it up. The manual is particularly based on the contributions of Jean Verra and Jean-Noël Gouyet at the Ina Sup course “Assessing an AV collection and creating a strategy to preserve and digitise it”. Throughout the manual there are references to various “good practices”, some of which are drawn on the experiences of broadcasters around the Mediterranean. The manual has been written by Camille Martin and Ina’s engineering department, working closely with the MedMem project’s organisers. Ina, Bry-sur-Marne July 2011 3 Contents 1. The sales pitch: why preserve? ................................................................................................................. 7 1.1. To save a heritage at risk of being lost forever ...................................................................................... -
7. Annie's Song John Denver
Sing-Along Songs A Collection Sing-Along Songs TITLE MUSICIAN PAGE Annie’s Song John Denver 7 Apples & Bananas Raffi 8 Baby Beluga Raffi 9 Best Day of My Life American Authors 10 B I N G O was His Name O 12 Blowin’ In the Wind Bob Dylan 13 Bobby McGee Foster & Kristofferson 14 Boxer Paul Simon 15 Circle Game Joni Mitchell 16 Day is Done Peter Paul & Mary 17 Day-O Banana Boat Song Harry Belafonte 19 Down by the Bay Raffi 21 Down by the Riverside American Trad. 22 Drunken Sailor Sea Shanty/ Irish Rover 23 Edelweiss Rogers & Hammerstein 24 Every Day Roy Orbison 25 Father’s Whiskers Traditional 26 Feelin’ Groovy (59th St. Bridge Song) Paul Simon 27 Fields of Athenry Pete St. John 28 Folsom Prison Blues Johnny Cash 29 Forever Young Bob Dylan 31 Four Strong Winds Ian Tyson 32 1. TITLE MUSICIAN PAGE Gang of Rhythm Walk Off the Earth 33 Go Tell Aunt Rhody Traditional 35 Grandfather’s Clock Henry C. Work 36 Gypsy Rover Folk tune 38 Hallelujah Leonard Cohen 40 Happy Wanderer (Valderi) F. Sigismund E. Moller 42 Have You ever seen the Rain? John Fogerty C C R 43 He’s Got the Whole World in His Hands American Spiritual 44 Hey Jude Beattles 45 Hole in the Bucket Traditional 47 Home on the Range Brewster Higley 49 Hound Dog Elvis Presley 50 How Much is that Doggie in the Window? Bob Merrill 51 I Met a Bear Tanah Keeta Scouts 52 I Walk the Line Johnny Cash 53 I Would Walk 500 Miles Proclaimers 54 I’m a Believer Neil Diamond /Monkees 56 I’m Leaving on a Jet Plane John Denver 57 If I Had a Hammer Pete Seeger 58 If I Had a Million Dollars Bare Naked Ladies 59 If You Miss the Train I’m On Peter Paul & Mary 61 If You’re Happy and You Know It 62 Imagine John Lennon 63 It’s a Small World Sherman & Sherman 64 2. -
A Community-Based Approach to Indigenous Self-Determination
POWER FROM THE PEOPLE: A COMMUNITY-BASED APPROACH TO INDIGENOUS SELF-DETERMINATION LARISSA BEHRENDTt Elliott Johnston impresses me most not because of his involvement with the Royal Commission into Aboriginal Deaths in Custody but for his continued conviction about the rightness of social justice despite political climate and personal cost. His membership of the Communist Party no doubt cost him earlier appointment to silk and, as the first Chairperson of the Aboriginal Legal Rights Movement, formalised a long commitment to Indigenous social justice and criminal justice issues. He was, is and remains a practitioner and a judge, admired for his acute legal mind and his ability to mix the right legal reasons with the right moral reasons; something that can be found only in the best legal minds. I would like to talk across a few themes tonight. I want to begin by canvassing the current political landscape to identify the challenges to Indigenous rights and their protection. I would then like to talk about the shortcomings of 'practical reconciliation' and the limitations of current government policy on Indigenous issues at the federal level. I would then like to discuss how this direction has marginalised the rights agenda and impoverished debate on the policy options we have. I will argue that the way forward combines short term solutions with long term goals and that this includes an understanding of the relationship between rights, economic development and governance. As part of that discussion, I would then like to canvas a few areas where increased vision would assist in the protection of Indigenous rights. -
Engagement Report
Roebourne Township Structure Plan Community Engagement Report Town entry Paths Aboriginal tourism Skate park Remove asbestos Lighting river Cultural trails of people education alternative Turning Lanes diversity Clean up cemeteries Heavy vehicle diversion route Commercial near residential Old Reserve - place of respect Oldest town in the North west housing outdoor learning Cafe/communal kitchen family safe truck breakdown area safe truck breakdown look after oldies Harding River, Roebourne design for demographic 12th of May 2014 Prepared by UDLA 1 Roe St Source: Shire of Roebourne Contents Contents 3 5.0 Roebourne Community & Education Precinct 54 1.0 Introduction & Scope 4 5.2 Design Engagement Process Summary 56 1.0 Scope 4 5.3 Phase 1 - Opportunities & Directions 57 1.2 Limitations and Evolution 6 5.4 Vision 58 1.3 Town History 8 5.5 Values of the Roebourne Family Pool 61 1.4 Current Demographics & Governance Issues 10 5.6 Design Options 62 1.5 Background - Acknowledgement of Previous Studies 11 5.7 Option 1 - Redevelopment with Pool Complex 64 5.8 Option 2 - Redevelopment with Splash Pad 68 2.0 Process and Tools 12 5.8 Option 3 - Redevelopment with no water element 72 2.1 Engagement Strategy & Levels of Engagement 13 5.9 Design Option Recommendation 76 2.3 Analysis Process 14 2.4 Participants 22 6.0 Conclusion of wider context 78 Appendix A | Engagement Meetings 82 3.0 Findings - Vision 24 Appendix B | All findings - Roebourne Structure Plan 84 3.2 Key Recommendations 26 Appendix C | All findings - Roebourne Community and Education -
Emerging Environmental Issues for Indigenous Peoples in Northern Australia - Marcia Langton
QUALITY OF HUMAN RESOURCES: GENDER AND INDIGENOUS PEOPLES – Emerging Environmental Issues For Indigenous Peoples In Northern Australia - Marcia Langton EMERGING ENVIRONMENTAL ISSUES FOR INDIGENOUS PEOPLES IN NORTHERN AUSTRALIA Marcia Langton School of Anthropology, University of Melbourne, Australia Keywords: indigenous peoples and environmental issues, Aboriginal impact, people in landscapes Contents 1. Introduction 2. Science Fictions 2.1. Wilderness 2.2. The Nature of Aboriginal Land 2.3. Changes in the Nature of Aboriginal Land Use 3. Pre-settlement Aboriginal Environmental Impact 3.1. Fire and Human Shaping of the Landscape 3.2. Fire: the Recent Debates 4. Re-implicating Aboriginal People in Landscapes 4.1. Dhimurru Aboriginal Land Management Corporation 4.2. Bawinanga Aboriginal Corporation 4.3. Arafura Wetlands 5. Conclusion Bibliography Biographical Sketch 1. Introduction The quest for environmental justice for Australian indigenous people requires, among other things, a critical examination of historical assumptions, which shape arguments concerning the role of Aboriginal people and their traditional environmental knowledge in the management of their cultural and physical landscapes. This paper surveys some recent literature and indigenous conservation developments that provide evidence of the re-implication of Aboriginal people in the management of tropical northern Australia. For 205UNESCO years the legal fiction of terra – nullius EOLSS rendered native title, Aboriginal Land Law And Aboriginal Persons As Land Owners Under That -
The Criminalization of Private Debt a Pound of Flesh the Criminalization of Private Debt
A Pound of Flesh The Criminalization of Private Debt A Pound of Flesh The Criminalization of Private Debt © 2018 AMERICAN CIVIL LIBERTIES UNION Contents Executive Summary .................................................................................................................................... 4 How the Court System Is Used to Send Debtors to Jail .................................................................... 5 The Role of Civil Court Judges ............................................................................................................. 6 Prosecutors and Debt Collectors as Business Partners ................................................................... 7 A System That Breeds Coercion and Abuse ....................................................................................... 7 Key Recommendations ......................................................................................................................... 7 A Nation of Debtors on the Financial Edge .............................................................................................. 9 The Debt-to-Jail Pipeline ............................................................................................................................12 State and Federal Laws That Allow the Jailing of Debtors .............................................................14 When Judges Reflexively Issue Arrest Warrants for Debtors .......................................................15 How Courts Use the Threat of Jail to Extract Payment ...................................................................16 -
4-16-2005 and God Said
1 “And God Said is far more amazing, inspiring, challenging, profound…than I ever could have imagined.” - Nancy Franken Version: 4-16-2005 AND GOD SAID ______________ a collection of Ancient Plays of Israel __________________ music by Ron Melrose _______________ as directed by Jeff Barker Jeff Barker 321 Albany Avenue NE Orange City, IA 51041 [email protected] 712-707-7093 (office) 712-737-8090 (home) 712-441-3231 (cell) 2 “Stories contain the wisdom and truth of the ages.” Paul Sills, creator of Story Theatre 3 Perusal scripts and sample scores for “And God Said” This script is available for free download at nwciowa.edu/barkerplays In addition, several downloadable, printable segments of the score are available at that site. Complete perusal scores To obtain a complete perusal score, send e-mail address and a check for $25, payable to Winter Bride Music, Inc., to Ron Melrose Winter Bride Music, Inc. 35-07 24th Avenue Astoria, NY 11103 Rights to produce “And God Said” To obtain rights to produce “And God Said,” contact Ron Melrose - at address above - or by phone (718) 721-2730 - or e-mail [email protected] Ron will send out a licensing application and price sheet for full score, vocal score, and instrumental parts. If you’ve already purchased a full perusal score, that amount will be applied as a full credit to the score-and-parts package you select. ALL SCORES AND PARTS WILL BE SENT AS .pdf FILES TO BE PRINTED AT YOUR LOCATION. 4 Acknowledgements The project emanates from the scholarship of Dr. -
Indigenous Strategy Highlights 2017–2019 Contents
Indigenous strategy highlights 2017–2019 Contents Place 6 Community 14 Education 18 Discovery 32 Global 40 Indigenous Strategy Highlights 2017–2019 provides a snapshot of just some of the University of Melbourne’s recent and extensive work with respect to our Indigenous strategic priorities. Categorised under five themes, of central importance in all our highlighted activities is our commitment to ‘Leadership for Change’. Through this commitment the University seeks to create positive social impact and foster a healthier, more inclusive and fairer society. In the Australian context, this involves the development and recognition of Indigenous leadership and the recognition and advancement of Indigenous knowledge and perspectives. Addressing the themes of: Place, Community, Education, Discovery and Global, the flagship Atlantic Fellows for Social Equity Program and the Melbourne Poche Leadership Fellows Program are two of our most innovative and exciting programs. Driven by Indigenous people and informed by Indigenous perspectives, both prioritise Indigenous agency and will contribute to a transformative change agenda. The University of Melbourne acknowledges and pays respect to the Traditional Owners of the lands upon which our campuses are situated. • Wurundjeri and Boon Wurrung peoples Parkville, Southbank, Werribee and Burnley campuses • Yorta Yorta Nation, Shepparton and Dookie campuses • Dja Dja Wurrung people, Creswick campus We recognise the unique place Aboriginal and Torres Strait Islander peoples hold as the original custodians of the lands and waterways across the Australian continent with histories of continuous connection dating back more than 60 000 years. We also acknowledge and respect our Aboriginal and Torres Strait Islander students, staff, Elders and collaborators, and all Aboriginal and Torres Strait Islander people who visit our campuses from across Australia. -
Mellon Guide.Qxd
THE FILM PRESERVATION GUIDE THE BASICS FOR ARCHIVES, LIBRARIES, AND MUSEUMS National Film Preservation Foundation San Francisco, California National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2004 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data The film preservation guide : the basics for archives, libraries, and museums. p. cm. Includes bibliographical references and index. ISBN 0-9747099-0-5 (alk. paper) 1. Motion picture film—Preservation. I. National Film Preservation Foundation (U.S.) TR886.3F58 2003 778.5’8—dc22 2003024032 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Credits Except as noted below, all photographs were provided by Barbara Galasso and the L. Jeffrey Selznick School of Film Preservation at George Eastman House. The following contributed illustrations and text material: American Museum of Natural History (94), Anonymous (67), California Pacific Medical Center (57), Chace Productions Inc. (12 center and right), Duke University (48 top), Estate of Edith Lutyens Bel Geddes and the Harry Ransom Humanities Research Center at the University of Texas at Austin (84), Florida Moving Image Archive (91), Image Permanence Institute at the Rochester Institute of Technology (10 top), Library of Congress (48 bottom, 51, 63, 87), Minnesota Historical Society (92), National Center for Jewish Film (90), Nebraska State Historical Society (69, 73, 74), Northeast Historic Film (back cover, 62 bottom, 76, 85), Oklahoma Historical Society (5), Pacific Film Archive at the University of California at Berkeley (back cover), Sabucat Productions (93), UCLA Film and Tele- vision Archive (86), University of Alaska Fairbanks (40), University of South Carolina Newsfilm Library (89), Visual Communications (58).