Andrew Bolt: Leftists Finally Waking up to Bruce Pascoe's Fraud
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Writing Cultures 11/11
.. Aboriginal and Torres Strait Islander Arts Board, Australia Council PO Box 788 Strawberry Hills NSW 2012 Tel: (02) 9215 9065 Toll Free: 1800 226 912 Fax: (02) 9215 9061 Email: [email protected] www.ozco.gov.au cultures . WRITING ..... Protocols for Producing Indigenous Australian Literature An initiative of the Aboriginal and Torres Strait ISBN: 0 642 47240 8 Islander Arts Board of the Australia Council Writing Cultures: Protocols for Producing Indigenous Australian Literature Recognition and protection 18 contents Resources 18 Introduction 1 Copyright 20 Using the Writing Cultures guide 2 What is copyright? 20 What are protocols? 3 How does copyright protect literature? 20 What is Indigenous literature? 3 Who owns copyright? 20 Special nature of Indigenous literature 4 What rights do copyright owners have? 21 Collaborative works 21 Indigenous heritage 5 Communal ownership vs. joint ownership 21 Current protection of heritage 6 How long does copyright last? 22 Principles and protocols 8 What is the public domain? 22 Respect 8 What are moral rights? 22 Acknowledgement of country 8 Licensing for publication 22 Representation 8 Assigning copyright 23 Accepting diversity 8 Publishing contracts 23 Living cultures 9 Managing copyright to protect your interests 23 Indigenous control 9 Copyright notice 23 Commissioning Indigenous writers 9 Moral rights notice 24 Communication, consultation and consent 10 When is copyright infringed? 24 Creation stories 11 Fair dealings provisions 24 © Commonwealth of Australia 2002 Recording oral stories 11 -
Australia Council Nationhood, National Identity and Democracy
AUSTRALIA COUNCIL FOR THE ARTS SUBMISSION NATIONHOOD, NATIONAL IDENTITY AND DEMOCRACY INQUIRY October 2019 1 CONTENTS Contents 2 About the Australia Council 3 Executive summary 4 Submission 6 Our arts shape and communicate our cultural identity 6 First Nations arts are central to understanding who we are as Australians 7 Our diverse artistic expression is reshaping our contemporary national identity 9 Our creative expressions are an antidote to declining public trust and social divisions 13 Conclusion 14 Policy options 15 2 ABOUT THE AUSTRALIA COUNCIL The Australia Council is the Australian Government’s principal arts funding and advisory body. We champion and invest in Australian arts and creativity. We support all facets of the creative process and are committed to ensuring all Australians can experience the benefits of the arts and feel part of the cultural life of this nation. The Australia Council’s investment in arts and creativity presents a vital opportunity to develop Australia’s identity and reputation as a sophisticated and creative nation with a confident, connected community. Australia’s arts and creativity are among our nation’s most powerful assets, delivering substantial public value across portfolios: investing in the arts is investing in the social, economic and cultural success of our nation. For half a century the Australia Council has invested in activity that directly and powerfully contributes to Australia’s cultural identity and social cohesion. Our vision Creativity Connects Us1 is underpinned by five strategic objectives: • More Australians are transformed by arts experiences • Our arts reflect us • First Nations arts and culture are cherished • Arts and creativity are thriving • Arts and creativity are valued. -
Still Anti-Asian? Anti-Chinese? One Nation Policies on Asian Immigration and Multiculturalism
Still Anti-Asian? Anti-Chinese? One Nation policies on Asian immigration and multiculturalism 仍然反亚裔？反华裔？ 一国党针对亚裔移民和多元文化 的政策 Is Pauline Hanson’s One Nation party anti-Asian? Just how much has One Nation changed since Pauline Hanson first sat in the Australian Parliament two decades ago? This report reviews One Nation’s statements of the 1990s and the current policies of the party. It concludes that One Nation’s broad policies on immigration and multiculturalism remain essentially unchanged. Anti-Asian sentiments remain at One Nation’s core. Continuity in One Nation policy is reinforced by the party’s connections with anti-Asian immigration campaigners from the extreme right of Australian politics. Anti-Chinese thinking is a persistent sub-text in One Nation’s thinking and policy positions. The possibility that One Nation will in the future turn its attacks on Australia's Chinese communities cannot be dismissed. 宝林·韩森的一国党是否反亚裔？自从宝林·韩森二十年前首次当选澳大利亚 议会议员以来，一国党改变了多少？ 本报告回顾了一国党在二十世纪九十年代的声明以及该党的现行政策。报告 得出的结论显示，一国党关于移民和多元文化的广泛政策基本保持不变。反 亚裔情绪仍然居于一国党的核心。通过与来自澳大利亚极右翼政坛的反亚裔 移民竞选人的联系，一国党的政策连续性得以加强。反华裔思想是一国党思 想和政策立场的一个持久不变的潜台词。无法排除一国党未来攻击澳大利亚 华人社区的可能性。 Report Philip Dorling May 2017 ABOUT THE AUSTRALIA INSTITUTE The Australia Institute is an independent public policy think tank based in Canberra. It is funded by donations from philanthropic trusts and individuals and commissioned research. Since its launch in 1994, the Institute has carried out highly influential research on a broad range of economic, social and environmental issues. OUR PHILOSOPHY As we begin the 21st century, new dilemmas confront our society and our planet. Unprecedented levels of consumption co-exist with extreme poverty. Through new technology we are more connected than we have ever been, yet civic engagement is declining. -
Teachers' Notes the Little Red, Yellow, Black Book
Educational Resources: Teachers’ notes The Little Red Yellow Black website, http://lryb.aiatsis.gov.au Teachers’ Notes The Little Red, Yellow, Black Book: An introduction to Indigenous Australia An important note to teachers The following points are important considerations to remember when teaching Aboriginal and Torres Strait Islander studies. These cautions should be consulted throughout the course and shared with students. Aboriginal studies and Torres Strait Islander studies are not only about historical events and contemporary happenings. More importantly, they are about people and their lives. Consequently, consideration of, and sensitivity towards, Aboriginal and Torres Strait Islander people are essential, as is collaboration with relevant communities. • Where possible, consult Indigenous people and Indigenous sources for information, many links to which are contained in these notes. Try to work with your local Indigenous community people and elders and respect the intellectual and cultural property rights of Indigenous people. • Consult reliable sources. Be discerning and look for credible information. Indigenous Australians are careful to speak only about the country or culture they’re entitled to speak about. Generally Indigenous people won’t tell others about sacred images or stories, however, over time, and with the effects of colonisation, some things that are sacred, or secret, to Indigenous groups have been disseminated. Be sensitive to requests not to talk about or include some material. Ensure that what you’re reading derives from a community or elders’ knowledge, or from reputable research. Remember too that less-than-polished publications can still be valuable. • Use only the information and images you know have been cleared for reproduction or use in the public domain. -
Al Jazeera's Expansion: News Media Moments and Growth in Australia
Al Jazeera’s Expansion: News Media Moments and Growth in Australia PhD thesis by publication, 2017 Scott Bridges Institute of Governance and Policy Analysis University of Canberra ABSTRACT Al Jazeera was launched in 1996 by the government of Qatar as a small terrestrial news channel. In 2016 it is a global media company broadcasting news, sport and entertainment around the world in multiple languages. Devised as an outward- looking news organisation by the small nation’s then new emir, Al Jazeera was, and is, a key part of a larger soft diplomatic and brand-building project — through Al Jazeera, Qatar projects a liberal face to the world and exerts influence in regional and global affairs. Expansion is central to Al Jazeera’s mission as its soft diplomatic goals are only achieved through its audience being put to work on behalf of the state benefactor, much as a commercial broadcaster’s profit is achieved through its audience being put to work on behalf of advertisers. This thesis focuses on Al Jazeera English’s non-conventional expansion into the Australian market, helped along as it was by the channel’s turning point coverage of the 2011 Egyptian protests. This so-called “moment” attracted critical and popular acclaim for the network, especially in markets where there was still widespread suspicion about the Arab network, and it coincided with Al Jazeera’s signing of reciprocal broadcast agreements with the Australian public broadcasters. Through these deals, Al Jazeera has experienced the most success with building a broadcast audience in Australia. After unpacking Al Jazeera English’s Egyptian Revolution “moment”, and problematising the concept, this thesis seeks to formulate a theoretical framework for a news media turning point. -
The Australian ‘Settler’ Colonial-Collective Problem
The Australian ‘Settler’ Colonial-Collective Problem Author Jones, David John Published 2017 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/2241 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/365954 Griffith Research Online https://research-repository.griffith.edu.au The Australian ‘Settler’ Colonial-Collective Problem David John Jones Dip VA, BVA Hons, MAVA Submitted in partial fulfilment of the requirements of the degree of Doctor of Visual Arts Queensland College of Art Art, Education and Law Griffith University June 2017 1 Abstract This studio-based project identifies and interrogates the Australian denial of violent national foundation as a ‘settler’ problem, which is framed by the contemporary clinical and social concept of a ‘vicious cycle of anxiety’. The body of work I have produced aims to disrupt the denial of invasion and the erasure of Aboriginal culture through accepted narratives of European settlement of Australia. By aligning collective denial with anxiety, it presents a pathway for remediation through situational exposure; in this case, through works of art. The critical perspective on the invasion and colonisation of Australia is presented in the discursive and non- discursive modes of communication of the coloniser not to arbitrate or appease but to amplify the content. The structure of the exegesis also draws from Aboriginal narrative methodology and integrates with, and is informed by, the studio production in printmaking using demanding traditional European graphic techniques such as etching and aquatint. 2 Statement of Originality: This work has not previously been submitted for a degree or diploma in any university. -
The Fantasy of Whiteness: Blackness and Aboriginality in American and Australian Culture
The Fantasy of Whiteness: Blackness and Aboriginality in American and Australian Culture Benjamin Miller A thesis submitted to the School of English, Media and Performing Arts at the University of New South Wales in fulfilment of the requirements for the award of Doctor of Philosophy 2009 THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname: MILLER First name: BENJAMIN Other name/s: IAN Degree: PhD School: ENGLISH, MEDIA AND PERFORMING ARTS Faculty: ARTS AND SOCIAL SCIENCES Title: MR ABSTRACT This dissertation argues that a fantasy of white authority was articulated and disseminated through the representations of blackness and Aboriginality in nineteenth-century American and Australian theatre, and that this fantasy influenced the representation of Aboriginality in twentieth- century Australian culture. The fantasy of whiteness refers to the habitually enacted and environmentally entrenched assumption that white people can and should superintend the cultural representation of Otherness. This argument is presented in three parts. Part One examines the complex ways in which white anxieties and concerns were expressed through discourses of blackness in nineteenth-century American blackface entertainment. Part Two examines the various transnational discursive connections enabled by American and Australian blackface entertainments in Australia during the nineteenth century. Part Three examines the legacy of nineteenth-century blackface entertainment in twentieth-century Australian culture. Overall, this dissertation investigates some of the fragmentary histories and stories about Otherness that coalesce within Australian culture. This examination suggests that representations of Aboriginality in Australian culture are influenced and manipulated by whiteness in ways that seek to entrench and protect white cultural authority. Even today, a phantasmal whiteness is often present within cultural representations of Aboriginality. -
Darkemu-Program.Pdf
1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers. -
Dark Emu ‘Hoax’: Takedown Reveals the Emperor Has No Clothes
_________________________________________________________________________________________________________________ Dark Emu ‘hoax’: takedown reveals the emperor has no clothes Author Bruce Pascoe. • Victoria Grieve-Williams • July 2, 2021 There is much terrible irony in Dark Emu’s struggle to shoehorn classical Aboriginal Australia into the supposedly advanced world of agriculture.” - Peter Sutton Can the Dark Emu scandal be explained by the fact that Australians seem inordinately susceptible to a good old-fashioned literary hoax? From the infamous Ern Malley affair through to Norma Khouri and Helen Demidenko, we seem to have an appetite for being misled. There are examples in the Aboriginal world, too. Ian Carmen, a white taxidriver from Adelaide, posed as a Pitjantjatjara survivor of the Stolen Generation, Wanda Koolmatrie, to write an “autobiography” called My Own Sweet Time. This book was used as a text for the NSW Higher Schools certificate curriculum. In 2014, Bruce Pascoe, exhibiting zeal and showmanship, produced a book that has now sold more than 260,000 copies. Surprise, it says that we Indigenous Australians are more like white people, and therefore, somehow, more sophisticated than “mere” hunter-gatherers. Well thanks, but no thanks. Pascoe’s thesis went entirely against my lived experience, learning as a child to the “summer” and “winter” camps of my mother’s people. They moved to the Barrington 2 Mountains, even in snow, for fatter game and thicker furs, and returned to the coast for the mullet runs in spring, feasting and meeting with other groups. The bunya bunya from the giant cones in the bunya tree, and the huge mulloway my grandfather caught, kept the family alive during the Depression. -
EUREKA Country Mile! Garages & Sheds Farming and Industrial Structures
The Moorabool News FREE Your Local News Tuesday 5 November, 2013 Serving Ballan and district since 1872 Phone 5368 1966 Fax 5368 2764 Vol 7 No 43 He’s our man! By Kate Taylor Central Ward Councillor Paul Tatchell has been voted as Moorabool’s new Mayor. East Ward Councillor John Spain was voted in as Deputy Mayor. Outgoing Mayor Pat Toohey did not re-nominate at the Statutory and Annual Appointments Meeting held last Wednesday 30 October, where Mayor Tatchell won the role with a 5-2 majority. Nominated by East Ward Councillor Allan Comrie, Cr Tatchell gained votes from fellow councillors Comrie, David Edwards, Tonia Dudzik and John Spain. West Ward Councillor Tom Sullivan was nominated and voted for by Pat Toohey. New Mayor Tatchell told the meeting he was very fortunate to have been given the privilege of the role. “For former mayor Pat Toohey, to have come on board and then taken on the role of Mayor with four new councillors, he jumped straight in the driver’s seat… and the first few months were very difficult, but he persevered with extreme patience. “And to the experienced councillors we came in contact with from day one, with years of experience, without that, I can’t imagine how a council could have operated with seven new faces. We are incredibly fortunate to have those experienced councillors on board.” Mayor Tatchell also hinted at a vision for more unity in the future. “A bit less of ‘I’ and more of ‘we,’” he said. Deputy Mayor Spain was voted in with votes from councillors Dudzik, Edwards, and Comrie, with Mayor Tatchell not required to cast a vote on a majority decision. -
Sceptical Climate Part 2: CLIMATE SCIENCE in AUSTRALIAN NEWSPAPERS
October 2013 Sceptical Climate Part 2: CLIMATE SCIENCE IN AUSTRALIAN NEWSPAPERS Professor Wendy Bacon Australian Centre for Independent Journalism Sceptical Climate Part 2: Climate Science in Australian Newspapers ISBN: 978-0-9870682-4-8 Release date: 30th October 2013 REPORT AUTHOR & DIRECTOR OF PROJECT: Professor Wendy Bacon (Australian Centre for Independent Journalism, University of Technology, Sydney) PROJECT MANAGER & RESEARCH SUPERVISOR: Arunn Jegan (Australian Centre for Independent Journalism) PROJECT & RESEARCH ADVISOR: Professor Chris Nash (Monash University) DESIGN AND WEB DEVELOPMENT Collagraph (http://collagraph.com.au) RESEARCHERS: Nicole Gooch, Katherine Cuttriss, Matthew Johnson, Rachel Sibley, Katerina Lebedev, Joel Rosenveig Holland, Federica Gasparini, Sophia Adams, Marcus Synott, Julia Wylie, Simon Phan & Emma Bacon ACIJ DIRECTOR: Associate Professor Tom Morton (Australian Centre for Independent Journalism, University of Technology, Sydney) ACIJ MANAGER: Jan McClelland (Australian Centre for Independent Journalism) THE AUSTRALIAN CENTRE FOR INDEPENDENT JOURNALISM The Sceptical Climate Report is a project by The Australian Centre for Independent Journalism, a critical voice on media politics, media policy, and the practice and theory of journalism. Follow ACIJ investigations, news and events at Investigate.org.au. This report is available for your use under a creative commons Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) license, unless specifically noted. Feel free to quote, republish, backup, and move it to whatever platform works for you. Cover graphic: Global Annual Mean Surface Air Temperature Change, 1880 - 2012. Source: NASA GISS 2 Table of Contents 1. Preface . 5 2. Key Findings. 10 3. Background Issues . 28 4. Findings 4.1 Research design and methodology. 41 4.2 Quantity of climate science coverage . -
He Wants to Save the Present with the Indigenous Past
_ _______________________________________________________________________________________________________________________________________________________________________________ He Wants to Save the Present With the Indigenous Past Bruce Pascoe’s book “Dark Emu” sparked a reconsideration of Australian history. Now he hopes to use his writing to revive Aboriginal community. Bruce Pascoe in a field of mandadyan nalluk, also known as “dancing grass.”Credit...AnnaMaria Antoinette D'Addario for The New York Times By Damien Cave Aug. 20, 2020 WALLAGARAUGH, Australia — Bruce Pascoe stood near the ancient crops he has written about for years and discussed the day’s plans with a handful of workers. Someone needed to check on the yam daisy seedlings. A few others would fix up a barn or visitor housing. Most of them were Yuin men, from the Indigenous group that called the area home for thousands of years, and Pascoe, who describes himself as “solidly Cornish” and “solidly Aboriginal,” said inclusion was the point. The farm he owns on a remote hillside a day’s drive from Sydney and Melbourne aims to correct for colonization — to ensure that a boom in native foods, caused in part by his book, “Dark Emu,” does not become yet another example of dispossession. “I became concerned that while the ideas were being accepted, the inclusion of Aboriginal people in the industry was not,” he said. “Because that’s what Australia has found hard, including Aboriginal people in anything.” The lessons Pascoe, 72, seeks to impart by bringing his own essays to life — and to dinner tables — go beyond appropriation. He has argued that the Indigenous past 2 should be a guidebook for the future, and the popularity of his work in recent years points to a hunger for the alternative he describes: a civilization where the land and sea are kept healthy through cooperation, where resources are shared with neighbors, where kindness even extends to those who seek to conquer.