Messages Art Fair & Exhibition Catalogue 2O16

Total Page:16

File Type:pdf, Size:1020Kb

Messages Art Fair & Exhibition Catalogue 2O16 MESSAGES AUSTRALIA’S PREMIER INDIGENOUS ART FAIR ciaf.com.au 15 - 17 July 2O16 Cairns Cruise Liner Terminal ART FAIR & EXHIBITION CATALOGUE 2O16 Bilan gudan gimuy Welcome to Cairns from the Tribal Authority of Cairns, the Gimuy Walubara Yidinji people. Yidinji mimjan njundu bama wabil AUSTRALIA’S PREMIER INDIGENOUS ART FAIR wawal Gimuy yabanday bama bidjuga A message from On behalf of the Gimuy Walubara Yidinji Gimuy Walubara Yidinji people welcome you to our country, people, I welcome you to our Country, Cairns. the Traditional now known as Cairns. Owners For generations, Cairns has continued to be a meeting place for Aboriginal and Torres Strait Islander peoples, a gateway to Australia and the Asia- Pacific region. I trust you will enjoy the cultural and artistic presentations that CIAF has on offer. Welcome to Yidinji Country. Gudjugudju, Yidinji Elder Steven Kepper, Dugong and calf, 2O16, Ghostnet Sculpture. Photo: Paul Jakubowski Cairns Indigenous Art Fair (CIAF) is Australia’s premier Indigenous Art Fair and the quintessential celebration of Queensland Aboriginal and Torres Strait Islander art and culture. CIAF conveys the rich diversity of Queensland Indigenous art from more than 3OO artists in a curated Art Fair as well as a bustling Art Market. Included in CIAF’s exciting program is dance, music, film, workshops and knowledge sharing - features of the CIAF celebration that renders the event an unforgettable experience. CIAF is committed to providing an ethical point of sale for Queensland Indigenous art and to supporting the career development of Aboriginal and Torres Strait Islander artists from across the state. The Art Fair works under a commitment to the Indigenous Australian Art Commercial Code of Conduct. The Cairns Indigenous Art Fair (CIAF) is supported by Arts Queensland through Backing Indigenous Art (BIA) a program that aims to build a stronger, more sustainable and ethical Aboriginal and Torres Strait Islander arts industry and though the visual Arts and Crafts Strategy, an initiative of the Australian State and Territory Governments. PATRON NATIONAL PUBLICITY His Excellency the Honourable Paul de Jersey, AC AVVISO Public Relations Governor of Queensland CAIRNS PUBLICITY PATRON – FIRST NATIONS Pip Miller PR Henrietta Fourmile-Marrie BOARD MEMBERS ARTISTIC DIRECTOR Tom Mosby - Chair Janina Harding Bob Manning GENERAL MANAGER Alex de Waal Vanessa Gillen Gillian Mailman COLLECTORS AND CURATORS PROGRAM Leo Akee MANAGER Judy Watson Hetti Perkins SPECIAL THANKS MARKETING AND COMMUNICATIONS MANAGER Gudgugudgu Sonja Anderson Roger Mainwood OPERATIONS MANAGER Chris Stannard and the Tanks Arts Centre team Sam Gibb Kate Lamason & Jolene Richardson PERFORMANCE PROGRAM MANAGER Sue Godkin Marilyn Miller Sharon Weatherall CURATORIAL ASSISTANT Lizzie Reeves Danelle Nicol CIAF Volunteer team CURATOR, CIAF FASHION PERFORMANCE JANA JARAL (RESPECT) CATALOGUE PHOTOGRAPHY Grace Lillian Lee Michael Marzik ADMINISTRATION OFFICER DESIGN Wanda Weatherall Impress Art Graphic Designs CONTACT US www.ciaf.com.au | E: [email protected] | T: +61 7 4O5O 7712 Information in this publication is current at time of printing. FRONT COVER: Elliot Koonutta, Dreamtime Dingo Story (Ku Awa), 2O15, Limited Edition Lino Cut Print LEFT: Wanda Gibson, Bayji, 2O16, Bayjin grass, Traditional weaving basket AUSTRALIA’S PREMIER INDIGENOUS ART FAIR ciaf.com.au CONTENTS WELCOME COMMERCIAL GALLERIES His Excellency the 8 Martin Browne Contemporary 38 Honourable Paul de Jersey AC, Michael Reid 4O Governor of Queensland, LOCAL GALLERIES Patron - Cairns Indigenous Art Fair Canopy Art Centre 44 Henrietta Fourmile-Marrie, 9 Cape York Art 46 Patron First Nations KickArts Contemporary Arts 48 Cairns Indigenous Art Fair Umbrella Studio Hon Annastacia Palaszczuk MP, 1O Contemporary Arts 5O Premier of Queensland UMI Arts - Gallery of Aboriginal 52 and Minister for the Arts and Torres Strait Islander Art GUEST ARTIST Hon Kate Jones MP, 11 Arone Meeks 54 Queensland Minister for Tourism, Teho Ropeyarn 55 Major Events and Small Business Councillor Bob Manning, Mayor of Cairns 12 INDEPENDENT ARTISTS Tom Mosby, CIAF Board Chairperson 13 Delvene Cockatoo-Collins 57 Janina Harding, Artistic Director 15 Jedess Hudson 58 Karen Reys 59 EXHIBITION Munganbana Norman Miller 6O CULTURAL BLISS 16 Taritah Von Roehl 61 AN ARTISTIC RESPONSE TO HAPPINESS Curated by Hetti Perkins and Janina Harding IMPACT 63 NEW MEDIA WORKS AND EXHIBITORS GRACE LILLIAN LEE: BODY SCULPTURE Erub Arts 18 A partnership between CIAF and Girringun Aboriginal Art Centre 2O Cairns Regional Gallery Hope Vale Arts & Cultural Centre 22 FREEDOM OF EXPRESSION 67 Lockhart River Art Gang 24 MI Art - Mornington Island 26 THE CHILL ROOM 68 Pormpuraaw Arts & Cultural Centre 28 JANA JARAL (RESPECT) 69 Wei’num Arts 3O CIAF FASHION PERFORMANCE Wik And Kugu Aurukun Art Centre 32 ART FAIR MAP 7O Message from the Indigenous Art Centre Alliance 34 SPONSORS & PARTNERS 73 Opposite: David Marpoondin, Big Ku’, 2O16, Acrylic & Binders on Milk Wood; Bevan Namponan, Black Ku’, 2O16, Acrylic & Binders on Milk Wood AUSTRALIA’S PREMIER INDIGENOUS ART FAIR 7 WELCOME WELCOME As Governor of Queensland and Patron of the Cairns Indigenous Art As Patron First Nations of the Cairns Indigenous Art Fair, and also on Fair, and acknowledging First Nations Patron, Henrietta Fourmile- behalf of the Gimuy Walubara Yidinji people, the traditional owners of Marrie, I welcome international and Australian visitors as well as Gimuy, now known as Cairns, of the land on which the seventh fair is the people of Far North Queensland who have loyally supported this taking place, I would like to welcome you all, locals and visitors to the unique celebration of culture and country since the very first Fair in region alike, to what has now become one of our region’s signature 2OO9. events. Most of all, I would like to extend a special welcome to and an The many collectors, curators, writers and critics who have travelled acknowledgement of our First Nations’ artists, many who are from here for this three-day art fair are vitally important. Their connections our regional communities throughout north Queensland and the His Excellency with the wider world give the participating artists (more than a Henrietta Torres Strait – the people who ultimately give CIAF its extraordinary hundred of them) a rare opportunity to tell their stories and sell their Fourmile-Marrie reputation as the country’s premier Indigenous art fair. To you all – the Honourable work. our visual artists who work in and explore many different media, our Paul de Jersey AC PATRON FIRST NATIONS fashion designers and models, our musicians and dancers, and all Visitors also play a key role in generating greater community interest CAIRNS INDIGENOUS our Indigenous entrepreneurs and business people who are also part GOVERNOR OF in and strengthening our understanding of Queensland’s rich and ART FAIR of the wider CIAF community and who participate in and support not QUEENSLAND, vibrant Aboriginal and Torres Strait Islander cultures. I trust that, only CIAF itself, but also its many satellite events. PATRON - CAIRNS like me, they will return to their homes as committed advocates It is extraordinary to think that every year since the inaugural event INDIGENOUS ART FAIR for the Fair, for the contributing artists and communities, and for at the Tanks Arts Centre in 2OO9 CIAF keeps raising the bar on the magnificent marine and rainforest environments of tropical its own and the Cairns community’s expectations to become the Queensland. quintessential celebration of Queensland’s Aboriginal and Torres On behalf of all Queenslanders, I congratulate the CIAF Board and Strait Islander cultures. Last year’s CIAF, making full use of both staff on bringing this latest art fair to fruition and thank the foundation sheds at the Cairns Cruise Liner Terminal, attracted record crowds of partners, the Queensland and federal governments, as well as more than 5O,OOO, the CIAF fashion performance was attended by a the many other sponsors and supporters at all levels who have sell-out capacity audience of 75O, and the art market attracted sales contributed so generously - their investment of financial and in kind of over $2OO,OOO – all new benchmarks. We can all hardly wait for Jana Jaral, this year’s CIAF 2O16 fashion performance! support, as well as time and effort, is vital not only to the continued success of the art fair, but to maintaining a strong economy and CIAF has earned a special place in the Cairns community. It is now sustaining a diverse and robust tourism industry in this region. deeply embedded in the cultural landscape of our city. It showcases what we, as First Nations’ peoples are capable of, it inspires all of us and provides opportunity paths for all our young people demonstrating the many possible careers available in the cultural sector. CIAF has become a profound source of pride to not only our Aboriginal and Torres Strait Islander artists and communities, but to our city and our region. An event that we can all participate in and celebrate together. I would also like to acknowledge the wonderful leadership of the CIAF board of directors, the CIAF team who put it all together, the support of our many sponsors and partners, the work and effort of our Indigenous arts organisations, UMI Arts and the Indigenous Art Centre Alliance, participating venues including the Cairns Regional Gallery, COCA, Canopy Art Centre, KickArts Contemporary Arts and the Tanks Arts Centre, and the support of the Cairns Regional Council, the Queensland Government and the Australia Council for the Arts. To you all – the artists, the gallery owners and curators, our communities, our visitors and international guests, bilan gudan Gimuy. 8 CAIRNS INDIGENOUS ART FAIR 2O16 AUSTRALIA’S PREMIER INDIGENOUS ART FAIR 9 WELCOME WELCOME Every year art enthusiasts from across Australia and the world visit Welcome to Tropical North Queensland for the Cairns Indigenous Art Far North Queensland to attend the Cairns Indigenous Art Fair, drawn Fair – a wonderful celebration of Queensland Aboriginal and Torres by the unique artwork of Queensland’s Aboriginal and Torres Strait Strait Islander culture.
Recommended publications
  • Yurunnhang Bungil Nyumba: Infusing Aboriginal Ways of Being Into Teaching Practice in Australia
    The University of Notre Dame Australia ResearchOnline@ND Theses 2020 Yurunnhang Bungil Nyumba: Infusing Aboriginal ways of being into teaching practice in Australia Lisa Buxton The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Education Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Buxton, L. (2020). Yurunnhang Bungil Nyumba: Infusing Aboriginal ways of being into teaching practice in Australia (Doctor of Education). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/248 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. Yurunnhang Bungil Nyumba: Infusing Aboriginal ways of being into teaching practice in Australia Lisa Maree Buxton MPhil, MA, GDip Secondary Ed, GDip Aboriginal Ed, BA. Submitted in partial fulfilment of the requirements for the Doctor of Education School of Education Sydney Campus January, 2020 Acknowledgement of Country Protocols The protocol for introducing oneself to other Indigenous people is to provide information about one’s cultural location, so that connection can be made on political, cultural and social grounds and relations established. (Moreton-Robinson, 2000, pp. xv) I would like firstly to acknowledge with respect Country itself, as a knowledge holder, and the ancients and ancestors of the country in which this study was conducted, Gadigal, Bidjigal and Dharawal of Eora Country.
    [Show full text]
  • Art of Engagement: Practice-Led Research Into Concepts of Urban Aboriginal Art and Heritage
    Art of Engagement: Practice-led research into concepts of urban Aboriginal art and heritage. Garry Charles Jones Submitted: July 2019 A thesis submitted for the degree of Doctor of Philosophy of the Australian National University Word Count: 39,600 © Copyright by Garry Charles Jones 2019 Statement of Originality To the best of my knowledge and belief, the exegesis contains no material previously published or written by another person except where due reference is made in the exegesis itself. 11 December 2019 _____________________________ Date: _________________________ Garry Charles Jones i Acknowledgements I would like to acknowledge the valuable support and assistance from my supervisors Alex Martinis Roe, Amanda Stuart, and Ian McLean, as well as previous supervisors Wendy Teakel, Paul Hay and Gordon Bull. More generally, I want to acknowledge the ANU School of Art and Design, and the many generous people I have encountered over the years. ii Abstract My practice-led research explores developments that have underpinned contemporary Aboriginal art within an urban Australian context, taking into consideration the social, cultural, and political influences from colonial times through to the present. This inquiry has three primary components: the emergence of an urban-based Aboriginal ontology, the colonial archive and its ambivalent role in Aboriginal cultural healing and contemporary cultural heritage, and an interrogation of the conceptual tension between ontological being and becoming in the context of Aboriginality today. I ask the question: What does it mean for me, disconnected from traditional material cultural practices, to “authenticate” my life and cultural identity, through reclaiming and replicating archival objects? These objects were created in the context of functional and/or ceremonial practice, under colonisation became objects of ethnographic curiosity and taxonomy, and are increasingly objects of contemporary art and contemporary cultural heritage.
    [Show full text]
  • History, Life and Times of Robert Anderson, Gheebelum, Ngugi, Mulgumpin
    ROBER T ANDERSON, GHEEBELUM, NGUGI, MULGUMPIN HIS T O R Y LIFE AND TIMES HISTORY LIFE AND TIMES of Robert Anderson, Gheebelum, Ngugi, Mulgumpin, is a community and personal history of an Aboriginal elder of the Quandamooka area. The life experiences of Aboriginal and Torres Strait Islander elders are varied and are many and access to their knowledge is essential to the process of continuing our traditions. HISTORY LIFE AND TIMES OF ROBERT ANDERSON GHEEBELUM, NGUGI, MULGUMPIN Community and personal history of a Ngugi Elder of Mulgumpin in Quandamooka, South East Queensland, Australia. Nations and people are largely the stories they feed themselves. If they tell themselves stories that are lies, they will suffer the future consequences of those lies. If they tell themselves stories that face their own truths, they will free their histories for future flowerings. Ben Okri, Birds of Heaven History Life and Times of Robert Anderson, Gheebelum, Ngugi, Mulgumpin First published in September, 2001 by Uniikup Productions Ltd. PO Box 3230, South Brisbane, Queensland 4101 Australia Design by Inkahoots, www.inkahoots.com.au Distributed by Uniikup Productions Ltd. © Robert V. Anderson 2001 This book is copyright. Apart from any fair dealing for the purposes of private study, research, criticism or review, as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Enquiries should be made to the publisher. This project has been assisted by: Community and Personal Histories Department of Aboriginal and Torres Strait Islander Policy, Queensland Government REF: 11507.3 23/6/97 Cataloguing-in-Publication Data: National Library of Australia Peacock, Eve Christine, 1951-.
    [Show full text]
  • Two Representative Tribes of Queensland with an Inquiry Concerning the Origin of the Australian Race
    f«G :REBREilSlllliE otIEKSeW'I•-:::••:•:;•••• .•• ••....:..,;.•.;.•;.;:•;.::;• %„^ ja.M:N:--M^rM:iW i9 .'^^^ THE LIBRARY , OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES E hart te fau— E toro te jaaro— E nau te taata." [/'H:x-UsJ-c^ to TWO REPRESENTATIVE TRIBES OF QUEENSLAND [A// Rights Reserved^ TWO REPRESENTATIVE TRIBES OF QUEENSLAND WITH AN IN^n{r CONCE%NING THE ORIGIN OF THE AUSTRALIAN %ACE BY JOHN MATHEW, M.A., B.D. AUTHOR OF "EAGLEHAWK AND CROW," "AUSTRALIAN ECHOES," ETC. WITH AN INTRODUCTION BY Prof. A. H. KEANE, LL.D., F.R.A.I., F.R.G.S. LATE VICE-PRESIDENT R. ANTHROP. INSTITUTE AUTHOR OF "ethnology," " MAN PAST AND PRESENT," "THE WORLD'S PEOPLES," ETC. AND A MAP AND UX ILLUSTRATIONS T. FISHER UNWIN LONDON • LEIPSIC Adelphi Terrace Inselstrasse 20 1910 DEDICATED TO J. H. MACFARLAND, Esq., M.A., LL.D., MASTER OF ORMOND COLLEGE, VICE-CHANCELLOR OF MELBOURNE UNIVERSITY, AND A MEMBER OF THE BOARD FOR THE PROTECTION OF THE ABORIGINES IN THE STATE OF VICTORIA, AS A MARK OF ESTEEM AND A TOKEN OF APPRECIATION OF HIS SERVICES TO THE CAUSE OF LEARNING. CONTENTS PACE CHAP. - Introduction - - - xi - Preface . - - xxi I. Inquiry concerning the Origin of the Australian Race 25 II. The Country of the Kabi and Wakka Tribes - - - - - <i) III. Physical and Mental Characters 72 — — —Clothing - IV. Daily Life Shelter Food ^ V. Man-Making and Other Ceremonies VI. Disease and Treatment—Death—Burial and Mourning 1 10 VII. Art — Implements — Utensils —Weapons —Corroborees VIII. Social Organisation IX. The Family—Kinship and Marriage X. Religion and Magic XI.
    [Show full text]
  • Strategic Plan 2017-2020
    STRATEGIC PLAN 2017-2020 Quandamooka Yoolooburrabee Aboriginal Corporation Through Native Title, a Glad Tomorrow QYAC ACKNOWLEDGEMENTS The Quandamooka Yoolooburrabee Aboriginal Corporation (QYAC) Registered Native Title Body Corporate (RNTBC) acknowledges that we operate and function on the lands of the Quandamooka Peoples. We pay our respect to these lands that provide for us. We acknowledge and pay respect to the ancestors that walked and managed these lands for many generations. We acknowledge our Elders who are our knowledge holders, teachers and pioneers. We acknowledge our youth who are our hope for a brighter future and who will be our future leaders. We acknowledge and pay our respect to our members who have gone before us and recognise their contribution to our people and community. 1 PREAMBLE We are the Quandamooka Peoples. We are Yoolooburrabee (people of the sand and sea). Our connection to our ancestral lands and waters remains unbroken. Our connection to Country binds our 12 families – to the land, the water, the sea, the air. Our Native Title determination on the 4th of July 2011 was built on the leadership of our ancestors and Elders – their wisdom and spirit continue to guide us. We acknowledge that Native Title is a significant way of recognising our rights to Country. Our Peoples continue to strive to further secure our rights and we honour their resolve. We hold a special place in our hearts for our historical Aboriginal families – we cherish their ongoing place in our community. We also welcome our mainstream neighbours and visitors to our Country. The QYAC Strategic Plan pays respect to our proud past and gives hope for our strong future: To our father’s father The pain, the sorrow To our children’s children The glad tomorrow - Oodgeroo Noonuccal 2 PREAMBLE 3 EXECUTIVE SUMMARY The Quandamooka Peoples are a First Nation In addition to this formal recognition, the of over 2000 traditional owners from Moreton Quandamooka Peoples entered into Indige- Bay, South East Queensland, Australia.
    [Show full text]
  • GUMURRII News
    GUMURRII News Issue 13 Acknowledgement of Country Griffith University acknowledges the people who are the traditional custodians of the land, pays respect to the Elders, past and present, and extends that respect to other Aboriginal and Torres Strait Islander peoples. Contents 3 Welcome 4 Message from the Deputy Vice Chancellor (Engagement) | Message from the Director 5 GUMURRII and First Peoples Health | Staff News 6 GUMURRII officer participates in Queen’s baton handover—John Graham 7 Commonwealth Games—Staff Involvement 8 Commonwealth Games—Student contribution 9 First Peoples Health Unit—CATSINaM Fellowship Award 10 Indigenous Research Unit 11 Community walks a pathway to Reconciliation 12 NAIDOC 2018 13 Community Participation 14 ‘Because of her, we can’ | Keeping language alive through song 15 Career Expos 2018 16 Campus News 22 MBA Alumnus—Gaala Watson 23 Career Trackers Internships & Awards 24 Griffith Indigenous STEM Experience Day 25 Griffith News—Alumni—Outstanding First Peoples Alumnus Awards 26 Griffith News—Alumni—Outstanding First Peoples Alumnus Awards 27 Supporting the Legacy Project 28 The Pearling Show 29 Useful Information—Direct Entry | Tutorial Assistance | Contact Details | Important date for 2019 1 2 Welcome GUMURRII is a dedicated student support unit for Aboriginal and Torres Strait Islander students, where our staff assist students from recruitment to graduation: providing undergraduate and postgraduate support, including tutorial assistance. Servicing on each of Griffith’s campuses, with officers who also assist online students studying through the digital campus, GUMURRII Student Support Unit offers a safe and culturally appropriate environment to enhance the student experience. GUMURRII logo Our logo symbolises the five campuses with the five traditional owners of the land and depict the career pathways to learning and development, joined by the red swirls to symbolise the students journey at Griffith University.
    [Show full text]
  • Walking My Path
    Walking My Path An Autoethnographic Study of Identity Davina B Woods Dip. of Teaching NBCAE, B. Ed QUT, Grad. Cert Aboriginal Studies UniSA, MA Monash, Grad. Cert. Ter. Ed. VU Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy College of Arts and Education Victoria University, Melbourne, Australia June 2018 1 | P a g e Abstract ‘Walking My Path: An Autoethnographic Study of Identity’ is a doctoral thesis written in first person narrative about my search for my ancestral country in Far North Queensland. Incorporating both physical walking on country and metaphorical walking of trauma trails (Atkinson 2002) the story of my matrilineal Grandfather’s childhood builds on Shirleen Robinson’s (2008) ‘Something like Slavery?’. Enabling me to explore First-Nations philosophical concepts, I explain how I practise this philosophy inside my First-Nations family and community in the 21st century. Embedding my research in Indigenous Standpoint Theory and gathering the data, using a methodological net that includes yarning and dadirri, I am honouring First-Nations peoples. Finding that much of the data was distressing I have developed Creative Healing Inquiry (CHI), a process that supports the rebalancing of an individual’s psyche. CHI also makes the thesis both intertextual and serves as a mechanism that acknowledges multiliteracies. The Cusp Generation, children born between the end of WWII (1945) and Australia’s withdrawal from Vietnam (1972), are the people I propose would benefit most from public pedagogy that tells of Australia’s history. With the release of the Australian Royal Commission into Aboriginal Deaths in Custody report in 1991 and the Human Rights and Equal Opportunity Commission’s Bringing Them Home report in 1997; my work makes shared history more relevant through its direct connection with actual people rather than abstract statistics.
    [Show full text]
  • A Camusian Ethic for Reconciliation: Forgiveness and Grief in Australia
    A Camusian Ethic for Reconciliation: Forgiveness and Grief in Australia, New Zealand and Rwanda Elese Bree Dowden Bachelor of Arts in Philosophy & Politics (Honours) (University of Auckland), Master of Arts in Philosophy (University of Auckland) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2018 School of Historical and Philosophical Inquiry Abstract Across the discipline of Albert Camus studies, there are few methods of inquiry dedicated to deriving an ethics from his writing. While most scholars focus on his fictional work, and some focus on the ethics contained within The Rebel, I choose in this thesis to focus on The Myth of Sisyphus. I develop a Camusian ethic for ethical restoration, opening a critical space of enquiry in which to consider mass atrocity and historical injustice. This work is grounded in feminist ethics and settler colonial studies alongside continental and political philosophy, and the research focuses particularly on the three contemporary contexts of Australia, New Zealand and Rwanda. I employ Iris Marion Young's work on justice and oppression to guide my theory, moving then to a consideration of colonialism by thinkers like Patrick Wolfe and Lorenzo Veracini. I also draw upon Maurice Merleau-Ponty and Jean-Paul Sartre to develop my own conception of the ethical systems in which intersubjectivity operates after ethical breakdown, relying further on Annette Baier's work on trust as mutual vulnerability.1 I approach the struggle towards reconciliation with a Sisyphean attitude, drawing parallels between the rebuilding of ethics and the impossibility of perfect justice with the story of Camus's Greek hero, who strives to push a boulder up a hill despite the futility of the task.
    [Show full text]
  • Educationk–12
    Aboriginal Education K–12 Berry Time by Maureen (Mindali) Wenzel, descendent of the Bundjalung Nation © 2010 Resource guide. Volume 2 Acknowledgments The Aboriginal education K-12 resource guide. Volume 2 has been developed by School Libraries, NSW Curriculum and Learning Innovation Centre, in consultation with Aboriginal Education and Training Directorate. The publication has been endorsed by the NSW Aboriginal Education Consultative Group Incorporated. The NSW Department of Education and Communities would like to acknowledge those state, regional and local Aboriginal Education Consultants and Assistants, and other educators, who contributed to this resource. Project Group Connie Ah See, Consultant Renette Burgess, Aboriginal Education and Training Directorate Elizabeth Chase, School Libraries, NSW Curriculum and Learning Innovation Centre Colleen Foley, School Libraries, NSW Curriculum and Learning Innovation Centre Gloria Provest, Aboriginal Education and Training Directorate Sally Rasaiah, School Libraries, NSW Curriculum and Learning Innovation Centre Raylene Saunders, Aboriginal Education and Training Directorate Cathy Sly, School Libraries, NSW Curriculum and Learning Innovation Centre Maureen (Mindali) Wenzel, Consultant Aboriginal Education, Western Sydney Region Thank you to Kim Johnston, for assistance with resources. Specialist reviewers for this project Information about reviewers can be found on page 175. Cover illustration Berry Time by Maureen (Mindali) Wenzel, descendent of the Bundjalung Nation © 2010. In traditional times, the ripening of bush berries signified a new season and bountiful harvest for the gatherers. Information and support Aboriginal Education and Training Directorate NSW Aboriginal Education Consultative Group Inc. For further information about the reviews see Scan reviews Contact Colleen Foley, Leader School Libraries and Information Literacy Phone (02) 9886 7488 Email [email protected] © NSW Department of Education and Communities, NSW Curriculum and Learning Innovation Centre.
    [Show full text]
  • (Indigenous Joint Management - Moreton Island) Amendment Bill 2020
    Nature Conservation and Other Legislation (Indigenous Joint Management - Moreton Island) Amendment Bill 2020 Report No. 5, 57th Parliament State Development and Regional Industries Committee March 2021 State Development and Regional Industries Committee Chair Mr Chris Whiting MP, Member for Bancroft Deputy Chair Mr Jim McDonald MP, Member for Lockyer Members Mr Michael Hart MP, Member for Burleigh Mr Robbie Katter MP, Member for Traeger Mr Jim Madden MP, Member for Ipswich West Mr Tom Smith MP, Member for Bundaberg Committee Secretariat Telephone +61 7 3553 6662 Fax +61 7 3553 6699 Email [email protected] Technical Scrutiny +61 7 3553 6601 Secretariat Committee webpage www.parliament.qld.gov.au/SDRIC Acknowledgements The committee acknowledges the Quandamooka People, Traditional Custodians of the lands, waters and seas referred to within this report. The committee acknowledges the Ngugi clan of Mulgumpin - ‘place of sandhills’ - and pays its respects to Elders past, present and emerging. Nature Conservation and Other Legislation (Indigenous Joint Management - Moreton Island) Amendment Bill 2020 Contents Abbreviations ii Chair’s foreword iii Recommendations iv 1 Introduction 1 1.1 Role of the committee 1 1.2 Inquiry process 1 1.3 Policy objectives of the Bill 2 1.4 Should the Bill be passed? 3 2 Examination of the Bill 4 2.1 Building understanding of native title and joint management arrangements 4 2.2 Improving consultation and transparency of information 5 2.3 Permit applications 7 2.4 Implementation and governance 8 2.5 Clarification of other matters 9 3 Compliance with the Legislative Standards Act 1992 10 3.1 Fundamental legislative principles 10 3.2 Explanatory notes 10 4 Compliance with the Human Rights Act 2019 11 Appendix A – Report No.
    [Show full text]
  • 0=AFRICAN Geosector
    2= AUSTRALASIA geosector Observatoire Linguistique Linguasphere Observatory page 175 25= CENDRAWASIH covers the "Cendrawasih" or "North Central New Guinea" Indonesia; Papua New Guinea 5 reference area, composed of sets not covered by any geozone phylozone or by the "Trans-New Guinea" hypothesis, within the wider reference area of the "Papuan" hypotheses; comprising 25 sets of languages (= 76 outer languages) spoken by communities in Australasia centered on Cendrawasih Bay & (Bird's Head) Peninsula, extending from the Halmahera Islands in the west to Central New Guinea in the east: 25-A TOBELO+ TERNATE 25-B MOI+KALABRA 25-C ABUN 25-D YACH+ BRAT 25-E MPUR 25-F BORAI+ HATAM 25-G MEAH+ MANTION 25-H AWERA+ SAPONI* 25-I YAWA+ TARAU 25-J TUNGGARE+ BAPU 25-K WAREMBORI 25-L PAUWI 25-M BURMESO 25-N MASSEP 25-O VANIMO+ WARAPU 25-P KWOMTARI+ FAS 25-Q BAIBAI+ NAI 25-R PYU 25-S YURI+ USARI 25-T YADE 25-U BUSA 25-V AMTO+ MUSAN 25-W AMA+ NIMO 25-X POROME+ KIBIRI 25-Y BIBASA* 25-A TOBELO+ TERNATE HALMAHERA-NORTH Latin script set 25-AA TOBELO+ SAHU chain 25-AAA TOBELO+ TUGUTIL net 25-AAA-a Tobelo Halmahera… Morotai islands; émigré > Raja Ampat islands Indonesia (Maluku); (Irian Jaya) 4 25-AAA-aa boëng Halmahera-N.… Morotai-N. islands; émigré > Raja Ampat islands Indonesia (Maluku); émigré> (Irian 4 Jaya) 25-AAA-ab heleworuru Halmahera-N. islands: Tobelo+ Wasile Indonesia (Maluku) 3 25-AAA-ac dodinga Halmahera-C. island: Pintatu Indonesia (Maluku) 3 25-AAA-b Tugutil+ Kusuri Halmahera-N.
    [Show full text]
  • Indigenous Fine Art in Far North Queensland
    ResearchOnline@JCU This file is part of the following reference: Neave, Coral (2013) Framing culture: Indigenous fine art in Far North Queensland. PhD thesis, James Cook University. Access to this file is available from: http://researchonline.jcu.edu.au/40585/ The author has certified to JCU that they have made a reasonable effort to gain permission and acknowledge the owner of any third party copyright material included in this document. If you believe that this is not the case, please contact [email protected] and quote http://researchonline.jcu.edu.au/40585/ Framing Culture: Indigenous Fine Art in Far North Queensland Submitted By Coral Neave B. A. (Hons), M. A. (Anthropology) Thesis submitted for the research degree of Doctor of Philosophy in the School of Arts and Social Sciences, Department of Anthropology, Archaeology and Sociology. James Cook University, Townsville, Queensland, Australia. November 2013 Statement of Sources Declaration I declare that this thesis is my own work and has not ben submitted in any form for any degree or diploma at any university or other institution of tertiary education. Information derived from the published or unpublished work of others has been acknowledged in the text and a list of references is given. ___________________________________ __________________________________ Coral Neave Date i Statement of Access I, the undersigned, author of this work, understand that James Cook University will make this thesis available for use within the University Library and, via the Digital Theses network, for use elsewhere. I understand that, as an unpublished work, a thesis has significant protection under the Copyright Act; and, I do not wish to place any further restriction on access to this work.
    [Show full text]