Teachers' Notes the Little Red, Yellow, Black Book
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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 -
SOLONEC Shared Lives on Nigena Country
Shared lives on Nigena country: A joint Biography of Katie and Frank Rodriguez, 1944-1994. Jacinta Solonec 20131828 M.A. Edith Cowan University, 2003., B.A. Edith Cowan University, 1994 This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities (Discipline – History) 2015 Abstract On the 8th of December 1946 Katie Fraser and Frank Rodriguez married in the Holy Rosary Catholic Church in Derby, Western Australia. They spent the next forty-eight years together, living in the West Kimberley and making a home for themselves on Nigena country. These are Katie’s ancestral homelands, far from Frank’s birthplace in Galicia, Spain. This thesis offers an investigation into the social history of a West Kimberley couple and their family, a couple the likes of whom are rarely represented in the history books, who arguably typify the historic multiculturalism of the Kimberley community. Katie and Frank were seemingly ordinary people, who like many others at the time were socially and politically marginalised due to Katie being Aboriginal and Frank being a migrant from a non-English speaking background. Moreover in many respects their shared life experiences encapsulate the history of the Kimberley, and the experiences of many of its people who have been marginalised from history. Their lives were shaped by their shared faith and Katie’s family connections to the Catholic mission at Beagle Bay, the different governmental policies which sought to assimilate them into an Australian way of life, as well as their experiences working in the pastoral industry. -
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. -
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. -
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. -
Draft Transcript UTS Zoom Event with Verity Firth and Bruce Pascoe
2012 National Disability Award winner Draft Transcript Draft Transcript UTS Zoom event with Verity Firth and Bruce Pascoe Friday, 29 May 2020 About This Document This document contains a draft transcript only. This draft transcript has been taken directly from the text of live captioning provided by The Captioning Studio and any errors spotted by the captioner have been corrected; however, it may still contain errors. The transcript may also contain ‘inaudibles’ if there were occasions when audio quality was compromised during the event. The Captioning Studio accepts no liability for any event or action resulting from this draft transcript. The draft transcript must not be published without The Captioning Studio’s written permission. DRAFT Transcript produced by The Captioning Studio W: captioningstudio.com T: (08) 8463 1639 Page 1 2012 National Disability Award winner Draft Transcript VERITY FIRTH: Hello, everyone. I'm just going to wait for our webinar to fill up a bit. I can see the participants rising. We've had a wonderful response to this conversation today with Bruce Pascoe, so I'm just watching you all come in from the waiting room and we'll start in a minute or two. This is fantastic. We're reaching almost 500 people now logged on. I will wait for another minute and then we'll start our conversation so we can kick off on time. Alright, I'm just sorting out my own picture here so I can see Bruce. Thank you, everybody. Thank you very much for joining us today for this special Reconciliation Week event. -
Bruce Pascoe and the First Dancing Grass Harvest In
_____________________________________________________________________________________________________________ 'Time to embrace history of country': Bruce Pascoe and the first dancing grass harvest in 200 years Writer’s farm in East Gippsland, Victoria, is producing native grains for flour and bread using traditional Aboriginal techniques by Lorena Allam and Isabella Moore Wed 13 May 2020 On the hill above Bruce Pascoe’s farm near Mallacoota in Victoria’s East Gippsland, there’s a sea of mandadyan nalluk. Translated from Yuin, the language of the country, it means “dancing grass”. Pascoe and his small team of coworkers have never done a harvest like this before. There’s so much grass that both sheds are full, and Pascoe says they are “racing against the clock to refine our methods so we can extract the seed and make the flour. We have got to get this done in two or three weeks before the seed completely drops.” The team had a ceremony for the the beginning of the harvest because they think it’s the first time in 200 years that mandadyan nalluk has been harvested for food. “And some of these people are descended from those who would have done the last harvest,” Pascoe says. “That’s what this farm is all about – trying to make sure that Aboriginal people are part of the resurgence in these grains, rather than being on the periphery and being dispossessed again.” They had intended to harvest a different, more promising crop of kangaroo grass but it was destroyed by the summer’s catastrophic bushfires. As a CFA volunteer, Pascoe spent weeks on the fire and recovery efforts. -
Bruce Pascoe's Earth, an Indigenous Ecological Allegory
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 AJE: Australasian Journal of Ecocriticism and Cultural Ecology, Vol. 4, 2014/2015 ASLEC-ANZ Learning to Read Country: Bruce Pascoe’s Earth, an Indigenous Ecological Allegory DAVID MICHAEL FONTEYN University of New South Wales In this paper I coin the term ‘Indigenous ecological allegory’ and argue that the 2001 novel, Earth, by the Indigenous Australian writer Bruce Pascoe (a Bunurong man) is an example. To come to this term, I first combine Maureen Quilligan’s outline of allegorical structure and function with post-colonial theories of allegory and the notion of interpolation. Similar to the way in which colonised characters interpolate the dominant discourses of the colonial culture in post-colonial allegory (in what I am calling ecological allegories) Nature, in personified form, interpolates the realist structure of the narrative. So, what I am calling an indigenous ecological allegory is one in which this personified Nature is based upon an Indigenous people’s worldview.1 Pascoe’s novel encodes such an indigenous worldview of nature in the word Country.2 Debbie Bird Rose explains the term Country: Country in Aboriginal English is not only a common noun but also a proper noun. People talk about country in the same way they would talk about a person: they speak to country, sing to country, visit country, worry about country, feel sorry for country, and long for country. People say that country knows, hears, smells, takes notice, takes care, is sorry or happy . -
Dark-Emu Studyguide.Pdf
BANGARRA DANCE THEATRE STUDY GUIDE FOR TEACHERS AND STUDENTS ACKNOWLEDGEMENT OF COUNTRY Bangarra Dance Theatre pays respect and acknowledges the traditional custodians of the land on which we meet, create, and perform. We also wish to acknowledge the Aboriginal and Torres Strait Islander peoples whose customs and cultures inspire our work. INDIGENOUS CULTURAL AND INTELLECTUAL PROPERTY (ICIP) Bangarra acknowledges the industry standards and protocols set by the Australia Council for the Arts Protocols for Working with Indigenous Artists (2007). Those protocols have been widely adopted in the Australian arts to respect ICIP and to develop practices and processes for working with Aboriginal and Torres Strait Islander people and cultural heritage. Bangarra incorporates ICIP into the very heart of our projects, from storytelling, to dance, to set design, language and music. © Bangarra Dance Theatre 2019 Last updated September 2019 WARNING Aboriginal and Torres Strait Islander people should be aware that this Study Guide contains names and images of, and quotes from, deceased persons. Photo Credits Front Cover: Bangarra ensemble, photo by Daniel Boud Back Cover: Yolanda Lowatta, photo by Daniel Boud 2 INTRODUCTION CONTENTS Inspired by Bruce Pascoe’s award-winning book of the same name, Dark Emu explores the vital life force 03 of flora and fauna in a series of dance stories. Directed Introduction by Stephen Page, Dark Emu is a dramatic and evocative dance response to the assault on land, people and spirit. We celebrate this sharing of knowledge, the heritage 04 of careful custodianship, and the beauty that Bruce Using this Study Guide Pascoe’s vision urges us to leave to the children. -
Aboriginal History and Identity
LIBRARY HOT TOPICS ABORIGINAL HISTORY AND IDENTITY The biggest estate on earth: how Dark emu: black seeds: Aborigines made Australia by Bill agriculture or accident? by Gammage. Crows Nest, NSW: Bruce Pascoe. [Tullamarine, Allen & Unwin, 2012. 305.89 GAM Victoria]: Bolinda Audio, [2017] CD 305.89 PAS “Across Australia, early Europeans commented again and again that the land Audiobook. Read by the author. 5 discs. looked like a park. With extensive grassy patches and pathways, open woodlands Growing up Aboriginal in and abundant wildlife, it evoked a country estate in England. Australia edited by Anita Heiss. Bill Gammage has discovered this was because Aboriginal people managed the land in a far more systematic and Carlton, Vic: Schwartz Publishing, scientific fashion than we have ever realised.” – Back cover. 2018. 305.89 GRO Constitutional recognition: First “Accounts from well-known authors and high- Peoples and the Australian settler profile identities sit alongside those from newly discovered writers of all ages. All of the state by Dylan Lino; foreword, contributors speak from the heart – Professor Megan Davis. Annandale, sometimes calling for empathy, oftentimes challenging NSW: The Federation Press, 2018. stereotypes, always demanding respect. This groundbreaking 305.89 LIN collection will enlighten, inspire and educate about the lives of Aboriginal people in Australia today.” – Publisher website. “With First Peoples continuing to press for the recognition of their sovereignty and peoplehood, this book will Hidden in plain view: the be a definitive reference point for scholars, advocates, policy- Aboriginal people of coastal makers and the interested public. Dr Dylan Lino, Constitutional Sydney by Paul Irish. -
Sovereignty-Catalogue.Pdf
Sovereignty Sovereignty 17 December 2016 – 26 March 2017 Curators: Paola Balla & Max Delany 2 3 Foreword Contents Arweet Carolyn Briggs Arweet Carolyn Briggs To be able to welcome people on Country at this Foreword 4 place is an honour, this Yalukit Willam place of the Boon Wurrung peoples. Welcome to country gives a sense of connection for all people that come Max Delany along with us. Sovereignty 7 If you come with integrity, you are respecting the sacred ground that this cultural space is located on, and will be honoured with respect. As an Elder, Paola Balla how we transmit knowledge is important, as are the Sovereignty: ways we create a platform for our youth, in a safe environment. Dance, story, images and song – all Inalienable and intimate 13 have a role to play in knowledge transmission, and can create such an impact. Tony Birch We have been creating art since the beginning of ‘Our red sands dug and sifted’: time. We are continuing an age-old practice; we all have a story, some stories are traumatic, so it is Sovereignty and the act of being 19 especially important to have the opportunity and freedom to celebrate culture for wellbeing. Art can be Kimberley Moulton a healing space, and an opportunity to awaken the world to the impacts upon us, locally and globally. Sovereign art and the colonial canon; It is very exciting to see Sovereignty take place at ACCA, seeing our artists acknowledged in a Are we lost until we are found? 27 contemporary context at a national level. -
C Cat Talo Ogu Ue
PACIF IC LINGUISTICS Catalogue February, 2013 Pacific Linguistics WWW Home Page: http://pacling.anu.edu.au/ Pacific Linguistics School of Culture, History and Language College of Asia and the Pacific THE AUSTRALIAN NATIONAL UNIVERSITY See last pagee for order form FOUNDING EDITOR: S.A. Wurm MANAGING EDITOR: Paul Sidwell [email protected] EDITORIAL BOARD: I Wayan Arka, Mark Donohue, Bethwyn Evan, Nicholas Evans, Gwendolyn Hyslop, David Nash, Bill Palmer, Andrew Pawley, Malcolm Ross, Paul Sidwell, Jane Simpson, and Darrell Tryon ADDRESS: Pacific Linguistics School of Culture, History and Language College of Asia and the Pacific The Australian National University Canberra ACT 0200 Australia Phone: +61 (02 6125 2742 E-mail: [email protected] Home page: http://www.pacling.anu.edu.au// 1 2 Pacific Linguistics Pacific Linguistics Books Online http://www.pacling.anu.edu.au/ Austoasiatic Studies: PL E-8 Papers from ICAAL4: Mon-Khmer Studies Journal, Special Issue No. 2 Edited by Sophana Srichampa & Paul Sidwell This is the first of two volumes of papers from the forth International Conference on Austroasiatic Linguistics (ICAAL4), which was held at the Research Institute for Language and Culture of Asia, Salaya campus of Mahidol University (Thailand) 29-30 October 2009. Participants were invited to present talks related the meeting theme of ‘An Austroasiatic Family Reunion’, and some 70 papers were read over the two days of the meeting. Participants came from a wide range of Asian countries including Thailand, Malaysia, Vietnam, Laos, Myanmar, India, Bangladesh, Nepal, Singapore and China, as well as western nations. Published by: SIL International, Dallas, USA Mahidol University at Salaya, Thailand / Pacific Linguistics, Canberra, Australia ISBN 9780858836419 PL E-7 SEALS XIV Volume 2 Papers from the 14th annual meeting of the Southeast Asian Linguistics Society 2004 Edited by Wilaiwan Khanittanan and Paul Sidwell The Fourteenth Annual Meeting of the Southeast Asian Linguistics Society was held in Bangkok , Thailand , May 19-21, 2004.