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The Gunditjmara Land Justice Story Jessica K Weir
The legal outcomes the Gunditjmara achieved in the 1980s are often overlooked in the history of land rights and native title in Australia. The High Court Onus v Alcoa case and the subsequent settlement negotiated with the State of Victoria, sit alongside other well known bench marks in our land rights history, including the Gurindji strike (also known as the Wave Hill Walk-Off) and land claim that led to the development of land rights legislation in the Northern Territory. This publication links the experiences in the 1980s with the Gunditjmara’s present day recognition of native title, and considers the possibilities and limitations of native title within the broader context of land justice. The Gunditjmara Land Justice Story JESSICA K WEIR Euphemia Day, Johnny Lovett and Amy Williams filming at Cape Jessica Weir together at the native title Bridgewater consent determination Amy Williams is an aspiring young Jessica Weir is a human geographer Indigenous film maker and the focused on ecological and social communications officer for the issues in Australia, particularly water, NTRU. Amy has recently graduated country and ecological life. Jessica with her Advanced Diploma of completed this project as part of her Media Production, and is developing Research Fellowship in the Native Title and maintaining communication Research Unit (NTRU) at the Australian strategies for the NTRU. Institute of Aboriginal and Torres Strait Islander Studies. The Gunditjmara Land Justice Story JESSICA K WEIR First published in 2009 by the Native Title Research Unit, the Australian Institute of Aboriginal and Torres Strait Islander Studies GPO Box 553 Canberra ACT 2601 Tel: (61 2) 6246 1111 Fax: (61 2) 6249 7714 Email: [email protected] Web: www.aiatsis.gov.au/ Written by Jessica K Weir Copyright © Australian Institute of Aboriginal and Torres Strait Islander Studies The views expressed in this publication are those of the authors and not necessarily those of the Australian Institute of Aboriginal and Torres Strait Islander Studies. -
Re-Awakening Languages: Theory and Practice in the Revitalisation Of
RE-AWAKENING LANGUAGES Theory and practice in the revitalisation of Australia’s Indigenous languages Edited by John Hobson, Kevin Lowe, Susan Poetsch and Michael Walsh Copyright Published 2010 by Sydney University Press SYDNEY UNIVERSITY PRESS University of Sydney Library sydney.edu.au/sup © John Hobson, Kevin Lowe, Susan Poetsch & Michael Walsh 2010 © Individual contributors 2010 © Sydney University Press 2010 Reproduction and Communication for other purposes Except as permitted under the Act, no part of this edition may be reproduced, stored in a retrieval system, or communicated in any form or by any means without prior written permission. All requests for reproduction or communication should be made to Sydney University Press at the address below: Sydney University Press Fisher Library F03 University of Sydney NSW 2006 AUSTRALIA Email: [email protected] Readers are advised that protocols can exist in Indigenous Australian communities against speaking names and displaying images of the deceased. Please check with local Indigenous Elders before using this publication in their communities. National Library of Australia Cataloguing-in-Publication entry Title: Re-awakening languages: theory and practice in the revitalisation of Australia’s Indigenous languages / edited by John Hobson … [et al.] ISBN: 9781920899554 (pbk.) Notes: Includes bibliographical references and index. Subjects: Aboriginal Australians--Languages--Revival. Australian languages--Social aspects. Language obsolescence--Australia. Language revival--Australia. iv Copyright Language planning--Australia. Other Authors/Contributors: Hobson, John Robert, 1958- Lowe, Kevin Connolly, 1952- Poetsch, Susan Patricia, 1966- Walsh, Michael James, 1948- Dewey Number: 499.15 Cover image: ‘Wiradjuri Water Symbols 1’, drawing by Lynette Riley. Water symbols represent a foundation requirement for all to be sustainable in their environment. -
VIBE ACTIVITIES Issueyears 186 3-4
Years 3-4 Y E A R Name: 3-4 VIBE ACTIVITIES IssueYears 186 3-4 The 2012 Deadlys – Female Artist of the Year page 7 JESS BECK JESSICA MAUBOY FEMALE ARTIST Originally hailing from Mingbool (near Mt Jessica Mauboy first graced Australian Gambier, SA), Jess drifted into singing while television as a shy 16 year old on studying acting at Adelaide University, Australian Idol in 2006. She was runner- OF THE YEAR but she admits music was always her first up that season, but was subsequently love. Jess wanted to be a performer from signed to Sony Music Australia. In an early age. While studying a Bachelor of February 2007 she released her debut Rainmakers with Neil Murray, founder of Creative Arts (Acting) at Flinders University, LP, The Journey, and in 2008, recorded the Warumpi Band. Following her recording Adelaide, she developed an interest in jazz her album Been Waiting which achieved debut on the Paul Kelly single Last Train, and cabaret. She auditioned for a band, double platinum sales, garnered seven Anu’s debut album Stylin’ Up produced which later became the Jess Beck Quartet. ARIA award nominations and produced numerous hit singles including Monkey Jess released her debut album Hometown her first number-one single Burn, as well and the Turtle, Party, Wanem Time and the Dress earlier this year. It is a combination as the album’s other top-10 hits, Because beautiful My Island Home, the song that of jazz, folk and Indie pop. Since then, she and Running Back. In 2010 she released was to become her signature tune. -
Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism
JOURNAL OF RESEARCH ONLINE MusicA JOURNAL OF THE MUSIC COUNCIL OF AUSTRALIA Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism Introduction KATELYN BARNEY was in The University of Queensland library talking to one of the librarians, James, about my PhD research. He asked, ‘So, what are you researching again?’ and I replied, ‘Well, I’m working with Indigenous Australian1 women ■ Aboriginal and Torres Strait Iwho perform contemporary music, you know, popular music singers’. James Islander Studies Unit looked confused, ‘Oh, so are you going to interview that guy from the band The University of Queensland 2 Yothu Yindi ?’ This was not the first time I had been asked this and inwardly I Brisbane sighed and replied, ‘No, I’m just focusing my research on Indigenous Australian QLD 4072 women’. Streit-Warburton’s words immediately reverberated in my mind: ‘Ask Australia an Australian to name an Aboriginal singer and there is a fair chance that the answer will be Yothu Yindi’s Mandawuy Yunupingu. Ask again for the name of an Aboriginal woman singer and there is an overwhelming chance that the answer will be Deafening Silence. Deafening Silence is not the name of a singer; it is the pervasive response to most questions about Aboriginal women.’ (1993: 86). As Email: [email protected] I looked at James, I wondered if anything had really changed in more than 10 years. The account above highlights how Indigenous Australian women performers continue to be silenced in discussions and discourses about Indigenous Australian 3 www.jmro.org.au performance. -
Media Kit Emma Donovan & the Putbacks
MEDIA KIT EMMA DONOVAN & THE PUTBACKS CHEVRON LIGHTHOUSE SUN 9 FEB TICKETS: $39 Click here for images EMMA DONOVAN AND THE PUTBACKS Acclaimed Indigenous vocalist Emma Donovan and Melbourne rhythm combo The Putbacks burst on to the Australian scene with their album Dawn in 2015, announcing a new voice in Australian soul music. Emma’s songwriting is optimistic, impassioned, and bruisingly honest, The Putbacks’ music is fluid, live and raw, and the collaboration has won friends and admirers all over the world. The project was born of Emma and the band’s shared love for classic US soul and the protest music of Indigenous Australia. Shades of every soul record you ever liked sneak through: Al Green’s Hi Recordsera? Check. Aretha’s Classic Atlantic recordings? Check. Stacks of Stax? Check. It’s all there, but there’s also a whole lot of Coloured Stone and Warumpi Band influences giving this project a uniquely Australian slant. Emma grew up singing church songs with her grandparents on the North coast of New South Wales and her first secular gigs were singing in the family band, The Donovans, with her mother and five uncles. Throughout her career, she has toured and recorded with many of the mainstays of Indigenous music from Archie Roach to Dan Sultan and was a leader of the Black Arm Band project. It was in The Black Arm Band that Emma met members of The Putbacks and their journey together began. The Putbacks are stone cold pros, grizzled veterans of all the tours and all the studios. As individuals, they’re the players behind so many bands it’s difficult to list, but let’s start with Hiatus Kaiyote, The Bombay Royale, D.D Dumbo, Swooping Duck and The Meltdown. -
Womadelaide 1992 – 2016 Artists Listed by Year/Festival
WOMADELAIDE 1992 – 2016 ARTISTS LISTED BY YEAR/FESTIVAL 2016 47SOUL (Palestine/Syria/Jordan) Ainslie Wills (Australia) Ajak Kwai (Sudan/Australia) All Our Exes Live in Texas (Australia) Alpine (Australia) Alsarah & the Nubatones (Sudan/USA) Angelique Kidjo (Benin) & the Adelaide Symphony Orchestra (Australia) APY Choir (Australia) Asha Bhosle (India) Asian Dub Foundation (UK) Australian Dance Theatre “The Beginning of Nature” (Australia) Calexico (USA) Cedric Burnside Project (USA) DakhaBrakha (Ukraine) Datakae – Electrolounge (Australia) De La Soul (USA) Debashish Bhattacharya (India) Diego el Cigala (Spain) Djuki Mala (Australia) Edmar Castañeda Trio (Colombia/USA) Eska (UK) – one show with Adelaide [big] String Ester Rada (Ethiopia/Israel) Hazmat Modine (USA) Husky (Australia) Ibeyi (Cuba/France) John Grant (USA) Kev Carmody (Australia) Ladysmith Black Mambazo (South Africa) Mahsa & Marjan Vahdat (Iran) Marcellus Pittman - DJ (USA) Marlon Williams & the Yarra Benders (NZ/Australia) Miles Cleret - DJ (UK) Mojo Juju (Australia) Mortisville vs The Chief – Electrolounge (Australia) Mountain Mocha Kilimanjaro (Japan) NO ZU (Australia) Orange Blossom (France/Egypt) Osunlade - DJ (USA) Problems - Electrolounge (Australia) Quarter Street (Australia) Radical Son (Tonga/Australia) Ripley (Australia) Sadar Bahar - DJ (USA) Sampa the Great (Zambia/Australia) Sarah Blasko (Australia) Savina Yannatou & Primavera en Salonico (Greece) Seun Kuti & Egypt 80 (Nigeria) Songhoy Blues (Mali) Spiro (UK) St Germain (France) Surahn (Australia) Tek Tek Ensemble -
The Black Arm Band Hidden Republic
BIOGRAPHIES David Arden Sally Dastey Bevan Gabanbulu Ruby Hunter Rachael Maza Long Steven Richardson NEW AUSTRALIAN WORK Artist, Repertoire Adviser Artist (Gapanbulu Yunupingu) Artist Artist, Stage Direction, Spoken Word Script Conception, Direction World Artist Premiere David Arden has worked with many Aboriginal As one-third of Tiddas, Sally Dastey released Ruby Hunter is an Aboriginal woman of the Originally from the Torres Strait Islands, Rachael Steven Richardson has broad experience in the artists, from Hard Time Band and Koori Youth two acclaimed albums and four singles with Gapanbulu Yunupingu (Bevan Gabanbulu’s Ngarrindjeri clan of South Australia and was the Maza Long comes from a family of actors that arts spanning 20 years in a variety of artistic, Band to Bart Willoughby and Mixed Relations. accompanying videos, and was awarded an ARIA stage name) is the grandson of Yothu Yindi lead first Aboriginal woman to record her own album. spans three generations. A graduate of the producing and programming roles. He holds a As a guitarist with Archie Roach, he has toured Award. She launched her solo career with Secrets singer Mandawuy Yunupingu, and current yidaki She has recorded two albums, Thoughts Within Western Australian Academy of Performing Arts, Fine Arts degree in visual arts and also studied extensively both nationally and internationally. To Keep (2002) and has performed at numerous (didjeridu) player with Yothu Yindi. Gapanbulu and Feeling Good, and has toured extensively in she has had an impressive career in theatre, film, contemporary dance at Victorian College of the He has also written and performed songs for festivals while working on a range of projects Yunupingu has performed everywhere from Australia and overseas. -
Parks Victoria Annual Report 2002-03
2002/03 Annual Report Acknowledgement of Country and Indigenous Traditional Owners Parks Victoria respectfully acknowledges the original custodians of what is now known as Victoria; their rich culture, deep affinity with the land and spiritual connection to it. Parks Victoria is committed to establishing strong relationships and partnerships with the descendants of the original custodians to facilitate their active involvement in the future management of protected areas in Victoria. Vision An outstanding park and waterway system, protected and enhanced, for people, forever. Purpose We exist to: - conserve, protect and enhance environmental and cultural assets -responsibly meet the needs of our customers for quality information, services and experiences -provide excellence and innovation in park management - contribute to the social and economic well-being of Victorians. ISSN 1448 – 9090 Also published on www.parkweb.vic.gov.au Copyright © Parks Victoria 2003, this publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. General Disclaimer This document may be of assistance to you, but Parks Victoria and its employees do not guarantee that the information it contains is without flaw of any kind or is wholly appropriate for your particular purposes and therefore disclaims all liability for any error, loss or other consequence which may arise from you relying on any information in this document. Photographs Photographs from the Parks Victoria and Department of Sustainability and Environment collection except where noted. Cover: Leather Kelp by William Boyle, Alfred Nicholas Gardens, Lookout at You Yangs Regional Park. Inside cover: Ironbark woodland at St Arnaud Range National Park by Peter Kinchington. -
Traditional Owner Objectives and Outcomes
Traditional Owner objectives and outcomes: Compilation of contributions to Victoria’s water resource plans Photos Cover: Mirring – Country, DELWPs Aboriginal Cultural Identity Artwork credit: Tom Day of the Gunditjmara, Yorta Yorta and Wemba Wemba tribes. Acknowledgment We acknowledge and respect Victorian Traditional Owners as the original custodians of Victoria's land and waters, their unique ability to care for Country and deep spiritual connection to it. We honour Elders past and present whose knowledge and wisdom has ensured the continuation of culture and traditional practices. We are committed to genuinely partner, and meaningfully engage, with Victoria's Traditional Owners and Aboriginal communities to support the protection of Country, the maintenance of spiritual and cultural practices and their broader aspirations in the 21st century and beyond. © The State of Victoria Department of Environment, Land, Water and Planning 2019 This work is licensed under a Creative Commons Attribution 4.0 International licence. You are free to re-use the work under that licence, on the condition that you credit the State of Victoria as author. The licence does not apply to any images, photographs or branding, including the Victorian Coat of Arms, the Victorian Government logo and the Department of Environment, Land, Water and Planning (DELWP) logo. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/ Disclaimer This publication may be of assistance to you but the State of Victoria and its employees do not guarantee that the publication is without flaw of any kind or is wholly appropriate for your particular purposes and therefore disclaims all liability for any error, loss or other consequence which may arise from you relying on any information in this publication. -
Aboriginal Affairs Victoria the Victorian Government Indigenous
Aboriginal Affairs Victoria The Victorian Government Indigenous Affairs Report July 2004 – June 2005 Figure 1: Front cover artwork Cover: “Walk With Me” Aunty Valda Cook, Wurundjeri/BoonurongReproduced courtesy of the artist. “The words on the painting says it all, however you will note that in the top left hand corner this area depicts an elders meeting council, you will also see the Sun rising from the east of Victoria as it goes over the bay and into the central Australia.” This publication is copyright. Apart from any fair dealing for the purposes of private study, research, criticism or review as permitted under the Copyright Act 1968, no part may be reproduced, copied, transmitted in any form or by any means (electronic, mechanical or graphic) without the prior written permission of the State of Victoria, Department for Victorian Communities. All requests and enquiries should be directed to the Copyright Officer, Department for Victorian Communities, 1 Spring Street, Melbourne, Victoria 3001. General Disclaimer: This publication may be of assistance to you but the State of Victoria and its employees do not guarantee that the publication is without flaw of any kind or is wholly appropriate for your particular purposes and therefore disclaims all liability for any error, loss or other consequence which may arise from you relying on any information in this publication. Foreword I am pleased to present the Victorian Government Indigenous Affairs Report: July 2004–June 2005. This report provides information on key initiatives in Indigenous affairs over the past year, a highlight of which was the amendment to Victoria’s Constitution recognising Aboriginal people’s unbroken connection to the land which became the colony of Victoria. -
See Also Kriol
Index A 125, 127, 133–34, 138, 140, 158–59, 162–66, 168, 171, 193, Aboriginal and Torres Strait Islander 214, 218, 265, 283, 429. Commission (ATSIC) 107, 403, case studies 158 405 Dharug 182, 186–87 Training Policy Statement 2004–06 Miriwoong 149 170 Ngarrindjeri 396 Aboriginal Education Consultative Group Wergaia 247 (AECG) xiii, xviii, 69, 178, 195, Wiradjuri 159, 214, 216–18, 222–23 205 adverbs 333, 409, 411 Dubbo 222 Alphabetic principle 283–84 Aboriginal Education Officers (AEOs) Anaiwan (language) 171 189, 200, 211, 257 Certificate I qualification 171 Aboriginal English xix, 6, 9, 15–16, 76, Anangu Pitjantjatjara Yankunytjatjara 91, 147, 293, 303, 364, 373, 383. (APY) 86. See also Pitjantjatjara See also Kriol (language) Aboriginal Land Rights [Northern Territory] Arabana (language) 30 Act 228, 367 language program 30 Aboriginal Languages of Victoria Re- See source Portal (ALV-RP) 310, 315, archival records. language source 317, 320 materials portal architecture 317–319 Arrernte (language) 84–85 Victorian Word Finder 316 Arwarbukarl Cultural Resource Associa- See also Aboriginal Languages Summer School tion (ACRA) 359. Miro- 108, 218 maa Language Program Aboriginal Resource Development Ser- Aboriginal training agency 359 vices (ARDS) xxix workshops 359 absolutive case 379 Audacity sound editing software 334, accusative case 379 393 adjectives audio recordings 29–30, 32, 56, 94, 96, Gamilaraay 409, 411 104, 109–11, 115–16, 121, 123– Ngemba 46 26, 128, 148, 175, 243–44, 309, Wiradjuri 333 316, 327–28, 331–32, 334–35, Yuwaalaraay 411 340, 353, 357–59, 368, 375, 388, See also Adnyamathanha (language) 57 403, 405, 408, 422. -
Clarke on Behalf of the Wotjobaluk, Jaadwa, Jadawadjali, Wergaia and Jupagulk Peoples V Victoria [2005] FCA 1795 Merkel J, 13 December 2005
Determination of native title – Victoria Clarke on behalf of the Wotjobaluk, Jaadwa, Jadawadjali, Wergaia and Jupagulk Peoples v Victoria [2005] FCA 1795 Merkel J, 13 December 2005 Issue The issue before the Federal Court was whether to make orders as agreed by the parties pursuant to s. 87 of the Native Title Act 1993 (Cwlth) (NTA) over an area of land and waters in Western Victoria. The significance of this was that that, if made, the orders would constitute the first determination, whether by consent or otherwise, made recognising the existence of native title in Victoria. Background The orders sought in this case would finalise three claimant applications, the first of which was made in 1995. The orders sought included: • a determination recognising the existence of native title over part of the area covered by one of the applications; and • a determination that native title did not exist over the remainder of the area covered by the applications. Court's power to make orders—s. 87 Pursuant to s. 87, if the parties reach agreement on the terms of an order, the court may make the order without holding a hearing. In this case, the pre-conditions to making an order under s. 87 were satisfied in that: • the terms of the agreement were in writing, signed by or on behalf of the parties and filed in the court; • an order in the terms agreed upon was within the court's power - it had jurisdiction and there was nothing in the terms of the orders, which reflected s. 225, to suggest it did not have power; • it was ‘appropriate’ to make the orders because ‘the terms of the orders were clear and unambiguous and ..