Reclamation and Repair 10—11
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ON TAUNGURUNG LAND SHARING HISTORY and CULTURE Aboriginal History Incorporated Aboriginal History Inc
ON TAUNGURUNG LAND SHARING HISTORY AND CULTURE Aboriginal History Incorporated Aboriginal History Inc. is a part of the Australian Centre for Indigenous History, Research School of Social Sciences, The Australian National University, and gratefully acknowledges the support of the School of History and the National Centre for Indigenous Studies, The Australian National University. Aboriginal History Inc. is administered by an Editorial Board which is responsible for all unsigned material. Views and opinions expressed by the author are not necessarily shared by Board members. Contacting Aboriginal History All correspondence should be addressed to the Editors, Aboriginal History Inc., ACIH, School of History, RSSS, 9 Fellows Road (Coombs Building), The Australian National University, Acton, ACT, 2601, or [email protected]. WARNING: Readers are notified that this publication may contain names or images of deceased persons. ON TAUNGURUNG LAND SHARING HISTORY AND CULTURE UNCLE ROY PATTERSON AND JENNIFER JONES Published by ANU Press and Aboriginal History Inc. The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (print): 9781760464066 ISBN (online): 9781760464073 WorldCat (print): 1224453432 WorldCat (online): 1224452874 DOI: 10.22459/OTL.2020 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design and layout by ANU Press Cover photograph: Patterson family photograph, circa 1904 This edition © 2020 ANU Press and Aboriginal History Inc. Contents Acknowledgements ....................................... vii Note on terminology ......................................ix Preface .................................................xi Introduction: Meeting and working with Uncle Roy ..............1 Part 1: Sharing Taungurung history 1. -
Fighting Extinction Challenge Teacher Answers Middle Years 9-10
Fighting Extinction Challenge Teacher Answers Middle Years 9-10 Wurundjeri Investigation We are all custodians of the land, just as the Wurundjeri have been for thousands of years. During your independent investigation around the Sanctuary look for ways that the Wurundjeri people lived on country and record these observations in the box below. Look (what you saw) Hear (what you heard) I wonder… (questions to ask an expert or investigate back at school ) Bunjil Soundscapes Waa Information from education Mindi officers Signs about plant uses Dreaming stories at feature shows Signs about animal dreaming Information about Wurundjeri stories Seasons Sculptures Didjeridoo Scar Tree Bark Canoe Gunyah Information about Coranderrk William Barak sculpture Information about William Barak Artefacts (eg eel trap, marngrook, possum skin cloak) 1. Identify and explain how did indigenous people impact upon their environment? Indigenous people changed the landscape using fire stick farming which also assisted hunting Aboriginal people used their knowledge of the seasons to optimise hunting, gathering, eel farming and more Aboriginal people used organic local materials to create tools to assist them with hunting and gathering their food i.e. eel traps, woven grass baskets, rock fish traps etc. They only ever took what they needed from the land and had a deep respect and spiritual connection to the land and their surroundings. 2. How are humans impacting on natural resources in today’s society? How does this affect wildlife? When the land is disrespected, damaged or destroyed, this can have real impact on the wellbeing of people, plants and animals. European settlers and modern day humans have caused land degradation by: •Introducing poor farming practices causing land degradation •Introducing noxious weeds •Changing water flow courses and draining wetlands •Introducing feral animals •Destroying habitat through urbanization, logging and farming practices 3. -
Corroboree Moderne
Corrected draft May 2004 CORROBOREE MODERNE ----------------------------------------------------------------------------------------------------------------------------------------------- Dressed in a brown wool bodystocking specially made by Jantzen and brown face paint, an American dancer, Beth Dean played the young boy initiate in the ballet CORROBOREE at a Gala performance before Queen Elizabeth 11 and Prince Phillip on Feb 4 1954 . “On stage she seems to exude some of the primitive passion of the savage whose rites she presents” (1a) “If appropriations do have a general character, it is surely that of unstable duality. In some proportion, they always combine taking and acknowledgment, appropriation and homage, a critique of colonial exclusions, and collusion in imbalanced exchange. What the problem demands is therefore not an endorsement or rejection of primitivism in principle, but an exploration of how particular works were motivated and assessed.” (1) CORROBOREE "announced its modernity as loudly as its Australian origins…all around the world" (2) 1: (BE ABORIGINAL !) (3) - DANCE A CORROBOREE! The 1950s in the Northern Territory represents simultaneously the high point of corroboree and its vanishing point. At the very moment one of the most significant cultural exchanges of the decade was registered in Australian Society at large, the term corroboree became increasingly so associated with kitsch and the inauthentic it was erased as a useful descriptor, only to be reclaimed almost fifty years later. Corroboree became the bastard notion par excellence imbued with “in- authenticity.” It was such a popularly known term, that it stood as a generic brand for anything dinky-di Australian. (4) Corroboree came to be read as code for tourist trash culture corrupted by white man influence. -
Innovate Reconciliation Action Plan May 2018 – May 2020 About the Artist
Innovate Reconciliation Action Plan May 2018 – May 2020 About the artist Corrina Eccles Cover artwork Wadawurrung Woman / Wathaurong Community Ngubitj Murrup (Water spirit) I am a direct descendant of Queen Mary Robinson. I am The three main colours of our traditional paint Paapul the granddaughter of Aunty Joyce Eccles. My grandmother (ochre) has been used. Ochre is a traditional paint that is 94 years of age. She is the eldest living Elder of the reflects Aboriginal culture through ceremonies and Wadawurrung people. I have a granddaughter and we have art. It is spiritually and culturally significant. five generations living on Wadawurrung country. My Nan’s connection to spirit and culture connected me to the The Paapul is connected to water, it is from special Wathaurong community at a young age. My journey and places on Wadawurrung country. The feather represents connection continued with being guided by strong Elders our Creation spirit Bunjil. The handprints symbolise and respected men and women in the community. I have our ancestors’ connection to Country and caring for an enormous spiritual passion for better outcomes for our country. The gathering dots are our water places. people and to be part of a strong connected Aboriginal community. ‘We are one and we are many’. Art is a personal The artwork showcased in this document is two parts of a five piece artwork displayed at the Barwon Water connection I have with my culture and gives me the Head Office, titled;Paapul Ngubitj - Wadawurrung opportunity to embrace my identity. (Connection to ochre and water). Artwork © Corrina Eccles, Ngubitj Murrup (Water spirit) 2018 Wadawurrung Woman/Wathaurong Community Indigenous Arts Management by Dreamtime Art Managing Director statement On behalf of Barwon Water, I am proud to present our Innovate Reconciliation Action Plan (RAP) for May 2018 - May 2020. -
Aboriginal Astronomy
Teacher Resource Episode 29 25th October 2016 Aboriginal Astronomy 1. Briefly summarise the Aboriginal Astronomy story. 2. Most people think that Stonehenge was a prehistoric planetarium used to observe and map the stars. True or false? Students will develop a deeper 3. About how old do they think Stonehenge is? understanding of Aboriginal 4. In which state is the Wurdi Youang stone arrangement and how old astronomy and Dreaming stories do scientists think the site may be? about them. 5. What is a constellation? 6. The Yolngu people know the saucepan as… 7. What does it tell the story of? 8. Describe the Emu in the Sky constellation. 9. How did Indigenous people use the sky as a calendar? Science – Year 3 10. What constellations do you know? Share what you know with Science involves making another student. predictions and describing patterns and relationships (ACSHE050) Science – Year 7 Scientific knowledge has changed peoples’ understanding of the After watching the BtN story, respond to the following questions: world and is refined as new evidence becomes available (ACSHE119) What did you SEE in this video? Predictable phenomena on Earth, What do you THINK about what you saw in this video? including seasons and eclipses, What does this video make your WONDER? are caused by the relative positions of the sun, Earth and the What did you LEARN from this story? moon (ACSSU115) How did this story make you FEEL? What was SURPRISING about this story? Class discussion Begin with a discussion about what students know about astronomy. Clarify their understanding or terms such as astronomy, astronomer and constellation. -
The Boomerang Effect. the Aboriginal Arts of Australia 19 May - 7 January 2018 Preview 18 May 2017 at 6Pm
MEG Musée d’ethnographie de Genève Press 4 may 2017 The Boomerang Effect. The Aboriginal Arts of Australia 19 May - 7 January 2018 Preview 18 May 2017 at 6pm White walls, neon writing, clean lines: the MEG’s new exhibition «The Boomerang Effect. The Aboriginal Arts of Australia» welcomes its visitors in a space evocative of a contemporary art gallery. Here the MEG unveils one of its finest collections and reveals the wealth of indigenous Australia's cultural heritage. Visiting this exhibition, we understand how attempts to suppress Aboriginal culture since the 18th century have ended up having the opposite of their desired effect. When James Cook landed in Australia, in 1770, he declared the country to be «no one’s land» (terra nullius), as he recognized no state authority there. This justified the island's colonization and the limitless spoliation of its inhabitants, a medley of peoples who had lived there for 60,000 years, societies which up until today have maintained a visible and invisible link with the land through a vision of the world known as the Dreaming or Dreamtime. These mythological tales recount the creation of the universe as well as the balanced and harmonious relation between all the beings inhabiting it. It is told that, in ancestral times, the Djan’kawu sisters peopled the land by naming the beings and places and then lying down near the roots of a pandanus tree to give birth to sacred objects. It is related that the Dätiwuy clan and its land was made by a shark called Mäna. -
3 Researchers and Coranderrk
3 Researchers and Coranderrk Coranderrk was an important focus of research for anthropologists, archaeologists, naturalists, historians and others with an interest in Australian Aboriginal people. Lydon (2005: 170) describes researchers treating Coranderrk as ‘a kind of ethno- logical archive’. Cawte (1986: 36) has argued that there was a strand of colonial thought – which may be characterised as imperialist, self-congratulatory, and social Darwinist – that regarded Australia as an ‘evolutionary museum in which the primi- tive and civilised races could be studied side by side – at least while the remnants of the former survived’. This chapter considers contributions from six researchers – E.H. Giglioli, H.N. Moseley, C.J.D. Charnay, Rev. J. Mathew, L.W.G. Büchner, and Professor F.R. von Luschan – and a 1921 comment from a primary school teacher, named J.M. Provan, who was concerned about the impact the proposed closure of Coranderrk would have on the ability to conduct research into Aboriginal people. Ethel Shaw (1949: 29–30) has discussed the interaction of Aboriginal residents and researchers, explaining the need for a nuanced understanding of the research setting: The Aborigine does not tell everything; he has learnt to keep silent on some aspects of his life. There is not a tribe in Australia which does not know about the whites and their ideas on certain subjects. News passes quickly from one tribe to another, and they are quick to mislead the inquirer if it suits their purpose. Mr. Howitt, Mr. Matthews, and others, who made a study of the Aborigines, often visited Coranderrk, and were given much assistance by Mr. -
Aboriginal Dreaming Paul Faulstich Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Faculty Publications and Research Pitzer Faculty Scholarship 12-21-1986 Aboriginal Dreaming Paul Faulstich Pitzer College Recommended Citation Faulstich, Paul. Aboriginal Dreaming. Earth First! Journal, 7(2): 21, 1986. This Article is brought to you for free and open access by the Pitzer Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. a year" which still remains beautiful; where the water remains pure as mod ern technology disposes of the five mil ·ABORIGiNAL'' 'f>REAMING lion gallons of sewage a day. In short, a showcase "where we might live in by Paul Faulstich peace with other creatures." (pp.374-5) PART I It is a risky proposition to try to WITH HAWK WINGS develop a balanced ecological In the Dreaming times we wer·e one. philosophy from the ecol gical condition 0 We were lizard and wild cat, prevailing in highly contrived a situ as Rock hole and tree. ation as the National Parks in America We lived ·in the clouds of today, especially Yellowstone or Yose 'And deep in the molten earth. mite. Muir and other pioneer environ We floated through the sky mentalists sought spiritual insight and With hawk wings , u ecological integration in what was to be And glided through the waters come Yosemite and other National As snakes. Parks and then made broad-ranging Today I walked through rny country. prescriptions for changes in the way of life of Americans in general. -
Banyule City Council Innovate Reconciliation Action Plan
INNOVATE RECONCILIATION ACTION PLAN September 2020 - September 2022 Mam-badool Djerring Let’s work together 1 Aboriginal artist and artwork acknowledgement Fire, Water, Land (2019) Artwork and story by Judy Nicholson, Wurundjeri Woi-wurrung artist. “Before people mastered the fire, the diet consisted mainly of seeds, plants and fruits, but much of the plants could not be digested. By heat-treating them, more plants could be eaten, and new nutrients were available. The heat killed parasites and made it easier to digest meat. Something that led to a higher calorie and nutritional intake, which made it easier to survive and have more children.” Banyule Council selected this beautiful piece of artwork for our RAP cover, as the short-finned eels and the Australian raven both feature in this picture and are recognised by the Wurundjeri Woi-wurrung as being historically significant animals to Banyule Flats. The Australian Raven is known as Whaa and is the Wurundjeri Woi-wurrung people’s moiety. Banyule Flats was also an important area of annual eel trapping and spear fishing for Wurundjeri Woi-wurrung People. Eagle Dreaming – Bunjil’s Wives (2019) Artwork and story by Judy Nicholson “During mating season from the months of June to August, the nest, though defended from other wedge-tailed eagles, is left unprotected from other predators. Parents will play an equal role in providing food for their chicks but will continue to offer little in the way of protection. By Inhabiting the banks of the Yarra (Birrarung) and its developments Bunjil is able to secure his territory and family by making an honest agreement with Whaa the crow that “no-one ever take fire into their own hands without careful consideration of others first”. -
Commonwealth of Australia
COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of The Charles Darwin University with permission from the author(s). Any further reproduction or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice Aboriginal and Torres Strait Islander THESAURUS First edition by Heather Moorcroft and Alana Garwood 1996 Acknowledgements ATSILIRN conference delegates for the 1st and 2nd conferences. Alex Byrne, Melissa Jackson, Helen Flanders, Ronald Briggs, Julie Day, Angela Sloan, Cathy Frankland, Andrew Wilson, Loris Williams, Alan Barnes, Jeremy Hodes, Nancy Sailor, Sandra Henderson, Lenore Kennedy, Vera Dunn, Julia Trainor, Rob Curry, Martin Flynn, Dave Thomas, Geraldine Triffitt, Bill Perrett, Michael Christie, Robyn Williams, Sue Stanton, Terry Kessaris, Fay Corbett, Felicity Williams, Michael Cooke, Ely White, Ken Stagg, Pat Torres, Gloria Munkford, Marcia Langton, Joanna Sassoon, Michael Loos, Meryl Cracknell, Maggie Travers, Jacklyn Miller, Andrea McKey, Lynn Shirley, Xalid Abd-ul-Wahid, Pat Brady, Sau Foster, Barbara Lewancamp, Geoff Shepardson, Colleen Pyne, Giles Martin, Herbert Compton Preface Over the past months I have received many queries like "When will the thesaurus be available", or "When can I use it". Well here it is. At last the Aboriginal and Torres Strait Islander Thesaurus, is ready. However, although this edition is ready, I foresee that there will be a need for another and another, because language is fluid and will change over time. As one of the compilers of the thesaurus I am glad it is finally completed and available for use. -
Walata Tyamateetj a Guide to Government Records About Aboriginal People in Victoria
walata tyamateetj A guide to government records about Aboriginal people in Victoria Public Record Office Victoria and National Archives of Australia With an historical overview by Richard Broome walata tyamateetj means ‘carry knowledge’ in the Gunditjmara language of western Victoria. Published by Public Record Office Victoria and National Archives of Australia PO Box 2100, North Melbourne, Victoria 3051, Australia. © State of Victoria and Commonwealth of Australia 2014 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission from the National Archives of Australia and Public Record Office Victoria. Requests and inquiries concerning reproduction and rights should be directed to the Publishing Manager, National Archives of Australia, PO Box 7425, Canberra Business Centre ACT 2610, Australia, and the Manager, Community Archives, Public Record Office Victoria, PO Box 2100, North Melbourne Vic 3051, Australia. National Library of Australia Cataloguing-in-Publication entry: Victoria. Public Record Office, author. walata tyamateetj: a guide to government records about Aboriginal people in Victoria / Public Record Office Victoria and National Archives of Australia; with an historical overview by Richard Broome. ISBN 9780987283702 (paperback) ISBN 9780987283719 (ebook) Victoria. Public Record Office.–Catalogs. National Archives of Australia. Melbourne Office.–Catalogs. Aboriginal Australians–Victoria–Archives. Aboriginal Australians–Victoria–Bibliography–Catalogs. Public records–Victoria–Bibliography–Catalogs. Archives–Victoria–Catalogs. Victoria–Archival resources. National Archives of Australia. Melbourne Office, author. Broome, Richard, 1948–. 016.99450049915 Public Record Office Victoria contributors: Tsari Anderson, Charlie Farrugia, Sebastian Gurciullo, Andrew Henderson and Kasia Zygmuntowicz. National Archives of Australia contributors: Grace Baliviera, Mark Brennan, Angela McAdam, Hilary Rowell and Margaret Ruhfus. -
The Dream of Aboriginal
The Dream of • Aboriginal Art The author reflects on the vil1lal richness and symbolic complexity oj an artjorm that has come to occupy a significant place in the his/my oj modernism. BY RICHARD KALINA " W IO'S that bugger who Ila ints like me?" asked Ho\'cr Thomas, olle of AustralL.'1's greatest Aboriginal IxllnlCrs, when, in 1990, he first encountered Mark Rothko's 1957 '20 at the National Gal lery of AUSlI'aIia. The question is a re.'ealing inversion of the art is diminished or patronized; \iewed as a bastardized modernism, a often Eurocenuic view of marginally interesting branch of folk art. or simply a subject for cultural Aborigi nal art. Thomas, an anthropology. In fact, the week before I visited ~ Dreaming Their Way,ft artist from the \\estem Des a magnificent exhibition of art by 33 Aboriginal women, at Dartmouth en, 1)''I.inted seemingly simille, College's Hood Museum in New lIam pshire {it originated at the National often blocky forms using a Museum of Women in the Art.'! in Washington, D.C.), I mentioned IllY inter range of na tural ocher pig est in Aboriginal art, and this show in particular, to a vcry senior American menls. I.ike Rathko's, his work crilic. He dismissed it all out of hand. 1 don't remember the exact words, is spare yet ~boIic and emo but "third·rale lyrical abstractionft .....ou ld certa.inly com'C}' hisjudgmenL tionally resonant, and though he lived in a \'el'l' remote area he best-knO\\'T1 fonn of modem Aboriginal art, characterized by all and came to art lale in his life, T O\'ef dotting and associated with desert communities.