Sovereignty Education Kit
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Crib Point Pakenham Pipeline Aboriginal Cultural Heritage
Crib Point Pakenham Pipeline Aboriginal Cultural Heritage Desktop Assessment Client: APA Transmission Pty Limited (ABN 84 603 054 404) Author: Anita Barker 15 August 2018 Crib Point Pakenham Pipeline Aboriginal Cultural Heritage Desktop Assessment Client: APA Transmission Pty Limited (ABN 84 603 054 404) Author: Anita Barker Date: 15 August 2018 Front Cover: VAHR 7921-0036 from Denham Road, Tyabb (View SSW) Contents 1. Introduction & Project Overview ................................................................................. 1 1.1. Purpose of the Report ............................................................................................. 1 1.2. The Activity Area ..................................................................................................... 2 1.3. Limitations .............................................................................................................. 2 2. Legislation .................................................................................................................... 4 2.1. EPBC Act 1999 ....................................................................................................... 4 2.2. The Planning & Environment Act 1987 .................................................................... 4 2.3. Environment Effects Act 1978 ................................................................................. 5 2.4. Aboriginal Heritage Act 2006 .................................................................................. 6 3. Methodology ............................................................................................................... -
Australian Aboriginal Art
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 Australian Aboriginal Art Patrick Hutchings To attack one’s neighbours, to pass or to crush and subdue more remote peoples without provocation and solely for the thirst for dominion—what is one to call it but brigandage on a grand scale?1 The City of God, St Augustine of Hippo, IV Ch 6 ‘The natives are extremely fond of painting and often sit hours by me when at work’ 2 Thomas Watling The Australians and the British began their relationship by ‘dancing together’, so writes Inge Clendinnen in her multi-voiced Dancing With Strangers 3 which weaves contemporary narratives of Sydney Cove in 1788. The event of dancing is witnessed to by a watercolour by Lieutenant William Bradley, ‘View in Broken Bay New South Wales March 1788’, which is reproduced by Clendinnen as both a plate and a dustcover.4 By ‘The Australians’ Clendinnen means the Aboriginal pop- ulation. But, of course, Aboriginality is not an Aboriginal concept but an Imperial one. As Sonja Kurtzer writes: ‘The concept of Aboriginality did not even exist before the coming of the European’.5 And as for the terra nullius to which the British came, it was always a legal fiction. All this taken in, one sees why Clendinnen calls the First People ‘The Australians’, leaving most of those with the current passport very much Second People. But: winner has taken, almost, all. The Eddie Mabo case6 exploded terra nullius, but most of the ‘nobody’s land’ now still belongs to the Second People. -
STUDY GUIDE by Marguerite O’Hara, Jonathan Jones and Amanda Peacock
A personal journey into the world of Aboriginal art A STUDY GUIDE by MArguerite o’hArA, jonAthAn jones And amandA PeAcock http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins Front cover: (top) Detail From GinGer riley munDuwalawala, Ngak Ngak aNd the RuiNed City, 1998, synthetic polyer paint on canvas, 193 x 249.3cm, art Gallery oF new south wales. © GinGer riley munDuwalawala, courtesy alcaston Gallery; (Bottom) Kintore ranGe, 2009, warwicK thornton; (inset) hetti perKins, 2010, susie haGon this paGe: (top) Detail From naata nunGurrayi, uNtitled, 1999, synthetic polymer paint on canvas, 2 122 x 151 cm, mollie GowinG acquisition FunD For contemporary aBoriGinal art 2000, art Gallery oF new south wales. © naata nunGurrayi, aBoriGinal artists aGency ltD; (centre) nGutjul, 2009, hiBiscus Films; (Bottom) ivy pareroultja, rrutjumpa (mt sonDer), 2009, hiBiscus Films Introduction GulumBu yunupinGu, yirrKala, 2009, hiBiscus Films DVD anD WEbsitE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series. -
Gladys Nicholls: an Urban Aboriginal Leader in Post-War Victoria
Gladys Nicholls: An Urban Aboriginal Leader in Post-war Victoria Patricia Grimshaw School of Historical and Philosophical Studies, University of Melbourne, Parkville, VIC. 3010 [email protected] Abstract: Gladys Nicholls was an Aboriginal activist in mid-20 th century Victoria who made significant contributions to the development of support networks for the expanding urban Aboriginal community of inner-city Melbourne. She was a key member of a talented group of Indigenous Australians, including her husband Pastor Doug Nicholls, who worked at a local, state and national level to improve the economic wellbeing and civil rights of their people, including for the 1967 Referendum. Those who knew her remember her determined personality, her political intelligence and her unrelenting commitment to building a better future for Aboriginal people. Keywords: Aboriginal women, Aboriginal activism, Gladys Nicholls, Pastor Doug Nicholls, assimilation, Victorian Aborigines Advancement League, 1967 Referendum Gladys Nicholls (1906–1981) was an Indigenous leader who was significant from the 1940s to the 1970s, first, in action to improve conditions for Aboriginal people in Melbourne and second, in grassroots activism for Indigenous rights across Australia. When the Victorian government inscribed her name on the Victorian Women’s Honour Roll in 2008, the citation prepared by historian Richard Broome read as follows: ‘Lady Gladys Nicholls was an inspiration to Indigenous People, being a role model for young women, a leader in advocacy for the rights of Indigenous people as well as a tireless contributor to the community’. 1 Her leadership was marked by strong collaboration and co-operation with like-minded women and men, both Aboriginal and non-Aboriginal, who were at the forefront of Indigenous reform, including her prominent husband, Pastor (later Sir) Doug Nicholls. -
Racist Structures and Ideologies Regarding Aboriginal People in Contemporary and Historical Australian Society
Master Thesis In Partial Fulfilment of the Requirements for the Degree of Master of Science: Development and Rural Innovation Racist structures and ideologies regarding Aboriginal people in contemporary and historical Australian society Robin Anne Gravemaker Student number: 951226276130 June 2020 Supervisor: Elisabet Rasch Chair group: Sociology of Development and Change Course code: SDC-80436 Wageningen University & Research i Abstract Severe inequalities remain in Australian society between Aboriginal and non-Aboriginal people. This research has examined the role of race and racism in historical Victoria and in the contemporary Australian government, using a structuralist, constructivist framework. It was found that historical approaches to governing Aboriginal people were paternalistic and assimilationist. Institutions like the Central Board for the Protection of Aborigines, which terrorised Aboriginal people for over a century, were creating a racist structure fuelled by racist ideologies. Despite continuous activism by Aboriginal people, it took until 1967 for them to get citizens’ rights. That year, Aboriginal affairs were shifted from state jurisdiction to national jurisdiction. Aboriginal people continue to be underrepresented in positions of power and still lack self-determination. The national government of Australia has reproduced historical inequalities since 1967, and racist structures and ideologies remain. ii iii Acknowledgements I would like to thank my supervisor, Elisabet Rasch, for her support and constructive criticism. I thank my informants and other friends that I met in Melbourne for talking to me and expanding my mind. Floor, thank you for showing me around in Melbourne and for your never-ending encouragement since then, via phone, postcard or in person. Duane Hamacher helped me tremendously by encouraging me to change the topic of my research and by sharing his own experiences as a researcher. -
The Conversation Rise of Indigenous Art Speaks Volumes About Class in Australia February 24, 2014
FORT GANSEVOORT Rise of Indigenous art speaks volumes about class in Australia February 24, 2014 The children of the wealthy know that mainstream culture belongs to them. urbanartcore.eu The Conversation is running a series, Class in Australia, to identify, illuminate and debate its many manifestations. Here, Joanna Mendelssohn examines the links between Indigenous art and class. The great story of recent Australian art has been the resurgence of Indigenous culture and its recognition as a major art form. But in a country increasingly divided by class and wealth, the rise of Indigenous art has had consequences undreamed of by those who first projected it onto the international exhibiting stage. 5 NINTH AVENUE, NEW YORK, 10014 | [email protected] | (917) 639-3113 FORT GANSEVOORT The 1970s export exhibitions of Arnhem Land bark paintings and reconceptualisations of Western Desert ceremonial paintings had their origins in different regions of the oldest culture. In the following decade, urban Indigenous artists began to make their presence felt. Trevor Nickolls, Lin Onus, Gordon Bennett, Fiona Foley, Bronwyn Bancroft, Tracey Moffatt – all used the visual tools of contemporary western art to make work that was intelligent, confronting, and exhibited around the world. The continuing success of both traditional and western influenced art forms has led to one of the great paradoxes in Australian culture. At a time when art schools have subjugated themselves to the metrics-driven culture of the modern university system, when creative courses are more and more dominated by the children of privilege, some of the most interesting students and graduates are Indigenous. -
Atomic Testing in Australian Art Jd Mittmann
ATO MIC TEST ING IN AUST RAL IAN ART JD MIT TMA NN Around the world artists have be en conce rned wit h Within a radius of 800m the dest ruction is co mplete . and Walle r. He docume nted the Austr alian New Gui nea nuclear iss ues, from the first application of atomic bomb s Over 70,000 die instantl y. campaign and its afte rmath . at Hi roshima and Nagasaki, to at omic testing, uraniu m A person stan ds lost amongst the ruins of a house . In 1946 he was se nt to Japan whe re he witnes sed mining, nuc lear waste tra nspo rt and storage, and We don’t see the chi ld’s exp ression, but it can only be the effects of the ato mic bomb. He doc umented the va st scenarios of nuclear Armageddon. The Australian artisti c one of shock and suffering. A charred tree towers ov er dest ruction from a distant vi ewpoint, spa ring the viewe r response to Bri tish atomic te sting in the 195 0s is les s the rubble. Natu re has withe red in the on slaught of hea t the ho rri fic deta ils. His sketch Rebuilding Hiroshim a well-know n, as is the sto ry of the tests . and shock waves. Simply titled Hi roshima , Albe rt Tucker’ s shows civil ians clearing away the rubble. Li fe ha s Cloaked in se crec y, the British atomic testing progra m small wate rcolour is quiet and conte mplative. -
Affirmations of Identity
Stage 4 Mandatory Course Units Unit of Work Aboriginal Artists Forms Frames Conceptual Framework 1 A Cultural Jimmy Pike 2D - printmaking Structural Artist, artwork, Journey Kevin Gilbert Cultural audience Dennis Nona Banduk Marika Ellen Jose Pooaraar 2 Ceramic Thancoupie 3D - ceramics Structural Artist, artwork, Creatures Female Indigenous world artists 3 Unforgettable Robert Campbell Jr 2D - painting Cultural Artist, artwork, Tucker Pantjiti Mary McLean world, audience Lawrence Leslie 4 Ancestors and Lena Yarinkura 3D - fibre, Cultural Artist, artwork, Family Members Jenny Watson sculpture world Stage 5 Elective Course Units Unit of Work Aboriginal Artists Forms Frames Conceptual Framework 5 Reconciliation Alice Hinton-Bateup 2D - printmaking, Cultural Artist, artwork, David Spearim digital media world, audience Robert Campbell Jnr 6 Objects in the Yvonne Koolmatrie 3D - sculpture, Structural Artist, artwork, Landscape Lorraine Connelly- fibre Cultural world Northey 7 Cultural Michael Riley 2D - photography, Structural Artist, artwork, Intersections Rea digital media, Cultural world, audience Darren Siwes computer Brenda L Croft generated and Brook Andrew enhanced graphics 8 Place, Possession Lin Onus 2D - digital Cultural Artist, artwork, and Dispossession Gordon Bennett imaging, collage, Postmodern world, audience photomontage 26 UNIT 1 – A Cultural Journey Overview Unit of A Cultural Journey work Duration One term Stage 4 Year 7 or 8 Unit In this unit of work students study Jimmy Pike’s Woman Carrying the Two description Boys. The artist’s historical and cultural links with the Great Sandy Desert in Western Australia are used to explain the ways in which an artwork can Practice, represent a culturally specific experience and understanding of the world. artmaking Students undertake a study of cultural and historical issues of other and critical Aboriginal and Torres Strait Islander printmakers. -
Indigenous Knowledge Systems and Yurlendj-Nganjin
Indigenous Knowledge Systems and Yurlendj-nganjin Indigenous Knowledge Systems and Yurlendj-nganjin Edited by David Jones and Darryl Low Choy Indigenous Knowledge Systems and Yurlendj-nganjin Edited by David Jones and Darryl Low Choy This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by David Jones, Darryl Low Choy and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-7017-7 ISBN (13): 978-1-5275-7017-7 Cover Image: Three Dreaming Trails that incorporate culture, language and ceremony and how they are connected to Country. Author: Mandy Nicholson Other photos: Donna Edwards We wish to respectfully acknowledge the Elders, families and forebears of all Aboriginal and Torres Strait Islander peoples from around Australia, past, present and future, who are and continue to be the Traditional Owners and custodians of these lands, waters and skies for many centuries, and in particular members of the Kaurna, Wadawurrung, Wurundjeri, Gunditjmara, Yuin, Wiradjuri, Wakka Wakka, Bidjara, Kuku Yalanji, Yawuru, Noongar/Nyungar, Quandamooka and Boon Wurrung Peoples who were passionate in seeking the fruition of this publication to provide a voice to their values. Yurlendj-nganjin (‘everyone's knowledge’ / ‘our intelligence’) Wumen-dji-ka bagungga-nganjin lalal ba gugung-bulok ba kirrip nugel- dhan ba kirrip-nganjinu Torres Strait-al Bawal-u, ba kyinandoo biik durn- durn-bulok, Wurundjeri biik-dui. -
Printmaking As an Expanding Field in Contemporary Art Practice
Printmaking as an Expanding Field in Contemporary Art Practice: A Case Study of Japan, Australia and Thailand Marjorie Anne Kirker Dip.F.A. (Hons), University of Auckland; M.A. Art History, Courtauld Institute of Art, London Doctor of Philosophy Submission for Final Examination Creative Industries Faculty Department of Visual Arts Queensland University of Technology 2009 1 Statement of original authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person, except where due reference is made. Marjorie Anne Kirker Signature: Date: 2 TABLE OF CONTENTS Acknowledgments .......................................................................................................... 6 Abstract ........................................................................................................................... 7 Chapter 1 THE PROBLEM AND ITS CONTEXT .............................................................. 10 1.1 The Research Problem and Its Significance ............................................................. 10 1.2 Key Research Questions to Be Addressed ................................................................ 15 1.3 Objectives of the Research ...................................................................................... 16 Chapter 2 LITERATURE INFORMING RESEARCH PROBLEM .................................... -
MS 5133 Papers of Alick and Merle Jackomos 1834 – 2003 CONTENTS
AIATSIS Collections Manuscript Finding Aid index Australian Institute of Aboriginal and Torres Strait Islander Studies Library MS 5133 Papers of Alick and Merle Jackomos 1834 – 2003 CONTENTS COLLECTION SUMMARY p.3 CULTURAL SENSITIVITY STATEMENT p.3 ACCESS TO COLLECTION p.4 COLLECTION OVERVIEW p.5 BIOGRAPHICAL NOTES p.7 Abbreviations p.10 SERIES DESCRIPTION p.11 Series 1 Writings and collations by Merle and Alick Jackomos, together with a transcript of an interview with Alick Jackomos p.11 Series 2 Subject files MS 5133/2/1 Box No.15, ‘Castellorizo Historical’ p.13 MS 5133/2/2 Box No.16, Biographical information on Alick and Merle Jackomos and family p.14 MS 5133/2/3 Box No.17, ‘Letters to me Re Family Trees; Museum; Photos; AIAS/AIATSIS; Stegley Foundation’ p.16 MS 5133/2/4 Box No.18, ‘Aboriginal leaders; Non-Aboriginal leaders; eulogies written by Alick Jackomos’ p.19 MS 5133/2/5 Box No.19(a), ‘Stories by Alick; Aboriginal leaders details; Aboriginal News 1960s; Aboriginal Theatre Cherry Pickers; Bill Onus Corroboree 1949; Helen Bailey Republican/Spain, Aboriginal’ p.26 MS 5133/2/6 Box No.19(b), ‘Lake Tyers, Ramahyuck, Gippsland’ .p.29 MS 5133/2/7 Box No.20, ‘References, Awards, Alick, Merle, Stan Davey, J. Moriarty’ p.35 MS 5133/2/8 Box No.21, ‘Religion, odds, etc.’ .p.39 MS 5133, Papers of Alick and Merle Jackomos, 1834 - 2003 MS 5133/2/9 Box No.22, ‘Maloga – Cummeragunja, Doug Nicholls, Thomas James, William Cooper, Marge Tucker, Hostels Ltd’ .p.40 MS 5133/2/10 Box No.23, ‘Lake Boga, Framlingham, Coranderrk, Antwerp, other missions, -
Aboriginal Art and Healing
ABORIGINAL ART AND HEALING Donna Leslie 1st May, 2001 I should like to thank Dr Colette Rayment and the RLA committee for their invitation to give this lecture, concurrent with the Heritage Art Award, and I want to express my respect on being here, on the traditional lands of the Eora people. Introduction The effort by many Australians to heal deep wounds of our collective past has been evident in the healing journeys to\vards Reconciliation undertaken recently throughout this country. These journeys have required an empathic imagination, for in a sense they are an invitation to walk in the shoes of another and to understand more deeply our shared Australian heritage. My talk tonight is about artistic work that also can be interpreted as a journey - a journey towards coming to terms with certain disturbing and regrettable aspects of our common heritage. I am not speaking about art as a psychotherapeutical tool, but rather as a practical medium for naturally and creatively expressing human experience. Aboriginal realities reflect complex cross-cultural histories, and these histories have long been the subject of a great deal of contemporary Aboriginal art. Tonight I \vish to present for your reflection three approaches by Aboriginal artists - or in one case by a cross-cultural team - that use art as a healing medium and are examples of creative journeying towards \vholeness. The first of these is Another Vielv ~Valking Trail in Melbourne, in \vhich a group of artists offers another perspective on l\ttelbourne's history. Another Vietv is a symbolic journey that some find confronting, but it is a journey intended positively to engage the vie\ver and to act as a medium of transformation.