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Chapter 8. Aboriginal Water Values and Uses
Chapter 8. Aboriginal water values and uses Department of Environment, Land, Water and Planning 8. Aboriginal water values and uses The Murray-Darling Basin Plan requires Basin states to identify objectives and outcomes of water, based on Aboriginal values and uses of water, and have regard to the views of Traditional Owners on matters identified by the Basin Plan. Victoria engaged with Traditional Owner groups in the Water Resource Plan for the northern Victoria area to: • outline the purpose, scope and opportunity for providing water to meet Traditional Owner water objectives and outcomes through the Murray-Darling Basin Plan • define the role of the water resource plans in the Basin, including but not limited to the requirements of the Basin Plan (Chapter 10, Part 14) • provide the timeline for the development and accreditation of the Northern Victoria Water Resource Plan • determine each Traditional Owner group’s preferred means of engagement and involvement in the development of the Northern Victoria Water Resource Plan • continue to liaise and collaborate with Traditional Owner groups to integrate specific concerns and opportunities regarding the water planning and management framework. • identify Aboriginal water objectives for each Traditional Owner group, and desired outcomes The Water Resource Plan for the Northern Victoria water resource plan area, the Victorian Murray water resource plan area and the Goulburn-Murray water resource plan area is formally titled Victoria’s North and Murray Water Resource Plan for the purposes of accreditation. When engaging with Traditional Owners this plan has been referred to as the Northern Victoria Water Resource Plan and is so called in Chapter 8 of the Comprehensive Report. -
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. -
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. -
Annual Report Contents About Museums Australia Inc
Museums Australia (Victoria) Melbourne Museum Carlton Gardens, Carlton PO Box 385 Carlton South, Victoria 3053 (03) 8341 7344 Regional Freecall 1800 680 082 www.mavic.asn.au 08 annual report Contents About Museums Australia Inc. (Victoria) About Museums Australia Inc. (Victoria) .................................................................................................. 2 Mission Enabling museums and their Training and Professional Development President’s Report .................................................................................................................................... 3 services, including phone and print-based people to develop their capacity to inspire advice, referrals, workshops and seminars. Treasurer’s Report .................................................................................................................................... 4 Membership and Networking Executive Director’s Report ...................................................................................................................... 5 and engage their communities. to proactively and reactively identify initiatives for the benefit of existing and Management ............................................................................................................................................. 7 potential members and links with the wider museum sector. The weekly Training & Professional Development and Member Events ................................................................... 9 Statement of Purpose MA (Vic) represents -
Traditional Language Used in Production
Traditional Language Used in Production 75 Traditional Language Used in Production There were several dialects spoken within the Border Rivers and Gwydir catchments. They included the Gamilaraay, Yuwalaraay and Yuwalayaay dialects as spoken by members of the Kamilaroi (Gomeroi) nation. The Nganyaywana language was spoken by members of the Anaiwan (or Eneewin) nation, whose land extends south from the border with the Banbai nation (near Guyra) towards Uralla and westward towards Tingha. Other notable languages within the area included Yukumbal (Jukumbal), from the Bundarra/Tingha/Inverell area, and Ngarabal, which was spoken around the Glen Innes area. This book uses and provides information on a few of the dialects spoken within the catchment. It is not intended for this book to be a language reference book, but the use of language names is included to help keep our language alive and for educational purposes. In some cases Aboriginal words have not been included as it has not been possible to collect detailed information on the relevant dialects. This book uses words and references primarily relating to the Gamilaraay, Yuwalaraay, Yuwalayaay, Banbai and Nganyaywana dialects (White 2010 pers. comm.). English Word Traditional Language / Dialect / Explanation Aboriginal nation anaiwan (Uralla/Bundarra / Armidale) district axe (handle) birra (Yuwaalayaay) axe (stone) birran.gaa (Yuwaalaraay) gambu (Yuwaalaraay) (Yuwaalayaay) tila (Nganyaywana-Anaiwan) yuundu (Gamilaraay) (Yuwaalaraay) (Yuwaalayaay) Aboriginal nation of the Guyra region banbai -
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. -
Your Candidates Metropolitan
YOUR CANDIDATES METROPOLITAN First Peoples’ Assembly of Victoria Election 2019 “TREATY TO ME IS A RECOGNITION THAT WE ARE THE FIRST INHABITANTS OF THIS COUNTRY AND THAT OUR VOICE BE HEARD AND RESPECTED” Uncle Archie Roach VOTING IS OPEN FROM 16 SEPTEMBER – 20 OCTOBER 2019 Treaties are our self-determining right. They can give us justice for the past and hope for the future. The First Peoples’ Assembly of Victoria will be our voice as we work towards Treaties. The First Peoples’ Assembly of Victoria will be set up this year, with its first meeting set to be held in December. The Assembly will be a powerful, independent and culturally strong organisation made up of 32 Victorian Traditional Owners. If you’re a Victorian Traditional Owner or an Aboriginal or Torres Strait Islander person living in Victoria, you’re eligible to vote for your Assembly representatives through a historic election process. Your voice matters, your vote is crucial. HAVE YOU ENROLLED TO VOTE? To be able to vote, you’ll need to make sure you’re enrolled. This will only take you a few minutes. You can do this at the same time as voting, or before you vote. The Assembly election is completely Aboriginal owned and independent from any Government election (this includes the Victorian Electoral Commission and the Australian Electoral Commission). This means, even if you vote every year in other elections, you’ll still need to sign up to vote for your Assembly representatives. Don’t worry, your details will never be shared with Government, or any electoral commissions and you won’t get fined if you decide not to vote. -
Intimacies of Violence in the Settler Colony Economies of Dispossession Around the Pacific Rim
Cambridge Imperial & Post-Colonial Studies INTIMACIES OF VIOLENCE IN THE SETTLER COLONY ECONOMIES OF DISPOSSESSION AROUND THE PACIFIC RIM EDITED BY PENELOPE EDMONDS & AMANDA NETTELBECK Cambridge Imperial and Post-Colonial Studies Series Series Editors Richard Drayton Department of History King’s College London London, UK Saul Dubow Magdalene College University of Cambridge Cambridge, UK The Cambridge Imperial and Post-Colonial Studies series is a collection of studies on empires in world history and on the societies and cultures which emerged from colonialism. It includes both transnational, comparative and connective studies, and studies which address where particular regions or nations participate in global phenomena. While in the past the series focused on the British Empire and Commonwealth, in its current incarna- tion there is no imperial system, period of human history or part of the world which lies outside of its compass. While we particularly welcome the first monographs of young researchers, we also seek major studies by more senior scholars, and welcome collections of essays with a strong thematic focus. The series includes work on politics, economics, culture, literature, science, art, medicine, and war. Our aim is to collect the most exciting new scholarship on world history with an imperial theme. More information about this series at http://www.palgrave.com/gp/series/13937 Penelope Edmonds Amanda Nettelbeck Editors Intimacies of Violence in the Settler Colony Economies of Dispossession around the Pacific Rim Editors Penelope Edmonds Amanda Nettelbeck School of Humanities School of Humanities University of Tasmania University of Adelaide Hobart, TAS, Australia Adelaide, SA, Australia Cambridge Imperial and Post-Colonial Studies Series ISBN 978-3-319-76230-2 ISBN 978-3-319-76231-9 (eBook) https://doi.org/10.1007/978-3-319-76231-9 Library of Congress Control Number: 2018941557 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. -
Click Here to View Asset
Published by Arts Victoria. The views expressed in this publication are based on information provided by third party authors. Arts Victoria does not necessarily endorse the views of a particular author. All information contained in this publication is considered correct at the time of printing. Arts Victoria VIAA PRE -SELECTION PANEL EXHIBITION CURATORS , Private Bag No. 1 Maree Clarke, Curatorial Manager, DESIGN AND HANGING South Melbourne 3205 Koorie Heritage Trust; Stephen Boscia Galleries Victoria Australia Gilchrist, Curator – Indigenous Art, PHOTOGRAPHY TELEPHONE 03 9954 5000 National Gallery of Victoria; Jirra Harvey, Freelance Curator. Ponch Hawkes FACSIMILE 03 9686 6186 CATALOGUE DESIGN TTY 03 9682 4864 VIAA FINAL JUDGING PANEL AND SPONSORS Actual Size TOLL FREE 1800 134 894 Lorraine Coutts, Indigenous Curator; (Regional Victoria only) Kevin Williams, Indigenous artist; PRINTED BY [email protected] Zara Stanhope, freelance Curator; Gunn and Taylor Printers www.arts.vic.gov.au Stephen Gilchrist, Curator – Indigenous Art, National Gallery The VIAA exhibition runs from of Victoria; Judith Ryan, Senior 29 November to 20 December Curator – Indigenous Art, National 2008, Boscia Galleries, Melbourne Gallery of Victoria; Jason Eades, Victoria, 3000. CEO – Koorie Heritage Trust; Nerissa The exhibition is free and open to Broben, Curatorial Manager – Koorie the public. Heritage Trust; Chris Keeler, Curatorial Assistant – Koorie Artworks featured in the VIAA Heritage Trust. exhibition are available for purchase. This publication is copyright. No part SPONSORS ’ REPRESENTATIVES Michele and Anthony Boscia, may be reproduced by any process Boscia Galleries. except in accordance with provisions of the Copyright Act 1968. Thank you to all the artists who entered the awards. -
Annual Report 2016-2017
ANNUAL REPORT 2016-17 Letter of Transmittal Senator the Hon. Nigel Scullion Minister for Indigenous Affairs Parliament House Canberra ACT 2600 24 October 2017 Dear Minister On behalf of the board of Native Title Services Victoria (NTSV), I am pleased to present our annual report for the year 2016-2017 including our financial reports which were rigorously audited by Price Waterhouse Coopers. This report marks the end of our reporting against our 2014-2017 Strategic Plan, in which we set a bold target to resolve native title across the State. The momentum created by this ambitious goal enabled us to achieve significant progress across all our claims and we are now working with the remaining few Traditional Owner groups in Victoria that can help us make this goal a reality. Over the past five years, under the direction of the Board, NTSV has provided Contact details secretariat support to the Federation of Victorian Traditional Owner Corporations (Federation) – an alliance of Traditional Owner corporations from across the State Native Title Services Victoria who came together at their own instigation to further their shared interests. It is 12-14 Leveson Street (PO Box 431) a tremendous tribute to the growth and success of the Federation that this year North Melbourne Victoria 3051 they were able to take on ownership of NTSV, their service provider. As a result Telephone: 03 9321 5300 our next strategic plan puts NTSV in the position of working towards the goals Toll free: 1800 791 779 of a broader base of Victorian Traditional Owners. Fax: 03 9326 4075 I’d like to take this opportunity to thank you and your department for your support Email: [email protected] in our resulting change of governance structure and with our work over the past year.