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Into the Mainstream Guide to the Moving Image Recordings from the Production of Into the Mainstream by Ned Lander, 1988
Descriptive Level Finding aid LANDER_N001 Collection title Into the Mainstream Guide to the moving image recordings from the production of Into the Mainstream by Ned Lander, 1988 Prepared 2015 by LW and IE, from audition sheets by JW Last updated November 19, 2015 ACCESS Availability of copies Digital viewing copies are available. Further information is available on the 'Ordering Collection Items' web page. Alternatively, contact the Access Unit by email to arrange an appointment to view the recordings or to order copies. Restrictions on viewing The collection is open for viewing on the AIATSIS premises. AIATSIS holds viewing copies and production materials. Contact AFI Distribution for copies and usage. Contact Ned Lander and Yothu Yindi for usage of production materials. Ned Lander has donated production materials from this film to AIATSIS as a Cultural Gift under the Taxation Incentives for the Arts Scheme. Restrictions on use The collection may only be copied or published with permission from AIATSIS. SCOPE AND CONTENT NOTE Date: 1988 Extent: 102 videocassettes (Betacam SP) (approximately 35 hrs.) : sd., col. (Moving Image 10 U-Matic tapes (Kodak EB950) (approximately 10 hrs.) : sd, col. components) 6 Betamax tapes (approximately 6 hrs.) : sd, col. 9 VHS tapes (approximately 9 hrs.) : sd, col. Production history Made as a one hour television documentary, 'Into the Mainstream' follows the Aboriginal band Yothu Yindi on its journey across America in 1988 with rock groups Midnight Oil and Graffiti Man (featuring John Trudell). Yothu Yindi is famed for drawing on the song-cycles of its Arnhem Land roots to create a mix of traditional Aboriginal music and rock and roll. -
Hope for the Future for I Know the Plans I Have for You,” Declares the Lord, “Plans to Prosper You and Not to Harm You, Plans to Give You Hope and a Future
ISSUE 3 {2017} BRINGING THE LIGHT OF CHRIST INTO COMMUNITIES Hope for the future For I know the plans I have for you,” declares the Lord, “plans to prosper you and not to harm you, plans to give you hope and a future Jeremiah 29:11 Lifting their voices What it’s like in their world Our first Children and Youth A new product enables participants Advocate will be responsible to experience the physical and for giving children and young mental challenges faced by people people a greater voice. living with dementia. networking ׀ 1 When Jesus spoke again to the people, he said, I am the light of the world. Contents Whoever follows me will never walk in darkness, but will have the light of life. John 8:12 (NIV) 18 9 20 30 8 15 24 39 From the Editor 4 Zillmere celebrates 135 years 16 Research paves way for better care 30 networking Churches of Christ in Queensland Chief Executive Officer update 5 Kenmore Campus - ready for the future 17 Annual Centrifuge conference round up 31 41 Brookfield Road Kenmore Qld 4069 PO Box 508 Kenmore Qld 4069 Spiritual Mentoring: Companioning Souls 7 Hope for future managers 19 After the beginnings 32 07 3327 1600 [email protected] Church of the Outback 8 Celebrating the first Australians 20 Gidgee’s enterprising ways 33 networking contains a variety of news and stories from Donations continue life of mission 9 Young, vulnerable and marginalised 22 People and Events 34 across Churches of Christ in Queensland. Articles and photos can be submitted to [email protected]. -
Timeline: Music Evolved the Universe in 500 Songs
Timeline: Music Evolved the universe in 500 songs Year Name Artist Composer Album Genre 13.8 bya The Big Bang The Universe feat. John The Sound of the Big Unclassifiable Gleason Cramer Bang (WMAP) ~40,000 Nyangumarta Singing Male Nyangumarta Songs of Aboriginal World BC Singers Australia and Torres Strait ~40,000 Spontaneous Combustion Mark Atkins Dreamtime - Masters of World BC` the Didgeridoo ~5000 Thunder Drum Improvisation Drums of the World Traditional World Drums: African, World BC Samba, Taiko, Chinese and Middle Eastern Music ~5000 Pearls Dropping Onto The Jade Plate Anna Guo Chinese Traditional World BC Yang-Qin Music ~2800 HAt-a m rw nw tA sxmxt-ib aAt Peter Pringle World BC ~1400 Hurrian Hymn to Nikkal Tim Rayborn Qadim World BC ~128 BC First Delphic Hymn to Apollo Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Epitaph of Seikilos Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Magna Mater Synaulia Music from Ancient Classical Rome - Vol. 1 Wind Instruments ~ 30 AD Chahargan: Daramad-e Avval Arshad Tahmasbi Radif of Mirza Abdollah World ~??? Music for the Buma Dance Baka Pygmies Cameroon: Baka Pygmy World Music 100 The Overseer Solomon Siboni Ballads, Wedding Songs, World and Piyyutim of the Sephardic Jews of Tetuan and Tangier, Morocco Timeline: Music Evolved 2 500 AD Deep Singing Monk With Singing Bowl, Buddhist Monks of Maitri Spiritual Music of Tibet World Cymbals and Ganta Vihar Monastery ~500 AD Marilli (Yeji) Ghanian Traditional Ghana Ancient World Singers -
NARRATIVE REPORT 31 July – 3 August, 2015
NARRATIVE REPORT 31 July – 3 August, 2015 Message from our Director The Yothu Yindi Foundation is proud to have produced, directed & hosted yet another compelling Garma at the Gulkula ceremonial grounds in northeast Arnhem Land, Northern Territory, Australia. As an indigenous woman, it is difficult to put into words how much of an an honour it is to direct this wonderful experience, as we seek to extract the raw beauty of Australia’s Indigenous people & our incredible cultural heritage. Moreover, I take great pride in staging an event that also provides a healthy economic return to the Arnhem region by tapping the rich veins of the NT's tourism market and beyond. It is a humbling experience to showcase northeast Arnhem Land to the nation and the world as we strive to shape the national & political conversation on Indigenous affairs from a grass roots perspective. The Yothu Yindi Foundation would like to thank everyone who has contributed to the success of Garma. I would personally like to thank our guests for making the pilgrimage north to join us; thank you all for your continued contribution to the reconciliation process between black & white Australia & thank you for taking part in some of the challenging conversations needed to further advance the cause. As in previous years, the 17th annual Garma delivered a wide-ranging program that mixed the exciting with the informative, the eye-catching with the educational, as we sought to provide an action packed program appealing to everyone over four days & nights. Our aim is to develop our activities & objectives through the use of artistic and cultural practices which ensure Yolngu ownership, drive & direction are the foundational anchors to success. -
The Making of Indigenous Australian Contemporary Art
The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 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 © 2020 by Marie Geissler 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): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................ -
Semester 2 – 2014
The SEMESTER 2 2014 Marrma’ Rom Two Worlds Foundation Congratulations to Dion and Jerol Wunungmurra Semester Two 2014 was highlighted by the fantastic achievement of two of our students graduating from Year 12. Dion and Jerol have been part of the Foundation since 2012 and we are very proud of them and what they have accomplished during the last 3 years. We are also very proud of them for deciding to return to Geelong next year and continue their endeavors to become Aboriginal Health Workers. [ Below is a short article by Jerol about the St. Joseph’s College Graduation Mass, for which Dions and Jerols’ parents flew down to attend: On the 19th of October 2014, the second week of school in Term 4, Dion’s parents and my dad came down to Geelong. They drove to Gove from Gapuwiyak and stayed in town. The next day they went to Gove airport and they flew from Gove to Cairns and 2 hours later they flew to Melbourne. Dion and I woke up early morning and Cam drove us to Gull bus. We checked in then the bus driver drove us to Tullamarine. We only waited for about 5 minutes then we saw them arrive. We caught the Skybus to Southern Cross and waited for the others in the city. We were performing at the Melbourne Festival that day. After the festival finished we caught a train back to Geelong. Dad was staying with me and Dion and his mum and dad were staying at Narana Cultural Centre. On Monday we went to St. -
Thin Un Nking O Nivers Outside Idade D E the L De Lisb Label
UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARRTES THINKING OUTSIDE THE LABEL “ABORIGINAL” Maria Inês do Vale Rocha MESTRADO EM ESTUDOS CURATORIAIS 2012 II UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARRTES THINKING OUTSIDE THE LABEL “ABORIGINAL” Maria Inês do Vale Rocha MESTRADO EM ESTUDOS CURATORIAIS Dissertação orientada pelo Prof. Doutor José Fernandes Dias 2012 IV Resumo Esta dissertação pretende desvendar os subterrâneos de uma sociedade que se afirma como um lugar pacífico e de grandes oportunidades, a Australiana. A série de conflitos a que se assistiu no seu próprio território com um grupo particular de habitantes, com as políticas opressivas e racistas que tiveram início com a colonização da Austrália e perduraram até ao final do século XX, transformaram uma população pacífica, numa das mais reivindicativas e lutadoras. Esta, luta pelos seus direitos de igualdade sociais, políticos e culturais. Através da persistência em partilhar a sua cultura com o ‘outro’ acabou por conseguir reivindicar um lugar de destaque numa sociedade que a excluía. Observa-se hoje um reescrever de toda a história de um país devido a uma população que se recusou manter na sombra de um com que não concordava. Atualmente a arte apresentada por artistas aborígenes é reputada como uma das mais críticas, conscientes e reivindicativas dentro do panorama da arte australiana. Oferece uma plataforma discursiva constante para o debate de todas as incongruências e paradoxos que afetam não só as população aborígenes mas todo um país. É não só considerada como o movimento artístico mais bem-sucedido na Austrália, mas o que toda a arte australiana sempre aspirou ser. -
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. -
Australian Indigenous Petitions
Australian Indigenous Petitions: Emergence and Negotiations of Indigenous Authorship and Writings Chiara Gamboz Dissertation Submitted in fulfillment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of Arts and Media Faculty of Arts and Social Sciences October 2012 ORIGINALITY STATEMENT 'l hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the proiect's design and conception or in style, presentation and linguistic expression is acknowledged.' Signed 5 o/z COPYRIGHT STATEMENT 'l hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or digsertation in whole or part in the Univercity libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertiation. -
The Cranlana Programme the 2016 Medicine
The Cranlana Programme The 2016 Medicine & Society Oration A QUESTION OF VALUE: ABORIGINAL AND TORRES STRAIT ISLANDER HEALTH Mr Romlie Mokak Chief Executive Officer, The Lowitja Institute 10 August 2016, Melbourne -------------------------- As I stand in this place tonight, I pay my deepest respect to the Kulin Nations, their ancestors and Elders. I acknowledge Bunjil, the spirit of creation, who created the lore, the land, the mountains, the rivers, all living and natural things and the place we all have on the land of the Kulin Nations. I acknowledge my Aboriginal and Torres Strait Islander brothers and sisters with us tonight. I extend my embrace to colleagues in the room. My name is Romlie Mokak, I am a Djugun man, a member of the Yawuru people. Tonight I want to address the question of value in Aboriginal and Torres Strait Islander health. I want to advocate that in order to achieve significant, measurable, positive change in the health and wellbeing of Aboriginal and Torres Strait Islander peoples we need to expand the idea of value. Expand it from the quantum — so many dollars to achieve so many results— that does not seem to be working for us all that well — to a concept • that values Aboriginal and Torres Strait Islander knowledges • that places Aboriginal and Torres Strait Islander leadership, institutions and solutions at the centre of policymaking • that resets the power balance between those making the decisions and those for whom the policy is intended. 1 But before I embark on what now seems to be a very ambitious topic to cover in some 30 minutes, let me share with you my experience of some recent events. -
Humanities Research Vol XIX. No. 2. 2013
Nations of Song Aaron Corn Eye-witness testimony is the lowest form of evidence. — Neil deGrasse Tyson, astrophysicist1 Poets are almost always wrong about facts. That’s because they are not really interested in facts: only in truth. — William C. Faulkner, writer2 Whether we evoke them willingly or whether they manifest in our minds unannounced, songs travel with us constantly, and frequently hold for us fluid, negotiated meanings that would mystify their composers. This article explores the varying degrees to which song, and music more generally, is accepted as a medium capable of bearing fact. If, as Merleau-Ponty postulated,3 external cultural expressions are but artefacts of our inner perceptions, which media do we reify and canonise as evidential records of our history? Which media do we entrust with that elusive commodity, truth? Could it possibly be carried by a song? To illustrate this argument, I will draw on my 15 years of experience in working artistically and intellectually with the Yolŋu people of north-east Arnhem Land in Australia’s remote north, who are among the many Indigenous peoples whose sovereignty in Australia predates the British occupation of 1788.4 As owners of song and dance traditions that formally document their law and are performed to conduct legal processes, the Yolŋu case has been a focus of prolonged political contestation over such nations of song, and also raises salient questions about perceived relations between music and knowledge within the academy, where meaning and evidence are conventionally rendered in text. This article was originally presented as a keynote address to the joint meeting of the Musicological Society of Australia and the New Zealand Musicological Society at the University of Otago in Dunedin, New Zealand, in December 2010. -
Australia and the Pacific
AUSTRALIA AND THE PACIFIC: THE AMBIVALENT PLACE OF PACIFIC PEOPLES WITHIN CONTEMPORARY AUSTRALIA Scott William Mackay, BA (Hons), BSc July 2018 Submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy Australian Indigenous Studies Program School of Culture and Communication The University of Melbourne 0000-0002-5889 – Abstract – My thesis examines the places (real and symbolic) accorded to Pacific peoples within the historical production of an Australian nation and in the imaginary of Australian nationalism. It demonstrates how these places reflect and inform the ways in which Australia engages with the Pacific region, and the extent to which Australia considers itself a part of or apart from the Pacific. While acknowledging the important historical and contemporary differences between the New Zealand and Australian contexts, I deploy theoretical concepts and methods developed within the established field of New Zealand- centred Pacific Studies to identify and analyse what is occurring in the much less studied Australian-Pacific context. In contrast to official Australian discourse, the experiences of Pacific people in Australia are differentiated from those of other migrant communities because of: first, Australia’s colonial and neo-colonial histories of control over Pacific land and people; and second, Pacific peoples' important and unique kinships with Aboriginal Australians. Crucially the thesis emphasises the significant diversity (both cultural and national) of the Pacific experience in Australia. My argument is advanced first by a historicisation of Australia’s formal engagements with Pacific people, detailing intersecting narratives of their migration to Australia and Australia’s colonial and neo- colonial engagements within the Pacific region.