DOCSLIB.ORG

Aboriginal & Torres Strait Islander

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aboriginal & Torres Strait Islander NOVEMBER 2007 ■ VOL 4 ■ ISSUE 2 ABORIGINAL & nFROMe THE NwATIONAL s TORRES STRAIT ISLANDER MUSEUM OF AUSTRALIA Going home to Kinchella Tayenebe NAIDOC 50th Anniversary Who You Callin’ Urban? Forum 2 Message from the Director of the National Museum of Australia MESSAGE FROM THE 3 Message from the Principal Advisor (Indigenous) MESSAGE FROM THE MESSAGE FROM to the Director, and Senior Curator PRINCIpAL ADVISOR THE ABORIGINAL AND DIRECTOR OF THE (INDIGENOUS) TO 3 Message from the Aboriginal and Torres Strait TORRES STRAIT ISLANDER Islander Program Director NATIONAL MUSEUM THE DIRECTOR, AND OF AUSTRALIA PROGRAM DIRECTOR 4 Mates SENIOR CURATOR 5 Celebrating NAIDOC’s 50th anniversary, Photo: Dean McNicoll by Barbara Paulson 6 NAIDOC Week celebrations at the Museum, by Helena Bezzina I would like to acknowledge the Ngambri and Welcome. We acknowledge the traditional custodians of this Hi, and welcome to this issue. On behalf of ATSIP 8 70% Urban, by Barbara Paulson Ngunnawal peoples as traditional custodians of the lands upon area, the Ngambri and Ngunnawal peoples, and others who are now I’d like to acknowledge the Ngambri and Ngunnawal peoples, both as 9 Who You Callin’ Urban?, by Margo Neale which the National Museum is built. part of our Indigenous Canberra community. the traditional owners of the Canberra region and as valued friends of the Museum. 10 Going back home, by Jay Arthur There are always exciting things happening at the Museum. In the last issue, I outlined a number of initiatives that would help Contents 11 Martu community members visit the Museum, The celebration of NAIDOC Week’s 50th anniversary and us get things moving at a faster and more sustainable pace in the Life for the ATSIP team continues to be busy. Behind every exhibition by David Kaus accompanied activities at the Museum this year was well received Indigenous employment and awareness area. The response to the or event put on by the Museum lies long planning and effort. ATSIP 12 Papunya Painting: Out of the Desert, and enjoyed by visitors. There are also several exhibitions at various first ever Museum-wide cultural awareness training is going great staff are kept active researching, developing and reviewing content by Nancy Michaelis stages of delivery which explore the historical experiences of guns. So far 70 staff from all levels have attended the program for exhibitions, publications, public programs, web-based products, 13 Utopia to Tokyo, by Margo Neale Indigenous Australians and give visitors a chance to see objects over the past 6 months. It’s not a one-off and will, in one form or and public enquiries. An important component of this research from the National Historical Collection not previously displayed. another, be embedded in the Museum culture to ensure a developing is community consultation, and the past 6 months have been 14 Il iamb nai? Pombrol molga kundal al?, by Anna Edmundson Some have never been shown in public before. receptive environment for Indigenous people (staff and visitors). characterised by special efforts to engage directly with individuals and communities in order to discuss project ideas and content. 15 Tayenebe, by Amanda Jane Reynolds In March we opened 70% Urban which explores the historical After a lot of hard work by our Employee Relations and People Such community consultation is an increasingly important part of experiences of Indigenous Australians as they engage with the Development Section, the Museum is really proud to report the 16 Talkback Classroom Museum practice. The partnerships and stories of people’s lives process of urbanisation. In November we will open the Papunya appointment of three Indigenous cadets (Canberra is not an easy – Indigenous Rights forum, by Danielle Lede that have emerged from such consultation not only informs what Painting: Out of the Desert exhibition highlighting the cultural, spot to attract blackfellas from other areas to). It is a great program – Learning journey, by Brendon Kassman the Museum delivers to the wider public but always has a personal social and political values of these works and illustrating the enabling them to be supported while they complete their studies impact on the curator, something we all recognise as a good thing. 17 Returning to New Norcia, by George Taylor historical inception of the Papunya Tula movement. In February 2008 with on–the-job training for 12 weeks of each year. However 18 ATSIP News the Emily Kame Kngwarreye exhibition opens in Tokyo, Japan. Indigenous employment is an area we have to continue to be As this issue will show, we’ve had some rewarding experiences. 20 Collection stories Emily’s is the story of an extraordinary Australian whose history, proactive in, as it is a small pool we are drawing from and natural The repatriation program has benefited from advice regarding the – The Long Walk 2004, by Barbara Paulson culture and life is revealed though powerful and innovative images. attrition will always take its toll. On that point I would like to farewell care and return of restricted objects during visits by elders from George Taylor, a Yamatji man who has been at the Museum in both Central Australian communities. We’ve been treated to impromptu – The Kanberri collection, by Christine Hansen The Museum’s Indigenous cadetship program is underway with the the Visitor Services and Repatriation areas for nearly 7 years. displays of traditional bark-sandal making by Martu men and women. – If You Love Me, Love Me Safely, first three participants signed on. The program was developed in He has been a stalwart! We had another successful annual NAIDOC Week in July. 70% Urban by Andy Greenslade response to an important strategic issue highlighted by the Museum continues to draw visitors, complemented by a successful forum, – The Joe McGiness collection, by Kipley Nink Consultative Forum in October 2006. You’ll hear more about them On the exhibition front, there are two major Indigenous shows Who You Callin’ Urban?. Work on the Papunya Tula: Out of the Desert – Namatjira’s woomera, a gift of thanks, and their experiences here at the Museum in the forthcoming issues. coming up: one about early Papunya paintings opening 28 November exhibition nears completion for a November opening. by Christine Hansen at the Museum, and the other on Emily Kame Kngwarreye opening in I hope you enjoy reading about these and the other activities and 23 Some recent acquisitions Japan in February 2008. I hope you enjoy this issue. For more information about the events in this issue. work of the National Museum, don’t forget to visit our website at Margo Neale Craddock Morton Adjunct Professor (History Program, ANU) www.nma.gov.au. Aboriginal & Torres Strait Islander News Edition editor: Barbara Paulson Dr Michael Pickering Copyeditors: Judy Barker and Julie Simpkin Production manager: Po Sung Design: Giraffe Visual Communication Management Pty Ltd Print: Goanna Print Photos: George Serras, National Museum of Australia, unless otherwise noted Cover photos Gallery photos (these pages) Main: Vince Peters, Cec Bowden, Left: Rights exhibit in lower Michael Walsh and Willie Lesley Gallery of First Australians at Kinchella Middle: Fire tool exhibit in upper Left: Caleb Juda at NAIDOC Week Gallery of First Australians family day at the Museum, Right: Anbarra exhibit in upper photo: Lannon Harley Gallery of First Australians Middle: Muriel Maynard, photo: Lucia Rossi, Arts Tasmania Email: [email protected] Right: Anita Heiss at the Museum Produced with assistance from the Photography, Publishing and Copyright and Reproduction sections of the National Museum of Australia 2 3 Celebrating NAIDOC’s 50th anniversary >> Amoy Mallie and Ann Pengelly We’re from Gladstone, Queensland, and came to Canberra to see the Museum. We like the layout and presentation of cultural knowledge and materials Photo: Nancy Michealis exhibited in the Gallery of First Australians. We particularly like the oral histories presented in the Judy Martin (Family History Unit, AIATSIS), Barbara Paulson ‘Identity’ display. It’s awesome to hear Indigenous people from all over Australia talking about who (Curator, ATSIP), Pat Brady (Library Collection Manager, AIATSIS) they are and where they’re from. When you walk through the GFA you notice straightaway what a and PJ Williams (Family History Unit, AIATSIS) to promote awareness of Aboriginal people, their cultures and their huge focus it has in this Museum. You get the feeling it’s an important part of Australian history. In other museums I’ve visited the Aboriginal and Islander content always feels and appears ‘tacked plight. Today, NAIDOC Week has taken on a social significance beyond on’, or at least not as important. Here in the National Museum of Australia it has significance and is The National Museum of Australia commemorated the 50th anniversary its acronym. It is a time to celebrate Aboriginal and Torres Strait presented respectfully and with regard to the diversity of Indigenous peoples. Photo: Barbara Paulson Photo: Barbara of NAIDOC Week with a great program of events which included the Islander cultures, heritage and communities — and to focus national The architecture is so dynamic. This Museum is artistically put together from the architecture to the exhibition, Celebrating 50 Years of NAIDOC. This exhibition was a joint attention on social issues significant to the First Australians. Ann Pengelly and Amoy Mallie displays. There is so much to see and experience, from the first time when we drove up and saw project between the Museum and AIATSIS. It included a selection of The posters promoting ‘National Aborigines Day’ and, later, NAIDOC the orange ‘loop’. We came back a second time and saw things we didn’t see on the previous visit. historically significant posters from the AIATSIS library collection. The Week began circulating in the late 1960s. They reflect many of You really do get a sense of people, place and nation as concepts and shared knowledge within the posters were produced by, and for, the National Aboriginal and Islander the significant changes that have occurred in our recent social Australian experience.
Load more

Recommended publications
  • Impartiality in Opinion Content (July 2008)
    Quality Assurance Project 5: Impartiality (Opinion Content) Final Report July 2008 Advise. Verify. Review ABC Editorial Policies Editorial Policies The Editorial Policies of the ABC are its leading standards and a day-to-day reference for makers of ABC content. The Editorial Policies – • give practical shape to statutory obligations in the ABC Act; • set out the ABC’s self-regulatory standards and how to enforce them; and • describe and explain to staff and the community the editorial and ethical principles fundamental to the ABC. The role of Director Editorial Policies was established in 2007 and comprises three main functions: to advise, verify and review. The verification function principally involves the design and implementation of quality assurance projects to allow the ABC to assess whether it is meeting the standards required of it and to contribute to continuous improvement of the national public broadcaster and its content. Acknowledgements The project gained from the sustained efforts of several people, and the Director Editorial Policies acknowledges: Denis Muller, Michelle Fisher, Manager Research, and Jessica List, Executive Assistant. Thanks also to Ian Carroll and John Cameron, respectively the Directors of the Innovation Division and the News Division, and to their senior staff, whose engagement over the details of editorial decision-making gave the project layers that an assessment of this sort usually lacks. This paper is published by the Australian Broadcasting Corporation © 2008 ABC For information about the paper, please contact: Director Editorial Policies ABC Southbank Centre GPO Box 9994 Melbourne VIC 3001 Phone: +61 3 9626 1631 Email: [email protected] QA Project 05 – Final Report July 2008 ABC Editorial Policies Foreword Opinion and impartiality – are there any other words which, when paired, are more fraught for a public broadcaster? Is any other pair of words more apparently paradoxical? Opinion content is commissioned or acquired by the ABC to provide a particular perspective or point of view.
    [Show full text]
  • Art Almanac April 2018 $6
    Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega,
    [Show full text]
  • 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.
    [Show full text]
  • EORA Mapping Aboriginal Sydney 1770–1850 Exhibition Guide
    Sponsored by It is customary for some Indigenous communities not to mention names or reproduce images associated with the recently deceased. Members of these communities are respectfully advised that a number of people mentioned in writing or depicted in images in the following pages have passed away. Users are warned that there may be words and descriptions that might be culturally sensitive and not normally used in certain public or community contexts. In some circumstances, terms and annotations of the period in which a text was written may be considered Many treasures from the State Library’s inappropriate today. Indigenous collections are now online for the first time at <www.atmitchell.com>. A note on the text The spelling of Aboriginal words in historical Made possible through a partnership with documents is inconsistent, depending on how they were heard, interpreted and recorded by Europeans. Original spelling has been retained in quoted texts, while names and placenames have been standardised, based on the most common contemporary usage. State Library of New South Wales Macquarie Street Sydney NSW 2000 Telephone (02) 9273 1414 Facsimile (02) 9273 1255 TTY (02) 9273 1541 Email [email protected] www.sl.nsw.gov.au www.atmitchell.com Exhibition opening hours: 9 am to 5 pm weekdays, 11 am to 5 pm weekends Eora: Mapping Aboriginal Sydney 1770–1850 was presented at the State Library of New South Wales from 5 June to 13 August 2006. Curators: Keith Vincent Smith, Anthony (Ace) Bourke and, in the conceptual stages, by the late Michael
    [Show full text]
  • Stephen Page on Nyapanyapa
    — OUR land people stories, 2017 — WE ARE BANGARRA We are an Aboriginal and Torres Strait Islander organisation and one of Australia’s leading performing arts companies, widely acclaimed nationally and around the world for our powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national currently in our 28th year. Our dance technique tour of a world premiere work, performed in is forged from over 40,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra, and represent the pinnacle of Australian dance. Each an international tour to maintain our global has a proud Aboriginal and/or Torres Strait reputation for excellence. Islander background, from various locations across the country. Complementing this touring roster are education programs, workshops and special performances Our relationships with Aboriginal and Torres and projects, planting the seeds for the next Strait Islander communities are the heart generation of performers and storytellers. of Bangarra, with our repertoire created on Country and stories gathered from respected Authentic storytelling, outstanding technique community Elders. and deeply moving performances are Bangarra’s unique signature. It’s this inherent connection to our land and people that makes us unique and enjoyed by audiences from remote Australian regional centres to New York. A MESSAGE from Artistic Director Stephen Page & Executive Director Philippe Magid Thank you for joining us for Bangarra’s We’re incredibly proud of our role as cultural international season of OUR land people stories.
    [Show full text]
  • Corroboree Ground and Aboriginal Cultural Area, Queanbeyan River
    November 2017 ACT Heritage Council BACKGROUND INFORMATION Corroboree Ground and Aboriginal Cultural Area, Queanbeyan River Block 700 MAJURA Part Blocks 662, 663, 699, 680, 701, 702, 703, 704 MAJURA Part Blocks 2002, 2091, 2117 JERRABOMBERRA OAKS ESTATE Block 22, Section 2; Block 13, Section 3; Block 4, Section 13; Block 6, Section 13, Block 5, Section 14; Part Block 15, Section 2; Part Block 19, Section 2; Part Block 20, Section 2; Part Block 21, Section 2; Part Block 5, Section 13; Part Block 1, Section 14; Part Block 4, Section 14; Part Block 1, Section 17 At its meeting of 16 November 2017 the ACT Heritage Council decided that the Corroboree Ground and Aboriginal Cultural Area, Queanbeyan River was eligible for registration. The information contained in this report was considered by the ACT Heritage Council in assessing the nomination for the Corroboree Ground and Aboriginal Cultural Area, Queanbeyan River against the heritage significance criteria outlined in s 10 of the Heritage Act 2004. HISTORY The Ngunnawal people are traditionally affiliated with the lands within the Canberra region. In this citation, ‘Aboriginal community’ refers to the Ngunnawal people and other Aboriginal groups within the ACT who draw significance from the place. Whilst the term ‘Aboriginal community’ acknowledges these groups in the ACT, it is recognised that their traditional territories extend outside contemporary borders. These places attest to a rich history of Aboriginal connection to the area. Traditional Aboriginal society in Canberra during the nineteenth century suffered from dramatic depopulation and alienation from traditional land based resources, although some important social institutions like intertribal gatherings and corroborees were retained to a degree at least until the 1860s.
    [Show full text]
  • 1X 86Min Feature Documentary Press Kit
    ELLA 1x 86min Feature Documentary Press Kit INDEX ! CONTACT DETAILS AND TECHNICAL INFORMATION………………………… P3 ! PROGRAM DESCRIPTIONS.…………………………………..…………………… P4-6 ! KEY CAST BIOGRAPHIES………………………………………..………………… P7-9 ! DIRECTOR’S STATEMENT………………………………………..………………… P10 ! PRODUCER’S STATEMENT………………………………………..………………. P11 ! KEY CREATIVES CREDITS………………………………..………………………… P12 ! DIRECTOR AND PRODUCER BIOGRAPHIES……………………………………. P13 ! PRODUCTION CREDITS…………….……………………..……………………….. P14-22 2 CONTACT DETAILS AND TECHNICAL INFORMATION Production Company WildBear Entertainment Pty Ltd Address PO Box 6160, Woolloongabba, QLD 4102 AUSTRALIA Phone: +61 (0)7 3891 7779 Email [email protected] Distributors and Sales Agents Ronin Films Address: Unit 8/29 Buckland Street, Mitchell ACT 2911 AUSTRALIA Phone: + 61 (0)2 6248 0851 Web: http://www.roninfilms.com.au Technical Information Production Format: 2K DCI Scope Frame Rate: 24fps Release Format: DCP Sound Configuration: 5.1 Audio and Stereo Mix Duration: 86’ Production Format: 2K DCI Scope Frame Rate: 25fps Release Formats: ProResQT Sound Configuration: 5.1 Audio and Stereo Mix Duration: 83’ Date of Production: 2015 Release Date: 2016 ISAN: ISAN 0000-0004-34BF-0000-L-0000-0000-B 3 PROGRAM DESCRIPTIONS Logline: An intimate and inspirational journey of the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history Short Synopsis: In October 2012, Ella Havelka became the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history. It was an announcement that made news headlines nationwide. A descendant of the Wiradjuri people, we follow Ella’s inspirational journey from the regional town of Dubbo and onto the world stage of The Australian Ballet. Featuring intimate interviews, dynamic dance sequences, and a stunning array of archival material, this moving documentary follows Ella as she explores her cultural identity and gives us a rare glimpse into life as an elite ballet dancer within the largest company in the southern hemisphere.
    [Show full text]
  • Ntscorp Limited Annual Report 2010/2011 Abn 71 098 971 209
    NTSCORP LIMITED ANNUAL REPORT 2010/2011 ABN 71 098 971 209 Contents 1 Letter of Presentation 2 Chairperson’s Report 4 CEO’s Report 6 NTSCORP’s Purpose, Vision & Values 8 The Company & Our Company Members 10 Executive Profiles 12 Management & Operational Structure 14 Staff 16 Board Committees 18 Management Committees 23 Corporate Governance 26 People & Facilities Management 29 Our Community, Our Service 30 Overview of NTSCORP Operations 32 Overview of the Native Title Environment in NSW 37 NTSCORP Performing the Functions of a Native Title Representative Body 40 Overview of Native Title Matters in NSW & the ACT in 2010-2011 42 Report of Performance by Matter 47 NTSCORP Directors’ Report NTSCORP LIMITED Letter OF presentation THE HON. JennY MacKlin MP Minister for Families, Housing, Community Services and Indigenous Affairs Parliament House CANBERRA ACT 2600 Dear Minister, RE: 2010–11 ANNUAL REPORT In accordance with the Commonwealth Government 2010–2013 General Terms and Conditions Relating to Native Title Program Funding Agreements I have pleasure in presenting the annual report for NTSCORP Limited which incorporates the audited financial statements for the financial year ended 30 June 2011. Yours sincerely, MicHael Bell Chairperson NTSCORP NTSCORP ANNUAL REPORT 10/11 – 1 CHAIrperson'S Report NTSCORP LIMITED CHAIRPERSON’S REPORT The Company looks forward to the completion of these and other ON beHalF OF THE directors agreements in the near future. NTSCORP is justly proud of its involvement in these projects, and in our ongoing work to secure and members OF NTSCORP, I the acknowledgment of Native Title for our People in NSW. Would liKE to acKnoWledGE I am pleased to acknowledge the strong working relationship with the NSW Aboriginal Land Council (NSWALC).
    [Show full text]
  • Bangarra Dance Theatre: Rethinking Indigeneity in Australia
    Bangarra Dance Theatre: Rethinking Indigeneity in Australia A thesis by: Charlotte Schuitenmaker 10212795 rMA Art Studies Supervisor: Dr. B. Titus Second reader: Prof. Dr. J.J.E. Kursell University of Amsterdam 21/01/2019 CONTENT INTRODUCTION……………………………………………………………….. 3 1 – BANGARRA’S EXPRESSIONS…...…………………………………………9 1.1 – Dance and Indigenous Australia………………………………………9 1.1.1 – Dance and music as modes of expression…………………...11 1.1.2 – Dance and music as systems of authority…………………...14 1.2 – Contemporary dancing………………………………………………..15 1.2.1 – Contemporary dance: An Overview......................................15 1.2.2 – Bangarra’s dance…………………………………………….20 1.3 – Presenting Indigeneity………………………………………………...22 1.3.1 – Bangarra’s performances…………………………………….22 1.3.2 – Bangarra’s promotion………………………………………. 31 2 – REASSEMBLING BANGARRA: THE INSTITUTION AS AND WITHIN A NETWORK……………………. 34 2.1 – Bangarra’s establishment……………………………………………...37 2.2 – A Page family business: choreographer, dancer and songman………. 39 2.3 – The theatre…………………………………………………………… 45 2.4 – Audiences and tickets………………………………………………....49 2.5 – Institutions and modernity...................................................................51 3 – MESSAGES: THE POLITICS OF IDENTITY AND STORIES…………54 3.1 – Indigeneity as identity…………………………………………………55 3.2 – Contemporary storytelling…………………………………………….60 3.2.1 – Stories: past-present-future…………………………….…....64 CONCLUSION……………………………………………………………….……67 REFERENCES……………………………………………………….……….……71 2 INTRODUCTION The Bangarra Dance Theatre Company is a Sydney-based institution that produces contemporary dance theatre shows inspired by Indigenous cultures in Australia. Carole Johnson, a dancer of African-American heritage, established the company in 1989, with Stephen George Page as Artistic Director since 1991. Page’s Aboriginal heritage stems from both the Nunukul people and the Munaldjali, a clan of the Yugambeh tribe in the south east of Queensland. Since 1992 the company has produced new shows almost annually and the team tours across the country.
    [Show full text]
  • A STUDY GUIDE by Katy Marriner
    © ATOM 2012 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN 978-1-74295-267-3 http://www.theeducationshop.com.au Raising the Curtain is a three-part television series celebrating the history of Australian theatre. ANDREW SAW, DIRECTOR ANDREW UPTON Commissioned by Studio, the series tells the story of how Australia has entertained and been entertained. From the entrepreneurial risk-takers that brought the first Australian plays to life, to the struggle to define an Australian voice on the worldwide stage, Raising the Curtain is an in-depth exploration of all that has JULIA PETERS, EXECUTIVE PRODUCER ALINE JACQUES, SERIES PRODUCER made Australian theatre what it is today. students undertaking Drama, English, » NEIL ARMFIELD is a director of Curriculum links History, Media and Theatre Studies. theatre, film and opera. He was appointed an Officer of the Order Studying theatre history and current In completing the tasks, students will of Australia for service to the arts, trends, allows students to engage have demonstrated the ability to: nationally and internationally, as a with theatre culture and develop an - discuss the historical, social and director of theatre, opera and film, appreciation for theatre as an art form. cultural significance of Australian and as a promoter of innovative Raising the Curtain offers students theatre; Australian productions including an opportunity to study: the nature, - observe, experience and write Australian Indigenous drama. diversity and characteristics of theatre about Australian theatre in an » MICHELLE ARROW is a historian, as an art form; how a country’s theatre analytical, critical and reflective writer, teacher and television pre- reflects and shape a sense of na- manner; senter.
    [Show full text]
  • A Guide to Traditional Owner Groups For
    A Guide to Traditional Owner Groups Th is m ap w as e nd orse d by th e Murray Low e r Darling Rive rs Ind ige nous Nations (MLDRIN) for Water Resource Plan Areas - re pre se ntative organisation on 20 August 2018 Groundwater and th e North e rn Basin Aboriginal Nations (NBAN) re pre se ntative organisation on 23 Octobe r 2018 Bidjara Barunggam Gunggari/Kungarri Budjiti Bidjara Guwamu (Kooma) Guwamu (Kooma) Bigambul Jarowair Gunggari/Kungarri Euahlayi Kambuwal Kunja Gomeroi/Kamilaroi Mandandanji Mandandanji Murrawarri Giabel Bigambul Mardigan Githabul Wakka Wakka Murrawarri Githabul Guwamu (Kooma) M Gomeroi/Kamilaroi a r a Kambuwal !(Charleville n o Ro!(ma Mandandanji a GW21 R i «¬ v Barkandji Mutthi Mutthi GW22 e ne R r i i «¬ am ver Barapa Barapa Nari Nari d on Bigambul Ngarabal C BRISBANE Budjiti Ngemba k r e Toowoomba )" e !( Euahlayi Ngiyampaa e v r er i ie Riv C oon Githabul Nyeri Nyeri R M e o r Gomeroi/Kamilaroi Tati Tati n o e i St George r !( v b GW19 i Guwamu (Kooma) Wadi Wadi a e P R «¬ Kambuwal Wailwan N o Wemba Wemba g Kunja e r r e !( Kwiambul Weki Weki r iv Goondiwindi a R Barkandji Kunja e GW18 Maljangapa Wiradjuri W n r on ¬ Bigambul e « Kwiambul l Maraura Yita Yita v a r i B ve Budjiti Maljangapa R i Murrawarri Yorta Yorta a R Euahlayi o n M Murrawarri g a a l rr GW15 c Bigambul Gomeroi/Kamilaroi Ngarabal u a int C N «¬!( yre Githabul R Guwamu (Kooma) Ngemba iv er Kambuwal Kambuwal Wailwan N MoreeG am w Gomeroi/Kamilaroi Wiradjuri o yd Barwon River i R ir R Kwiambul !(Bourke iv iv Barkandji e er GW13 C r GW14 Budjiti
    [Show full text]
  • 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.
    [Show full text]