Module 1 Things to Do

Total Page:16

File Type:pdf, Size:1020Kb

Module 1 Things to Do Continuing Your Journey - Module 1 Things to do • Attend Aboriginal and Torres Strait Islander cultural events, such as dance and cultural festivals, in your area. • Visit an Aboriginal or Torres Strait Islander exhibition at an art gallery or museum near you. Think about how the works are displayed and whether or not the approach relies on the kinds of stereotypes talked about in this module. • ttend a multicultural festival. Think about how or whether Aboriginal and Torres Strait Islander cultures are represented in relation to others. Read Beyond Blue 2014, Discrimination against Indigenous Australians: a snapshot of the views of non-Indigenous people aged 25–44, Beyond Blue, Melbourne. https://www.beyondblue.org.au/docs/default-source/research-project-files/bl1337-report- --tns-discrimination-against-indigenous-australians.pdf?sfvrsn=2 Carlson, B 2016, The politics of identity: who counts as Aboriginal today?, Aboriginal Studies Press, Canberra. http://aiatsis.gov.au/publications/products/politics-identity-who-counts-aboriginal-today/ kindle Gorringe, S, Ross, J & Fforde, C 2011, ‘Will the real Aborigine please stand up?’ Strategies for breaking the stereotypes and changing the conversation, AIATSIS Research Discussion Paper no. 28, AIATSIS, Canberra. http://aiatsis.gov.au/sites/default/files/products/discussion_paper/gorringe-ross-fforde- dp28-real-aborigines-stereotypes.pdf Grant, S 2015, ‘The politics of identity: we are trapped in the imaginations of white Australians’, The Guardian, 14 December. http://www.theguardian.com/commentisfree/2015/dec/14/the-politics-of-identity-we-are- trapped-in-the-imaginations-of-white-australians Grieves, V 2014, ‘Culture, not colour, is the heart of Aboriginal Identity’, The Conversation, 18 September. https://theconversation.com/culture-not-colour-is-the-heart-of-aboriginal-identity-30102 Horton, D (ed.) 1994, The encyclopaedia of Aboriginal Australia: Aboriginal and Torres Strait Islander history, society and culture, Aboriginal Studies Press, Canberra. Pascoe, B 2012, The little red yellow black book: an introduction to Indigenous Australia, 3rd edn, Aboriginal Studies Press, Canberra. http://lryb.aiatsis.gov.au/ Reconciliation Australia 2015, 2014 Australian reconciliation barometer, Reconciliation Australia, Canberra. https://www.reconciliation.org.au/wp-content/uploads/2015/10/RR7200-Barometer- Brochure_WEB.pdf Turner, MK, McDonald, B & Dobson, V 2010, Iwenhe Tyerrtye: what it means to be an Aboriginal person, IAD Press, Alice Springs, NT. https://iadpress.com/shop/iwenhe-tyerrtye/ Watch Babakiueria, 1986, television program, ABC Television,Sydney. Black comedy, 2014, television program, ABC Television, Sydney. First Australians, 2008, Blackfella Films, documentary series, seven episodes, first aired on SBS Television, Sydney. IQ2 racism debate: Stan Grant, 2016, online video, The Ethics Centre, Sydney. http://www.ethics.org.au/on-ethics/blog/january-2016/stan-grant-s-speech-on-racism- and-the-australian-d Our Generation, 2011, documentary film, Sinem Saban & Damien Curtis, Darwin. NITV, National Indigenous Television station. Visit websites indigenous.gov.au, Australian Government. http://www.indigenous.gov.au/ ‘Racism. It Stops With Me’ campaign, Australian Human Rights Commission http://itstopswithme.humanrights.gov.au/ Australian Institute of Aboriginal and Torres Strait Islander Studies www.aiatsis.gov.au National Centre for Cultural Competence http://sydney.edu.au/nccc/ Reconciliation Australia www.reconciliation.org.au .
Recommended publications
  • DNA Nation Press
    PRESS KIT DISTRIBUTOR CONTACT PRODUCTION CONTACT SBS International Blackfella Films Lara von Ahlefeldt Darren Dale Tel: +61 2 9430 3240 Tel: +61 2 9380 4000 Email: [email protected] Email: [email protected] 10 Cecil Street Paddington NSW 2021 Tel: +612 9380 4000 Fax: +612 9252 9577 Email: [email protected] www.blackfellafilms.com.au Production Notes Producer Darren Dale Producer & Writer Jacob Hickey Series Producer Bernice Toni Director Bruce Permezel Production Company Blackfella Films Genre Documentary Series Language English Aspect Ratio 16:9 FHA Duration EP 1 00:51:53:00 EP 2 00:54:54:00 EP 3 00:52:58:00 Sound Stereo Shooting Gauges Arri Amira, F55, DJI Inspire Drone, Blackmagic & Go Pro Logline Who are we? And where do we come from? Short Synopsis Who are we? And where do we come from? Australia’s greatest Olympian Ian Thorpe, iconic Indigenous actor Ernie Dingo, and TV presenter and Queen of Eurovision Julia Zemiro set off on an epic journey of genetic time travel to find out. © 2016 Blackfella Films Pty Ltd Page 2 of 40 Long Synopsis Who are we? And where do we come from? Australia’s greatest Olympian Ian Thorpe, iconic Indigenous actor Ernie Dingo, and TV presenter and Queen of Eurovision Julia Zemiro set off on an epic journey of genetic time travel to find out. DNA is the instruction manual that helps build and run our bodies. But scientific breakthroughs have discovered another remarkable use for it. DNA contains a series of genetic route maps. It means we can trace our mother’s mother’s mother and our father’s father’s father, and so on, back through tens of millennia, revealing how our ancestors migrated out of Africa and went on to populate the rest of the world.
    [Show full text]
  • Download Thesisadobe
    Difficult Knowledge and Uncomfortable Pedagogies: student perceptions and experiences of teaching and learning in Critical Indigenous Australian Studies Marcelle Townsend-Cross (BA, SCU; MEd, UTS) A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences University of Technology Sydney 2018 ii Certificate of Original Authorship I, Marcelle Townsend-Cross declare that this thesis is submitted in fulfilment of the requirements for the award of Doctor of Philosophy in the Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. This document has not been submitted for qualifications at any other academic institution. Signature: Production Note: Signature removed prior to publication. Date: 26th February 2018 iii Acknowledgements I owe my gratitude to the teachers and students who generously agreed to participate in my research. Their courageous and candid contributions provided rich and compelling insights that positively shaped my research in immeasurable ways. I am very grateful to Dr. Rick Flowers who expertly guided me through the research process with enthusiasm, mindfulness and patience. I am so very grateful and privileged to have been a recipient of the Jumbunna Postgraduate Research Scholarship. Many people have inspired and encouraged me throughout my candidature – family, friends and colleagues - and I am humbled by your consistent and persistent belief in me, especially during the times when I didn’t particularly believe in myself, thank you.
    [Show full text]
  • INDIGENOUS Tertiary Education Conference
    INDIGENOUS Tertiary Education Conference TRINITY COLLEGE 18 - 19 NOVEMBER 2016 PROUDLY PRESENTED BY FRONT COVER Image courtesy of the Hardy family WELCOME FROM TRINITY COLLEGE On behalf of Trinity College, the University of Melbourne it is my honour to welcome you to the 2016 inaugural Indigenous Tertiary Education Conference. We acknowledge that we live and learn on the land of the Wurundjeri People of the Kulin Nations. The conference takes place in Trinity College’s new Gateway building, which is a tangible expression of Trinity’s commitment to higher education and to providing transformative experiences for young people of any nationality, ethnicity, race or creed. Trinity’s Indigenous programs have been developing since 2001 and are set in the context of the College’s commitment to reconciliation with Indigenous communities. The imperative of these programs is to implement practical steps that make a real difference to the lives of students and the communities to which they belong. The first major step taken by Trinity was to establish the Bachelor of Arts Extended pathway program, in partnership with the Faculty of Arts, Murrup Barak, and other residential colleges. Last year, the Faculty of Science formed a similar Bachelor of Science Extended pathway program. These programs are a unique and successful pathway model for Indigenous students in Australia. Trinity College, in collaboration with the University of Melbourne, has established this conference as a forum for educators, researchers, policymakers, students and the community. The conference theme will explore transitions into and within tertiary education and after graduation. I welcome our Australian and international Indigenous and non-Indigenous colleagues.
    [Show full text]
  • Download the Press
    OTHER PEOPLE’S PROBLEMS| PRESS KIT Creators and writers - Penelope Chai & Jane Dickenson Director - Erin White Producer - Charlotte Seymour Executive Producer - Sue Maslin Facebook.com/opptheseries/ BILLING BLOCK A Seymour Films production in association with ABC TV, Screen Australia and Film Victoria. Additional financial support from Australia Post and distribution by Film Art Media. Creators and writers Penelope Chai & Jane Dickenson. Director Erin White. Producer Charlotte Seymour Executive Producer Sue Maslin. ABC Executive Producers Rick Kalowski and Andrew Gregory. CONTACT TECHNICAL INFORMATION Charlotte Seymour Country of Production AUSTRALIA SEYMOUR FILMS Year of Production 2017 28 Hall St Fairfield Vic 3078 Running Time 5 x 7 min eps Tel + 61 419 392 259 Ratio 16 x 9 Fax: +61 3 9417 7336 Language ENGLISH [email protected] Genre Drama/Comedy filmartmedia.com OTHER PEOPLE’S PROBLEMS| THE STORY TAGLINE Based on real people’s real problems and the letters that solved them. LOGLINE Reluctant copywriter and aspiring eco-warrior Florence embarks on a venture to ghost-write other people’s letters in exchange for second-hand clothing. SHORT SYNOPSIS Florence ghost-writes letters for people in exchange for clothes. Her bestie and housemate Ann is a life- saving paramedic. Florence is convinced that a well penned letter can also rescue situations, but solving other people’s problems is hard when her own keep getting in the way. SYNOPSIS Florence, a reluctant copywriter and aspiring eco-warrior, embarks on a venture to ghost-write other people's letters in exchange for second-hand clothing. Her bestie and housemate Ann is a life-saving paramedic, and Florence is determined to prove she’s equally adept at helping people.
    [Show full text]
  • Senate Order for Entity Contracts Listing Relating to the Period 1 July 2020 to 30 June 2021
    Senate Order for Entity Contracts listing relating to the period 1 July 2020 to 30 June 2021. Pursuant to the Senate Order for entity contracts, the following table sets out contracts entered into by Screen Australia, which provide for a consideration to the value of $100,000 or more (GST Inclusive) and which: a. Have not been fully performed as at 30 June 2021, or b. Which have been entered into during the 12 months prior to 30 June 2021. Most of the contracts listed contain confidentiality provisions of a general nature that are designed to protect the confidential information of the parties that may be obtained or generated in carrying out the contract. The reasons for including such clauses include: a. Ordinary commercial prudence that requires protection of trade secrets, proprietary information, sensitive business information and the like and/or b. Protection of other Commonwealth material and personal information. The accountable authority of Screen Australia has assured that the listed contracts do not contain any inappropriate confidentiality provisions. The estimated cost of complying with this order was approximately $1,500. Basis of method used to estimate the cost: Applying salary costs to the number of hours spent by staff across various Departments to collect and analyse the information. Senate Order for Entity Contracts listing relating to the period 1 July 2020 to 30 June 2021 Total Other Confidentiality Reason For Reason For Name of Contractor Subject Matter Funding for Start Date End Date Confidentiality Provisions
    [Show full text]
  • Series 2, Episode 4
    SERIES 2, EPISODE 4 © ATOM 2013 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-74295-383-0 http://www.theeducationshop.com.au Redfern Now Series 2 portrays contemporary inner city Indigenous life in and around the suburb of Redfern in Sydney, New South Wales. The series offers compelling stories of ordinary people dealing with the ups and downs that life brings. Redfern Now is a drama series written, directed and produced by Indigenous Australians. The series was developed in collaboration with UK screenwriter Jimmy McGovern and is produced by Blackfella Films’ Darren Dale and Miranda Dear, and presented by ABC TV and Screen Australia in association with Screen NSW. Now has relevance to units of work in CURRICULUM Aboriginal and Torres Strait Islander LINKS Studies, Australian History, Cultural Studies, English, Health and Human Redfern Now is suitable for second- Development, Literature, Media, ary students in Years 9–12. The Religion and Society, and Sociology. series offers stories of Aboriginal and Torres Strait Islander peoples told by Teachers are advised to direct stu- Aboriginal and Torres Strait Islander dents to complete activities that are peoples, allowing students to develop subject-relevant and age-appropriate. an awareness and appreciation of Indigenous storytelling and to see the issues affecting Aboriginal and Torres BLACKFELLA Strait Islanders from their perspective. FILMS Given its insight into the present expe- For twenty years, Blackfella Films has riences of Aboriginal and Torres Strait created innovative and high-quality Islander peoples, the series provides content across documentary and nar- opportunities for students to engage rative in both short and feature formats in discussions about Aboriginal and for theatrical, television and online plat- Torres Strait Islander identity and be- forms.
    [Show full text]
  • The Arts- Media Arts
    Resource Guide The Arts- Media Arts The information and resources contained in this guide provide a platform for teachers and educators to consider how to effectively embed important ideas around reconciliation, and Aboriginal and Torres Strait Islander histories, cultures and contributions, within the specific subject/learning area of The Arts- Media Arts. Please note that this guide is neither prescriptive nor exhaustive, and that users are encouraged to consult with their local Aboriginal and Torres Strait Islander community, and critically evaluate resources, in engaging with the material contained in the guide. Page 2: Background and Introduction to Aboriginal and Torres Strait Islander Media Arts Page 4: Timeline of Key Dates in the Contemporary History of Aboriginal and Torres Strait Islander Media Arts Page 8: Aboriginal and Torres Strait Islander Media Arts and Artists— Television Page 10: Aboriginal and Torres Strait Islander Media Arts and Artists— Film Page 14: Aboriginal and Torres Strait Islander Media Arts and Artists— Newspaper, Magazine and Comic Book Page 15: Aboriginal and Torres Strait Islander Media Arts and Artists— Radio Page 17: Aboriginal and Torres Strait Islander Media Arts and Artists— Apps, Interactive Animations and Video Games Page 19: Aboriginal and Torres Strait Islander Media Arts and Artists—The Internet Page 21: Celebratory Aboriginal and Torres Strait Islander Media Arts Events Page 22: Other Online Guides/Reference Materials Page 23: Reflective Questions for Media Arts Staff and Students Please be aware this guide may contain references to names and works of Aboriginal and Torres Strait Islander people that are now deceased. External links may also include names and images of those who are now deceased.
    [Show full text]
  • Rachel Perkins
    Keynote address / Rachel Perkins I thought I would talk today about a project called First Australians, which is a documentary project. We are still in the midst of it. When I talk to people about it, like taxi drivers, they ask “What do you do?” and I say I make films. They say, “What are you working on?” and I say, “I’m working on this documentary series called First Australians” and they go “Oh great, it is about the migrant community coming to Australia” and I say, “No, no! It is actually about the first Australians, Indigenous Australians. So, we are still grappling with the title and whether it is going to be too confusing for people to grasp. But the name First Australians sort of makes the point of it trying to claim the space as Australia’s first people. If anyone has any better suggestions, come up to me at the end of the session! First Australians. It is probably the most challenging project that I’ve worked on to date. It is the largest documentary series to be undertaken in Australia. It is being made by a group of Indigenous Australians under the umbrella of Blackfella Films, which is our company. It has a national perspective and it is really the history of colonisation, which is a big part of our story. It charts the period from the 1780s through to 1993. It began in 2002 when Nigel Milan, who was the then General Manager of SBS, approached me. They had shown a series on SBS called 500 Nations, which is a series on Native American people.
    [Show full text]
  • Series 2, Episode 1
    SERIES 2, EPISODE 1 © ATOM 2013 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-74295-366-3 http://www.theeducationshop.com.au Redfern Now Series 2 portrays contemporary inner-city Indigenous life in and around the suburb of Redfern in Sydney, New South Wales. The series offers compelling stories of ordinary people dealing with the ups and downs that life brings. Redfern Now is a drama series written, directed and produced by Indigenous Australians. The series was developed in collaboration with UK screenwriter Jimmy McGovern and is produced by Blackfella Films’ Darren Dale and Miranda Dear, and presented by ABC TV and Screen Australia in association with Screen NSW. CURRICULUM Now has relevance to units of work in Aboriginal and Torres Strait Islander LINKS Studies, Australian History, Cultural Studies, English, Health and Human Redfern Now is suitable for second- Development, Literature, Media, ary students in Years 9–12. The Religion and Society, and Sociology. series offers stories of Aboriginal and Torres Strait Islander peoples told by Teachers are advised to direct stu- Aboriginal and Torres Strait Islander dents to complete activities that are peoples, allowing students to develop subject-relevant and age-appropriate. an awareness and appreciation of Indigenous storytelling and to see the issues affecting Aboriginal and Torres BLACKFELLA Strait Islanders from their perspective. FILMS Given its insight into the present expe- For twenty years, Blackfella Films has riences of Aboriginal and Torres Strait created innovative and high-quality Islander peoples, the series provides content across documentary and nar- opportunities for students to engage rative in both short and feature formats in discussions about Aboriginal and for theatrical, television and online plat- Torres Strait Islander identity and be- forms.
    [Show full text]
  • Brenda L.Croft
    Up in the sky, behind the clouds Brenda L. Croft I do what I do because I like doing it, I’m not chasing fame … Photography is just a medium for me, a way of putting across my views and images to the world. It’s no big deal.1 Big sky. Flat, open plains. Scudding clouds, as if swept across the canvas by a colossal invisible hand. The plane shudders as its landing gear drops – clunk – and, when its wing dips to the right, the black soil of Moree rises up in greeting. I was travelling there to meet with the family and friends of Michael Riley (1960– 2004), whose mother’s people were part of the Moree Kamilaroi community, and whose father’s people came from the red-soil western plains of Dubbo, Wiradjuri country, to the south, where I had travelled some weeks earlier. How do you measure a person’s life? Through their creative output? Their traces left behind, the memento mori? Through the reminiscences of others, in the spoken and written word? Through their family, their ancestors and descendants? Michael left us physically in August 2004, aged 44, suffering the after- effects of childhood poverty – the fate of too many Indigenous people in Australia, a First-World country, where the majority of the Indigenous people continue to live in Third-World conditions. By any standards Michael’s life was extraordinary and he has left behind a body of work that encompasses the complexity of contemporary Aboriginal life in myriad forms: portraiture, social-documentary and conceptual photography and film, and fine-art film.
    [Show full text]
  • VICE Studios and Screen Australia Present in Association with Film Victoria and Create NSW a Blue-Tongue Films and Pariah Production
    VICE Studios and Screen Australia present In association with Film Victoria and Create NSW A Blue-Tongue Films and Pariah Production Written and Directed by Mirrah Foulkes Starring Mia Wasikowska and Damon Herriman Produced by Michele Bennett, Nash Edgerton and Danny Gabai Run Time: 105 Minutes Press Contact Samuel Goldwyn Films [email protected] SYNOPSES Short Synopsis In the anarchic town of Seaside, nowhere near the sea, puppeteers Judy and Punch are trying to resurrect their marionette show. The show is a hit due to Judy's superior puppeteering, but Punch's driving ambition and penchant for whisky lead to an inevitable tragedy that Judy must avenge. Long Synopsis In the anarchic town of Seaside, nowhere near the sea, puppeteers Judy and Punch are trying to resurrect their marionette show. The show is a hit due to Judy's superior puppeteering, but Punch's driving ambition and penchant for whisky lead to an inevitable tragedy that Judy must avenge. In a visceral and dynamic live-action reinterpretation of the famous 16th century puppet show, writer director MIRRAH FOULKES turns the traditional story of Punch and Judy on its head and brings to life a fierce, darkly comic and epic female-driven revenge story, starring MIA WASIKOWSKA and DAMON HERRIMAN. 2 DIRECTOR’S STATEMENT JUDY AND PUNCH is a dark, absurd fable treading a line between fairy-tale, fantasy and gritty realism, all of which work together to establish a unique tone while upsetting viewer expectations. When Vice Studios’ Eddy Moretti and Danny Gabai approached me with the idea of making a live action, feminist revenge film about Punch and Judy, they encouraged me to let my imagination go wild and take the story wherever I felt it needed to go.
    [Show full text]
  • Beyond the Aesthetic a STUDY OF
    Beyond the Aesthetic A STUDY OF INDIGENEITY AND NARRATIVE IN CONTEMPORARY AUSTRALIAN ART – VOLUME ONE – Catherine Slocum December 2016 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University © Copyright by Catherine Slocum 2016 All Rights Reserved INDIGENOUS AUSTRALIANS SHOULD BE AWARE THAT THIS DOCUMENT CONTAINS NAMES AND IMAGES OF DECEASED PERSONS. ii THE TERM ‘INDIGENOUS AUSTRALIANS’ HAS BEEN ADOPTED AND MAINTAINED THROUGHOUT THIS THESIS. THERE ARE MANY DIFFERENT DISPLAYS OF THIS TERM, HOWEVER THIS TERM IS USED AS IT INCLUDES THOSE WHO IDENTIFY AS ABORIGINAL, TORRES STRAIT ISLANDER AND ABORIGINAL AND TORRES STRAIT ISLANDER. iii DECLARATION I declare that this thesis is wholly my own original work unless otherwise referenced or acknowledged. ………………………………………… Catherine Slocum December 2016 iv ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my supervisor Professor Paul Pickering for the continuous support of my PhD study and research. His insightful comments and valuable discussion are gratefully acknowledged. My sincere thanks are extended to Dr Thuy Do for her useful comments in the final stages and Dr Lan Tran for her valuable assistance during the course of my study. A very special thanks to Vernon Ah Kee, Tony Albert, Brook Andrew, Daniel Boyd, Dianne Jones, Christopher Pease and Christian Thompson whose work I feel privileged to have been given the opportunity to study at length. The project would not have been possible without the specialist Indigenous Australian collection at the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) Library in Canberra. I gratefully acknowledge the financial support of the College of Arts and Social Sciences at the Australian National University.
    [Show full text]