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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. -
SYDNEY ABORIGINAL PEOPLE FIND FINAL RESTING PLACE 3 MARCH, 2005 19Th and 20Th Centuries As Colonial Souvenirs and for Ethnographic Study
www.asgmwp.net Autumn 2005 SYDNEY ABORIGINAL PEOPLE FIND FINAL RESTING PLACE 3 MARCH, 2005 19th and 20th centuries as colonial souvenirs and for ethnographic study. Not NORTH HEAD, MANLY, NSW until the late 20th century have some of I was asked to write this article for Elimatta these people, our ancestors, begun to be about this moving ceremony because I was returned to their own lands to rest in their privileged to be there. It’s a hard task for rightful place. me, not only because of the content, but “When the Europeans invaded, they didn’t remains to develop Repatriation Policies because I am by blood a Queenslander, just take our land, they also stole the for the correct and dignified return of although born and lived most of my life in bodies of our people. They thought we these people. Sydney, part of it on the Northern Beaches. were going to die out, so they wanted to This initiative has been taken by three So I have decided to liberally quote (in measure and study us in the names of Australian institutions, to their credit: the italics) from the Metropolitan Local science and progress,” Mr Welsh said. National Museum of Australia (Canberra), Aboriginal Land Council Media Release of “But we didn’t die out and today we took the Australian Museum (Sydney) and the 3 March 2005, particularly its excerpts our ancestors to their final resting place, in NSW Department of Environment and from the excellent speech given by Rob their own country, with their own people.” Conservation (DEC). -
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. -
Teachers' Notes for Secondary Schools
artback nt: arts development and touring presents teachers’ notes for secondary schools teachers’ notes for secondary schools table of contents History - Djuki Mala [The Chooky Dancers] pg 3 Activity - Djuki Mala Zorba the Greek on YouTube pg 3 Activity - Online video - Elcho Island and The Chooky Dancers pg 3 Activity - Traditional dance comparison pg3 Home - Elcho Island pg 4 History pg 5 Activity - Macassar research pg 5 Activity - ‘Aboriginal’ vs ‘Indigenous’ pg 5 Activity - Gurrumul research pg 6 Activity - ‘My Island Home’ pg 6 Activity - Film: ‘Big Name No Blankets’ pg 6 Community pg 7 Activity - Elcho Island: Google Earth pg 7 Yolngu Culture pg 8 Activity - Film: ‘Yolgnu Boy’ + questions pg 8 Activity - Film: ‘Ten Canoes’ pg 9 Activity - Documentary: ‘Balanda and the Bark Canoes’ pg 9 Activity - Yolgnu culture clips online pg 9 Clans and Moieties pg 9 Activity - Clans and moieties online learning pg 9 Language pg 10 Activity - Yolngu greetings pg 10 Useful links and further resources pg 11 usage notes These notes are intended as a teaching guide only. They are suitable for high school students at different levels and teachers should choose from the given activities those that they consider most suitable for different year groups. The notes were developed by Mary Anne Butler for Artback NT: Arts Development and Touring. Thanks to Stuart Bramston, Shepherdson College, Jonathan Grassby, Linda Joy and Joshua Bond for their assistance. teachers’ notes page 2 of 11 History - Djuki Mala [T he Chooky Dancers] In 2007, on a basketball court in Ramingining, a group of Elcho Island dancers calling themselves the Chooky Dancers choreographed and performed a dance routine to the tune of Zorba the Greek. -
Aboriginal Agency, Institutionalisation and Survival
2q' t '9à ABORIGINAL AGENCY, INSTITUTIONALISATION AND PEGGY BROCK B. A. (Hons) Universit¡r of Adelaide Thesis submitted for the degree of Doctor of Philosophy in History/Geography, University of Adelaide March f99f ll TAT}LE OF CONTENTS ii LIST OF TAE}LES AND MAPS iii SUMMARY iv ACKNOWLEDGEMENTS . vii ABBREVIATIONS ix C}IAPTER ONE. INTRODUCTION I CFIAPTER TWO. TI{E HISTORICAL CONTEXT IN SOUTH AUSTRALIA 32 CHAPTER THREE. POONINDIE: HOME AWAY FROM COUNTRY 46 POONINDIE: AN trSTä,TILISHED COMMUNITY AND ITS DESTRUCTION 83 KOONIBBA: REFUGE FOR TI{E PEOPLE OF THE VI/EST COAST r22 CFIAPTER SIX. KOONIBBA: INSTITUTIONAL UPHtrAVAL AND ADJUSTMENT t70 C}IAPTER SEVEN. DISPERSAL OF KOONIBBA PEOPLE AND THE END OF TI{E MISSION ERA T98 CTIAPTER EIGHT. SURVTVAL WITHOUT INSTITUTIONALISATION236 C}IAPTER NINtr. NEPABUNNA: THtr MISSION FACTOR 268 CFIAPTER TEN. AE}ORIGINAL AGENCY, INSTITUTIONALISATION AND SURVTVAL 299 BIBLIOGRAPI{Y 320 ltt TABLES AND MAPS Table I L7 Table 2 128 Poonindie location map opposite 54 Poonindie land tenure map f 876 opposite 114 Poonindie land tenure map f 896 opposite r14 Koonibba location map opposite L27 Location of Adnyamathanha campsites in relation to pastoral station homesteads opposite 252 Map of North Flinders Ranges I93O opposite 269 lv SUMMARY The institutionalisation of Aborigines on missions and government stations has dominated Aboriginal-non-Aboriginal relations. Institutionalisation of Aborigines, under the guise of assimilation and protection policies, was only abandoned in.the lg7Os. It is therefore important to understand the implications of these policies for Aborigines and Australian society in general. I investigate the affect of institutionalisation on Aborigines, questioning the assumption tl.at they were passive victims forced onto missions and government stations and kept there as virtual prisoners. -
A Preliminary Study of Pitch and Rhythm in Pitjantjatjara
A PRELIMINARY STUDY OF PITCH AND RHYTHM IN PITJANTJATJARA. Marija Tabain (La Trobe University, Melbourne), Janet Fletcher (University of Melbourne), Christian Heinrich (Ludwig Maximilians University, Munich) Pitjantjatjara is a dialect of the greater Western Desert language, spoken mainly in the north-west of South Australia, but extending north into the Northern Territory, and west into Western Australia (Douglas 1964). Like most Australian languages, Pitjantjatjara has been analysed as a stress language (trochaic); however relatively little is known about the intonational system of this language. We present a preliminary analysis of the prosodic structure of Pitjantjatjara based on three female speakers reading two different texts – the Walpa Ulpariranya munu Tjintunya (South Wind and the Sun) passage, and the Nanikuta (Three Billy Goats) text. Our first result suggests that the shape and temporal alignment of major pitch movements perform a largely demarcative function, aligning with the metrically strong first syllable in a word. There is mixed evidence, however, that strong syllables are longer or have more "peripheral" vowels: differences in strong vs. weak syllable duration are text- dependent, while the formant patterns for the three vowel phonemes /i, a, u/ suggest subtle formant differences, rather than categorical changes in vowel quality, according to strong vs. weak syllable. We also consider the traditional rhythm metrics (e.g. vocalic nPVI and intervocalic rPVI). These suggest that Pitjantjatjara is a stress-based language. However, as noted above, Pitjantjatjara does not have vowel reduction in weak syllables, and in addition, it has a predominantly CV syllable structure. Moreover, Australian languages such as Pitjantjatjara have a high proportion of sonorants in their phoneme inventory (Butcher 2006), and despite the mainly CV syllable structure, sonorant coda consonants are possible and not infrequent. -
A Grammatical Sketch of Ngarla: a Language of Western Australia Torbjörn Westerlund
UPPSALA UNIVERSITY master thesis The department for linguistics and philology spring term 2007 A grammatical sketch of Ngarla: A language of Western Australia Torbjörn Westerlund Supervisor: Anju Saxena Abstract In this thesis the basic grammatical structure of normal speech style of the Western Australian language Ngarla is described using example sentences taken from the Ngarla – English Dictionary (by Geytenbeek; unpublished). No previous description of the language exists, and since there are only five people who still speak it, it is of utmost importance that it is investigated and described. The analysis in this thesis has been made by Torbjörn Westerlund, and the focus lies on the morphology of the nominal word class. The preliminary results show that the language shares many grammatical traits with other Australian languages, e.g. the ergative/absolutive case marking pattern. The language also appears to have an extensive verbal inflectional system, and many verbalisers. 2 Abbreviations 0 zero marked morpheme 1 first person 1DU first person dual 1PL first person plural 1SG first person singular 2 second person 2DU second person dual 2PL second person plural 2SG second person singular 3 third person 3DU third person dual 3PL third person plural 3SG third person singular A the transitive subject ABL ablative ACC accusative ALL/ALL2 allative ASP aspect marker BUFF buffer morpheme C consonant CAUS causative COM comitative DAT dative DEM demonstrative DU dual EMPH emphatic marker ERG ergative EXCL exclusive, excluding addressee FACT factitive FUT future tense HORT hortative ImmPAST immediate past IMP imperative INCHO inchoative INCL inclusive, including addressee INSTR instrumental LOC locative NEG negation NMLISER nominaliser NOM nominative N.SUFF nominal class suffix OBSCRD obscured perception P the transitive object p.c. -
Australian Elegy: Landscape and Identity
Australian Elegy: Landscape and Identity by Janine Gibson BA (Hons) Submitted in fulfilment of the requirements for the degree of (Doctor of Philosophy) Deakin University December, 2016 Acknowledgments I am indebted to the School of Communication and Creative Arts at Deakin University (Geelong), especially to my principal supervisor Professor David McCooey whose enthusiasm, constructive criticism and encouragement has given me immeasurable support. I would like to gratefully acknowledge my associate supervisors Dr. Maria Takolander and Dr. Ann Vickery for their interest and invaluable input in the early stages of my thesis. The unfailing help of the Library staff in searching out texts, however obscure, as well as the support from Matt Freeman and his helpful staff in the IT Resources Department is very much appreciated. Sincere thanks to the Senior HDR Advisor Robyn Ficnerski for always being there when I needed support and reassurance; and to Ruth Leigh, Kate Hall, Jo Langdon, Janine Little, Murray Noonan and Liam Monagle for their help, kindness and for being so interested in my project. This thesis is possible due to my family, to my sons Luke and Ben for knowing that I could do this, and telling me often, and for Jane and Aleisha for caring so much. Finally, to my partner Jeff, the ‘thesis watcher’, who gave me support every day in more ways than I can count. Abstract With a long, illustrious history from the early Greek pastoral poetry of Theocritus, the elegy remains a prestigious, flexible Western poetic genre: a key space for negotiating individual, communal and national anxieties through memorialization of the dead. -
Theatre Costume, Celebrity Persona, and the Archive
Persona Studies 2019, vol. 5, no. 2 THEATRE COSTUME, CELEBRITY PERSONA, AND THE ARCHIVE EMILY COLLETT ABSTRACT This essay considers the archived costume in relation to the concept of the celebrity performer’s persona. It takes as its case study the Shakespearean costume of Indigenous actress Deborah Mailman, housed in the Australian Performing Arts Collection. It considers what the materiality of the theatre costume might reveal and conceal about a performer’s personas. It asks to what extent artefacts in an archive might both create a new persona or freezeframe a particular construct of a performer. Central to the essay are questions of agency in relation to the memorialisation of a still living actress and the problematisation of persona in terms of the archived object. Can a costume generate its own persona in relation to the actress? And what are the power dynamics involved in persona construction when an archived costume presents a charged narrative which is very different to the actress’s current construction of her persona? KEY WORDS Costume; Archive; Deborah Mailman; Indigenous; Memory; Shakespeare COSTUME IN THE ARCHIVE: A CHARGED OBJECT In this essay I consider the archived theatre costume in relation to persona studies and what the materiality of costume might reveal or conceal about the celebrity performer’s persona(s). Can an archived costume have its own persona? What complexities arise when the charged historical narrative of an archived costume is at odds with a current persona? And in the following case study of Deborah Mailman, what happens when the framing of a living Indigenous actress’s costume constructs a persona that is quite different to the one that the actress currently constructs for herself? A costume worn by a performer live on stage is remembered in particular ways – and many in the audience might focus more on the performer’s stance, physicality, and verbal prowess than what they are wearing. -
'Noble Savages' on the Television
‘Nobles and savages’ on the television Frances Peters-Little The sweet voice of nature is no longer an infallible guide for us, nor is the independence we have received from her a desirable state. Peace and innocence escaped us forever, even before we tasted their delights. Beyond the range of thought and feeling of the brutish men of the earli- est times, and no longer within the grasp of the ‘enlightened’ men of later periods, the happy life of the Golden Age could never really have existed for the human race. When men could have enjoyed it they were unaware of it and when they have understood it they had already lost it. JJ Rousseau 17621 Although Rousseau laments the loss of peace and innocence; little did he realise his desire for the noble savage would endure beyond his time and into the next millennium. How- ever, all is not lost for the modern person who shares his bellow, for a new noble and savage Aborigine resonates across the electronic waves on millions of television sets throughout the globe.2 Introduction Despite the numbers of Aboriginal people drawn into the Australian film and television industries in recent years, cinema and television continue to portray and communicate images that reflect Rousseau’s desires for the noble savage. Such desires persist not only in images screened in the cinema and on television, but also in the way that they are dis- cussed. The task of ridding non-fiction film and television making of the desire for the noble and the savage is an essential one that must be consciously dealt with by both non- Aboriginal and Aboriginal film and television makers and their critics. -
The Constitutive Role of African Australian Film1
Culture is Our Future: The Constitutive Role of African Australian Film1 Anne Harris2 Monash University “It doesn’t matter what tone of fuckin’ black you are, you are black.” (Deborah Mailman, Black Chicks Talking, 2001)3 Abstract ‘Culture is our Future’4 is one example of an emerging body of film and video by and about African Australians, and in which ethics and aesthetics sometimes compete. Australian media representations of African Australians have been persistently negative, and many look to the ability of film and video to represent a counter-narrative in the co- construction of cultural and subcultural identities. Drawing on Appadurai’s5 cultural imaginary and mediascapes, this article will contextualise these films in a consideration of larger ‘filmic diasporas’ which represent the diversity and richness of African communities emerging in multiple diasporic locations (particularly Australia), and competing within multiple aesthetics. Simultaneously, this critique interrogates how these examples of gender and race6 may also be used as ‘mechanisms of exclusion’7, and how African Australians remain ‘constitutively visible’8 despite mainstream media attempts to render them invisible. 1 Editor’s Note: This article was submitted and reviewed prior to the author’s uptake of the role of co-editor of ARAS. All review processes were conducted anonymously and processed by the other editors. 2 Author’s Note: The author gratefully acknowledges the contribution of the anonymous ARAS reviewers who have, through the journal’s review process, contributed to the clarity and depth of the argument presented here. 3 Deborah Mailman, Black Chicks Talking. Director, Leah Purcell, Bungabura Productions Pty. -
Reclaiming the Kaurna Language: a Long and Lasting Collaboration in an Urban Setting
Vol. 8 (2014), pp. 409-429 http://nflrc.hawaii.edu/ldc/ http://hdl.handle.net/10125/4613 Series: The Role of Linguists in Indigenous Community Language Programs in Australia1 Reclaiming the Kaurna language: a long and lasting collaboration in an urban setting Rob Amery University of Adelaide A long-running collaboration between Kaurna people and linguists in South Australia be- gan in 1989 with a songbook. Following annual community workshops and the estab- lishment of teaching programs, the author embarked on a PhD to research historical sources and an emerging modern language based on these sources. In response to numer- ous requests for names, translations and information, together with Kaurna Elders Lewis O’Brien and Alitya Rigney, the author and others formed Kaurna Warra Pintyandi (KWP) in 2002. It is a monthly forum where researchers, and others interested in Kaurna lan- guage, can meet with Kaurna people to discuss their concerns. KWP, based at the Univer- sity of Adelaide, is not incorporated and attendance of meetings is voluntary. The com- mittee has gained a measure of credibility and respect from the Kaurna community, gov- ernment departments and the public and has recently signed a Memorandum of Under- standing with the University of Adelaide. However, KWP and the author sit, uneasily at times, at the intersection between the University and the community. This paper explores the nature of collaboration between Kaurna people and researchers through KWP in the context of reliance on historical documentation, much of which is open to interpretation. Linguistics provides some of the skills needed for interpretation of source materials.