Blackwords: Our Truths - Aboriginal Writers and the Stolen Generations
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Games and Amusements of Australian Aboriginal Peoples As Outlined in the ‘Papers of Daisy Bates’: Principally Dealing with the South West Region of Western Australia
+ Games and Amusements of Australian Aboriginal peoples as outlined in the ‘Papers of Daisy Bates’: principally dealing with the south west region of Western Australia. Daisy M. Bates Ken Edwards (compiler and transcriber) CISER Ken Edwards is an Associate Professor in Sport, Health and Physical Education at USQ . Ken has compiled and transcribed the information by Daisy M. Bates presented in this publication. [email protected] Games and Amusements of Australian Aboriginal peoples as outlined in the ‘Papers of Daisy Bates’: principally dealing with the south west region of Western Australia. Bates, Daisy May Compiled and transcribed by Associate Professor Ken Edwards of the University of Southern Queensland (USQ). [email protected] Released through the College for Indigenous Studies, Education and Research (CISER) at USQ and with the support and approval of Professor Tracey Bunda. Produced with approval of the copyright holder for the writings of Daisy Bates (with the exception of the book, ‘The Passing of the Aborigines’): The University of Adelaide, Adelaide. The Bates authorised typescripts and other papers have been digitised by the Barr Smith Library, The University of Adelaide https://digital.library.adelaide.edu.au/dspace/handle/2440/69252 2017 For biographical information on Daisy May Bates (1863-1951) refer to the Australian Dictionary of Biography (online): http://adb.anu.edu.au/biography/bates-daisy-may-83 Citation details for ADB entry: R. V. S. Wright, 'Bates, Daisy May (1863–1951)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/bates-daisy-may-83/text8643, published first in hardcopy 1979, accessed online. -
Mckee, Alan (1996) Making Race Mean : the Limits of Interpretation in the Case of Australian Aboriginality in Films and Television Programs
McKee, Alan (1996) Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs. PhD thesis. http://theses.gla.ac.uk/4783/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Making Race Mean The limits of interpretation in the case of Australian Aboriginality in films and television programs by Alan McKee (M.A.Hons.) Dissertation presented to the Faculty of Arts of the University of Glasgow in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Glasgow March 1996 Page 2 Abstract Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences. -
Highways Byways
Highways AND Byways THE ORIGIN OF TOWNSVILLE STREET NAMES Compiled by John Mathew Townsville Library Service 1995 Revised edition 2008 Acknowledgements Australian War Memorial John Oxley Library Queensland Archives Lands Department James Cook University Library Family History Library Townsville City Council, Planning and Development Services Front Cover Photograph Queensland 1897. Flinders Street Townsville Local History Collection, Citilibraries Townsville Copyright Townsville Library Service 2008 ISBN 0 9578987 54 Page 2 Introduction How many visitors to our City have seen a street sign bearing their family name and wondered who the street was named after? How many students have come to the Library seeking the origin of their street or suburb name? We at the Townsville Library Service were not always able to find the answers and so the idea for Highways and Byways was born. Mr. John Mathew, local historian, retired Town Planner and long time Library supporter, was pressed into service to carry out the research. Since 1988 he has been steadily following leads, discarding red herrings and confirming how our streets got their names. Some remain a mystery and we would love to hear from anyone who has information to share. Where did your street get its name? Originally streets were named by the Council to honour a public figure. As the City grew, street names were and are proposed by developers, checked for duplication and approved by Department of Planning and Development Services. Many suburbs have a theme. For example the City and North Ward areas celebrate famous explorers. The streets of Hyde Park and part of Gulliver are named after London streets and English cities and counties. -
Daisy Bates in the Digital World
This item is Chapter 8 of Language, land & song: Studies in honour of Luise Hercus Editors: Peter K. Austin, Harold Koch & Jane Simpson ISBN 978-0-728-60406-3 http://www.elpublishing.org/book/language-land-and-song Daisy Bates in the digital world Nick Thieberger Cite this item: Nick Thieberger (2016). Daisy Bates in the digital world. In Language, land & song: Studies in honour of Luise Hercus, edited by Peter K. Austin, Harold Koch & Jane Simpson. London: EL Publishing. pp. 102-114 Link to this item: http://www.elpublishing.org/PID/2008 __________________________________________________ This electronic version first published: March 2017 © 2016 Nick Thieberger ______________________________________________________ EL Publishing Open access, peer-reviewed electronic and print journals, multimedia, and monographs on documentation and support of endangered languages, including theory and practice of language documentation, language description, sociolinguistics, language policy, and language revitalisation. For more EL Publishing items, see http://www.elpublishing.org 8 Daisy Bates in the digital world Nick Thieberger School of Languages and Linguistics, University of Melbourne 1. Introduction1 I am pleased to offer this paper in tribute to Luise Hercus who has always been quick to adopt new approaches to working with older sources on Australia’s Indigenous languages (see also Nathan, this volume). In that spirit, I offer an example of using a novel method of working with a large set of material created by Daisy Bates (1859-1951) in the early 1900s. The masses of papers she produced over her lifetime have been an ongoing source of information for Aboriginal people and for researchers (e.g. White 1985; McGregor 2012; Bindon & Chadwick 1992). -
Roger-Bonastre-Sirerol-CANTANDO
+ PAPELES DEL FESTIVAL de música española DE CÁDIZ Revista internacional Nº 9 Año 2012 Música hispana y ritual CONSEJERÍA DE CULTURA Y DEPORTE Centro de Documentación Musical de Andalucía Depósito Legal: GR-487/95 I.S.S.N.: 1138-8579 Edita © JUNTA DE ANDALUCÍA. Consejería de Cultura y Deporte. Centro de Documentación Musical de Andalucía Carrera del Darro, 29 18002 Granada [email protected] www.juntadeandalucia.es/cultura/centrodocumentacionmusical Facebook: http://www.facebook.com/DocumentacionMusicalAndalucia Twitter: http://twitter.com/CDMAndalucia Música Oral del Sur + Papeles del Festival de música española de Cádiz es una revista internacional dedicada a la música de transmisión oral, desde el ámbito de la antropología cultural a la recuperación del Patrimonio Musical de Andalucía y a la nueva creación, con especial atención a las mujeres compositoras. Dirigida a musicólogos, investigadores sociales y culturales y en general al público con interés en estos temas. Presidente LUCIANO ALONSO ALONSO, Consejero de Cultura y Deporte de la Junta de Andalucía. Director REYNALDO FERNÁNDEZ MANZANO y MANUEL LORENTE RIVAS Presidente del Consejo Asesor JOSÉ ANTONIO GONZÁLEZ ALCANTUD (Universidad de Granada) Consejo Asesor MARINA ALONSO (Fonoteca del Museo Nacional de Antropología. INAH – Mexico DF) SERGIO BONANZINGA (Universidad de Palermo - Italia) FRANCISCO CANOVAS (Auditorio Nacional de España) EMILIO CASARES RODICIO (Dir. del Instituto Complutense de Ciencias Musicales) TERESA CATALÁN (Conservatorio Superior de Música -
Marriageability and Indigenous Representation in the White Mainstream Media in Australia
Marriageability and Indigenous Representation in the White Mainstream Media in Australia PhD Thesis 2007 Andrew King BA (Hons) Supervisor: Associate Professor Alan McKee Creative Industries, Queensland University of Technology Abstract By means of a historical analysis of representations, this thesis argues that an increasing sexualisation of Indigenous personalities in popular culture contributes to the reconciliation of non-Indigenous and Indigenous Australia. It considers how sexualised images and narratives of Indigenous people, as they are produced across a range of film, television, advertising, sport and pornographic texts, are connected to a broader politics of liberty and justice in the present postmodern and postcolonial context. By addressing this objective the thesis will identify and evaluate the significance of ‘banal’ or everyday representations of Aboriginal sexuality, which may range from advertising images of kissing, television soap episodes of weddings, sultry film romances through to more evocatively oiled-up representations of the pin- up-calendar variety. This project seeks to explore how such images offer possibilities for creating informal narratives of reconciliation, and engendering understandings of Aboriginality in the media beyond predominant academic concerns for exceptional or fatalistic versions. i Keywords Aboriginality Indigenous Marriageability Reconciliation Popular Culture Sexuality Relationships Interracial Public Sphere Mediasphere Celebrity ii Table of Contents Introduction …………………………………………………………………………. -
“I Rep for My Mob” Blackfellas Rappin' from Down-Unda1 Chiara
“I Rep for My Mob” Blackfellas Rappin’ from Down-Unda1 Chiara Minestrelli In an era of decentering globalizing forces that continuously shift the locale of cultural production and consumption from global markets to local realities and vice versa, music has come to play a crucial role in redefining the value of regional discourses. Hip hop music,2 with its long and solid history of indigenization in different parts of the globe, has provided marginalized and stigmatized communities around the world with accessible “artistic tools” of self-expression. Tony Mitchell (2001), Samy H. Alim, Awad and Pennycook (2009), Sujatha Fernandes (2011) and more recently Christopher Malone and George Martinez (2014), amongst others, have explored the multifaceted and compelling expressivity of “glocal” discourses articulated through hip hop. Many are the local stories of struggle and empowerment that have gained global recognition thanks to the new media. Recent emblematic cases of this movement from the local to the global are well represented by three distinct and yet interrelated cases that testify the power of hip hop as an amplifier for unique stories. The first example is that Sonita Alizadeh, a young Afghani girl who used her personal experience to convey a message of dissent against the issue of child marriage with a hip hop track called “Brides for Sale” (2014). In a similar fashion, with the track “Kodaikanal Won’t” (2015) a young Indian Tamil woman, Sofia Ashraf, launched her protest against the pollution of Kodaikanal (India) caused by the multinational company Unilever. Fitting into a similar “template,” Kylie Sambo, a young Indigenous activist from Australia’s Northern Territory, released the track “Muckaty” (2010),3 where she lamented the Australian govern-ment’s decision to create a nuclear waste dump on Indigenous land. -
NOTES for TEACHERS TELL ME WHY for YOUNG ADULTS By
NOTES FOR TEACHERS TELL ME WHY FOR YOUNG ADULTS by ARCHIE ROACH SYNOPSIS Tell Me Why for Young Adults is an abridged version of Archie Roach AM’s highly acclaimed adult memoir, Tell Me Why, the Story of My Life and My Music, first published in 2019. Intimate, moving and utterly compelling, Archie’s life story traces the enormous odds he overcomes and his experiences of family and community, love and heartbreak, survival and renewal – and the healing power of music. The book also contains a playlist for young people curated by Archie, and the lyrics of many of his songs – in themselves powerful historical testimonies. Through a series of conversations, facilitated online during COVID-19, Archie connected with Elders and young people, enabling them to record their thoughts, memories and song lyrics. Some of their powerful words are included in the book. To view the conversations and to access an extensive suite of lesson plans and videos, please visit the Archie Roach Stolen Generations Resources, freely available on ABC Education. Created using song, books and stories to promote critical conversations across the country, the Resources are the result of a unique collaboration between the Archie Roach Foundation and Culture is Life. The focus was Archie’s iconic single ‘Took the Children Away’ from his multi-award-winning 1990 debut album Charcoal Lane, celebrating its 30th anniversary this year. After the pandemic shut down what was to be his final Australian tour, Roach re-recorded the Songs of Charcoal Lane at his kitchen table, on his mother’s ancestral homelands, Gunditjmara country, in south-western Victoria. -
Australian History Timeline
HISTORY TIMELINE Regarding the removal of First Nation Australian Citizens from their Families of Origin QuickTime™ and a QuickTime™ and a decompressor decompressor are needed to see this picture. are needed to see this picture. QuickTime™ and a decompressor are needed to see this picture. Supplementary submission in response to part (a) of the Inquiry into the role of commonwealth in contributing to forced adoption, by Origins in Partnership with the Stolen Generations Alliance and Origins HARP (Healing and Recovery Project for Forgotten Australians) Introduction We, the partners to this submission, believe that the following information contains evidence not only that “forced adoption” of First Nation Australians occurred, but that the Commonwealth is responsible for such. The distinction between the act of taking a child without legal authority of a court of law and those acts implied by the phrase “with a view to adoption” is linked, we believe, with the social policies of assimilation and rehabilitation – separation policies of commonwealth and state governments of the 20th century, regarding eugenic ideas about race, morality, economic status, and health. Those subjected to these policies now identify as members either of the Forgotten Australians, the Stolen Generations, or Australians Separated by Forced Adoption (or a combination of the latter). Forgotten Australians This group includes indigenous and non-indigenous newborns who were rejected as “unadoptable”, consequently spending time in State / other institutions, and indigenous and non-indigenous unmarried mothers who spent time in maternity homes as minors. A distinction especially needs to be made between the Stolen Generations and Australians Separated by Forced Adoption (AASW), in view of opinions popularized in media circa 2010 regarding the Rudd Government Apology to the Stolen Generations as wrongly exclusive of “whites”. -
Twang and Trauma in Australian Indige- Nous Popular Music
Politik Nummer 1 | Årgang 23 | 2020 Of country and country: Twang and trauma in Australian Indige- nous popular music Simon Philpott, Reader in Postcolonial Politics and Popular Culture, School of Geogra- phy, Politics and Sociology, University of Newcastle Over the last half century, as part of a wider struggle for recognition, respect, reconcili- ation and justice, Indigenous Australians and others supporting their claims have in- creasingly been heard in popular music. Indigenous musicians are increasingly insistent that white Australia must change. By the time Jimmy Little released his much loved song, ‘Royal Telephone’, in 1963, he had long been Australia’s most prominent Indigenous recording artist. His music was out of the US gospel tradition via Nat King Cole and Jim Reeves. The “royal telephone” of the song describes the direct line between believer and god. With one exception, Little was silent in his music on the plight of Indigenous Australians although his earliest years were spent on a reservation that a large number of people eventually walked ofF, so poor were the living conditions. Little was a rare Indigenous presence in Australian music, respected For his individual talent and probably liked because his work did not raise un- comFortable questions about the past. Liking and respecting individual Indigenous people while disliking and rejecting their culture is something white Australians have successFully psychologically negotiated For decades. For example, Christine Anu’s (1995) cover of ‘My Island Home’ (1987), which celebrates Anu’s love of her Torres Strait island home and was a major hit in the year of its release, Featured as one of the songs in the closing ceremony of the Sydney Olympics, and now has well over 1 million views on Youtube. -
Annual Report 2018-19
ANNUAL REPORT 2018–19 COPYRIGHT © Commonwealth of Australia 2019 With the exception of the Coat of Arms, third party content and where otherwise stated, all material presented in this publication is provided under a Creative Commons Attribution 3.0 Australian Licence. To the extent that copyright subsists in a third party, permission will be required by a third party to reuse the material. Creative Commons Attribution 3.0 Australia Licence is a standard form licence agreement that allows you to copy, distribute, transmit and adapt this publication provided that you attribute the work. The details of the relevant licence conditions are available on the Creative Commons website, as is the full Creative Commons legal code. The Commonwealth’s preference is that you attribute this publication (and any material sourced from it) using the following wording: The Department of Home Affairs Annual Report 2018-19. Material used ‘as supplied’ Provided you have not modified or transformed the material in any way (including, for example, by changing the text, calculating percentage changes, graphing or charting data, or deriving new statistics from published statistics), the Department prefers the following attribution: Source: The Department of Home Affairs. Use of the Coat of Arms The terms under which the Coat of Arms can be used are detailed at: www.pmc.gov.au/government/its-honour CONTACT OFFICER Requests for information about this report should be directed to: Annual Report Coordinator – Governance and Risk Branch Department of Home Affairs PO -
Aboriginal Heroes
ABORIGINAL HEROES The 50th anniversary of the 1967 Referendum and the 25th anniversary of the Mabo Decision, offers an opportunity to celebrate some of the Aboriginal Australians who have dedicated their lives to justice and rights for their people throughout the twentieth and twenty- first centuries. Significant national and Western Australian Aboriginal heroes and their legacies have been explored in this section. A list of the major committees and councils that some were involved in along the way also provides further information about their tireless work and campaigning. 74 WILLIAM COOPER (1861-1941) William Cooper was a Yorta Yorta man from Victoria who was born on 18 December 1860. He was heralded as a hero and one of the earliest campaigners and activists for Aboriginal rights and justice in Australia’s history. William spent most of his life in the Cummeragunja community working as a pastoral labourer in slave-like conditions, where he was a spokesman for the Yorta Yorta in their ongoing battles for land justice against the New South Wales government. As well as leading the first Aboriginal deputation to a Commonwealth Minister in 1934, and the first deputation to the Prime Minister in 1938, William started petitions for Aboriginal representation in Parliament, enfranchisement and land rights. Despite gaining 1,814 signatures on the petition for representation in Parliament, it failed. Dissatisfied with the Commonwealth in regard to the lack of progress around this issue, William then wrote a letter to King George V stating ‘to prevent the extinction of Courtesy AIATSIS, Jackamos.A04.BW, N03746_04a. the Aboriginal race, better conditions for all, grant us power to propose a member of parliament’.