Working Together: Aboriginal and Torres Strait Islander Mental Health and Wellbeing Principles and Practice
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[2001] Wamw 19 Calder Sm
[2001] WAMW 19 CALDER SM JURISDICTION : MINING WARDEN TITLE OF COURT : OPEN COURT LOCATION : PERTH CITATION : NORMANDY BOW RIVER DIAMOND MINE LTD -v- CLINTON ANDELA (2001) WAMW15 CORAM : CALDER SM HEARD : 5-6 OCTOBER, 6 NOVEMBER 2000 AND 8-9 FEBRUARY 2001 DELIVERED : 16 AUGUST 2001 FILE NO/S : APPLICATIONS FOR EXEMPTION 10/990 TO 18/990 TENEMENT NO/S : MINING LEASES 80/108 TO 113; EXPLORATION LICENCES 80/2054, 80/2084-5 BETWEEN : NORMANDY BOW RIVER DIAMOND MINE LTD Applicant AND CLINTON ANDELA Objector Catchwords: EXPLORATION LICENCE - exemption – obtaining approvals EXPLORATION LICENCE - exemption - time required EXEMPTION - exploration licence – obtaining approvals EXEMPTION - exploration licence - time required EXEMPTION - mining lease – obtaining approvals Document Name: [2001]WAMW19.doc Normandy v Andela CM Page 1 [2001] WAMW 19 CALDER SM EXEMPTION - mining lease - time required MINING LEASE - exemption – obtaining approvals MINING LEASE - exemption - time required Legislation: MINING ACT 1978 (WA) - s 102(2)(b) MINING ACT 1978 (WA) - s 102(2)(g) Result: Representation: Counsel: Mr R.M. Edel for the applicant Mr M.P. Workman for the objector Solicitors: Gadens Lawyers for the applicant Michael Workman for the objector Case(s) referred to in judgment(s): Re Heaney; ex parte Tunza Holdings Pty Ltd (1997) 18 WAR 420 Ward and Others v State of Western Australia and Others 159 ALR 483 Case(s) also cited: Document Name: [2001]WAMW19.doc Normandy v Andela CM Page 2 [2001] WAMW 19 CALDER SM REPORT AND RECOMMENDATION OF THE WARDEN FOR THE MINISTER - S102(5) MINING ACT 1978 THE PROCEEDINGS 1 Normandy Bow River Diamond Mine Ltd ("Normandy") has made application for the grant of certificates of exemption in respect of mining leases 80/108 to 113 inclusive for the expenditure year ended 28 July 1999 in respect of each mining lease. -
Some Principles of the Use of Macro-Areas Language Dynamics &A
Online Appendix for Harald Hammarstr¨om& Mark Donohue (2014) Some Principles of the Use of Macro-Areas Language Dynamics & Change Harald Hammarstr¨om& Mark Donohue The following document lists the languages of the world and their as- signment to the macro-areas described in the main body of the paper as well as the WALS macro-area for languages featured in the WALS 2005 edi- tion. 7160 languages are included, which represent all languages for which we had coordinates available1. Every language is given with its ISO-639-3 code (if it has one) for proper identification. The mapping between WALS languages and ISO-codes was done by using the mapping downloadable from the 2011 online WALS edition2 (because a number of errors in the mapping were corrected for the 2011 edition). 38 WALS languages are not given an ISO-code in the 2011 mapping, 36 of these have been assigned their appropri- ate iso-code based on the sources the WALS lists for the respective language. This was not possible for Tasmanian (WALS-code: tsm) because the WALS mixes data from very different Tasmanian languages and for Kualan (WALS- code: kua) because no source is given. 17 WALS-languages were assigned ISO-codes which have subsequently been retired { these have been assigned their appropriate updated ISO-code. In many cases, a WALS-language is mapped to several ISO-codes. As this has no bearing for the assignment to macro-areas, multiple mappings have been retained. 1There are another couple of hundred languages which are attested but for which our database currently lacks coordinates. -
Ngarranggarni Gija Two-Way Learning and the University of Melbourne Gabriel Nodea and Robyn Sloggett
ngarranggarni Gija Two-Way Learning and the University of Melbourne Gabriel Nodea and Robyn Sloggett Introduction knowledge and are responsible for many of the cattle stations, in the Warmun is a small township owned keeping it strong, and for teaching it early 1970s Warmun became a refugee and managed by Gija people in the to future generations. This knowledge camp. People were physically removed east Kimberley region of Western cannot be passed on without the from their country, so that simple acts Australia. Situated between Kununurra permission of the Old People. like finding food and water, as well as and Hall’s Creek, Warmun is also On one level, this article is about complex activities like ceremony and located on the ancient Wirnan an educational partnership between caring for country, could no longer be (sharing and trading) exchange the Grimwade Centre for Cultural carried out. This made Gija people route that stretched inland from the Materials Conservation at the feel disempowered and sad. They coastline around Derby to the west, to University of Melbourne and the felt as if they had been pushed aside that around Wadeye to the north-east. Warmun Art Centre, but it is also from the country they had looked Trade and shared knowledge have about the contemporary influence after through all time, and that they always been an important part of the of Ngarranggarni, which has become could no longer make decisions about social, cultural and spiritual fabric of an important part of the education caring for country. It brought down Gija life, and it was along this route programs at the Grimwade Centre, their spirits and made them feel that Gija people—working through and is now extending beyond like they were losing their strength. -
Presentations
Presentations CHIE ADACHI AND VERONICA DOBSON community language planning within the context of Aboriginal and Torres Strait Islander Australians. She has immensely New ways of learning and teaching Arrente - enjoyed working on the development of online curriculum for developing language and culture course online Central and Eastern Arrernte language and culture with elders from Central Australia. The current paper explores ideas and issues around developing curriculum for learning and teaching of an Veronica Dobson is a highly respected elder from Central Indigenous Australian language. As part of a tertiary course Australia. She has extensively worked on the documentation at the newly established Australian Centre for Indigenous and revitalisation of Central and Eastern Arrernte language Knowledges and Education (ACIKE), the Central and Eastern and culture for many years as an educator. She was involved Arrernte language and culture curriculum has been developed. with establishing the orthography of this language. She also This paper presents a story of developing new ways of has extensive ecological knowledge of the land and takes great transmitting the Arrernte knowledge by creating multimode pride and joy in teaching this knowledge to young generations of learning and teaching space and incorporating the oral as well as non-indigenous people. tradition into non-traditional mode of online teaching with the For her significant contribution and services to the community Arrernte people. as a linguist, naturalist and ecologist, Veronica was appointed This paper also addresses the issues of: a Member of Order of Australia in 2011. She is an author of many books on Central and Eastern Arrernte language, land • Approaching and negotiating protocols to protect and and culture, and a figure that many people come across once share the Arrernte knowledge; they start learning about Arrernte. -
Download Reconciliation Action Plan
Central Regional TAFE RECONCILIATION ACTION PLAN January 2020-2021 REFLECT 2 CONTENTS Artwork 4 Acknowledgement 5 Our Vision for Reconciliation 6-7 Our Business 8-9 Our Partnerships and current activities 10 Our Reconciliation Action Plan 11-19 Reporting 20 Aboriginal diversity within campus regions (shown in maps) 22-23 Additional Information 24 Acknowledgements 25 CR TAFE | RECONCILIATION ACTION PLAN | JANUARY 2020-2021 3 ARTWORK In 2016, Durack Institute of Technology, Goldfields Institute of Technology and CY O’Connor Institute amalgamated to form Central Regional TAFE. The artworks below were existing pieces from each of the colleges; unfortunately, the titles and stories where misplaced during the merge. As a result, Central Regional TAFE has chosen to show respect to the Aboriginal peoples and the Aboriginal artists of these regions by using the artworks to signify those individual colleges. We would like to acknowledge and thank the below Aboriginal artists whose work appears throughout this document. Untitled | Nicole Dickerson | Geraldton Untitled | Judith Davis | Northam Untitled | Brett Boddington | Kalgoorlie 4 ACKNOWLEDGEMENT Central Regional TAFE acknowledges the Australian Aboriginal Peoples of this nation. We acknowledge each of the language groups within the Mid-West, Murchison, Gascoyne, Wheatbelt and Goldfields regions, the true custodians of the lands on which our campuses are located. We pay our respects to ancestors and Elders, past, present and emerging. Central Regional TAFE recognises Australian Aboriginal and Torres Strait Islander Peoples’ unique cultural and spiritual relationships to the land, waters and seas and their enduring rich contribution to our society. CR TAFE | RECONCILIATION ACTION PLAN | JANUARY 2020-2021 5 OUR VISION FOR RECONCILIATION 6 MESSAGE FROM THE GOVERNING COUNCIL AND MANAGING DIRECTOR Central Regional TAFE recognises that reconciliation is not primarily the business of government; it is everybody’s business and it benefits everyone. -
WA Health Language Services Policy
WA Health Language Services Policy September 2011 Cultural Diversity Unit Public Health Division WA Health Language Services Policy Contents Foreword ............................................................................................................................................................................ 1 1. Context .................................................................................................................................................................... 2 1.1 Introduction ............................................................................................................................................. 2 1.2 Government policy obligations ................................................................................................... 2 2. Policy goals and aims .................................................................................................................................... 5 3. Scope......................................................................................................................................................................... 5 4. Guiding principles ............................................................................................................................................. 6 5. Definitions ............................................................................................................................................................... 6 6. Provision of interpreting and translating services .................................................................... -
Feeling the Past: Indigenous Emotions and History
Symposium Feeling the Past: Indigenous Emotions and History Dates: 9–10 November 2017 This symposium will examine how and why Indigenous historians, writers, curators, artists and filmmakers use emotions as a means of investigating and Venue: Fox Lecture Hall G.59 narrating the past. Participants will explore how such emotional histories may be First Floor, Arts Building motivated by the desire to heal and reconcile with the past, or to restore a sense The University of Western Australia of community pride and dignity to our ancestors, or express anger and rage over past injustices and their legacies. We will also investigate the techniques used to convey emotions, and to deepen connections, recognition, or acceptance of Convenor: Dr Shino Konishi Indigenous histories, and explore whether such techniques reflect Indigenous ([email protected]) cultural practices and protocols. Website: http://www. historyofemotions.org.au/events/ SPEAKERS: feeling-the-past-indigenous- • Michael Aird (The University of Queensland) emotions-and-history/ • Tony Birch (Victoria University) This is a free event but registration is • Clint Bracknell (Sydney Conservatorium of Music, The University of Sydney) required. Morning and afternoon tea will • Natalie Harkin (Flinders University) be provided. • Barry Judd (Charles Darwin University) Please register with Pam Bond • Shino Konishi (The University of Western Australia) ([email protected]) by • Greg Lehman (University of Tasmania) 1 November 2017. • Leah Lui-Chivizhe (The University of Sydney) • Jill Milroy (The University of Western Australia) • Frances Peters-Little (University of Technology Sydney) • Elfie Shiosaki (Curtin University) • Michael Jalaru Torres (Jalaru Photography) • Jakelin Troy (The University of Sydney) Image: Baptism, Michael Jalaru Torres, 2017. -
Paintings from Warmun ST PAUL St Gallery One 25 September – 23 October 2015
Paintings from Warmun ST PAUL St Gallery One 25 September – 23 October 2015 These paintings all come from artists working in Warmun, a community of about 400 people located 200 kilometres south of Kununurra in the Kimberley region of far north Western Australia. The Warmun Art Centre there was founded by Queenie McKenzie, Madigan Thomas, Hector Jandany, Lena Nyadbi, Betty Carrington and Patrick Mung Mung, members of the contemporary painting movement that began in the mid-1970s. Warmun Art Centre is owned and governed by the Gija people, its income returned to the community. Today some 50 emerging and established Gija artists work there. The works are by Warmun artists Mabel Juli, David Cox, Lena Nyadbi, Churchill Cann, Gordon Barney, Phyllis Thomas and Shirley Purdie. In these paintings the material is the work; they are earth and mineral as well as images. While they are stylistically very different in approach, all share the ochre, charcoal and natural earth pigments that typify contemporary Aboriginal painting in the Kimberley region. Coloured by iron oxide, ochre ranges from subtle yellow to deep red-brown. Mawandu or white ochre (extensively used in Mabel Juli’s work, alongside black ochre) is distinctive to the Kimberley area. This is a naturally occurring white clay that forms deep in the ground along certain riverbeds. Mixing natural pigments with mawandu provides range of colours including lime greens, greys, and a rare pink, all of which are produced at Warmun and traded with art centres across the region. ‘I don’t paint another country, I paint my own’, says Mabel Juli. -
Sharing Yamaji Knowledge Education Resource for Schools May 2018
Sharing Yamaji Knowledge Education resource for schools May 2018 This resource has been developed for the Northern Agricultural Catchments Council (NACC) by Kate Naughtin with editing support by Patrick Witton. Copyright NACC 2018. Reproduction of this publication (with the exception of photographs) for educational or other non- commercial purposes is authorised subject to advance written notification to NACC along with appropriate acknowledgement. Reproduction of this publication for resale or other commercial purposes is prohibited without NACC’s prior written permission. Reproduction of the photos for any purpose is subject to NACC’s and the photo author’s prior written permission. NACC Education Resource | Sharing Yamaji Knowledge 2 ACKNOWLEDGEMENTS THE YAMAJI PEOPLE This project acknowledges the Yamaji1 people and recognises Aboriginal people as Australia’s first natural resource managers. The Yamaji people have developed, refined and employed knowledge of the natural environment for tens of thousands of years, and this knowledge has been passed down from generation to generation. This traditional ecological knowledge is extremely valuable in enhancing the ways we care for our environment. Yamaji community members have generously shared their knowledge in the development of this resource, so that school-aged students will better understand Aboriginal culture, the environment and the importance of caring for it. Without the valuable contribution of the Yamaji community, this project would not have been possible. We thank them for sharing their time and expertise for this project. RESOURCE DESIGN The artwork featured in this resource is titled Dreamtime by Amangu Artist Wayne Ronan. Wayne explains the significance of his work: ‘The circles represent the ocean and rivers. -
Indigenous Climate Change Adaptation in the Kimberley Region of North-Western Australia
Indigenous climate change adaptation in the Kimberley region of North-western Australia Final Report Sonia Leonard, John Mackenzie, Frances Kofod, Meg Parsons, Marcia Langton, Peter Russ, Lyndon Ormond-Parker, Kristen Smith and Max Smith Indigenous climate change adaptation in the Kimberley region of North-western Australia Learning from the past, adapting in the future: Identifying pathways to successful adaptation in Indigenous communities AUTHORS Sonia Leonard John Mackenzie Frances Kofod Meg Parsons Marcia Langton Peter Russ Lyndon Ormond-Parker Kristen Smith Max Smith Published by the National Climate Change Adaptation Research Facility 2013 ISBN: 978-1-925039-87-0 NCCARF Publication 116/13 Australian copyright law applies. For permission to reproduce any part of this document, please approach the authors. Please cite this report as: Leonard, S, Mackenzie, J, Kofod, F, Parsons, M, Langton, M, Russ, P, Ormond-Parker, L, Smith, K & Smith, M 2013, Indigenous climate change adaptation in the Kimberley region of North-western Australia. Learning from the past, adapting in the future: Identifying pathways to successful adaptation in Indigenous communities, National Climate Change Adaptation Research Facility, Gold Coast, 131 pp. Acknowledgment This work was carried out with financial support from the Australian Government (Department of Climate Change and Energy Efficiency) and the National Climate Change Adaptation Research Facility (NCCARF). The role of NCCARF is to lead the research community in a national interdisciplinary effort to generate the information needed by decision-makers in government, business and in vulnerable sectors and communities to manage the risk of climate change impacts. Disclaimer The views expressed herein are not necessarily the views of the Commonwealth or NCCARF, and neither the Commonwealth nor NCCARF accept responsibility for information or advice contained herein. -
A Study Guide by Atom, Jonathan Jones and Amanda Peacock
A personal journey into the world of Aboriginal art A STUDY GUIDE BY ATOM, JONATHAN JONES AND AMANDA PEACOCK http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins FRONT COVER: (TOP) DETAIL FROM GINGER RILEY MUNDUWALAWALA, NGAK NGAK AND THE RUINED CITY, 1998, SYNTHETIC POLYER PAINT ON CANVAS, 193 X 249.3CM, ART GALLERY OF NEW SOUTH WALES. © GINGER RILEY MUNDUWALAWALA, COURTESY ALCASTON GALLERY; (BOTTOM) KINTORE RANGE, 2009, WARWICK THORNTON; (INSET) HETTI PERKINS, 2010, SUSIE HAGON THIS PAGE: (TOP) DETAIL FROM NAATA NUNGURRAYI, UNTITLED, 1999, SYNTHETIC POLYMER PAINT ON CANVAS, 2 122 X 151 CM, MOLLIE GOWING ACQUISITION FUND FOR CONTEMPORARY ABORIGINAL ART 2000, ART GALLERY OF NEW SOUTH WALES. © NAATA NUNGURRAYI, ABORIGINAL ARTISTS AGENCY LTD; (CENTRE) NGUTJUL, 2009, HIBISCUS FILMS; (BOTTOM) IVY PAREROULTJA, RRUTJUMPA (MT SONDER), 2009, HIBISCUS FILMS 5Z`^[PaO`U[Z GULUMBU YUNUPINGU, YIRRKALA, 2009, HIBISCUS FILMS DVD AND WEBSITE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series. -
Salon Des Refusés 2016 Catalogue (PDF 7.73MB)
hosted by Charles Darwin University Art Gallery presented by Paul Johnstone Gallery and Outstation – art from art centres. 4 august – 30 september 2016 salondesrefuses.com.au THANKS The Salon des Refusés is an independent to the artists whose work inspires this event; the art centres event to exhibit works submitted but not selected for the Telstra National and agents who support and encourage artists in their work; Aboriginal and Torres Strait Islander Art Awards (NATSIAA). The Salon is Joanna Barrkman (Curator) and Eileen Lim (Exhibitions and produced by Darwin gallerists, Matt Ward and Paul Johnstone of Outstation Collection Officer) of the Charles Darwin University Art Collection Gallery and Paul Johnstone Gallery. All the artworks contained herein are and Art Gallery for their support; Francesca Cubillo, Senior copyright to the artists and their agents and may be not be reproduced without Curator, Aboriginal and Torres Strait Islander Art, National Gallery prior permission from the artist or their agent. of Australia; Robert Fielding, artist with Mimili Maku Arts; John catalogue design by: Carty, Head of Anthropology at the Museum of South Australia; Nicole Vandersteegen Niva Design, © 2016 Don Whyte Framing and to the Museum and Art Gallery of the charles darwin university art gallery nivadesign.com.au Building Orange 12, Northern Territory. Finally but definitely not least, to our families for Casuarina campus credits, page 5: phone 8946 6621 Yarrenyty Arltere Collaborative putting up with us! w: cdu.edu.au/artgallery Every face has a story, every story has a e: [email protected] face: Kulila! soft sculpture mixed media, 2016, opening hours 228 x 120 cm, sdr16-64 Matt Ward Paul Johnstone Wed to Fri photo by fiona morrison +61 9 8981 4822 +61 8 8941 2220 10 am to 4 pm keep up with us [email protected] [email protected] Sat 10 am to 2 pm /thesalondesrefuses #salondesrefuses_natsiaa WHEN I PAINT, IT’S LIKE INMA (CEREMONIAL DANCE AND SONG).