New Claim for the South East of SA

Total Page:16

File Type:pdf, Size:1020Kb

New Claim for the South East of SA Aboriginal Way www.nativetitlesa.org Issue 68, Spring 2017 A publication of South Australian Native Title Services Above: Bunggul (ceremonial dancing) for opening of Garma 2017. Read full article on page 4. New claim for the South East of SA Native Title claims for areas in traditional law and customs and descendants “I congratulate that community and That overlap area has been excised from the South East of South Australia of particular people who lived in that area. am pleased that the process to have the Ngarrindjeri Claim and mediation has have been approved by community their native title recognised has begun” commenced, as the Ngarrindjeri Claim is The claim was authorised at a meeting members and lodged by SA Native said Mr Thomas heading for a Consent Determination in in Mount Gambier and lodged on Title Services (SANTS). coming months. 4 August 2017. SANTS Senior Anthropologist Robert The First Nations of the South East Claim Graham will prepare a Native Title “The lodging of this claim marks #1 and #2 cover areas near Keith to the SA Native Title Services CEO Keith report as required by the court. significant progress in the resolution coast and across to the Victorian border, Thomas welcomed the authorisation and of native title across the state” The claims are now awaiting registration including the towns of Mount Gambier, lodging of the claim. Mr Thomas said. by the Federal Court. The First Nations of Penola and Lakes Bonney, George and Eliza. “They’ve been waiting a long time, there the South East Claim #2 has some parts “This is a large claim area and leaves Native title holders are held to be First have been limited resources available to which overlap the existing Ngarrindjeri only some small areas of the state yet Nations of the South East people under prepare this application” he said. and Others Native Title Claim. to be subject to claim” he said. Inside: Councils consider January 26 5 New approach to prisons needed 6 Walking Kaurna country 8 Looking ahead for native title 11 Council votes for Elliston Memorial to acknowledge massacre Wirangu elder Jack Johncock has Mr Jody Miller, a Nauo and Wirangu Some estimated that 200 people had about a monument around 40 years ago. welcomed the Elliston District man, told Aboriginal Way that those died, however an anthropologist hired “It’s been a long journey to have some Council’s proposal to include the acknowledging the tragedy at by the Council to examine the issue put recognition, a lot of them didn’t want to word “massacre” on a memorial Waterloo Bay needed to remember the estimate much lower, possibly at have anything to do with us” he said marking the site where Aboriginal those connections. 25 to 50. people were killed at Waterloo Bay “As much as it’s been a battle with the “Nauo people were pushed towards Anthropologist Tim Haines advised 170 years ago. wording this time, I’ve got to pay homage Elliston and chased off the cliff as the Council that the number of people to the current Council. At least they’ve “I just think it’s a win for everybody well back in 1849. killed was difficult to accurately define. negotiated with the Wirangu.” He said that it was evident that killing that that grim day is now out in the “The Nauo people were involved, open for everyone to read about and as were their neighbours the Kokatha had happened there and that in fact Mr Johncock says he will encourage acknowledge” he told CAAMA Radio. people” he said the number killed should not make people to accept the Council’s proposal. a difference to the use of the word He has met with other local Aboriginal He says it’s well known in the West Three stone monuments now stand “massacre”. people to discuss the proposal. Coast community that Aboriginal people at Waterloo Bay. However the smallest were driven off the cliffs in 1849. monument in the middle remains blank At a Council meeting on Monday 19 “The Nauo really want to get on board with and what will go on it has been the September, Council voted to include this issue” Mr Miller told Aboriginal Way. “The Elliston Massacre was one of subject of fierce debate. wording that included the word the biggest stories of our time and “massacre” on the monument. “Wirangu came across and sat down at everybody on the West Coast here While no-one disputed that Aboriginal the table with us and acknowledged it knows of it” he said. people were killed, the words to be They voted to remove the term “large” was Nauo as well involved in this. used to describe what happened on from the plaque’s description of the “People were driven over cliffs over the “We want to know more but also to that day have been debated. number of people killed. murder of a settler called John Hamp.” support the Wirangu as much as Mr Johncock told the ABC in July. “The problem in the last few months has Elliston District Council Chairman Kym possible” he said. been the wording to go on the monument Callaghan said after the meeting that the Mr Johncock told CAAMA Radio that His comments come after a debate that and one word in particular – massacre. council’s resolution would be put to the has taken place since the building of a A lot of people in the area were not in Wirangu people for their consideration. he will support acceptance of the new walking trail and memorial at the favour of that” said Mr Johncock. Council’s proposal. site earlier this year. While many people see it as an important Mr Callaghan had initially opposed the “I for one will be encouraging our mob “They were lucky enough to get a recognition of the events, other locals word’s inclusion, but changed his mind to accept what council have put forward, I grant for some walking trails and they opposed the word. petitions circulated after reading Supreme Court documents think it’s been a win. I think this thing has wanted to put some monuments there” around Elliston opposing the use of the about the incident, and after visiting the been many years on the table and finally Mr Johncock explained. term “massacre”. site with two Wirangu people. its recognition that has finally been given to our people” “The monuments are there now, The use of the word “massacre” was Mr Johncock said that although this acknowledging the Wirangu on one and initially tied to how many people had current debate had taken some time, it “We can all move forward now. It’s been acknowledging the other clan groups of been killed on that day in debates over was just a part of a much longer journey, a long long fight, the outcome is palya” the area on the other. the topic. with local people starting the discussion he said. Community members meet at the site of the Elliston Memorial. 2 Aboriginal Way, Spring 2017 Native title voice growing The National Native Title Council enable all parts of the native title sector groups (PBCs and TOCs) and Regional The NNTC meets for its Annual General (NNTC), the peak advocacy body to work together in policy development Native Title Organisations for NTRBs Meeting on 25 October in Brisbane, for the native title sector, has and advocacy. and NTSPs. where the formal election for new welcomed Traditional Owner groups Board members will be held. “The native title sector has been The new governance structure includes as members for the first time. developing rapidly in recent times dedicated places on the Board for NNTC Hosting Regional Forums The Quandamooka Yoolooburrabee PBC or TOC representatives and “It’s time to ensure all parts of our sector The Department of Prime Minister & Aboriginal Corporation, from Queensland, ensures that those groups can are able to become properly involved in Cabinet (PM&C) is supporting regional and the Mungarlu Ngarrankatja participate in the National Council national dialogues and debates on the forums for native title groups and Rirranunkaja Aboriginal Corporation of Members, Ms Betts said. from the Central Desert region of issues that affect us” Ms Betts said. Prescribed Bodies Corporate PBCs PBCs and TOCs from around Australia across Australia. Western Australia, were accepted as Originally formed as an alliance of are invited to submit applications for members of the NNTC at a Council Native Title Representative Bodies Hosted by the National Native Title Council, membership of the NNTC. meeting held in Perth in September. (NTRBs) and Native Title Service the meetings aim to facilitate information The inclusion of the two groups signals a Providers (NTSPs) from around Australia, “The NNTC is going through a process sharing and collaboration between native significant change to the structure of the the NNTC aims to provide a national of structural change and by becoming title holders and the regional offices of advocacy body and gives members of voice to represent the interests of members PBCs and TOCs can help PM&C. It comes as the PM&C introduces a Prescribed Bodies Corporate (PBCs) and native title and Traditional Owners. shape the organisation into the future” transition model for PBCs to move towards Traditional Owner Corporations (TOCs) a said Ms Betts. greater self-sufficiency. Earlier this year a new structure was direct voice in the work of the Council. announced for the body, it now includes Membership forms and further Representatives from native title groups Chief Operating Officer at the NNTC two member classes – Local Native information can be obtained from in South Australia will receive invitations Carolyn Betts says that the change will Title Organisations for traditional owner [email protected] for the meeting taking place in our state.
Recommended publications
  • 2018 Adelaide Biennial of Australian Art
    DIVIDED ART GALLERY OF SOUTH AUSTRALIA WORLDS 2018 ADELAIDE BIENNIAL OF AUSTRALIAN ART The cat sits under the dark sky in the night, watching the mysterious trees. There are spirits afoot. She watches, alert to the breeze and soft movements of leaves. And although she doesn’t think of spirits, she does feel them. In fact, she is at one with them: possessed. She is a wild thing after all – a hunter, a killer, a ferocious lover. Our ancestors lived under that same sky, but they surely dreamed different dreams from us. Who knows what they dreamed? A curator’s dream DIVIDED WORLDS ART 2018 GALLERY ADELAIDE OF BIENNIAL SOUTH OF AUSTRALIA AUSTRALIAN ERICA GREEN ART ARTISTS LISA ADAMS JULIE GOUGH VERNON AH KEE LOUISE HEARMAN ROY ANANDA TIMOTHY HORN DANIEL BOYD KEN SISTERS KRISTIAN BURFORD LINDY LEE MARIA FERNANDA CARDOSO KHAI LIEW BARBARA CLEVELAND ANGELICA MESITI KIRSTEN COELHO PATRICIA PICCININI SEAN CORDEIRO + CLAIRE HEALY PIP + POP TAMARA DEAN PATRICK POUND TIM EDWARDS KHALED SABSABI EMILY FLOYD NIKE SAVVAS HAYDEN FOWLER CHRISTIAN THOMPSON AMOS GEBHARDT JOHN R WALKER GHOSTPATROL DAVID BOOTH DOUGLAS WATKIN pp. 2–3, still: Angelica Mesiti, born Kristian Burford, born 1974, Waikerie, 1976, Sydney Mother Tongue, 2017, South Australia, Audition, Scene 1: two-channel HD colour video, surround In Love, 2013, fibreglass reinforced sound, 17 minutes; Courtesy the artist polyurethane resin, polyurethane and Anna Schwartz Gallery Melbourne foam, oil paint, Mirrorpane glass, Commissioned by Aarhus European Steelcase cubicles, aluminium, steel, Capital of Culture 2017 in association carpet, 261 x 193 x 252 cm; with the 2018 Adelaide Biennial Courtesy the artist photo: Bonnie Elliott photo: Eric Minh Swenson DIRECTOR'S 7 FOREWORD Contemporary art offers a barometer of the nation’s Tim Edwards (SA), Emily Floyd (Vic.), Hayden Fowler (NSW), interests, anxieties and preoccupations.
    [Show full text]
  • Introduction
    This item is Chapter 1 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 Introduction Harold Koch, Peter Austin and Jane Simpson Cite this item: Harold Koch, Peter Austin and Jane Simpson (2016). Introduction. In Language, land & song: Studies in honour of Luise Hercus, edited by Peter K. Austin, Harold Koch & Jane Simpson. London: EL Publishing. pp. 1-22 Link to this item: http://www.elpublishing.org/PID/2001 __________________________________________________ This electronic version first published: March 2017 © 2016 Harold Koch, Peter Austin and Jane Simpson ______________________________________________________ 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 1 Introduction Harold Koch,1 Peter K. Austin 2 & Jane Simpson 1 Australian National University1 & SOAS University of London 2 1. Introduction Language, land and song are closely entwined for most pre-industrial societies, whether the fishing and farming economies of Homeric Greece, or the raiding, mercenary and farming economies of the Norse, or the hunter- gatherer economies of Australia. Documenting a language is now seen as incomplete unless documenting place, story and song forms part of it. This book presents language documentation in its broadest sense in the Australian context, also giving a view of the documentation of Australian Aboriginal languages over time.1 In doing so, we celebrate the achievements of a pioneer in this field, Luise Hercus, who has documented languages, land, song and story in Australia over more than fifty years.
    [Show full text]
  • 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.
    [Show full text]
  • Sylvia Kanytjupai Ken, Tjungkara Ken & the Ken Sisters Collaborative
    Sylvia Kanytjupai Ken, Tjungkara Ken & the Ken Sisters Collaborative Seven Sisters: Kungkarangkalpa 24 August – 18 September 2021 The exhibition ‘Seven Sisters’ showcases the distinct artistic styles and visions of Sylvia Ken and Tjungkara Ken, two award-winning female indigenous artists, both at the forefront of contemporary painting in Australia. Alongside the work of Sylvia Ken and Tjungkara Ken, the exhibition also features large scale paintings by the renowned Ken Sisters Collaborative (Freda Brady, Sandra Ken, Tjungkara Ken, Maringka Tunkin and Yaritji Young). Based in the Amata community in the remote Anangu Pitjantjatjara Yankunytjatjara (APY) Lands of South Australia and painting at Tjala Arts, Sylvia and Tjungkara’s evocative paintings are a celebration of Anangu culture and connection to country alongside their individual expression of 'Tjukurpa'(ancestral knowledge and law). Sylvia and Tjungkara paint, in different but related ways, the Seven Sisters creation story, an ancestral narrative of the Pleiades constellations (the sisters) and a sinister man (Orion) who followed them across earth and sky. Both Sylvia and Tjungkara’s family are traditional owners of significant sites where the Seven Sisters story takes place with each painting referencing this story and the important sites within the vast landscape. These stories are the artists’ birthright and come with a responsibility to continue the passing of culture and knowledge to the next generation. “I listen to the old people’s stories and I think about these stories, and then ideas come for my paintings. I listen to my mother and father, to my grandmother and grandfather. I listen when they are talking about ‘Tjukurpa’ and telling creation stories and when they say to me ‘No, you should paint this way, the Seven Sisters’’.
    [Show full text]
  • The Essential Introduction to Aboriginal Art (25 Facts)
    INTRODUCTION TO ABORIGINAL ART INTRODUCTION TO THE ESSENTIAL INTRODUCTION TO ABORIGINAL ART (25 FACTS) Authors Jilda Andrews, Fenelle Belle, Nici Cumpston and Lauren Maupin The Art Gallery of South Australia acknowledges and pays respect to the Kaurna people as the Traditional Custodians of the land on which the Gallery stands. Aboriginal and Torres Strait Islander people are respectfully advised that this publication may contain the names of people who have passed away. INTRODUCTION TO ABORIGINAL ART ABORIGINAL TO INTRODUCTION THE ESSENTIAL INTRODUCTION TO ABORIGINAL ART (25 FACTS) artgallery.sa.gov.au/learning There’s a lot of misinformation out there about Aboriginal and Torres Strait Islander peoples and art. That’s why this guide was created, in collaboration with leading Aboriginal curators. | Learning at the Gallery | Art Gallery of South Australia Aboriginal and Torres Strait Islander art and culture is In our increasingly globalised world, this ability to the oldest continuous tradition on the planet. In recent speak across cultural borders without forsaking decades it has also emerged as one of the world’s most any of its distinctive identity makes Aboriginal and important contemporary art movements. Whether on Torres Strait Islander art some of the most innovative bark, canvas or in new media, Aboriginal and Torres and challenging contemporary art being produced Strait Islander artists have used art to express the power anywhere today. and beauty of their culture, across cultures: to show their enduring connection to, and responsibility for, ancestral lands and the continuity of their identities and beliefs. image: Daniel Boyd, Kudjla/Gangalu peoples, far north Queensland, born 1982, Cairns, Queensland, Treasure Island, 2005, Canberra, oil on canvas, 192.5 x 220.0 cm; Purchased 2006, National Gallery of Australia, Canberra, Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.
    [Show full text]
  • Grievability and Nuclear Memory | 379
    Grievability and Nuclear Memory | 379 Grievability and Nuclear Memory Jessie Boylan Nuclear Wounds Without grievability, there is no life, or, rather, there is something living that is other than life. Instead, “there is a life that will never have been lived,” sustained by no regard, no testimony, and ungrieved when lost. The apprehension of grievability precedes and makes possible the apprehension of precarious life. —Judith Butler, Frames of War: When Is Life Grievable? (2009) ince 1945, nuclear weapons have been tested on all continents except for South America and Antarctica. Although “it is the nature of bombing to Sbe indiscriminate,”1 Aboriginal, Indigenous, and First Nations people have been the disproportionate victims of these weapons. They also continue to face nuclear waste dumps, uranium mines, and other nuclear projects on their land. This radioactive colonialism ensures that violence persists and is etched into the knowledge of people, place, and country, and that the single “event” of a nuclear detonation is far from over. Official records provide ample evidence to document how state policies, practices, and attitudes marked Aboriginal people as not fully human. For example, the Maralinga nuclear test site in Australia was “chosen on the false assumption that the area was not used by its traditional Aboriginal owners.”2 People living downwind (“downwinders”) of the Nevada Test Site in Utah during the US atomic weapons testing program,3 including First Nations communities, were considered “a low-use segment of the population.”4 These racist assumptions and statements, one tiny example from the archive of the nuclear landscape, constructed the people (and the lands they inhabited) as disposable.
    [Show full text]
  • Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
    Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases.
    [Show full text]
  • Outstation-Tjala-Ken-Family-Catalogue
    A KEN FAMILY EXHIBITION Tjukurpa, Ngura, Waltja. Culture, Country, Family. IN PROUD ASSOCIATION WITH OUTSTATION GALLERY AND TJALA ARTS FREDA BRADY FREDDY KEN RAY KEN SANDRA KEN SYLVIA KANYTJUPAI KEN TJUNGKARA KEN PANINY MICK MARINGKA TUNKIN MICK WIKILYIRI YARITJI YOUNG Opening Saturday 18th April at 11am Showing 18th April - 9th May 2015 8 Parap Place, Parap Northern Territory 0820 P : 08 8981 4822 F : 08 8981 4877 COVER: Mick Wikilyiri, Ngayuku ngura - My E: [email protected] Country see page 10; LEFT: Ken Sisters Collaborative Seven Sisters (detail) see W: www.outstation.com.au page 8; PAGE 7 Tjala honey ant courtesy Tjala Arts Director Matt Ward Your culture is in your blood, look after each other as you have been taught. — YARITJI YOUNG … my mind moves to country as I am painting. It makes me happy. My name is Mick Wikilyiri. This exhibition was my idea. I am an old man Tjilpie. As a young man I worked on the cattle stations, riding the horses. It was great work, hard work, but those were happy times. I know all about the white man’s world, how the white man thinks. These days I am still working, I am in the Art Centre every day painting and teaching young fellas. My mind takes me back to the old days, and my mind moves to country as I am painting. It makes me happy. I may be a Tjilpie, but I know my law, I am strong in my law and I work everyday, in the Art Centre, in my community, and country to make sure that Law is held, and kept strong, this is the most important thing that I think about.
    [Show full text]
  • Sasa Naturally Disturbed
    NATURALLY DISTURBED NATURALLY DISTURBED6 APRIL - 7 MAY 2010 6 APRIL -7 MAY 2010 SASA GALLERYSASA GALLERY NATURALLY DISTURBED Artist Sue Kneebone Curators Sue Kneebone & Dr Philip Jones External Scholar Dr Philip Jones, Senior Curator Anthropology Department, South Australian Museum Editor Mary Knights, Director, SASA Gallery Catalogue design Keith Giles Front image: Sue Kneebone, For better or for worse, 2009, giclèe print Inside cover: Sue Kneebone, Hearing Loss (detail), 2009, native pine telegraph pole, sound, furniture Back cover: Sue Kneebone, A delicate menace, 2008, giclèe print Image courtesy of the State Library of South Australia. SLSA : C949 (detail) Part of South Australia Shewing the Recent Discoveries, Surveyor-General’s Office, 1859 2 Contents 5 Introduction Mary Knights 7 A Yardea frontier Philip Jones 14 Inland Memories Sue Kneebone 21 Acknowledgements 3 Sue Kneeebone, Yardea Station, photograph, 2008 4 Introduction Naturally Disturbed is the result of an interdisciplinary The SASA Gallery supports a program of exhibitions collaboration between Sue Kneebone and Philip Jones. focusing on innovation, experimentation and The exhibition engages with the complex history, performance. With the support of the Division of intersecting narratives and unexplained absences that Education, Art and Social Sciences and the Division relate to Yardea, a pastoral property in the Gawler Research Performance Fund, the SASA Gallery is being Ranges in South Australia, once managed by Sue developed as a leading contemporary art space Kneebone’s great grandfather. The exhibition is publishing and exhibiting high-quality research based underpinned by research into family, history and place, work, and as an active site of teaching and learning. The and considers the roles that environmental philosophy SASA Gallery showcases South Australian artists, and fieldwork play in contextualising histories.
    [Show full text]
  • Annual Report 2012–13
    2012–13 ANNUAL REPORT ANNUAL REPORT ANNUAL REPORT 2012–13 ANNUAL REPORT 2012–13 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Mick Namarari Tjapaltjarri Act 1975. Pintupi people Untitled (Rain Dreaming at Nyunmanu) 1994 (detail) The vision of the National Gallery of Australia is to be synthetic polymer paint on linen an inspiration for the people of Australia. 152 x 183 cm purchased with funds from the Honorary Exhibition Circle The Gallery’s governing body, the Council of the National Patrons, 2013 Gallery of Australia, has expertise in arts administration, © the estate of the artist represented by Aboriginal Artists Agency corporate governance, administration and financial and business management. (back cover) In 2012–13, the National Gallery of Australia received Korewori caves an appropriation from the Australian Government East Sepik province, Papua New Guinea totalling $49.219 million (including an equity injection Hunter’s helper figure (Aripa) c 1480–1670 of $16.392 million for development of the national wood, ochre art collection), raised $23.573 million, and employed 174.3 x 6.5 x 32 cm 252 full-time equivalent staff. purchased 2011 © National Gallery of Australia 2013 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing
    [Show full text]
  • MUNICH (May, 2021) – Luxury Fashion Online Retailer Mytheresa Is
    MYTHERESA PARTNERS WITH LE CENTRE POMPIDOU : WOMEN IN ABSTRACTION EXHIBITION MAY 19 - AUGUST 23, 2021 L’artiste américaine Lynda Benglis réalisant un projet commande par l’Université de Rhode Island, Kingston, Rhode Island, 1969. © Adagp, Paris 2021. Photo by Henry Groskinsky /The LIFE Picture Collection via Getty Images MUNICH (May, 2021) – Luxury fashion online retailer Mytheresa is honored to be a sponsor of the “Women in Abstraction” exhibition, to support and give recognition to female artists around the globe. The “Women in Abstraction” exhibition, which should be presented at the Centre Pompidou from May 19th to August 23th 2021, offers a new take on the history of abstraction - from its origins to the 1980s - and brings together the specific contributions of around one hundred and ten “women artists”. FOR FURTHER INFORMATION PLEASE CONTACT: MYTHERESA SANDRA ROMANO PHONE: +49 89 12 76 95-236 EMAIL: [email protected] MYTHERESA PARTNERS WITH LE CENTRE POMPIDOU : WOMEN IN ABSTRACTION EXHIBITION MAY 19 - AUGUST 23, 2021 “Les amis du Centre Pompidou and the Centre Pompidou express their warmest thanks to Mytheresa and to its CEO, Michael Kliger, for their so generous support and positive commitment to the pivotal Women in Abstrac- tion exhibition, which opens in May at the Centre Pompidou”, commented Floriane de Saint Pierre, Chair of the Board of the amis du Centre Pompidou and Serge Lasvignes, President of the Centre Pompidou. “We are very proud and excited to sponsor this outstanding exhibition, in the globally renowned museum such as Le Centre Pompidou. Empowering women is a mission truly close to our heart at Mytheresa and this exhibition shows the importance and impact at women's art work and gives them the recognition they deserve within the Abstract movement on a global scale”, says Michael Kliger, CEO of Mytheresa.
    [Show full text]
  • A Needs-Based Review of the Status of Indigenous Languages in South Australia
    “KEEP THAT LANGUAGE GOING!” A Needs-Based Review of the Status of Indigenous Languages in South Australia A consultancy carried out by the Australian Institute of Aboriginal and Torres Strait Islander Studies for the Aboriginal and Torres Strait Islander Commission, South Australia by Patrick McConvell, Rob Amery, Mary-Anne Gale, Christine Nicholls, Jonathan Nicholls, Lester Irabinna Rigney and Simone Ulalka Tur May 2002 Declaration The authors of this report wish to acknowledge that South Australia’s Indigenous communities remain the custodians for all of the Indigenous languages spoken across the length and breadth of this state. Despite enormous pressures and institutionalised opposition, Indigenous communities have refused to abandon their culture and languages. As a result, South Australia is not a storehouse for linguistic relics but remains the home of vital, living languages. The wisdom of South Australia’s Indigenous communities has been and continues to be foundational for all language programs and projects. In carrying out this project, the Research Team has been strengthened and encouraged by the commitment, insight and linguistic pride of South Australia’s Indigenous communities. All of the recommendations contained in this report are premised on the fundamental right of Indigenous Australians to speak, protect, strengthen and reclaim their traditional languages and to pass them on to future generations. * Within this report, the voices of Indigenous respondents appear in italics. In some places, these voices stand apart from the main body of the report, in other places, they are embedded within sentences. The decision to incorporate direct quotations or close paraphrases of Indigenous respondent’s view is recognition of the importance of foregrounding the perspectives and aspirations of Indigenous communities across the state.
    [Show full text]