ANMATYERRE / ALYAWARRE B. 1922 C. Minnie Pwerle
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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. -
ART ABORIGÈNE, AUSTRALIE — Samedi 7 Mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie
ART ABORIGÈNE, AUSTRALIE — Samedi 7 mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie Samedi 7 mars 2020 Paris — Salle VV, Quartier Drouot 3, rue Rossini 75009 Paris — 16h30 — Expositions Publiques Vendredi 6 mars de 10h30 à 18h30 Samedi 7 mars de 10h30 à 15h00 — Intégralité des lots sur millon.com Département Experts Index Art Aborigène, Australie Catalogue ................................................................................. p. 4 Biographies ............................................................................. p. 56 Ordres d’achats ...................................................................... p. 64 Conditions de ventes ............................................................... p. 65 Liste des artistes Anonyme .................. n° 36, 95, 96, Nampitjinpa, Yuyuya .............. n° 89 Riley, Geraldine ..................n° 16, 24 .....................97, 98, 112, 114, 115, 116 Namundja, Bob .....................n° 117 Rontji, Glenice ...................... n° 136 Atjarral, Jacky ..........n° 101, 102, 104 Namundja, Glenn ........... n° 118, 127 Sandy, William ....n° 133, 141, 144, 147 Babui, Rosette ..................... n° 110 Nangala, Josephine Mc Donald ....... Sams, Dorothy ....................... n° 50 Badari, Graham ................... n° 126 ......................................n° 140, 142 Scobie, Margaret .................... n° 32 Bagot, Kathy .......................... n° 11 Tjakamarra, Dennis Nelson .... n° 132 Directrice Art Aborigène Baker, Maringka ................... -
Loanwords Between the Arandic Languages and Their Western Neighbours: Principles of Identification and Phonological Adaptation
Loanwords between the Arandic languages and their western neighbours: Principles of identification and phonological adaptation Harold%Koch% Australian%National%University% [email protected]% This paper 1 summarises the characteristics of loanwords, especially the ways in which they are adapted to the structure of the borrowing language, and surveys the various tests that have been provided in both the general historical linguistics literature and Australianist literature for identifying the fact and direction of borrowing. It then provides a case study of loanwords out of and into the Arandic languages; the other languages involved are especially Warlpiri but to some extent dialects of the Western Desert language. The primary focus is on the phonological adaptation of loanwords between languages whose phonological structure differs especially in the presence vs. absence of initial consonants, in consequence of earlier changes whereby Arandic languages lost all initial consonants. While loanwords out of Arandic add a consonant, it is claimed that loanwords into Arandic include two chronological strata: in one the source consonant was preserved but the other (older) pattern involved truncation of the source consonant. Reasons for this twofold behaviour are presented (in terms of diachronic and contrastive phonology), and the examples of the more radical (older) pattern 1 The title, abstract, and introduction have been altered from the version offered at ALS2013, which was titled ‘How to identify loanwords between Australian languages: -
Appendix a (PDF 85KB)
A Appendix A: Committee visits to remote Aboriginal and Torres Strait communities As part of the Committee’s inquiry into remote Indigenous community stores the Committee visited seventeen communities, all of which had a distinctive culture, history and identity. The Committee began its community visits on 30 March 2009 travelling to the Torres Strait and the Cape York Peninsula in Queensland over four days. In late April the Committee visited communities in Central Australia over a three day period. Final consultations were held in Broome, Darwin and various remote regions in the Northern Territory including North West Arnhem Land. These visits took place in July over a five day period. At each location the Committee held a public meeting followed by an open forum. These meetings demonstrated to the Committee the importance of the store in remote community life. The Committee appreciated the generous hospitality and evidence provided to the Committee by traditional owners and elders, clans and families in all the remote Aboriginal and Torres Strait communities visited during the inquiry. The Committee would also like to thank everyone who assisted with the administrative organisation of the Committee’s community visits including ICC managers, Torres Strait Councils, Government Business Managers and many others within the communities. A brief synopsis of each community visit is set out below.1 1 Where population figures are given, these are taken from a range of sources including 2006 Census data and Grants Commission figures. 158 EVERYBODY’S BUSINESS Torres Strait Islands The Torres Strait Islands (TSI), traditionally called Zenadth Kes, comprise 274 small islands in an area of 48 000 square kilometres (kms), from the tip of Cape York north to Papua New Guinea and Indonesia. -
Art Gallery of South Australia Major Achievements 2003
ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2003 – 30 June 2004 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-second Annual Report of the Art Gallery Board of South Australia for the Gallery’s 123rd year, ended 30 June 2004. Michael Abbott QC, Chairman Art Gallery Board 2003–2004 Chairman Michael Abbott QC Members Mr Max Carter AO (until 18 January 2004) Mrs Susan Cocks (until 18 January 2004) Mr David McKee (until 20 July 2003) Mrs Candy Bennett (until 18 January 2004) Mr Richard Cohen (until 18 January 2004) Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr. Philip Speakman (commenced 20 August 2003) Mr Andrew Gwinnett (commenced 19 January 2004) Mr Peter Ward (commenced 19 January 2004) Ms Louise LeCornu (commenced 19 January 2004) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2003-2004 6 Issues and Trends 9 Major Objectives 2004–2005 11 Resources and Administration 13 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 29 Appendix B2 Members of the Art Gallery of South Australia 29 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 30 Appendix B4 Art Gallery Staff and Volunteers 31 Appendix C Staff Public Commitments 33 Appendix D Conservation 36 Appendix E Donors, Funds, Sponsorships 37 Appendix F Acquisitions 38 Appendix G Inward Loans 50 Appendix H Outward Loans 53 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 61 Appendix K Gallery Guide Tour Services 61 Appendix L Gallery Publications 62 Appendix M Annual Attendances 63 Information Statement 64 Appendix N Financial Statements 65 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance. -
Utopia (Urapuntja)
Central Australia Region Community Profile Utopia (Urapuntja) 1st edition September 2009 Funded by the Australian Government This Community Profile provides you with information specific to the Alywarra-Anmatjere Region of the Northern Territory. The information has been compiled though a number of text and internet resources, and consultations with members of the local communities. The first version of this Community Profile was prepared for RAHC by The Echidna Group and we acknowledge and thank Dr Terri Farrelly and Ms Bronwyn Lumby for their contribution. Other sources include: http://www.teaching.nt.gov.au/remote_schools/utopia.html http://www.utopianaboriginalart.com.au/about_us/about_us.php http://www.gpnnt.org.au/client_images/209836.pdf RAHC would also like to acknowledge and express gratitude to the Aboriginal people of the Alywarra-Anmatjere Region who have so generously shared aspects of their culture and communities for use in this Profile. *Please note: The information provided in this community profile is correct, to the best of RAHC’s knowledge, at the time of printing. This community profile will be regularly updated as new information comes to hand. If you have any further information about this community that would be useful to add to this profile please contact RAHC via: [email protected] or call 1300 MYRAHC. Photographs used in this Community Profile are copyright of the Remote Area Health Corps. Permission was sought from all individuals or guardians of individuals, before photography commenced. © Copyright — Remote Area Health Corps, 2009 2 The Northern Territory This map of the Northern Territory, divided into regions, has been adapted from the Office for Aboriginal and Torres Strait Islander Health (OATSIH) Program Management & Implementation Section (2008) Map of the Northern Territory. -
Bond University Indigenous Gala Friday 16 November, 2018 Bond University Indigenous Program Partners
Bond University Indigenous Gala Friday 16 November, 2018 Bond University Indigenous Program Partners Bond University would like to thank Dr Patrick Corrigan AM and the following companies for their generous contributions. Scholarship Partners Corporate Partners Supporting Partners Event Partners Gold Coast Professor Elizabeth Roberts Jingeri Thank you for you interest in supporting the valuable Indigenous scholarship program offered by Bond University. The University has a strong commitment to providing educational opportunities and a culturally safe environment for Indigenous students. Over the past several years the scholarship program has matured and our Indigenous student cohort and graduates have flourished. We are so proud of the students who have benefited from their scholarship and embarked upon successful careers in many different fields of work. The scholarship program is an integral factor behind these success stories. Our graduates are important role models in their communities and now we are seeing the next generation of young people coming through, following in the footsteps of the students before them. It is my honour and privilege to witness our young people receiving the gift of education, and I thank you for partnering with us to create change. Aunty Joyce Summers Bond University Fellow 3 Indigenous Gala Patron Dr Patrick Corrigan AM Dr Patrick Corrigan AM is one of Australia’s most prodigious art collectors and patrons. Since 2007, he has personally donated or provided on loan the outstanding ‘Corrigan’ collection on campus, which is Australia’s largest private collection of Indigenous art on public display. Dr Corrigan has been acknowledged with a Member of the Order of Australia (2000), Queensland Great medal (2014) and City of Gold Coast Keys to the City award (2015) for his outstanding contributions to the arts and philanthropy. -
How Warumungu People Express New Concepts Jane Simpson Tennant
How Warumungu people express new concepts Jane Simpson Tennant Creek 16/10/85 [This paper appeared in a lamentedly defunct journal: Simpson, Jane. 1985. How Warumungu people express new concepts. Language in Central Australia 4:12-25.] I. Introduction Warumungu is a language spoken around Tennant Creek (1). It is spoken at Rockhampton Downs and Alroy Downs in the east, as far north as Elliott, and as far south as Ali Curung. Neighbouring languages include Alyawarra, Kaytej, Jingili, Mudbura, Wakaya, Wampaya, Warlmanpa and Warlpiri. In the past, many of these groups met together for ceremonies and trade. There were also marriages between people of different language groups. People were promised to 'close family' from close countries. Many children would grow up with parents who could speak different languages. This still happens, and therefore many people are multi-lingual - they speak several languages. This often results in multi-lingual conversation. Sometimes one person will carry on their side of the conversation in Warumungu, while the other person talks only in Warlmanpa. Other times a person will use English, Warumungu, Alyawarra, Warlmanpa, and Warlpiri in a conversation, especially if different people take part in it. The close contact between speakers of different languages shows in shared words. For example, many words for family-terms are shared by different languages. As Valda Napururla Shannon points out, Eastern Warlpiri ("wakirti" Warlpiri (1)) shares words with its neighbours, Warumungu and Warlmanpa, while Western Warlpiri shares words with its neighbours. Pintupi, Gurindji, Anmatyerre etc. In Eastern Warlpiri, Warlmanpa and Warumungu the word "kangkuya" is used for 'father's father' (or 'father's father's brother' or 'father's father's sister'). -
Barbara Weir Barbara Weir Was Born About 1945 at Bundey River Station
Barbara Weir Barbara Weir was born about 1945 at Bundey River Station, a cattle station in the Utopia region (called Urupunta in the local Aboriginal language) of the Northern Territory. Her parents were Minnie Pwerle, an Aboriginal woman, and JacK Weir, a married Irish man. Under the anti-miscegenation racial laws of the time, their relationship was illegal, and the two were jailed. Jack Weir died not long after his release. Minnie Pwerle named their daughter Barbara Weir. Barbara was partly raised by Pwerle’s sister-in-law Emily Kngwarreye. (After age 80, Kngwarreye tooK up art and became one of Australia’s most prominent artists.) Barbara grew up in the area of Utopia until about age nine. One of the Stolen Generations, she was forcibly removed from her Aboriginal family by officials; the family believed she was later Killed. This was done under the Aborigines Protection Amending Act 1915, government or assigned officers were authorized in the territories to take half-caste children to be raised in British institutions to assimilate them to European culture. Some, liKe Barbara, were “fostered out”, and she grew up in a series of foster homes in Alice Springs, Victoria, and Darwin. Boys were usually prepared for manual jobs and girls for domestic service. In Darwin, at age 18 and worKing as a maid, Barbara Weir married Mervyn Torres. It was Torres who in 1963 or 1968, when passing through Alice Springs, asKed someone about Weir’s mother; he discovered that Minnie Pwerle was alive and living at Utopia. Mother and daughter were reunited but, although Weir regularly visited her family at Utopia, she did not form a close bond with her mother at first. -
A Grammar of Jingulu, an Aboriginal Language of the Northern Territory
A grammar of Jingulu, an Aboriginal language of the Northern Territory Pensalfini, R. A grammar of Jingulu, an Aboriginal language of the Northern Territory. PL-536, xix + 262 pages. Pacific Linguistics, The Australian National University, 2003. DOI:10.15144/PL-536.cover ©2003 Pacific Linguistics and/or the author(s). Online edition licensed 2015 CC BY-SA 4.0, with permission of PL. A sealang.net/CRCL initiative. Also in Pacific Linguistics John Bowden, 2001, Taba: description of a South Halmahera Austronesian language. Mark Harvey, 2001, A grammar of Limilngan: a language of the Mary River Region, Northern Territory, Allstralia. Margaret Mutu with Ben Telkitutoua, 2002, Ua Pou: aspects of a Marquesan dialect. Elisabeth Patz, 2002, A grammar of the Kukll Yalanji language of north Queensland. Angela Terrill, 2002, Dharumbal: the language of Rockhampton, Australia. Catharina Williams-van Klinken, John Hajek and Rachel Nordlinger, 2002, Tetlin Dili: a grammar of an East Timorese language. Pacific Linguistics is a publisher specialising in grammars and linguistic descriptions, dictionaries and other materials on languages of the Pacific, the Philippines, Indonesia, East Timor, southeast and south Asia, and Australia. Pacific Linguistics, established in 1963 through an initial grant from the Hunter Douglas Fund, is associated with the Research School of Pacific and Asian Shldies at the Australian National University. The Editorial Board of Pacific Linguistics is made up of the academic staff of the school's Department of Linguistics. The authors and editors of Pacific Linguistics publications are drawn from a wide range of institutions around the world. Publications are refereed by scholars with relevant expertise, who are usually not members of the editorial board. -
Art Aborigène
ART ABORIGÈNE LUNDI 1ER JUIN 2009 AUSTRALIE Vente à l’Atelier Richelieu - Paris ART ABORIGÈNE Atelier Richelieu - 60, rue de Richelieu - 75002 Paris Vente le lundi 1er juin 2009 à 14h00 Commissaire-Priseur : Nathalie Mangeot GAÏA S.A.S. Maison de ventes aux enchères publiques 43, rue de Trévise - 75009 Paris Tél : 33 (0)1 44 83 85 00 - Fax : 33 (0)1 44 83 85 01 E-mail : [email protected] - www.gaiaauction.com Exposition publique à l’Atelier Richelieu le samedi 30 mai de 14 h à 19 h le dimanche 31 mai de 10 h à 19 h et le lundi 1er juin de 10 h à 12 h 60, rue de Richelieu - 75002 Paris Maison de ventes aux enchères Tous les lots sont visibles sur le site www.gaiaauction.com Expert : Marc Yvonnou 06 50 99 30 31 I GAÏAI 1er juin 2009 - 14hI 1 INDEX ABRÉVIATIONS utilisées pour les principaux musées australiens, océaniens, européens et américains : ANONYME 1, 2, 3 - AA&CC : Araluen Art & Cultural Centre (Alice Springs) BRITTEN, JACK 40 - AAM : Aboriginal Art Museum, (Utrecht, Pays Bas) CANN, CHURCHILL 39 - ACG : Auckland City art Gallery (Nouvelle Zélande) JAWALYI, HENRY WAMBINI 37, 41, 42 - AIATSIS : Australian Institute for Aboriginal and Torres JOOLAMA, PADDY CARLTON 46 Strait Islander Studies (Canberra) JOONGOORRA, HECTOR JANDANY 38 - AGNSW : Art Gallery of New South Wales (Sydney) JOONGOORRA, BILLY THOMAS 67 - AGSA : Art Gallery of South Australia (Canberra) KAREDADA, LILY 43 - AGWA : Art Gallery of Western Australia (Perth) KEMARRE, ABIE LOY 15 - BM : British Museum (Londres) LYNCH, J. 4 - CCG : Campbelltown City art Gallery, (Adelaïde) -
ART ABORIGÈNE, AUSTRALIE Samedi 4 Juin 2016 Paris Paris Juin 2016 4 Samedi AUSTRALIE ART ABORIGÈNE, ART ABORIGÈNE, AUSTRALIE
Paris 2016 Samedi 4 juin ART ABORIGÈNE, ART ABORIGÈNE, AUSTRALIE ABORIGÈNE, ART AUSTRALIE Samedi 4 juin 2016 Paris ART ABORIGÈNE, AUSTRALIE Hôtel Drouot, Salle 11 Samedi 4 juin 2016 15h Expositions publiques Vendredi 3 juin de 11h à 18h Samedi 4 juin de 11h à 13h30 En partenariat avec Intégralité des lots sur millon.com MILLON 1 Art Aborigène, Australie Index Catalogue . p 4 Biographies . p 58 Conditions de ventes . p 63 Ordres d’achats . p 64 Liste des artistes AN GUNGUNA Jimmy n° 53 NAWILIL Jack n° 58 BAKER Maringka n° 87 NELSON Annie n° 52 BROWN Nyuju Stumpy n° 80, 81 NGALAKURN Jimmy n° 55 COOK Ian n° 57 NGALE Angelina (Pwerle) n° 65 DIXON Harry n° 56 NUNGALA Julie Robinson n° 99 DORRUNG Micky n° 34, 35 NUNGURRAYI Elizabeth Nyumi n° 10 JAGAMARRA Michael Nelson n° 100, 102 PETYARRE Anna Price n° 30 JAPANGARDI Michael Tommy n° 25 PETYARRE Gloria n° 1, 2, 3, 31, 40, 101 Marc Yvonnou Nathalie Mangeot JUGADAI Daisy n° 14 PETYARRE Kathleen n° 4, 37, 41, 42, 43 KEMARRE Abie Loy n° 7, 93 PETYARRE Violet n° 6 KNGWARREYE Emily Kame n° 64 PWERLE Minnie n° 62, 63 LUDJARRA Phillip Morris n° 36 RILEY Alison Munti n° 24 MARAMBARA Jack n° 60, 61 STEVENS Anyupa n° 13 NAKAMARRA Bessie Sims n° 97, 98 THOMAS Madigan n° 49 NAMPINJIMPA Maureen Hudson n° 23 TIMMS Freddy (Freddie) n° 46, 47, 48 NAMPITJINPA Tjawina Porter n° 28 TJAMPITJINPA Ronnie n° 32, 38, 45, 84 NANGALA Julie Robertson n° 5, 22 TJAPALTJARRI « Dr » George Takata n° 29 NANGALA Yinarupa n° 20 TJAPALTJARRI Mick Namarari n° 21 NAPALTJARRI Linda Syddick n° 11, 17, 74 TJAPALTJARRI Paddy Sims n°