Inquiry Into Language Learning in Indigenous Communities
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RECONCILIATION ACTION PLAN Buŋgul Sydney Festival 2020
RECONCILIATION ACTION PLAN Buŋgul Sydney Festival 2020 ACKNOWLEDGEMENT OF COUNTRY Sydney Festival would like to acknowledge the Traditional Owners of the land on which the Festival takes place, and pay respect to the 29 clans of the Eora Nation. We acknowledge that this land falls within the boundaries of the Metropolitan Local Aboriginal Land Council. We would also like to acknowledge our Darug neighbours in Parramatta. We pay respect to Elders both past and present, and all Aboriginal and Torres Strait Islander peoples whichever Aboriginal and Torres Strait Islander nation they come from. INTRODUCTION Originally launched in 2013, our Reconciliation Action Plan (RAP) outlines our commitment towards improving outcomes for Aboriginal and Torres Strait Islander peoples by creating and fostering an organisational environment that cherishes respect, creates opportunity and builds cultural awareness. Sydney Festival recognises that Sydney is a vast, complex and exuberant city of cultural contrasts and social diversity, that Sydney’s Aboriginal and Torres Strait Islander heritage and contemporary cultures lie deep within the city’s identity and are key to an enlightened and progressive festival. COVER IMAGE: ALWAYS Sydney Festival 2019 2 1 Four Thousand Fish Sydney Festival 2018 A MESSAGE FROM THE EXECUTIVE DIRECTOR The Sydney Festival Reconciliation Action Plan remains our organisation's commitment to ensure that we keep moving forward on this vital issue for our nation. We are committed to working towards improving outcomes for Aboriginal and Torres Strait Islander peoples by creating and fostering an organisational environment that cherishes respect, creates opportunity and builds cultural awareness. We will continue to set ourselves new measurable goals, at the same time as maintaining ongoing successful initiatives as part of the ongoing journey for this organisation and our community. -
Official Committee Hansard
COMMONWEALTH OF AUSTRALIA Official Committee Hansard SENATE FINANCE AND PUBLIC ADMINISTRATION LEGISLATION COMMITTEE ESTIMATES (Supplementary Budget Estimates) TUESDAY, 19 OCTOBER 2010 CANBERRA BY AUTHORITY OF THE SENATE THIS TRANSCRIPT HAS BEEN PREPARED BY AN EXTERNAL PROVIDER INTERNET Hansard transcripts of public hearings are made available on the inter- net when authorised by the committee. The internet address is: http://www.aph.gov.au/hansard To search the parliamentary database, go to: http://parlinfo.aph.gov.au Tuesday, 19 October 2010 Senate F&PA 1 SENATE FINANCE AND PUBLIC ADMINISTRATION LEGISLATION COMMITTEE Tuesday, 19 October 2010 Members: Senator Polley (Chair), Senator Bernardi (Deputy Chair) and Senators Faulkner, Kroger, Siewert and Stephens Participating members: Senators Abetz, Adams, Back, Barnett, Bilyk, Birmingham, Mark Bishop, Boswell, Boyce, Brandis, Bob Brown, Carol Brown, Bushby, Cameron, Cash, Col- beck, Coonan, Cormann, Crossin, Eggleston, Ferguson, Fierravanti-Wells, Fielding, Fifield, Fisher, Forshaw, Furner, Hanson-Young, Heffernan, Humphries, Hurley, Hutchins, Johnston, Joyce, Ludlam, Macdonald, McEwen, McGauran, Marshall, Mason, Milne, Minchin, Moore, Nash, O’Brien, Parry, Payne, Pratt, Ronaldson, Ryan, Scullion, Sterle, Troeth, Trood, Wil- liams, Wortley and Xenophon Senators in attendance: Senators Abetz, Adams, Back, Bernardi, Boswell, Cormann, Faulk- ner, Fierravanti-Wells, Fifield, Forshaw, Heffernan Humphries, Hurley, Kroger, Macdonald, McGauran, Marshall, Moore, Parry, Ryan and Siewert Committee -
Surrealism-Revolution Against Whiteness
summer 1998 number 9 $5 TREASON TO WHITENESS IS LOYALTY TO HUMANITY Race Traitor Treason to whiteness is loyaltyto humanity NUMBER 9 f SUMMER 1998 editors: John Garvey, Beth Henson, Noel lgnatiev, Adam Sabra contributing editors: Abdul Alkalimat. John Bracey, Kingsley Clarke, Sewlyn Cudjoe, Lorenzo Komboa Ervin.James W. Fraser, Carolyn Karcher, Robin D. G. Kelley, Louis Kushnick , Kathryne V. Lindberg, Kimathi Mohammed, Theresa Perry. Eugene F. Rivers Ill, Phil Rubio, Vron Ware Race Traitor is published by The New Abolitionists, Inc. post office box 603, Cambridge MA 02140-0005. Single copies are $5 ($6 postpaid), subscriptions (four issues) are $20 individual, $40 institutions. Bulk rates available. Website: http://www. postfun. com/racetraitor. Midwest readers can contact RT at (312) 794-2954. For 1nformat1on about the contents and ava1lab1l1ty of back issues & to learn about the New Abol1t1onist Society v1s1t our web page: www.postfun.com/racetraitor PostF un is a full service web design studio offering complete web development and internet marketing. Contact us today for more information or visit our web site: www.postfun.com/services. Post Office Box 1666, Hollywood CA 90078-1666 Email: [email protected] RACE TRAITOR I SURREALIST ISSUE Guest Editor: Franklin Rosemont FEATURES The Chicago Surrealist Group: Introduction ....................................... 3 Surrealists on Whiteness, from 1925 to the Present .............................. 5 Franklin Rosemont: Surrealism-Revolution Against Whiteness ............ 19 J. Allen Fees: Burning the Days ......................................................3 0 Dave Roediger: Plotting Against Eurocentrism ....................................32 Pierre Mabille: The Marvelous-Basis of a Free Society ...................... .40 Philip Lamantia: The Days Fall Asleep with Riddles ........................... .41 The Surrealist Group of Madrid: Beyond Anti-Racism ...................... -
As the Spirit Moves Final
As the Spirit Moves: A Study of Personal Spirituality as a Source for Musical Inspiration Philip Frank Bywater Submitted in partial fulfilment of the requirements for the degree of Master of Music Performance by Research October 2010 Faculty of the VCA & Music, The University of Melbourne Abstract This research aims to clarify links existing between the performing activities of musicians and their spiritual and religious backgrounds. Specifically, it investigates my spiritual background and the impact it has had on my creative musical activities from 1990-2010. It explores my involvement with the Religious Society of Friends (Quakers), demonstrates links between Quaker religious practice and improvised musical performance, charts the musical and spiritual influence of Indigenous Australians on my performances, and examines the influence of contemporary Australian Quaker thought on my recorded and notated musical activities. Chapter 1 outlines my personal spiritual background. It examines the history of Quakerism, clarifying its conceptual origins and outlining the ongoing commitment of Quakers to social justice issues. The conflicted history of art-making within the Society of Friends is investigated, and experiential links between “improvisational” Quaker worship and the practices of improvising musicians are identified. In Chapter 2 I scrutinise my experiences performing with Australian Indigenous musicians, clarifying links in my own performances with Indigenous ideas and concepts of music-making, and exploring how my musical performance and social and spiritual understanding have grown due to Indigenous influences. I explore issues of meaning, language, politics and social structure in relation to Indigenous music, establishing their possible impact on musical structure and performance in Indigenous rock and reggae music. -
Click on This Link
The Australian Songwriter Issue 102, June 2014 First published 1979 The Magazine of The Australian Songwriters Association Inc. In this edition: Chairman’s Message Editor’s Message 2014 Australian Songwriting Contest Update Andy Mac: 2013 Folk/Acoustic Category Co-Winner Troy White: 2013 Folk/Acoustic Category Co-Winner Interview: Daryl Braithwaite Sponsors Profiles The Music of Ernie Davidson (1919-1996) Francesca de Valence: 2013 Winner of the Open Category Luke Vassella: 2013 Winner of the Australia Category ASA Member Profile: Kelly Griffith ASA Member Profile: Sami Tauber Laura Zarb (and The Pink Plastic Spoon!) The Sweet Sounds of Amy Sugars Members News and Information The Load Out Official Sponsors of the Australian Songwriting Contest About Us: o Aims of the ASA o History of the Association o Contact Us o Patron o Life Members o Directors o Regional Co-Ordinators 1 Chairman’s Message Time to get excited, gang. June will see the close of the 2014 Australian Songwriting Contest. Then the judging will begin in earnest. This year we have had a massive response. The Contest just seems to grow and grow annually, and the prestige accorded winners by the Music Industry has never been higher. If you haven’t entered this time around, it is still not too late. Just go to the ASA homepage for instructions on how to submit a song/songs. As always Vice Chairman Alan Gilmour has put together an amazing eNewsletter for this month, with something for everyone. There are lots of very interesting interviews with Members and Award Winners, with a fantastic Daryl Braithwaite interview. -
A Study Guide by Jennifer Connolly
FILM AUSTRALIA COLLECTION WRONG SIDE OF THE ROAD New Digitally Restored & Remastered Film © ATOM 2014 A STUDY GUIDE BY JENNIFER CONNOLLY http://www.metromagazine.com.au ISBN 978-1-74295-408-0 http://www.theeducationshop.com.au NED LANDER GRAEME ISAAC Background Aboriginal Media Association (CAAMA), in Alice Springs, helped develop Aboriginal film making At the time of its original release in 1981, Wrong and launch it in to the mainstream. He also pro- Side of the Road was hailed as the first narrative Photos by Carol Ruff duced the noted Arnhem Land documentaries © Ned Lander and feature to centre on the experience of a contempo- Dhakyarr Vs The King and In My Father’s Country, Graeme Isaac, 2013 rary Aboriginal group, instead of using them as bit as well as the Indigenous feature musical Bran Nue players in the main action. The film was written in Dae directed by Rachel Perkins. collaboration with the cast, which included mem- bers of the bands, Us Mob and No Fixed Address.1 After the release of the film, No Fixed Address Real events in the lives of the band members were continued to play and tour with various Australian dramatised and interspersed with live footage of mainstream bands including Split Endz, Mental the bands performing. As Anything, Mondo Rock, and Cold Chisel and supported international touring acts such as Peter The music of Wrong Side of the Road, with songs Tosh and Ian Dury. In the mid 80’s they also toured like We Have Survived, asserts that despite every- to the UK and toured through Eastern Europe thing, contemporary Aboriginal culture is alive and before the fall of the iron curtain. -
The Black Arm Band Hidden Republic
BIOGRAPHIES David Arden Sally Dastey Bevan Gabanbulu Ruby Hunter Rachael Maza Long Steven Richardson NEW AUSTRALIAN WORK Artist, Repertoire Adviser Artist (Gapanbulu Yunupingu) Artist Artist, Stage Direction, Spoken Word Script Conception, Direction World Artist Premiere David Arden has worked with many Aboriginal As one-third of Tiddas, Sally Dastey released Ruby Hunter is an Aboriginal woman of the Originally from the Torres Strait Islands, Rachael Steven Richardson has broad experience in the artists, from Hard Time Band and Koori Youth two acclaimed albums and four singles with Gapanbulu Yunupingu (Bevan Gabanbulu’s Ngarrindjeri clan of South Australia and was the Maza Long comes from a family of actors that arts spanning 20 years in a variety of artistic, Band to Bart Willoughby and Mixed Relations. accompanying videos, and was awarded an ARIA stage name) is the grandson of Yothu Yindi lead first Aboriginal woman to record her own album. spans three generations. A graduate of the producing and programming roles. He holds a As a guitarist with Archie Roach, he has toured Award. She launched her solo career with Secrets singer Mandawuy Yunupingu, and current yidaki She has recorded two albums, Thoughts Within Western Australian Academy of Performing Arts, Fine Arts degree in visual arts and also studied extensively both nationally and internationally. To Keep (2002) and has performed at numerous (didjeridu) player with Yothu Yindi. Gapanbulu and Feeling Good, and has toured extensively in she has had an impressive career in theatre, film, contemporary dance at Victorian College of the He has also written and performed songs for festivals while working on a range of projects Yunupingu has performed everywhere from Australia and overseas. -
Indigenous Popular Music an Example of Cultural Vitality and a Curriculum Resource
S P E C I A L F E A T U R E Indigenous popular music An example of cultural vitality and a curriculum resource Dr. Karl Neuenfeldt Central Queensland University In Governor-General Bill Hayden’s 1996 Australia Indigenous popular music provides useful examples Day Address, he spoke pointedly and movingly of of cultural vitality in practice as education, as two things related to cultural vitality: a sense of empowerment and as entertainment (Davison and pride within indigenous communities; and, a sense Neuenfeldt 1996). These overlap and many of synthesis between indigenous and non- indigenous Australian musicians, groups and song indigenous Australians. His remarks still hold value writers (such as Archie Roach, Yothu Yindi and even in the present social and political climate in Kev Carmody) combine all three levels in their which there are serious challenges to the music. They present an indigenous musical voice acceptance of tolerance and diversity in Australian previously either absent or muted or cliched within society, and by extension, the education system. Australian society and education curricula. They are Australian examples of an international group Hayden said the processes of pride and synthesis of articulate indigenous spokespersons whose mode are taking place on several levels: the political, the of artistic expression is popular music and whose social and the cultural. The cultural level is work has impacted on how individuals, groups and addressed here, specifically how cultural vitality is even nations imagine themselves and use music to an integral element of indigenous affairs today and forge identity. how it impacts on the broader society through the education system. -
Land, Song, Constitution: Exploring Expressions of Ancestral Agency, Intercultural Diplomacy and Family Legacy in the Music of Yothu Yindi with Mandawuy Yunupiŋu1
Popular Music (2010) Volume 29/1. Copyright © Cambridge University Press 2010, pp. 81–102 doi:10.1017/S0261143009990390 Land, song, constitution: exploring expressions of ancestral agency, intercultural diplomacy and family legacy in the music of Yothu Yindi with Mandawuy Yunupiŋu1 AARON CORN Pacific & Regional Archive for Digital Sources in Endangered Cultures, F12 – Transient, The University of Sydney, NSW 2006, Australia E-mail: [email protected] Abstract Yothu Yindi stands as one of Australia’s most celebrated popular bands, and in the early 1990s became renowned worldwide for its innovative blend of rock and indigenous performance traditions. The band’s lead singer and composer, Mandawuy Yunupiŋu, was one of the first university-trained Yolŋu educators from remote Arnhem Land, and an influential exponent of bicultural education within local indigenous schools. This article draws on my comprehensive interview with Yunupiŋuforan opening keynote address to the Music and Social Justice Conference in Sydney on 28 September 2005. It offers new insights into the traditional values and local history of intercultural relations on the Gove Peninsula that shaped his outlook as a Yolŋu educator, and simultaneously informed his work through Yothu Yindi as an ambassador for indigenous cultural survival in Australia. It also demonstrates how Mandawuy’s personal history and his call for a constitutional treaty with indigen- ous Australians are further grounded in the inter-generational struggle for justice over the mining of their hereditary lands. The article’s ultimate goal is to identify traditional Yolŋu meanings in Yothu Yindi’s repertoire, and in doing so, generate new understanding of Yunupiŋu’s agency as a prominent intermediary of contemporary Yolŋu culture and intercultural politics. -
26 March 2017 EXHIBITION WALL LABELS Drafted by Max Dela
SOVEREIGNTY Australian Centre for Contemporary Art 17 December 2016 – 26 March 2017 EXHIBITION WALL LABELS Drafted by Max Delany, Paola Balla and Stephanie Berlangieri BROOK ANDREW Born 1970, Sydney Wiradjuri Lives and works in Melbourne Against all odds 2005 Hope and Peace series screenprint 100.0 x 98.0 cm Private Collection, Melbourne Black and White: Special Cut 2005 Hope and Peace series screenprint 100.0 x 98.0 cm Private Collection, Melbourne Maralinga clock 2015 inkjet and metallic foil on linen 280.0 x 160.0 x 120.0 cm Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley 9, Sydney; and Galerie Nathalie Obadia, Paris and Brussels The weight of history, the mark of time (sphere) 2015 coated nylon, fan, LED 500.0 cm (diameter) Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley 9, Sydney; and Galerie Nathalie Obadia, Paris and Brussels Brook Andrew’s practice encompasses bold inter-disciplinary projects that explore the ongoing histories, image cultures and effects of colonialism and modernity. Presented in Sovereignty is a selection of works from over the past decade. Andrew’s silkscreen prints, from the Hope and Peace series of 2005, deftly connect the traditions of pop art and political posters in a form of agit-pop. Alongside these are presented two sculptural works: a large, soft sculpture Maralinga clock 2015, based on a souvenir clock in the collection of Sydney’s Powerhouse Museum which commemorates the British nuclear test explosions on the desert homelands of the Tjarutja people; and The weight of history, the mark of time (sphere) 2015, a living, breathing balloon form adorned with a distinctive design inspired by the artist’s Wiradjuri heritage. -
Made in Melbourne! Enjoyed Nationally & Internationally!
SEPTEMBER 2013 Made in Melbourne! Enjoyed Nationally & Internationally! SEPTEMBER 2013 Issue 105 q comment: PUCKER UP q.magazine.australia Stars from around the world are puckering, posing and pouting for Bright Pink Lipstick Day (Friday, September Publisher & Editor 20) - A fun and fabulous way to raise awareness of Brett Hayhoe hereditary breast and ovarian cancer. +61 (0) 422 632 690 [email protected] By slicking on your brightest shade of pink, you’re promoting the importance that all women, everywhere, Editorial / Sales & Marketing should be proactive about their breast and ovarian [email protected] health by investigating their family history. [email protected] Design In Australia, it’s believed that nearly a quarter of a Uncle Brett Designs & Graphics million men and women carry a hereditary gene that put them at increased risk of breast, ovarian, prostate Contributing Writers and other cancers. Evan Davis, Alan Mayberry, Tasman Anderson, Barrie Mahoney, Brett Hayhoe, Matteo Snooks, Founder of Pink Hope and BRCA1 carrier herself, Jeremy Lefferson Krystal Barter says, “Through #brightpinklipstickday we hope that by raising awareness about hereditary Cover picture cancer the media, community and philanthropists see Philmah Bocks Photo: Sonya Carthy Stylist: Jen how vital prevention truly is.” Rossiter Photographic Contributions In 2007, Access Economics data revealed that one Alan Mayberry (gh), Mel Hill Photog- young high risk woman (under 65, if diagnosed with raphy (flamingos), Daniel Martin Bai- breast and ovarian cancer) can cost the affected ley (robarta & dnm), Dean Robertson individual, their family and the healthcare system up (dts), Sonya Carthy (q feature), Jack- to $1.75 million in their life-time. -
Jindalee Lady Music Credits
(Cast): Didgeridu Player John Moore Music Director Bart Willoughby Music Producer Andrew Scott Music Editor Peter D. Smith (FASHION PARADE) Didgeridu Players David Banula Marika Larry Yapuma Gurruwiwi MUSIC Tribal Singing Composed & Presented by Jindalee Lady Intro Maroochy Barambah Take It Or Leave It Bart Willoughby & Mixed Relations Recorded live at The Lansdowne Hotel Make Love Not War Bart Willoughby & Mixed Relations Recorded live at The Lansdowne Hotel Silent Night Sung by the Mungangka, Milmilpa Ernabella Women's Choir (pre 1966) Koori Lullaby Composed & performed by Betty Little Death Scene Wailing Composed & presented by Maroochy Barambah Smoking Scene Composed & presented by Maroochy Barambah Guitar Leroy Cummins Tenor Saxophone Brenda Gifford Traditional Instruments & Chants Wayne Williams Philip Lanley Lance Gavenor Vocals Alice Haines Conga Drums Clifford Grigg Keyboards Guy Gross Murray Cook Bells Tim Ryan Bird Calls Harold & Audrey Crouch All other music composed & played by Bart Willoughby Music Advisor to Director Dobbs Franks Music Engineer Tim Ryan Music Recording & Mixing Trackdown Studios Music in the film: Music mainly appears on screen in the film in the form of didg players accompanying the dance for the fashion parade: Composer Bart Willoughby: Willoughby has a detailed wiki listing here. At time of writing, he also had an eponymous website here, saved to WM here. His bio could be found at WM here, and Willoughby's site was also saved to Trove here: About Bart Willoughby Bart Willoughby Musical Career Bart Willoughby’s musical career began in 1978 when he pioneered a distinctive Indigenous Australianmusic sound, a fusion of Jamaican reggae with traditional Indigenous influences.