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Into the Mainstream Guide to the Moving Image Recordings from the Production of Into the Mainstream by Ned Lander, 1988
Descriptive Level Finding aid LANDER_N001 Collection title Into the Mainstream Guide to the moving image recordings from the production of Into the Mainstream by Ned Lander, 1988 Prepared 2015 by LW and IE, from audition sheets by JW Last updated November 19, 2015 ACCESS Availability of copies Digital viewing copies are available. Further information is available on the 'Ordering Collection Items' web page. Alternatively, contact the Access Unit by email to arrange an appointment to view the recordings or to order copies. Restrictions on viewing The collection is open for viewing on the AIATSIS premises. AIATSIS holds viewing copies and production materials. Contact AFI Distribution for copies and usage. Contact Ned Lander and Yothu Yindi for usage of production materials. Ned Lander has donated production materials from this film to AIATSIS as a Cultural Gift under the Taxation Incentives for the Arts Scheme. Restrictions on use The collection may only be copied or published with permission from AIATSIS. SCOPE AND CONTENT NOTE Date: 1988 Extent: 102 videocassettes (Betacam SP) (approximately 35 hrs.) : sd., col. (Moving Image 10 U-Matic tapes (Kodak EB950) (approximately 10 hrs.) : sd, col. components) 6 Betamax tapes (approximately 6 hrs.) : sd, col. 9 VHS tapes (approximately 9 hrs.) : sd, col. Production history Made as a one hour television documentary, 'Into the Mainstream' follows the Aboriginal band Yothu Yindi on its journey across America in 1988 with rock groups Midnight Oil and Graffiti Man (featuring John Trudell). Yothu Yindi is famed for drawing on the song-cycles of its Arnhem Land roots to create a mix of traditional Aboriginal music and rock and roll. -
Teachers' Notes for Secondary Schools
artback nt: arts development and touring presents teachers’ notes for secondary schools teachers’ notes for secondary schools table of contents History - Djuki Mala [The Chooky Dancers] pg 3 Activity - Djuki Mala Zorba the Greek on YouTube pg 3 Activity - Online video - Elcho Island and The Chooky Dancers pg 3 Activity - Traditional dance comparison pg3 Home - Elcho Island pg 4 History pg 5 Activity - Macassar research pg 5 Activity - ‘Aboriginal’ vs ‘Indigenous’ pg 5 Activity - Gurrumul research pg 6 Activity - ‘My Island Home’ pg 6 Activity - Film: ‘Big Name No Blankets’ pg 6 Community pg 7 Activity - Elcho Island: Google Earth pg 7 Yolngu Culture pg 8 Activity - Film: ‘Yolgnu Boy’ + questions pg 8 Activity - Film: ‘Ten Canoes’ pg 9 Activity - Documentary: ‘Balanda and the Bark Canoes’ pg 9 Activity - Yolgnu culture clips online pg 9 Clans and Moieties pg 9 Activity - Clans and moieties online learning pg 9 Language pg 10 Activity - Yolngu greetings pg 10 Useful links and further resources pg 11 usage notes These notes are intended as a teaching guide only. They are suitable for high school students at different levels and teachers should choose from the given activities those that they consider most suitable for different year groups. The notes were developed by Mary Anne Butler for Artback NT: Arts Development and Touring. Thanks to Stuart Bramston, Shepherdson College, Jonathan Grassby, Linda Joy and Joshua Bond for their assistance. teachers’ notes page 2 of 11 History - Djuki Mala [T he Chooky Dancers] In 2007, on a basketball court in Ramingining, a group of Elcho Island dancers calling themselves the Chooky Dancers choreographed and performed a dance routine to the tune of Zorba the Greek. -
1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania It Is 1968, Rural Western Austra
1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania Abstract: In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on- screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future. It is 1968, rural Western Australia. As we glide along an undulating bitumen road up ahead we see, from a low camera angle, a school bus moving smoothly along the same route. Periodically a smattering of roadside trees filters the sunlight, but for the most part open fields of wheat flank the roadsides and stretch out to the horizon, presenting a grand and golden vista. As we reach the bus, music that has hitherto been a quiet accompaniment swells and in the next moment we are inside the vehicle with a fair-haired teenager. The handsome lad, dressed in a yellow school uniform, is drawing a picture of a boxer in a sketchpad. Another cut takes us back outside again, to an equally magnificent view from the front of the bus. This mesmerising piece of cinema—the opening of September (Peter Carstairs, 2007)— affords a viewer an experience of tranquillity and promise, and is homage to the notion of a golden age of youth. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
The Aboriginal
A STUDY GUIDE BY KATE RAYNOR SCREEN EDUCATION 1 www.metromagazine.com.au www.theeducationshop.com.au Introduction the early years of the twentieth century, the Illin family fled St Pe- tersburg, Russia, to Australia (they went to South America earlier) to IN escape persecution by the Czar. They settled in far north Queens- land, hoping to find a ‘working man’s paradise’. Calling their new home ‘Little Siberia’, they embarked on the arduous, back-breaking task of clearing the rainforest to make way for dairy farms. Soon the Illins encountered the Ngadjon people, traditional owners of the Atherton Tablelands the Russian immigrants now occupied. Leandro Illin, 28, (pictured top right) son of patriarch Nicholas, became involved with Kitty Clark (pictured bottom right), an Aboriginal woman from the area. They had a child together and Leandro applied to the Protector of Aborigines, J.W. Bleakley, for permission to marry. Permission was denied and the police were dispatched to remove Kitty and her children to a local mission. But Leandro was a man of fierce determination and resolve, and he made every effort possible to protect ‘There must Kitty and their child, and to formally secure their union. Pioneers of Love (Julie Nimmo, 2005) is an epic saga, with the twists and have been turns of Illin family history becoming in some sense symbolic of the vast social upheavals of the twentieth century. Through a powerful personal story, we are a lot of love given insight into the complex social and historical realities of life for immigrants and Indigenous people back in the early days of white settlement. -
To What Extent Can Libyan Intellectual Property Laws Protect Traditional Cultural Expressions from Unauthorised Use?
To what extent can Libyan intellectual property laws protect traditional cultural expressions from unauthorised use? A thesis submitted in fulfilment of the requirement for the award of the degree of Doctor of Philosophy by Abdolhamed Masoud M Agal The School of Law The Faculty of Professions The University of Adelaide, Australia 2016 Table of Contents Abstract .................................................................................................................................. iv Declaration............................................................................................................................. vi Acknowledgements ............................................................................................................. vii Dedication ........................................................................................................................... viii 1 General introduction to the thesis ................................................................................. 1 1.1 Introduction ......................................................................................................................... 1 1.2 Research objectives ............................................................................................................. 5 1.3 Research questions .............................................................................................................. 6 1.4 Methodology ...................................................................................................................... -
NYUNTU NGALI (You We Two) by Scott Rankin
Education Resources Pre‐Production STC Ed presents a Windmill and Big hART production NYUNTU NGALI (You We Two) by Scott Rankin PRE‐PRODUCTION RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 About Windmill 3 About Big hART 3 Synopsis 4 Themes 4 Historical and social background of the play 5 Interview with the playwright 6 – 7 PRE‐PRODUCTION EXERCISES Storytelling 8 – 9 We are going 10 Photo: Tony Lewis Pijantjatjara 11 – 12 Education Resource compiled by Education manager Naomi Edwards, Education Coordinator Toni Murphy, Editor Lucy Goleby, Contributors Georgia Close, Kerreen Ely Harper and DiAnne McDonald KEY AIM of exercise or section + Extension Exercises Download and watch Drama Exercises English Exercises Play online NYUNTU NGALI Sydney Theatre Company Education Resources 2010 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. PRE‐PRODUCTION RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about “PETROL: You can’t live without him. ABOUT STCED EVA: Can’t live without him. www.sydneytheatre.com.au/stced/about ROAM: We don’t care if you kill us, do we little one. Nyuntu Ngali Scene Five – Who are you? ” CREATIVE TEAM Writer and Director – Scott Rankin Musical Director and Community Producer – Beth Sometimes Lighting Designer – Nigel Levings Choreographer – Gina Rings Objects Designer – Elliat Rich AV -
I. KUNST UND KULTUR DER ABORIGINES Art+
FILME I. KUNST UND KULTUR DER ABORIGINES Art+Soul. A Personal Journey into the World of Aboriginal Art, DVD, Arthouse Films, Richmond, 2010 (mit Episoden zu Warlimpirrnga Tjapaltjarri, Yukultji Napangati und Doreen Reid Nakamarra) – ARTKELCH TIPP Art from the Heart, DVD, Ronin Films, Canberra, Australien, 1999 Battle of the Bands Live in Irrunytju, DVD, Ngaanyatjarra Media, Alice Springs, Australien, 2009 Benny and the Dreamers, DVD, National Film and Sound Archive, Acton, Australien, 2007 Bobtales, DVD, Film Australia, Lindfield, Australien, 1997 – ARTKELCH TIPP FÜR KINDER Colin Jones: A History of the Australian Aboriginal, Aboriginal Art… A Written Language, DVD, Harborne, Erskineville, Australien, 2005 Crocodile Dreaming, DVD, Ronin Films, Canberra, Australien, 2006 Culture Warriors, DVD, National Gallery of Australia (mit Episode über Maringka Baker) Darby. Stories and Songs, DVD, ABC Books, Sydney, Australien, 2006 Desert Country, DVD, Art Gallery of South Australia, Adelaide, Australien, 2011 Desert Heart, DVD, Rebel Films, Melbourne, Australien, 2007 (Film über die Kunstbewegung in Bidyadanga) Dreamings. The Art of Aboriginal Australia, DVD, Film Australia, Lindfield, Australien, 1988 First Australians, DVD, The Sydney Morning Herald, Sydney, Australien, 2008 Going Bush, DVD, Force Entertainment, Melbourne, Australien, 2005 Jack Dale Mengenen, DVD, 2010 Jedda, DVD, ScreenSound Australia, Sydney, Australien, 2004 Jila. Painted Waters of The Great Sandy Desert, DVD, Rebel Films, Melbourne, Australien, 2000 (Film über die Künstler in Fitzroy Crossing) – ARTKELCH TIPP Kanyini, DVD, Sand Hill Road Pictures, Melbourne, Australien, 2006 – ARTKELCH TIPP Kungkarangkalpa: Seven Sisters Songline, DVD, National Museum of Australia, Australien, 2013 Kunst und Mythos, DVD, Arte, Frankreich, 2011 (Film über die Künstlerin Ningura Napurulla in dt. Sprache) – ARTKELCH TIPP Lantana, DVD; Palace Films, Sydney, Australien, 2001 Luurnpa Dreaming. -
Yolngu Boy Tail Credits
Directed by Stephen Johnson Producers Patricia Edgar Gordon Glenn Writer Chris Anastassiades Executive Producers Patricia Edgar Stephen Johnson Associate Producers Galarrwuy Yunupingu Mandawuy Yunupingu Director of Photography Brad Shield Editor Ken Sallows Original Music By Mark Ovenden Production Designer Sarah Stollman Casting Director Maggie Miles Line Producer Elisa Argenzio Lorrpu John Sebastian (Sebbie) Pilakui Botj Sean Mununggurr Milika Nathan Daniels Yuwan Lirrina Mununggurr Matjala Makuma Yunupingu Dawu Nungki Yunupingu Maralitja Man Mangatjay Yunupingu Policeman Gurkula Lunginy Gerard Buyan Garrawurra Botj (9 years) Garritjpi Garawirrtja Lorrpu (9 years) Buywarri Mununggurr Milika (9 years) Buwata Mununggurr Ruwu (I Wanna Kick!) Yithangarra Wunungmurra Lorrpu's Father Lalambarri Yunupingu Milika's Father Balupalau Yunupingu Botj's Dad Malati Yunupingu Botj's Mother Merriki Ganambarr Umpire Garry Dhurrkay Football Coach Vernon Kenneth Lesley Patullo Dhunthun Andrew Galitju Burarrwanga Crying Woman Allyson Mills Ngarli Woman at Hospital Mary Yunupingu Djarrak Player Grant Gambley Crowd #1 Gurumin Marika Policeman at Wharf Joe Clements 1st Assistant Director John Martin Script Editors Gordon Glenn Stephen Johnson Sound Recordist Andrew Belletty Continuity Chrissie O'Connell Costume Designer Jill Johanson Make Up and Hair Designer Trish Glover Dramaturg Nico Lathouris Location Manager Peter Muston Production Accountant Janine Martorejo Moneypenny Services Post Production Supervisor Elisa Argenzio Focus Puller Brett Matthews Clapper -
The Land Rights Movement
25 YEARS OF NATIVE TITLE RECOGNITION Contents Settlement and 1 disposession Yirrkala Bark Petitions 1963 2 The Freedom Ride 1965 2 Wave Hill Station walk off 3 1966–1975 Gove Land Rights case 4 1968–1971 Aboriginal Tent Embassy 4 1972 Yolgnu claimants in the Land Rights case over the Gove Peninsula discuss aspects of Racial Discrimination Act 5 the hearing outside the courtroom in Canberra, September 1970. Source: National Archives of Australia. 1975 Reproduced with permission from Department of Foreign Affairs and Trade Aboriginal Land Rights (NT) 6 © Commonwealth of Australia. Act 1976 Noonkanbah 6 THE ROAD TO NATIVE TITLE: 1978–1980 THE LAND RIGHTS MOVEMENT Mabo No 2 6 1982–1992 Settlement and dispossession Paul Keating Redfern 7 From the time of first European settlement, Aboriginal and Torres Strait Islander Speech 1992 Australians have fought to maintain, and have recognised, their traditional rights to ownership of land. In 1788 the colony of New South Wales was established and the founding of Australia as a British colony had begun. The colony was settled on the basis of the doctrine of international law whereby the continent was deemed to be terra nullius—land belonging to no-one. Despite the obvious presence of Indigenous people, in the eyes of the British the land was considered to be practically unoccupied, without settled inhabitants and without settled law. The Colony was claimed for the British Sovereign on 26 January 1788. There is ongoing debate about the legal status of the ‘settlement’ as the land was clearly occupied and; there was no treaty and no (declared) war. -
Marriageability and Indigenous Representation in the White Mainstream Media in Australia
Marriageability and Indigenous Representation in the White Mainstream Media in Australia PhD Thesis 2007 Andrew King BA (Hons) Supervisor: Associate Professor Alan McKee Creative Industries, Queensland University of Technology Abstract By means of a historical analysis of representations, this thesis argues that an increasing sexualisation of Indigenous personalities in popular culture contributes to the reconciliation of non-Indigenous and Indigenous Australia. It considers how sexualised images and narratives of Indigenous people, as they are produced across a range of film, television, advertising, sport and pornographic texts, are connected to a broader politics of liberty and justice in the present postmodern and postcolonial context. By addressing this objective the thesis will identify and evaluate the significance of ‘banal’ or everyday representations of Aboriginal sexuality, which may range from advertising images of kissing, television soap episodes of weddings, sultry film romances through to more evocatively oiled-up representations of the pin- up-calendar variety. This project seeks to explore how such images offer possibilities for creating informal narratives of reconciliation, and engendering understandings of Aboriginality in the media beyond predominant academic concerns for exceptional or fatalistic versions. i Keywords Aboriginality Indigenous Marriageability Reconciliation Popular Culture Sexuality Relationships Interracial Public Sphere Mediasphere Celebrity ii Table of Contents Introduction …………………………………………………………………………. -
Yolngu Boy Music Credits
Original Music By Mark Ovenden Cultural Music Co-Ordinator Stewart Kellaway Cultural Singers Mandawuy Yunupingu Djanga Yunupingu (Ronnie) Guttutjiri Gurruwiwi (Alfred) Gambujdjiki Yunupingu Daneminu Yunupingu (NIcky) Rrawun Maymura Yidaki Players Naikuma Burarrwanga Daneminu Yunupingu (Nicky) Gavin Yomunu Yunupingu Gapanbulu Yunupingu Minbakurri Gurruwiwi Gauwuma Yunupingu Ganga Giri Guitars- Clive Young Keyboards supplied by Roland Corporation Australia 'Neva Mend" (NoKTuRNL/Kram & Whit) Performed by NoKTuRNL, Published by Sony/ATV Music Publishing Australia Licensed from The Festival Mushroom Group "Black Bugs" (Ben Fly), Performed by Regurgitator Taken from the album "Unit" ℗ 1998 Warner Music Australia Licensed from Warner Music Australia Pty Ltd, © 1987 EMI Music Publishing Australia Pty Ltd Licensed by EMI Music Publishing Australia Pty Limited "Gapu" Written by G. Yunupingu, (Yothu Yindi Music/Mushroom Music) Performed by Yothu Yindi, Licensed from The Festival Mushroom Group "Poisonous Love/Ghost Spirit" Written by M. Yunupingu/L. Lowders/S. Kellaway/M. Yunupingu, (Mushroom Music) Performed by Yothu Yindi, Licensed from The Festival Mushroom Group "Treaty" Written by M. Yunupingu/M. Mununggurr/G. Yunupingu/S.Kellaway/ C. Williams/W. Marika/P. Kelly/P. Garrett (Yothu Yindi Music/Mushroom Music) Performed by Yothu Yindi, Licensed from The Festival Mushroom Group "Surrender" Written and Performed by Kelly Howell From "Making Tracks" by Songlines Music Aboriginal Corporation "Farewell" From the album Manmoyi, Written and Performed