Indigenous Participation in Australian Economies II
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Corroboree Moderne
Corrected draft May 2004 CORROBOREE MODERNE ----------------------------------------------------------------------------------------------------------------------------------------------- Dressed in a brown wool bodystocking specially made by Jantzen and brown face paint, an American dancer, Beth Dean played the young boy initiate in the ballet CORROBOREE at a Gala performance before Queen Elizabeth 11 and Prince Phillip on Feb 4 1954 . “On stage she seems to exude some of the primitive passion of the savage whose rites she presents” (1a) “If appropriations do have a general character, it is surely that of unstable duality. In some proportion, they always combine taking and acknowledgment, appropriation and homage, a critique of colonial exclusions, and collusion in imbalanced exchange. What the problem demands is therefore not an endorsement or rejection of primitivism in principle, but an exploration of how particular works were motivated and assessed.” (1) CORROBOREE "announced its modernity as loudly as its Australian origins…all around the world" (2) 1: (BE ABORIGINAL !) (3) - DANCE A CORROBOREE! The 1950s in the Northern Territory represents simultaneously the high point of corroboree and its vanishing point. At the very moment one of the most significant cultural exchanges of the decade was registered in Australian Society at large, the term corroboree became increasingly so associated with kitsch and the inauthentic it was erased as a useful descriptor, only to be reclaimed almost fifty years later. Corroboree became the bastard notion par excellence imbued with “in- authenticity.” It was such a popularly known term, that it stood as a generic brand for anything dinky-di Australian. (4) Corroboree came to be read as code for tourist trash culture corrupted by white man influence. -
Food and Agriculture in the New Colony of Van Diemen's Land, 1803 to 1810
Papers and Proceedings of the Royal Society of Tasmania, Volume 122(2), 19R8 19 FOOD AND AGRICULTURE IN THE NEW COLONY OF VAN DIEMEN'S LAND, 1803 TO 1810 by Trevor D. Semmens (with four tables and one text-figures) SEMMENS, T.D., 1988 (31:x): Food and agriculture in the new colony of Van Diemen's Land, 1803 to 1810. Pap. Proc. R. Soc. Tasm., 122(2): 19-29. https://doi.org/10.26749/rstpp.122.2.19 ISSN 0080-4703. Entomology Section, Department of Agriculture, G.P.O. Box 192B, Hobart, Tasmania, Australia 7001. The new settlement of Van Diemen's Land and its first eight years are looked at in the light of the feeding of this young colony, and the development of agnculture to allow for sufficiency in food. For many reasons development was slow and progress limited. Key Words: food, agriculture, Van Diemen's Land, famine. " .... For Wise and Good reasons to promote the account; and as they are free settlers you will, as they are the first, allot 200 acres (81 ha) to each Interest of the British Nation and Secure the Advantaies that may be derived from the family and victual them for eighteen months. They are to be allowed the labour of two convicts Fisheries, etc., etc., in the Colony ... to form a Settlement On the South Part of this Coast, or each during that time, and to be supplied with Isles Adjacent, to Counteract any Projects or such portions of seed, grain, garden seeds and stock as can be spared; and also tools." plans the French Republic may arrainie .. -
Re-Awakening Languages: Theory and Practice in the Revitalisation Of
RE-AWAKENING LANGUAGES Theory and practice in the revitalisation of Australia’s Indigenous languages Edited by John Hobson, Kevin Lowe, Susan Poetsch and Michael Walsh Copyright Published 2010 by Sydney University Press SYDNEY UNIVERSITY PRESS University of Sydney Library sydney.edu.au/sup © John Hobson, Kevin Lowe, Susan Poetsch & Michael Walsh 2010 © Individual contributors 2010 © Sydney University Press 2010 Reproduction and Communication for other purposes Except as permitted under the Act, no part of this edition may be reproduced, stored in a retrieval system, or communicated in any form or by any means without prior written permission. All requests for reproduction or communication should be made to Sydney University Press at the address below: Sydney University Press Fisher Library F03 University of Sydney NSW 2006 AUSTRALIA Email: [email protected] Readers are advised that protocols can exist in Indigenous Australian communities against speaking names and displaying images of the deceased. Please check with local Indigenous Elders before using this publication in their communities. National Library of Australia Cataloguing-in-Publication entry Title: Re-awakening languages: theory and practice in the revitalisation of Australia’s Indigenous languages / edited by John Hobson … [et al.] ISBN: 9781920899554 (pbk.) Notes: Includes bibliographical references and index. Subjects: Aboriginal Australians--Languages--Revival. Australian languages--Social aspects. Language obsolescence--Australia. Language revival--Australia. iv Copyright Language planning--Australia. Other Authors/Contributors: Hobson, John Robert, 1958- Lowe, Kevin Connolly, 1952- Poetsch, Susan Patricia, 1966- Walsh, Michael James, 1948- Dewey Number: 499.15 Cover image: ‘Wiradjuri Water Symbols 1’, drawing by Lynette Riley. Water symbols represent a foundation requirement for all to be sustainable in their environment. -
Heritage of the Birdsville and Strzelecki Tracks
Department for Environment and Heritage Heritage of the Birdsville and Strzelecki Tracks Part of the Far North & Far West Region (Region 13) Historical Research Pty Ltd Adelaide in association with Austral Archaeology Pty Ltd Lyn Leader-Elliott Iris Iwanicki December 2002 Frontispiece Woolshed, Cordillo Downs Station (SHP:009) The Birdsville & Strzelecki Tracks Heritage Survey was financed by the South Australian Government (through the State Heritage Fund) and the Commonwealth of Australia (through the Australian Heritage Commission). It was carried out by heritage consultants Historical Research Pty Ltd, in association with Austral Archaeology Pty Ltd, Lyn Leader-Elliott and Iris Iwanicki between April 2001 and December 2002. The views expressed in this publication are not necessarily those of the South Australian Government or the Commonwealth of Australia and they do not accept responsibility for any advice or information in relation to this material. All recommendations are the opinions of the heritage consultants Historical Research Pty Ltd (or their subconsultants) and may not necessarily be acted upon by the State Heritage Authority or the Australian Heritage Commission. Information presented in this document may be copied for non-commercial purposes including for personal or educational uses. Reproduction for purposes other than those given above requires written permission from the South Australian Government or the Commonwealth of Australia. Requests and enquiries should be addressed to either the Manager, Heritage Branch, Department for Environment and Heritage, GPO Box 1047, Adelaide, SA, 5001, or email [email protected], or the Manager, Copyright Services, Info Access, GPO Box 1920, Canberra, ACT, 2601, or email [email protected]. -
Papers and Proceedings of the Royal Society of Tasmania
65 THE ENGLISH AT THE DERWENT, AND THE RISDON SETTLEMENT. BY JAMES BACKHOUSE WALKER. Read October 14th, 1889. ], The English at the Derwent. In a paper which I had the honour to read before the Royal Society last November, entitled " The French in Van Diemen's Land," I endeavoured to show how the discoveries of the French at the Derwent, and their supposed design of occupation, influenced Governor King's mind, and led him to despatch the first English colony to these shores. That paper brought the story to the 12th September, 1803, when the Albion whaler, with Governor Bowen on board, cast anchor in Risdon Cove, five days after the Lady Nelson, which had brought the rest of his small establishment. The choice of such an unsuitable place as Risdon for the site of the first settlement has always been something of a puzzle; and, in order to understand the circumstances which led to this ill-advised selection, it will be necessary to go back some years, and follow the historj'^ of English discovery and exploration in the South of Tasmania. I have already noticed the elaborate and complete surveys of the Canal D'Entrecasteaux, and the Riviere du Nord, made by the French navigators in 1792, and again in 1802 ; but it must be remembered that the results of these expeditions were long kept a profound secret, not only from the English, but from the world in general. Contemporaneously with the French, English navigators had been making independent discoveries and surveys in Southern Tasmania ; and it was solely the knowledge thus acquired that guided Governor King when he instructed Bowen " to fix on a proper place about Risdon's Cove " for the new settlement. -
Indigenous Archives
INDIGENOUS ARCHIVES 3108 Indigenous Archives.indd 1 14/10/2016 3:37 PM 15 ANACHRONIC ARCHIVE: TURNING THE TIME OF THE IMAGE IN THE ABORIGINAL AVANT-GARDE Khadija von Zinnenburg Carroll Figure 15.1: Daniel Boyd, Untitled TI3, 2015, 56th International Art Exhibition – la Biennale di Venezia, All the World’s Futures. Photo by Andrea Avezzù. Courtesy: la Biennale di Venezia. Daniel Boyd’s Untitled T13 (2015) is not an Aboriginal acrylic dot painting but dots of archival glue placed to match the pixel-like 3108 Indigenous Archives.indd 342 14/10/2016 3:38 PM Anachronic Archive form of a reproduction from a colonial photographic archive. Archival glue is a hard, wax-like material that forms into lumps – the artist compares them to lenses – rather than the smooth two- dimensional dot of acrylic paint. As material evidence of racist photography, Boyd’s paintings in glue at the 2015 Venice Biennale exhibition physicalised the leitmotiv of archives. In Boyd’s Untitled T13 the representation of the Marshall Islands’ navigational charts is an analogy to the visual wayfinding of archival photographs. While not associated with a concrete institution, Boyd’s fake anachronic archive refers to institutional- ised racism – thus fitting the Biennale curator Okwui Enwezor’s curatorial interest in archival and documentary photography, which he argues was invented in apartheid South Africa.1 In the exhibition he curated in 2008, Archive Fever: Uses of the Document in Contemporary Art, Enwezor diagnosed an ‘archival fever’ that had afflicted the art of modernity since the invention of photography. The invention, he believed, had precipitated a seismic shift in how art and temporality were conceived, and that we still live in its wake. -
[email protected] O
51 Lawson Crescent Acton Peninsula, Acton ACT 2601 GPO Box 553, Canberra ACT 2601 ABN 62 020 533 641 www.aiatsis.gov.au Environment and Communications References Committee The Senate Parliament House Canberra ACT 2600 Via email: [email protected] o·ear Committee Members Senate Inquiry into Australia's faunal extinction crisis AIATSIS Submission The Australian Institute for Aboriginal and Torres Strait Islander Studies (AIATSIS) welcomes the opportunity to make a submission in support of the Senate Inquiry into Australia's faunal extinction crisis. AIATSIS would recommend the focus of this senate inquiry includes: consultation with traditional owner groups; native title corporations administering native title settlements and agreements bodies; Native Title Representative Bodies (NTRBs); Native Title Service Providers (NTSPs) and Aboriginal Land Councils: all of whom exercise responsibility for the management of the Indigenous Estate and large tracts of the National Reserve System. This critical consultation and engagement is to ensure that traditional knowledge and management is acknowledged as being an essential element in threatened species recovery, management and conservation. AIATSIS submits that acknowledging the totality of the Indigenous Estate and its interconnection with the National Reserve System is essential in terms of addressing the faunal extinction crisis across the content. Caring for Country programs, Indigenous Land and Sea Management Programs (ILSMPs) and Indigenous Protected Areas (IPAs) are achieving great success in terms of threatened species recovery and the eradication of feral pests and species. Please find attached the AIATSIS submission which is based upon 26 years of research and practice by AIATSIS in Indigenous cultural heritage and native title law. -
A Short History of Thuringowa
its 0#4, Wdkri Xdor# of fhurrngoraa Published by Thuringowa City Council P.O. Box 86, Thuringowa Central Queensland, 4817 Published October, 2000 Copyright The City of Thuringowa This book is copyright. Apart from any fair dealing for the purposes of private study, research, criticism or review, as permitted under the Copyright Act no part may be reproduced by any process without written permission. Inquiries should be addressed to the Publishers. All rights reserved. ISBN: 0 9577 305 3 5 kk THE CITY of Centenary of Federation i HURINGOWA Queensland This publication is a project initiated and funded by the City of Thuringowa This project is financially assisted by the Queensland Government, through the Queensland Community Assistance Program of the Centenary of Federation Queensland Cover photograph: Ted Gleeson crossing the Bohle. Gleeson Collection, Thuringowa Conienis Forward 5 Setting the Scene 7 Making the Land 8 The First People 10 People from the Sea 12 James Morrill 15 Farmers 17 Taking the Land 20 A Port for Thuringowa 21 Travellers 23 Miners 25 The Great Northern Railway 28 Growth of a Community 30 Closer Settlement 32 Towns 34 Sugar 36 New Industries 39 Empires 43 We can be our country 45 Federation 46 War in Europe 48 Depression 51 War in the North 55 The Americans Arrive 57 Prosperous Times 63 A great city 65 Bibliography 69 Index 74 Photograph Index 78 gOrtvard To celebrate our nations Centenary, and the various Thuringowan communities' contribution to our sense of nation, this book was commissioned. Two previous council publications, Thuringowa Past and Present and It Was a Different Town have been modest, yet tantalising introductions to facets of our past. -
Anthropology of Indigenous Australia
Anthropology of Indigenous Australia Class code ANTH-UA 9037 – 001 Instructor Petronella Vaarzon-Morel Details [email protected] Consultations by appointment. Please allow at least 24 hours for your instructor to respond to your emails. Class Details Fall 2017 Anthropology of Indigenous Australia Tuesday 12:30 – 3:30pm 5 September to 12 December Room 202 NYU Sydney Academic Centre Science House: 157-161 Gloucester Street, The Rocks 2000 Prerequisites None. Class This course offers an introduction to some of the classical and current issues in the Description anthropology of Indigenous Australia. The role of anthropology in the representation and governance of Indigenous life is itself an important subject for anthropological inquiry, considering that Indigenous people of Australia have long been the objects of interest and imagination by outsiders for their cultural formulations of kinship, ritual, art, gender, and politics. These representations—in feature films about them (such as Rabbit-Proof Fence and Australia), New Age Literature (such as Mutant Message Down Under), or museum exhibitions (such as in the Museum of Sydney or the Australian Museum)—are now also in dialogue with Indigenous forms of cultural production, in genres as diverse as film, television, drama, dance, art and writing. The course will explore how Aboriginal people have struggled to reproduce themselves and their traditions on their own terms, asserting their right to forms of cultural autonomy and self-determination. Through the examination of ethnographic and historical texts, films, archives and Indigenous life-writing accounts, we will consider the ways in which Aboriginalities are being challenged and constructed in contemporary Australia. -
Important Australian and Aboriginal
IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams. -
Canadian Official Historians and the Writing of the World Wars Tim Cook
Canadian Official Historians and the Writing of the World Wars Tim Cook BA Hons (Trent), War Studies (RMC) This thesis is submitted in fulfillment of the requirements for the degree of Doctor of Philosophy School of Humanities and Social Sciences UNSW@ADFA 2005 Acknowledgements Sir Winston Churchill described the act of writing a book as to surviving a long and debilitating illness. As with all illnesses, the afflicted are forced to rely heavily on many to see them through their suffering. Thanks must go to my joint supervisors, Dr. Jeffrey Grey and Dr. Steve Harris. Dr. Grey agreed to supervise the thesis having only met me briefly at a conference. With the unenviable task of working with a student more than 10,000 kilometres away, he was harassed by far too many lengthy emails emanating from Canada. He allowed me to carve out the thesis topic and research with little constraints, but eventually reined me in and helped tighten and cut down the thesis to an acceptable length. Closer to home, Dr. Harris has offered significant support over several years, leading back to my first book, to which he provided careful editorial and historical advice. He has supported a host of other historians over the last two decades, and is the finest public historian working in Canada. His expertise at balancing the trials of writing official history and managing ongoing crises at the Directorate of History and Heritage are a model for other historians in public institutions, and he took this dissertation on as one more burden. I am a far better historian for having known him. -
Presentation Tile
Authentic and engaging artist-led Education Programs with Thomas Readett Ngarrindjeri, Arrernte peoples 1 Acknowledgement 2 Warm up: Round Robin 3 4 See image caption from slide 2. installation view: TARNANTHI featuring Mumu by Pepai Jangala Carroll, 2015, Art Gallery of South Australia, Adelaide; photo: Saul Steed. 5 What is TARNANTHI? TARNANTHI is a platform for Aboriginal and Torres Strait Islander artists from across the country to share important stories through contemporary art. TARNANTHI is a national event held annually by the Art Gallery of South Australia. Although TARNANTHI at AGSA is annual, biannually TARNANTHI turns into a city-wide festival and hosts hundreds of artists across multiple venues across Adelaide. On the year that the festival isn’t on, TARNANTHI focuses on only one feature artist or artist collective at AGSA. Jimmy Donegan, born 1940, Roma Young, born 1952, Ngaanyatjarra people, Western Australia/Pitjantjatjara people, South Australia; Kunmanara (Ray) Ken, 1940–2018, Brenton Ken, born 1944, Witjiti George, born 1938, Sammy Dodd, born 1946, Pitjantjatjara/Yankunytjatjara people, South Australia; Freddy Ken, born 1951, Naomi Kantjuriny, born 1944, Nyurpaya Kaika Burton, born 1940, Willy Kaika Burton, born 1941, Rupert Jack, born 1951, Adrian Intjalki, born 1943, Kunmanara (Gordon) Ingkatji, c.1930–2016, Arnie Frank, born 1960, Stanley Douglas, born 1944, Maureen Douglas, born 1966, Willy Muntjantji Martin, born 1950, Taylor Wanyima Cooper, born 1940, Noel Burton, born 1994, Kunmanara (Hector) Burton, 1937–2017,