Complexities of Displaced Indigenous Identities: a Fifty Year Journey Home, to Two Homes
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Cooks River Valley Association Inc. PO Box H150, Hurlstone Park NSW 2193 E: [email protected] W: ABN 14 390 158 512
Cooks River Valley Association Inc. PO Box H150, Hurlstone Park NSW 2193 E: [email protected] W: www.crva.org.au ABN 14 390 158 512 8 August 2018 To: Ian Naylor Manager, Civic and Executive Support Leichhardt Service Centre Inner West Council 7-15 Wetherill Street Leichhardt NSW 2040 Dear Ian Re: Petition on proposal to establish a Pemulwuy Cooks River Trail The Cooks River Valley Association (CRVA) would like to submit the attached petition to establish a Pemulwuy Cooks River Trail to the Inner West Council. The signatures on the petition were mainly collected at two events that were held in Marrickville during April and May 2018. These events were the Anzac Day Reflection held on 25 April 2018 in Richardson’s Lookout – Marrickville Peace Park and the National Sorry Day Walk along the Cooks River via a number of Indigenous Interpretive Sites on 26 May 2018. The purpose of the petition is to creatively showcase the history and culture of the local Aboriginal community along the Cooks River and to publicly acknowledge the role of Pemulwuy as “father of local Aboriginal resistance”. The action petitioned for was expressed in the following terms: “We, the undersigned, are concerned citizens who urge Inner West Council in conjunction with Council’s Aboriginal and Torres Strait Islander Reference Group (A&TSIRG) to designate the walk between the Aboriginal Interpretive Sites along the Cooks River parks in Marrickville as the Pemulwuy Trail and produce an information leaflet to explain the sites and the Aboriginal connection to the Cooks River (River of Goolay’yari).” A total of 60 signatures have been collected on the petition attached. -
The Working-Class Experience in Contemporary Australian Poetry
The Working-Class Experience in Contemporary Australian Poetry A thesis submitted for the degree of Doctor of Philosophy Sarah Attfield BCA (Hons) University of Technology, Sydney August 2007 i Acknowledgements Before the conventional thanking of individuals who have assisted in the writing of this thesis, I want to acknowledge my class background. Completing a PhD is not the usual path for someone who has grown up in public housing and experienced childhood as a welfare dependent. The majority of my cohort from Chingford Hall Estate did not complete school beyond Year 10. As far as I am aware, I am the only one among my Estate peers to have a degree and definitely the only one to have attempted a PhD. Having a tertiary education has set me apart from my peers in many ways, and I no longer live on the Estate (although my mother and old neighbours are still there). But when I go back to visit, my old friends and neighbours are interested in my education and they congratulate me on my achievements. When I explain that I’m writing about people like them – about stories they can relate to, they are pleased. The fact that I can discuss my research with my family, old school friends and neighbours is really important. If they couldn’t understand my work there would be little reason for me to continue. My life has been shaped by my class. It has affected my education, my opportunities and my outlook on life. I don’t look back at the hardship with a fuzzy sense of nostalgia, and I will be forever angry at the class system that held so many of us back, but I am proud of my working-class family, friends and neighbourhood. -
Peta Clancy Christopher Day Destiny
Peta Clancy Christopher Day Destiny Deacon Michaela Gleave Nasim Nasr Sara Oscar Julie Rrap Khaled Sabsabi Yhonnie Scarce Angela Tiatia Christian Thompson Kawita Vatanajyankur Daniel von Sturmer Justene Williams William Yang Under the sun: Reimagining Max Dupain’s Sunbaker Published to accompany the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker presented at The State Library of New South Wales 18 February – 17 April 2017 Monash Gallery of Art 6 May – 6 August 2017 Australian Centre for Photography Director Cherie McNair Curator Claire Monneraye Exhibition Partners Curatorial Assistant Casuarina Bird Education & Public Programs Manager Antoinette Clements ACP acknowledges the key contribution of Catherine Baldwin, Interim Director to the project development and completion. ACP thanks all the staff members from the State Library of New South Wales and Monash Gallery of Art that have contributed to the development of this project. Commissioning Partners Funding Partners John and Kate Armati Andrew and Kate Jerogin Lisa Paulsen Neill and Jane Whiston Medich Foundation This project has been assisted by the Australian government through the Department of Communication and the Arts’ Catalyst—Australian Arts and Culture Fund. Graphic Design Kirk Palmer Design Printer Shepson Printing ISBN 978-0-6480417-0-2 @ Australian Centre for Photography Message from the Minister What better way to celebrate Australian contemporary photography than to attend Under the sun: Reimagining Max Dupain’s Sunbaker, an innovative and thought-provoking exhibition in which 15 leading artists respond to Max Dupain’s iconic image, Sunbaker. In Under the sun, each newly-commissioned work represents a unique interpretation of the 1937 photograph and incorporates a wide range of techniques, showcasing the talent and diversity of the participating artists. -
Koorie Heritage Trust Annual Report 2015 – 2016 Contents
Koorie Heritage Trust Annual Report 2015 – 2016 Contents Page 2 Wominjeka/Welcome: Vision and Purpose Page 5 Chairperson’s Report Page 6 Chief Executive Officer’s Report Page 12 Our Programs Koorie Family History Service Cultural Education Retail and Venue Hire Collections, Exhibitions and Public Programs Page 42 Activities Page 43 Donors and Supporters Page46 Governance Page 48 Staff Page 50 Financial Report www.koorieheritagetrust.com ABN 72 534 020 156 The Koorie Heritage Trust acknowledges and pays respect to the Traditional Custodians of Melbourne, on whose lands we are located. Warning: Aboriginal and Torres Strait Islanders are advised that this document may contain the names and/or images of people who have passed away. Cover Image: Koorie Heritage Trust, view from level 2, Yarra Building. Photo James Murcia, 2015 Terminology Design: Darren Sylvester The term Koorie is commonly used to describe Aboriginal people of Southeast Australia; Editor: Virginia Fraser however, we recognise the diversity of Aboriginal people living throughout Victoria including Publication Co-ordinator: Giacomina Pradolin Koories and other Aboriginal and Torres Strait Islander (ATSI) people from around Australia. We Text: Koorie Heritage Trust staff have used the term Aboriginal in parts of the report to include all people of ATSI descent. Wominjeka/Welcome: Vision and Purpose Our Vision To live in a society where Aboriginal culture and history are a fundamental part of Victorian life. Our Purpose To promote, support and celebrate the continuing journey of the Aboriginal people of South Eastern Australia. Our Motto Gnokan Danna Murra Kor-ki/Give me your hand my friend. Our Values Respect, honesty, reciprocity, curiosity. -
Athena SWAN Institution Application
Athena SWAN Institution Application Bronze Award Name of institution The University of Sydney Date of application 29 March 2019 Award Level Bronze Date joined Athena SWAN August 2016 Contact for application Professor Renae Ryan Email [email protected] Telephone 02 9351 2669 ATHENA SWAN BRONZE INSTITUTION AWARDS Recognise a solid foundation for eliminating gender bias and developing an inclusive culture that values all staff. This includes: • an assessment of gender equality in the institution, including quantitative (staff data) and qualitative (policies, practices, systems and arrangements) evidence and identifying both challenges and opportunities • a four-year plan that builds on this assessment, information on activities that are already in place and what has been learned from these • the development of an organisational structure, including a self-assessment team, to carry proposed actions forward. COMPLETING THE FORM Please refer to the SAGE Athena SWAN Charter Bronze Institutional Award Handbook when completing this application form. Do not remove the headers or instructions. Each section begins on a new page. WORD COUNT The overall word limit for applications are shown in the following table. There are no specific word limits for the individual sections, and you may distribute words over each of the sections as appropriate. Please state how many words you have used in each section. Please refer to page 11 of the handbook for inclusions and exclusions regarding word limit. We have provided the following recommended word counts as a guide. Word limit 11,000 Recommended word count 1.Letter of endorsement 500 2.Description of the institution 500 3. -
Historical Information About the 1780S in Australia
The information supplied in this document was sourced from the Decade timeline section of MY PLACE FOR TEACHERS website: www.myplace.edu.au Historical information about the 1780s in Australia Cultural differences On 26 January 1788, the British government through Governor Arthur Phillip (1738–1814) claimed sovereignty over the area that Captain James Cook had named New South Wales. They also claimed ownership of the land through the legal concept of terra nullius (land belonging to no-one), ignoring the already existing land ownership and lore of the Indigenous peoples there. Land was at the centre of the conflict between the Sydney clans and the British colonists. In 1787 Lord Sydney of the Colonial Office had officially recognised the presence of Indigenous inhabitants by giving instructions to Governor Phillip to open friendly communications with them and encourage the convicts and marines to show them kindness. His instructions included measures of protection for the local Indigenous people, and punishments for those who harmed them. The British did not, however, acknowledge Indigenous ownership of the land. The people of the First Fleet did not understand the ways of the local Indigenous peoples they encountered, and their diaries and journals record the lack of respect that many members of the First Fleet had for local Indigenous people. The colonists did not understand the diversity of Indigenous Australian nations, each with a distinct language and culture, or the complexity of Indigenous systems of lore. For example, an important understanding is to seek permission to enter another group's country. On seeing the First Fleet, the Cadigal people ran down to the water's edge and shook their spears at them. -
Design Principles, Storylines and Thinking Path to Make Tomorrow
Aboriginal and Torres Strait Islander Health 2020 research Showcase 2020 Lisa Jackson Pulver Deputy Vice Chancellor Indigenous Strategy and Services Showcase IRNet I pay respects to the people of this Land – the Kaurna People. 2020 Jackson, Campbell Smith and Powell and Llewellyn families families of Vic and NSW North Coast SA Scots grandfather Welsh G-G father Showcase A Sit Down & Paint Up Place: Sharing and Storytelling in Possum Ground on Gadigal Land’ Robert Andrew - a descendant of the Yawuru people of the Broome area in the Kimberley, Western Australia. ‘Garabara’ from Eora language, meaning “dance, a method of dancing”. The University is on the LandsIRNet of the Gadigal people of the Eora nation and those of the Wangal, Deerubbin, Tharawal, Ngunnawal, Wiradjuri, Gamilaroi, Bundjulong, Wiljali and Gereng Gureng. 2020 Parliamentary Apology Welcome to Country Showcase IRNet New beginnings – again? 3 Each circle represents a location defined by the Australian Bureau of Statistics as an “Indigenous Area”. The circles representing these locations have been sized so that their areas are proportionate to their Indigenous population2020 count in 2011. They have been moved on the map so they do not overlap, but under the constraint that they move as little as possible, that they remain within their state boundaries (except for the ACT), and that they retain their relative position next to each other as much as possible. We have also added a line around the greater capital city areas to help readers Showcase identify them. Each area has been coloured in a manner that indicates the change in population between 2011 and 2016. -
Phillip and the Eora Governing Race Relations in the Colony of New South Wales
Phillip and the Eora Governing race relations in the colony of New South Wales Grace Karskens In the Botanic Gardens stands a grand monument to Arthur Phillip, the first governor of New South Wales. Erected 1897 for the Queen Victoria's Diamond Jubilee, the elaborate fountain encapsulates late nineteenth century ideas about society and race. Phillip stands majestically at the top, while the Aboriginal people, depicted in bas relief panels, are right at the bottom. But this is not how Phillip acted towards Aboriginal people. In his own lifetime, he approached on the same ground, unarmed and open handed. He invited them into Sydney, built a house for them, shared meals with them at his own table.1 What was Governor Arthur Phillip's relationship with the Eora, and other Aboriginal people of the Sydney region?2 Historians and anthropologists have been exploring this question for some decades now. It is, of course, a loaded question. Phillip's policies, actions and responses have tended to be seen as a proxy for the Europeans in Australia as whole, just as his friend, the Wangal warrior Woolarawarre Bennelong, has for so long personified the fate of Aboriginal people since 1788.3 The relationship between Phillip and Bennelong has been read as representing not only settler-Aboriginal relations in those first four years but as the template for the following two centuries of cross-cultural relations. We are talking here about a grand narrative, driven in part by present-day moral conscience, and deep concerns about on-going issues of poverty, dysfunction and deprivation in many Aboriginal communities, about recognition of and restitution for past wrongs and about reconciliation between black and white Australians. -
Tracey Moffatt Exhibitions
TRACEY MOFFATT Born 1960, Australia Lives New York and Sydney SOLO EXHIBITIONS 2018 The Travellers, Tyler Rollins Fine Art, New York 2017 My Horizon, Australian Pavilion, 57th Venice Biennale, Venice, Italy. Tracey Moffatt Montages, MASP, Sao Paulo, Brazil. Tracey Moffatt, Bega Valley Regional Gallery, Bega, Australia. Montages: The Full Cut, 1999-2015, touring through regional galleries Australia in 2017-2018. 2016 Laudanum and other works, Art Gallery of New South Wales, Sydney, Australia. Tracey Moffatt Other 2009, Len Lye Centre Cinema, Govett-Brewster Art Gallery, New Plymouth, New Zealand. Montages: The Full Cut, 1999-2015, Artspace, Sydney, Australia. 2015 Kaleidoscope, Perth Institute of Contemporary Art, Perth, Australia. Art Calls, Centre For Contemporary Photography, Melbourne, Australia. THE ART, Night Cap QT Hotel, Sydney Contemporary, Sydney, Australia. 2014 Tracey Moffatt: In the Gallery and on TV, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia 2013 Spirit Landscapes, Roslyn Oxley9 Gallery, Sydney Spirit Landscapes, Tyler Rollins Fine Art, New York, USA 2012 Tracey Moffatt, Museum of Modern Art, New York, USA Tracey Moffatt and Gary Hillberg, Vox Populi Gallery, Philiadelphia, USA Tracey Moffatt: Other, Art Gallery of Ballarat, Australia Tracey Moffatt, Glasshouse Gallery, Port Macquarie, Australia Tracey Moffatt: Narratives, Gosford Regional Gallery, Australia 2011 Tracey Moffatt: Still and Moving, Tyler Rollins Fine Art, New York, USA Handmade, Artpace San Antonio, San Antonio, Texas, USA Tracey Moffat: -
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. -
Secrecy and Power in Australia's National Security State
OPEN DEMOCRACY DOSSIER Secrecy and Power in Australia’s National Security State Keiran Hardy, Rebecca Ananian-Welsh, and Nicola McGarrity September 2021 An independent research report commissioned by GetUp DEMOCRACY DOSSIER CONTENTS2 DEMOCRACY DOSSIER 01 EXECUTIVE SUMMARY 05 02 KEY RECOMMENDATIONS 10 03 LIST OF ABBREVIATIONS 12 04 INTRODUCTION 13 05 A HEALTHY DEMOCRACY 24 06 A WAR WITH NO END 32 07 THE SUPER MINISTRY FOR SECURITY 46 08 HOW GOOD IS SECRECY? 62 09 REPAIRING DEMOCRACY 76 10 REFERENCES AND FURTHER READING 83 APPENDIX 1: AUSTRALIA’S COUNTER-TERRORISM LAWS 98 3 DEMOCRACY DOSSIER ACKNOWLEDGEMENT OF COUNTRY We, the authors, respectfully acknowledge the Traditional Owners of the land on which we work and live. We pay our respects to their Elders past and present, and recognise their sovereignty was never ceded. We also recognise those whose ongoing effort to protect and promote Aboriginal and Torres Strait Islander cultures will leave a lasting legacy for future Elders and leaders. This report was researched and written on the lands of the Bidjigal, Gadigal and Wangal peoples of the Eora Nation in New South Wales, and lands of the Jagera, Turrbal, Yugambeh and Kombumerri peoples in Queensland. AUTHORS Dr Keiran Hardy is a Senior Lecturer in the School of Criminology and Criminal Justice at Griffith University and the Griffith Criminology Institute. He has researched and published widely on counter-terrorism law and policy, radicalisation and countering violent extremism, intelligence whistleblowing and the accountability of intelligence agencies Dr Rebecca Ananian-Welsh is a Senior Lecturer at the University of Queensland, TC Beirne School of Law. -
Putting Place Back Into Urban Aboriginal History
Chapter 5 ‘The evidence of our own past has been torn asunder’: Putting place back into urban Aboriginal history Peter Read Department of History, University of Sydney Abstract: It is easy to demonstrate the lack of signage about the history of Aboriginal Sydney, but it is not all due to racism and apathy. Ignorance and forgetfulness are relevant too. Here I argue not for more signage, but, while continuing further research, to bring the information that we already have online into two- or three-dimensional forms. Introduction Dr Gordon Briscoe is an Indigenous historian, born in Central Australia. In 1942 he was removed, with his mother, from Central Australia, taken first to Balaklava near Adelaide and, at four years of age, placed in a church home in Mulgoa, western Sydney. In 2009, more than 60 years later, he revisited the site where 40 similar Northern Territory Aboriginal children had been institutionalised. Of the structures relating to the children who lived within the grounds, nothing remains in place: not a building, foundation or plaque. St Matthew’s Church remains and functions, but the rectory where the staff had their quarters has been demolished, the dormitory has been relocated and the grass where it once stood has been re-sown. Walking the grounds was a sad experience, but of all the painful memories, perhaps Gordon Briscoe’s sharpest reflection was the absence of any marker to the children’s existence. He reflected (Briscoe 2013): When we talk about what Aboriginal people are sorry for, it’s the way they treated us and our past.