DOCSLIB.ORG

2016 Garma Program Booklet (PDF)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2016 Garma Program Booklet (PDF) 2016 WA|A |ARAKA GA BUNDURR The Land Is Our Backbone 40TH ANNIVERSARY OF AUSTRALIA’S ABORIGINAL LAND RIGHTS ACT 1 SPONSORS CHAIRMAN'S WELCOME 4 PRINCIPAL SPONSORS FROM OUR DIRECTOR 6 GANBULAPULA & GULKULA 10 the region 12 CONTENTS FOUR DAY PROGRAM 14 EDUCATION FAIR 16 EDUCATION FORUM 17 KEY FORUM 21 PLATINUM SPONSORS FACING OUR NATION 24 BUNGGUL 26 YOLNGU HEROES 28 MERCHANDISE ARTISTS 30 Welcome to the 18th YOUTH FORUM 32 Annual Garma event, SILVER SPONSORS OFFICIAL MEDIA PARTNER CULTURAL ACTIVITIES 36 GAPAN GALLERY 37 Hosted by the GARMA MUSIC 38 Yothu Yindi Foundation CINEMA 44 ACROSS THE GROUNDS 46 IN KIND SUPPLIER EXPO 48 OUR SUPPORTERS 50 FESTIVAL INFORMATION 56 GENERAL SPONSOR language 64 SITE MAP 65 GARMA IS AN ACKNOWLEDGING OUR SUPPORTERS FRONT COVER The Chairman, Board of Directors and management of the Yothu Yindi Foundation extends their sincere thanks to those that have Young man Dhunumbu #2 Mununggurr in front of the Australian Flag. ALCOHOL & supported the YYF projects currently being undertaken in the East Arnhem region. We also acknowledge those that have helped Photographer Melanie Faith-Dove. to put this event together, and those that have commitments that prevent them joining us onsite. Image taken from Garma 2015, copyright Yothu Yindi Foundation. DRUG FREE EVENT 3 CHAIRMAN’S WELCOME WA|A |ARAKA GA BUNDURR You will see much of the unique Yolngu way of life as you immerse yourself in Garma where you are living for THE LAND IS OUR BACKBONE four days with my people. You will hear our language spoken, see our ceremony performed and look in It is our song-cycles that have the greatest importance wonderment at the patterns and style of our beautiful in the lives of my people, and which guide and inform art as it is made and presented to you. At the bunggul our lives. you will see a tradition that is timeless – a world that I A song-cycle tells a person’s life: it relates to the past have dedicated my life to. to the present and to the future. And as Yolngu we During the day you will be challenged by speeches and balance our lives through the song-cycles that are laid discussions and dialogue that will lift you from your seat out on the ceremony grounds, the universities of our and make you sit upright, trying to think through what it people, where we hone and perfect our knowledge. is your ears are hearing. I encourage you to do this as it It is through the song-cycles that we acknowledge is for the exchange of knowledge that Garma exists. our allegiance to the land, to our laws, our life, to our And when you see the ceremony in full flight, hearing forebears and to each other. We work from the new the manikay sung and watching the patterns and moon to the full moon - travelling these song-cycles design that are presented to you, take some time to as a guide to life and the essence of our people: think about the Aboriginal people who have had these keeping it all in balance so that wealth and prosperity jewels of life taken from them in the short history of might flow. This is the cycle of events that is in us and our nation. I say this not to condemn your forebears, or which gives us the energy for life; the full energy that yourselves, but to merely state the truth. Even today we require. Without this we are nobody and we can the truth is hard to bear such is the loss suffered by so achieve nothing. many Aboriginal people, continuing to this day. The As the master of the ceremonies here at Gulkula truth may help you understand your own life better I recount this to remind you that Yolngu are very and allow you to be a contributor to the challenges different to other Australians, although we are very that lie ahead in making a settlement between our proudly Australian. We have our own law and way people within the nation. of life and with it the ownership of our land and Wa\a \araka ga bundurr. Welcome to Garma, please everything in it. And it is because of this that we do not enjoy your time with us. always fit in with everything you might believe in, and we do not always agree with your thinking. Sometimes we disagree very strongly with non-Yolngu ways and ideas. But we try and balance both our worlds and make a future that is rewarding for everyone. Dr Galarrwuy Yunupingu AM 4 5 The vision of the Yothu Yindi Foundation is for Yolngu & other Indigenous Australians to have the same level of well being and life opportunities as non-Indigenous Australians. FROM OUR DIRECTOR What is it aiming to achieve? • Description: Currently, the Garma CEO, YOTHU YINDI FOUNDATION, MRS DENISE BOWDEN Institute forms a crucial part of Garma The Yothu Yindi Foundation has identified through formal presentations (e.g. three primary objectives to drive the Key Forum and Youth Forum) and achievement of its vision of financially, informal communications, discussions physically and culturally sustainable and networking. Moving forward, Yothu up in the power of the song-cycles that On behalf of the Yothu Yindi news ways of life, imprinted upon this Indigenous Australians, each vital for social Yindi Foundation will create a broader Foundation and its Chairman I am nation over the course of the last 220 vest the land in Yolngu. cohesion, cultural identity, community Education Hub, providing 3 core groups privileged to be able to welcome you years. I urge you to think about your This year is the 40th Anniversary since development and maximised economic of activities: to Garma yet agin. role in the future of this living culture. development. These objectives are to: the promulgation of the Aboriginal • PHASE 1: Garma Institute: a culturally The land you are on is Gulkula. It Garma is the place where we work at Land Rights (Northern Territory) Act • provide contemporary environments and focused ‘bush university’ with the high watermark in terms of social programs to practice, preserve, maintain conference, tourism and community is Gumatj land, handed down over this interface – where the freshwater The Yothu Yindi Foundation was justice legislation in Australia and we and present traditional knowledge facilities and learning in partnership countless generations from Ganbulapula and saltwater mixes. It’s not always established in 1990 to promote Yolngu an ancestor of the current members of pretty or pleasant, we don’t always get will celebrate land rights this year. systems, cultural traditions and cultural with a tertiary education institute. practices (such as traditional dance cultural development with community the Gumatj and related clans. it right, or understand what we should, YYF acknowledges the Land Council (bunggul), song (manikay), art (miny’tji) • PHASE 2: Dhupuma College: school leaders and persons of authority from but Garma gives each and every one of Chairpersons and members and the You are hosted by the Yolngu people and ceremony); support and coordination – co- five regional clan groups: us the chance to make a difference. hard-working officers who are with curricular, boarding and transitional who are linked together by kinship, Gumatj, Rirratjingu, Djapu, Galpu, us at Gulkula. There are also many • develop economic opportunities for schooling support; language, tradition and law and the This year we again lost many elders ex-Chairman, ex-members and retired Yolngu through education, training, Wangurri master of ceremonies for this event is and leaders. Mr. Wunungmurra, Mrs PHASE 3: Dhupuma College: VET officers who have joined us, all of employment, enterprise and personal • The leadership and innovative program Galarrwuy Yunupingu. Galarrwuy has Gurruwiwi, and Mrs Munungurr are and adult pathways – vocational and whom have played their role. Thank and community development, including development of the Foundation are led the Gumatj clan for many, many just three of the great leaders that foundation training, job placement, you for keeping land rights strong. community leadership development; and considered significantly positive coordination of regional youth years with the support of his family. this region still grieves since we last to forces supporting Indigenous cultural Our Youth Forum has lifted in numbers opportunities; and Balupalu, Nungki, Dhundhana and met at Gulkula. It is heart-breaking to maintenance, not only in Northeast Djawa and his daughter Binmila and think of the knowledge that is lost with and over 250 students from North East • facilitate the sharing of knowledge and culture, thereby fostering a greater 2. The annual Garma Festival of Traditional Arnhem Land, but throughout the sister Djapirri are YYF Board members each elder but we can take comfort Arnhem to the Gold Coast will interact understanding between Indigenous and Culture (Garma) country and internationally. and work closely to Galarrwuy and his from the Yolngu-wide dedication to and learn from each other, forming life non-Indigenous Australians. vision of the future, as do we all. two-way education and a belief in long bonds across places and cultures. • Aim: Reconciliation, education and The Foundation is a not-for-profit Yolngu knowledge-systems as the key The Youth Forum is my favorite place understanding through sharing of culture charitable public benevolent The vision is simple yet powerful: institution, with an all-Yolngu Board ingredients for the future. and I am looking forward to the young How is it going to do that? and traditional practice; promoting and dhupuma – or, in our language, look people opening the bunggul and highlighting Yolngu culture, and creating of Directors. All revenues to the Yothu Yindi Foundation is focusing on three up to the future.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Djambawa Marawili
    DJAMBAWA MARAWILI Date de naissance : 1953 Communauté artistique : Yirrkala Langue : Madarrpa Support : pigments naturels sur écorce, sculpture sur bois, gravure sur linoleum Nom de peau : Yirritja Thèmes : Yinapungapu, Yathikpa, Burrut'tji, Baru - crocodile, heron, fish, eagle, dugong Djambawa Marawili (born 1953) is an artist who has experienced mainstream success (as the winner of the 1996 Telstra National Aboriginal and Torres Strait Islander Art award Best Bark Painting Prize and as an artist represented in most major Australian institutional collections and several important overseas public and private collections) but for whom the production of art is a small part of a much bigger picture. Djambawa as a senior artist as well as sculpture and bark painting has produced linocut images and produced the first screenprint image for the Buku-Larr\gay Mulka Printspace. His principal roles are as a leader of the Madarrpa clan, a caretaker for the spiritual wellbeing of his own and other related clan’s and an activist and administrator in the interface between non-Aboriginal people and the Yol\u (Aboriginal) people of North East Arnhem Land. He is first and foremost a leader, and his art is one of the tools he uses to lead. As a participant in the production of the Barunga Statement (1988),which led to Bob Hawke’s promise of a treaty, the Royal Commission into Black Deaths in Custody and the formation of ATSIC , Djambawa drew on the sacred foundation of his people to represent the power of Yolngu and educate ‘outsiders’ in the justice of his people’s struggle for recognition.
    [Show full text]
  • Timeline: Music Evolved the Universe in 500 Songs
    Timeline: Music Evolved the universe in 500 songs Year Name Artist Composer Album Genre 13.8 bya The Big Bang The Universe feat. John The Sound of the Big Unclassifiable Gleason Cramer Bang (WMAP) ~40,000 Nyangumarta Singing Male Nyangumarta Songs of Aboriginal World BC Singers Australia and Torres Strait ~40,000 Spontaneous Combustion Mark Atkins Dreamtime - Masters of World BC` the Didgeridoo ~5000 Thunder Drum Improvisation Drums of the World Traditional World Drums: African, World BC Samba, Taiko, Chinese and Middle Eastern Music ~5000 Pearls Dropping Onto The Jade Plate Anna Guo Chinese Traditional World BC Yang-Qin Music ~2800 HAt-a m rw nw tA sxmxt-ib aAt Peter Pringle World BC ~1400 Hurrian Hymn to Nikkal Tim Rayborn Qadim World BC ~128 BC First Delphic Hymn to Apollo Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Epitaph of Seikilos Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Magna Mater Synaulia Music from Ancient Classical Rome - Vol. 1 Wind Instruments ~ 30 AD Chahargan: Daramad-e Avval Arshad Tahmasbi Radif of Mirza Abdollah World ~??? Music for the Buma Dance Baka Pygmies Cameroon: Baka Pygmy World Music 100 The Overseer Solomon Siboni Ballads, Wedding Songs, World and Piyyutim of the Sephardic Jews of Tetuan and Tangier, Morocco Timeline: Music Evolved 2 500 AD Deep Singing Monk With Singing Bowl, Buddhist Monks of Maitri Spiritual Music of Tibet World Cymbals and Ganta Vihar Monastery ~500 AD Marilli (Yeji) Ghanian Traditional Ghana Ancient World Singers
    [Show full text]
  • Balnhdhurr - a Lasting Impression Yirrkala Print Space
    BALNHDHURR - A LASTING IMPRESSION BALNHDHURR - A LASTING IMPRESSION YIRRKALA PRINT SPACE a lasting impression WARNING Aboriginal and Torres Strait Islander people are respectfully advised that this publication contains the names and images of deceased persons 2 3 4 5 CONTENTS Foreword 8 Introduction 10 Early Linocuts 14 Early Colour Reduction Linocuts 16 Early Collagraphs 18 Early Screenprints 22 Japanese Woodblocks 26 Etchings 30 Berndt Crayon Etchings 32 String Figure Prints 34 Ngarra – Young Ones Portraits 38 Gunybi Ganambarr Portraits 40 Seven Sisters 42 Djalkiri – We are Standing on Their Names 48 Mother / Daughter 50 Midawarr Suite 52 The Yuta Project 56 Gapan Gallery 60 Afterword 62 List of Works 66 Acknowledgements 68 6 7 THE SONG OF THE PRESS I arrived at Buku-Larrnggay Mulka Centre in May 1995 just as Andrew and Dianne Blake were bringing into fruition Steve Fox’s vision for a dedicated Print Space. The new studio was built onto the existing 1960’s handbuilt cypress pine ex- mission hospital building which had been the art centre since 1975. Since then I have been an interested observer. A nosy neighbor listening to the music coming over the fence. From within an art centre, which is a vehicle for serious lawmen and women to represent their law in natural media as a political and artistic act of resistance to the dominant settler culture, comes a completely different tune. A lilting, gentle, persistent, sweet melody of (mostly) women humbly working together to make beautiful things. It has been the sound of laughter and considerateness. The sound of compassion and empathy and respect and dignity.
    [Show full text]
  • Semester 2 – 2014
    The SEMESTER 2 2014 Marrma’ Rom Two Worlds Foundation Congratulations to Dion and Jerol Wunungmurra Semester Two 2014 was highlighted by the fantastic achievement of two of our students graduating from Year 12. Dion and Jerol have been part of the Foundation since 2012 and we are very proud of them and what they have accomplished during the last 3 years. We are also very proud of them for deciding to return to Geelong next year and continue their endeavors to become Aboriginal Health Workers. [ Below is a short article by Jerol about the St. Joseph’s College Graduation Mass, for which Dions and Jerols’ parents flew down to attend: On the 19th of October 2014, the second week of school in Term 4, Dion’s parents and my dad came down to Geelong. They drove to Gove from Gapuwiyak and stayed in town. The next day they went to Gove airport and they flew from Gove to Cairns and 2 hours later they flew to Melbourne. Dion and I woke up early morning and Cam drove us to Gull bus. We checked in then the bus driver drove us to Tullamarine. We only waited for about 5 minutes then we saw them arrive. We caught the Skybus to Southern Cross and waited for the others in the city. We were performing at the Melbourne Festival that day. After the festival finished we caught a train back to Geelong. Dad was staying with me and Dion and his mum and dad were staying at Narana Cultural Centre. On Monday we went to St.
    [Show full text]
  • Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
    ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012.
    [Show full text]
  • Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism
    JOURNAL OF RESEARCH ONLINE MusicA JOURNAL OF THE MUSIC COUNCIL OF AUSTRALIA Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism Introduction KATELYN BARNEY was in The University of Queensland library talking to one of the librarians, James, about my PhD research. He asked, ‘So, what are you researching again?’ and I replied, ‘Well, I’m working with Indigenous Australian1 women ■ Aboriginal and Torres Strait Iwho perform contemporary music, you know, popular music singers’. James Islander Studies Unit looked confused, ‘Oh, so are you going to interview that guy from the band The University of Queensland 2 Yothu Yindi ?’ This was not the first time I had been asked this and inwardly I Brisbane sighed and replied, ‘No, I’m just focusing my research on Indigenous Australian QLD 4072 women’. Streit-Warburton’s words immediately reverberated in my mind: ‘Ask Australia an Australian to name an Aboriginal singer and there is a fair chance that the answer will be Yothu Yindi’s Mandawuy Yunupingu. Ask again for the name of an Aboriginal woman singer and there is an overwhelming chance that the answer will be Deafening Silence. Deafening Silence is not the name of a singer; it is the pervasive response to most questions about Aboriginal women.’ (1993: 86). As Email: [email protected] I looked at James, I wondered if anything had really changed in more than 10 years. The account above highlights how Indigenous Australian women performers continue to be silenced in discussions and discourses about Indigenous Australian 3 www.jmro.org.au performance.
    [Show full text]
  • 66Th Miff Announces Full Program
    66TH MIFF ANNOUNCES FULL PROGRAM GURRUMUL WORLD PREMIERE AT CLOSING NIGHT JANE CAMPION, MELISSA GEORGE AND LUCA GUADAGNINO LEAD GUEST LINE-UP SALLY POTTER AND PIONEERING WOMEN RETROSPECTIVES UNVEILED MELBOURNE, 12 JULY 2017 – Celebrating its 66th year, the Melbourne International FIlm Festival (MIFF) unleashes its full program with a mammoth line-up of more than 358 films representing 68 countries, including 251 features, 88 shorts, 17 Virtual Reality experiences, 12 MIFF Talks events, 31 world premieres and 135 Australian premieres. It all happens over 18 days, spanning 13 venues across Melbourne, from 3 to 20 August 2017. “What a pleasure it is to launch this year’s Melbourne International Film Festival,” said Artistic Director Michelle Carey. “This year’s program offers audiences an amazing opportunity to explore new worlds through film – from our Pioneering Women and Sally Potter retrospectives to the return of our Virtual Reality program as well as a particularly strong line-up of special events, we can’t wait to open the doors to MIFF 2017.” After kicking-off the festival with the Opening Night Gala screening of Greg McLean’s MIFF Premiere Fund-supported JUNGLE, presented by Grey Goose Vodka, the festival will wind up with the world premiere CLOSING NIGHT screening of Paul Williams’ GURRUMUL. A profound exploration of the life and music of revered Australian artist Geoffrey Gurrumul Yunupingu, the film uses the tools of the artist’s music – chord, melody, song – and the sounds of the land to craft an audio-first cinematic experience, offering a rare insight into a reclusive master. After the film, the audience will enjoy MIFF’s famous Closing Night party at the Festival Lounge.
    [Show full text]
  • 2017 Program PDF 1.12 MB
    ► JACQUES TOURNEUR Thursday 26 October at 6.00pm RE-DISCOVERED Friday 27 October at 6.00pm OPENING NIGHT CAT PEOPlE HOME BY CHRISTMAS Director: Jacques Tourneur | 1942 | 74 mins | USA | Classified M Director: Gaylene Preston | 2010 | 92 mins | New Zealand | Classified M Perhaps Tourneur’s best known film, CAT woman obsessed with ancient legends and Gaylene Preston’s poignant drama based on war, to find that his world has changed. Tony PEOPlE is a superb example of his art. Made panthers, the film was one of a series that her interviews with her father, gives Barry rises to the challenge superbly, giving for a tiny budget that would have crippled Tourneur made for producer Val Lewton. In Australian actor, Tony Barry , a rare a performance that reveals the depths of other directors, Tourneur delivered a all of them, but especially CAT PEOPlE , opportunity to move into a leading role Ed’s experiences that he cannot express in psychological thriller that created suspense Tourneur makes a virtue of his sparse worthy of his talents. He plays Ed, who enlists words. Criminally unknown in Australia, this through sound and shadow, through a resources to build work that critic James in the NZ Army in 1940 and heads overseas film is a seamless and innovative hybrid of brooding sense of paranoia, rather than Agee described as “consistently alive, leaving his pregnant wife behind, promising re-enactment and authentic dialogue. special effects: the art of showing less and limber, poetic, humane, (and) eager he’ll be home by Christmas. Four years later “A gentle, funny, utterly truthful film” suggesting more.
    [Show full text]
  • Djalu' Gurruwiwi, Garma Festival 2002, Gu`Ku`A, Northeast Arnhem Land
    Djalu' Gurruwiwi, Garma Festival 2002, Gu`ku`a, Northeast Arnhem Land Language: G^lpu (Dha\u) Translation and notes by Randin Graves, Waymamba Gaykama\u and Dh^\ga` Gurruwiwi This paper, a key part of Randin' Graves research on the cultural foundation of the yi[aki in northeast Arnhem Land, also contributes to the recording of life stories of Yol\u elders and documentation of the Dha\u language. Originating as the answer to the simple question, “tell us a story about yi[aki,” it contains stories about different types of clan-specific yi[aki, Djalu's experiences with the instrument, details of kinship, and his feelings on the state of Yol\u learning today. The first column is a transcription of a speech given by Djalu, the second and third provide literal and free translations. Outline: 1 The story of the G^lpu yi[aki called Dju\girriny' and an introduction to those who hold the story. 2 Expression of Djalu's openness to non-Aboriginal visitors interested in the yi[aki. 3 Introduction of holders of Gumatj knowledge and their Dju\gaya, or cultural custodians. 4 More discussion of overseas visitors who come to learn from Djalu'. 5 Introduction to the Gu`ku`a area and discussion of the maintenance of knowledge. 6 Description of family lines and totemically associated physical landmarks, again moving to importance of sharing knowledge. 7 The significance of knowledge, Yothu Yindi relationships, and ceremonial behaviour. 8 More discussion of Yol\u kinship, naming of ancestors. 9 The local mining operations and sharing of knowledge and ceremony.
    [Show full text]
  • 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
    [Show full text]
  • Learning in Both Worlds: Academic Journalism As a Research Outcome
    Research Journalism Volume 2 Issue 1 Article 1 October 2012 Learning in Both Worlds: Academic Journalism as a Research Outcome Lisa J. Waller Deakin University Follow this and additional works at: https://ro.ecu.edu.au/research_journalism Waller, Lisa J. (2012) "Learning in Both Worlds: Academic Journalism as a Research Outcome," Research Journalism: Vol. 2: Iss. 1, Article 1. Available at: https://ro.ecu.edu.au/research_journalism/vol2/iss1/1 This work is licensed under a Creative Commons Attribution-Share Alike 2.5 Australia. This Journal Article is brought to you by Research Online. It has been accepted for inclusion in Research Journalism by an authorized administrator of Research Online. For more information, please contact [email protected]. Learning in Both Worlds: Academic Journalism as a Research Outcome Cover Page Footnote Lisa Waller is a PhD candidate at the University of Canberra researching the relationship between news media and bilingual education policy in the Northern Territory as part of the Australian Research Council Discovery Project, Australian News Media and Indigenous Policymaking 1988–2008. She lectures in journalism at Deakin University and has worked as a journalist for the Canberra Times, the Australian and the Australian Financial Review. This journal article is available in Research Journalism: https://ro.ecu.edu.au/research_journalism/vol2/iss1/1 Learning in both worlds: Academic journalism as a research outcome Introduction Writing mainstream journalism on the issue of bilingual education policy from the viewpoint of Yolngu participants was agreed upon as an important outcome for my doctoral research 1 from early in its design. Their ongoing consent to participate rested on me agreeing to wear my journalist hat as well as my academic hat.
    [Show full text]