Primitive Hunters of Australia
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ON TAUNGURUNG LAND SHARING HISTORY and CULTURE Aboriginal History Incorporated Aboriginal History Inc
ON TAUNGURUNG LAND SHARING HISTORY AND CULTURE Aboriginal History Incorporated Aboriginal History Inc. is a part of the Australian Centre for Indigenous History, Research School of Social Sciences, The Australian National University, and gratefully acknowledges the support of the School of History and the National Centre for Indigenous Studies, The Australian National University. Aboriginal History Inc. is administered by an Editorial Board which is responsible for all unsigned material. Views and opinions expressed by the author are not necessarily shared by Board members. Contacting Aboriginal History All correspondence should be addressed to the Editors, Aboriginal History Inc., ACIH, School of History, RSSS, 9 Fellows Road (Coombs Building), The Australian National University, Acton, ACT, 2601, or [email protected]. WARNING: Readers are notified that this publication may contain names or images of deceased persons. ON TAUNGURUNG LAND SHARING HISTORY AND CULTURE UNCLE ROY PATTERSON AND JENNIFER JONES Published by ANU Press and Aboriginal History Inc. The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (print): 9781760464066 ISBN (online): 9781760464073 WorldCat (print): 1224453432 WorldCat (online): 1224452874 DOI: 10.22459/OTL.2020 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design and layout by ANU Press Cover photograph: Patterson family photograph, circa 1904 This edition © 2020 ANU Press and Aboriginal History Inc. Contents Acknowledgements ....................................... vii Note on terminology ......................................ix Preface .................................................xi Introduction: Meeting and working with Uncle Roy ..............1 Part 1: Sharing Taungurung history 1. -
Fighting Extinction Challenge Teacher Answers Middle Years 9-10
Fighting Extinction Challenge Teacher Answers Middle Years 9-10 Wurundjeri Investigation We are all custodians of the land, just as the Wurundjeri have been for thousands of years. During your independent investigation around the Sanctuary look for ways that the Wurundjeri people lived on country and record these observations in the box below. Look (what you saw) Hear (what you heard) I wonder… (questions to ask an expert or investigate back at school ) Bunjil Soundscapes Waa Information from education Mindi officers Signs about plant uses Dreaming stories at feature shows Signs about animal dreaming Information about Wurundjeri stories Seasons Sculptures Didjeridoo Scar Tree Bark Canoe Gunyah Information about Coranderrk William Barak sculpture Information about William Barak Artefacts (eg eel trap, marngrook, possum skin cloak) 1. Identify and explain how did indigenous people impact upon their environment? Indigenous people changed the landscape using fire stick farming which also assisted hunting Aboriginal people used their knowledge of the seasons to optimise hunting, gathering, eel farming and more Aboriginal people used organic local materials to create tools to assist them with hunting and gathering their food i.e. eel traps, woven grass baskets, rock fish traps etc. They only ever took what they needed from the land and had a deep respect and spiritual connection to the land and their surroundings. 2. How are humans impacting on natural resources in today’s society? How does this affect wildlife? When the land is disrespected, damaged or destroyed, this can have real impact on the wellbeing of people, plants and animals. European settlers and modern day humans have caused land degradation by: •Introducing poor farming practices causing land degradation •Introducing noxious weeds •Changing water flow courses and draining wetlands •Introducing feral animals •Destroying habitat through urbanization, logging and farming practices 3. -
Captain America
The Star-spangled Avenger Adapted from Wikipedia, the free encyclopedia Captain America first appeared in Captain America Comics #1 (Cover dated March 1941), from Marvel Comics' 1940s predecessor, Timely Comics, and was created by Joe Simon and Jack Kirby. For nearly all of the character's publication history, Captain America was the alter ego of Steve Rogers , a frail young man who was enhanced to the peak of human perfection by an experimental serum in order to aid the United States war effort. Captain America wears a costume that bears an American flag motif, and is armed with an indestructible shield that can be thrown as a weapon. An intentionally patriotic creation who was often depicted fighting the Axis powers. Captain America was Timely Comics' most popular character during the wartime period. After the war ended, the character's popularity waned and he disappeared by the 1950s aside from an ill-fated revival in 1953. Captain America was reintroduced during the Silver Age of comics when he was revived from suspended animation by the superhero team the Avengers in The Avengers #4 (March 1964). Since then, Captain America has often led the team, as well as starring in his own series. Captain America was the first Marvel Comics character adapted into another medium with the release of the 1944 movie serial Captain America . Since then, the character has been featured in several other films and television series, including Chris Evans in 2011’s Captain America and The Avengers in 2012. The creation of Captain America In 1940, writer Joe Simon conceived the idea for Captain America and made a sketch of the character in costume. -
Issue Hero Villain Place Result Avengers Spotlight #26 Iron Man
Issue Hero Villain Place Result Avengers Spotlight #26 Iron Man, Hawkeye Wizard, other villains Vault Breakout stopped, but some escape New Mutants #86 Rusty, Skids Vulture, Tinkerer, Nitro Albany Everyone Arrested Damage Control #1 John, Gene, Bart, (Cap) Wrecking Crew Vault Thunderball and Wrecker escape Avengers #311 Quasar, Peggy Carter, other Avengers employees Doombots Avengers Hydrobase Hydrobase destroyed Captain America #365 Captain America Namor (controlled by Controller) Statue of Liberty Namor defeated Fantastic Four #334 Fantastic Four Constrictor, Beetle, Shocker Baxter Building FF victorious Amazing Spider-Man #326 Spiderman Graviton Daily Bugle Graviton wins Spectacular Spiderman #159 Spiderman Trapster New York Trapster defeated, Spidey gets cosmic powers Wolverine #19 & 20 Wolverine, La Bandera Tiger Shark Tierra Verde Tiger Shark eaten by sharks Cloak & Dagger #9 Cloak, Dagger, Avengers Jester, Fenris, Rock, Hydro-man New York Villains defeated Web of Spiderman #59 Spiderman, Puma Titania Daily Bugle Titania defeated Power Pack #53 Power Pack Typhoid Mary NY apartment Typhoid kills PP's dad, but they save him. Incredible Hulk #363 Hulk Grey Gargoyle Las Vegas Grey Gargoyle defeated, but escapes Moon Knight #8-9 Moon Knight, Midnight, Punisher Flag Smasher, Ultimatum Brooklyn Ultimatum defeated, Flag Smasher killed Doctor Strange #11 Doctor Strange Hobgoblin, NY TV studio Hobgoblin defeated Doctor Strange #12 Doctor Strange, Clea Enchantress, Skurge Empire State Building Enchantress defeated Fantastic Four #335-336 Fantastic -
Non-Indigenous/Aboriginal Relations in Australian Society
2. Keeping Our Distance: Non-Indigenous/Aboriginal relations in Australian society Maggie Walter In February 2008, then Prime Minister Kevin Rudd made a national apology to members of the Stolen Generations. For Indigenous1 and non-Indigenous Australians alike this was a significant political and social moment. The intense media and public interest in, and scrutiny of, the apology demonstrate that the relationship between the original Australians and those who have arrived since colonisation remains salient, if not central, to who Australians are what Australians and Australia is in the twenty-first century. The terrain of this relationship is key to Australia’s self-concept, its identity as a nation and that of its peoples, old and new. Yet these relations are also highly contested. The image of Australia reflected here is a two-sided visage. One face—as manifested in the apology, the elevating of Professor Mick Dodson to 2009 Australian of the Year and the groundswell of public action in the March for Reconciliation in 2000—is openly encouraging of reconciliation and acknowledging of a historical legacy of entrenched marginalisation and poverty. The other face forestalls the prospect of formal rapprochement, casting as undeserved and unearned attempts at social, economic or political equity—a position manifested by the now long-stalled reconciliation process and the commonness of publicly expressed negative sentiment towards Indigenous peoples and culture (see, for example, Andrew Bolt’s 2008 blog in relation to the new Indigenous representative body). This distinctively Australian, but contradictory, picture suggests a country and a national identity ill at ease with the place of Indigeneity in its consciousness, one in which Indigeneity remains unreconciled with everyday concepts of Australian society and Australian identity. -
Innovate Reconciliation Action Plan May 2018 – May 2020 About the Artist
Innovate Reconciliation Action Plan May 2018 – May 2020 About the artist Corrina Eccles Cover artwork Wadawurrung Woman / Wathaurong Community Ngubitj Murrup (Water spirit) I am a direct descendant of Queen Mary Robinson. I am The three main colours of our traditional paint Paapul the granddaughter of Aunty Joyce Eccles. My grandmother (ochre) has been used. Ochre is a traditional paint that is 94 years of age. She is the eldest living Elder of the reflects Aboriginal culture through ceremonies and Wadawurrung people. I have a granddaughter and we have art. It is spiritually and culturally significant. five generations living on Wadawurrung country. My Nan’s connection to spirit and culture connected me to the The Paapul is connected to water, it is from special Wathaurong community at a young age. My journey and places on Wadawurrung country. The feather represents connection continued with being guided by strong Elders our Creation spirit Bunjil. The handprints symbolise and respected men and women in the community. I have our ancestors’ connection to Country and caring for an enormous spiritual passion for better outcomes for our country. The gathering dots are our water places. people and to be part of a strong connected Aboriginal community. ‘We are one and we are many’. Art is a personal The artwork showcased in this document is two parts of a five piece artwork displayed at the Barwon Water connection I have with my culture and gives me the Head Office, titled;Paapul Ngubitj - Wadawurrung opportunity to embrace my identity. (Connection to ochre and water). Artwork © Corrina Eccles, Ngubitj Murrup (Water spirit) 2018 Wadawurrung Woman/Wathaurong Community Indigenous Arts Management by Dreamtime Art Managing Director statement On behalf of Barwon Water, I am proud to present our Innovate Reconciliation Action Plan (RAP) for May 2018 - May 2020. -
Here It Comes Again!
Here It Comes Again! Boomerangs Someone once said that if you understand the principles governing the flight of boomerangs, there is nothing about aeronautics you won’t understand. The Australian Aborigines 10,000 years ago created an incredibly complex flying device that operates because of the interaction of many scientific principles and laws including. Bernoulli’s Principle-The pressure of a fluid, such as air, decreases as its velocity over a surface increases. (Generates lift from curved upper surface of boomerang.) Newton's First Law of Motion-An object continues in a state of rest or in motion in a straight line unless it is acted upon by an unbalanced force. (Describes flight of nonreturning boomerangs and why gyroscopic precession is necessary for returning boomerangs.) Newton's Second Law of Motion-The acceleration of an object is directly proportional to the force acting upon it and inversely proportional to the object's mass. (Describes the amount of lift produced from the underside of a boomerang.) Newton's Third Law of Motion-For every action force there is an opposite and equal reaction force. (Produces lift from the underside of the boomerang.) Gyroscopic Precession-Torque on the axis of rotation of the flying boomerang causes it to precess or change its direction. (Causes the boomerang to circle. Note: Nonreturning boomerangs do not experience this effect.) Drag-Drag forces (friction with air) slow boomerang flight. (By slowing the boomerang, drag gradually reduces lift.) Gravity-Gravity's attraction brings the boomerang back to Earth. (Causes boomerang to lose altitude. Boomerangs, or "booms" as they are called Grade Level by enthusiasts, are curved sticks of wood or plastic that either return to the thrower or This lesson is designed for middle to junior travel in straight paths for long distances. -
A Player's Guide Part 1
A Player’s Guide Effective: 9/20/2010 Items labeled with a are available exclusively through Print-and-Play Any page references refer to the HeroClix 2010 Core Rulebook Part 1 – Clarifications Section 1: Rulebook 3 Section 2: Powers and Abilities 5 Section 3: Abilities 9 Section 4: Characters and Special Powers 11 Section 5: Special Characters 19 Section 6: Team Abilities 21 Section 7: Alternate Team Abilities 23 Section 8: Objects 25 Section 9: Maps 27 Part 2 – Current Wordings Section 10: Powers 29 Section 11: Abilities 33 Section 12: Characters and Special Powers 35 Section 13: Team Abilities 71 Section 14: Alternate Team Abilities 75 Section 15: Objects 77 Section 16: Maps 79 How To Use This Document This document is divided into two parts. The first part details every clarification that has been made in Heroclix for all game elements. These 40 pages are the minimal requirements for being up to date on all Heroclix rulings. Part two is a reference guide for players and judges who often need to know the latest text of any given game element. Any modification listed in part two is also listed in part one; however, in part two the modifications will be shown as fully completed elements of game text. [This page is intentionally left blank] Section 1 Rulebook at the time that the player gives the character an action or General otherwise uses the feat.‖ Characters that are removed from the battle map and placed Many figures have been published with rules detailing their on feat cards are not affected by Battlefield Conditions. -
The Boomerang Effect. the Aboriginal Arts of Australia 19 May - 7 January 2018 Preview 18 May 2017 at 6Pm
MEG Musée d’ethnographie de Genève Press 4 may 2017 The Boomerang Effect. The Aboriginal Arts of Australia 19 May - 7 January 2018 Preview 18 May 2017 at 6pm White walls, neon writing, clean lines: the MEG’s new exhibition «The Boomerang Effect. The Aboriginal Arts of Australia» welcomes its visitors in a space evocative of a contemporary art gallery. Here the MEG unveils one of its finest collections and reveals the wealth of indigenous Australia's cultural heritage. Visiting this exhibition, we understand how attempts to suppress Aboriginal culture since the 18th century have ended up having the opposite of their desired effect. When James Cook landed in Australia, in 1770, he declared the country to be «no one’s land» (terra nullius), as he recognized no state authority there. This justified the island's colonization and the limitless spoliation of its inhabitants, a medley of peoples who had lived there for 60,000 years, societies which up until today have maintained a visible and invisible link with the land through a vision of the world known as the Dreaming or Dreamtime. These mythological tales recount the creation of the universe as well as the balanced and harmonious relation between all the beings inhabiting it. It is told that, in ancestral times, the Djan’kawu sisters peopled the land by naming the beings and places and then lying down near the roots of a pandanus tree to give birth to sacred objects. It is related that the Dätiwuy clan and its land was made by a shark called Mäna. -
Indigenous Poems - Oodgeroo Noonuccal INTRODUCTION
Classic Australian literature: lessons for life Suitable for Grades 7-10 Indigenous Poems - Oodgeroo Noonuccal INTRODUCTION The indigenous poetry of Oodgeroo Noonuccal is significant in the history of Australian culture. The political and cultural themes of dispossession and cultural divides are as relevant now as the time in which they were written. Students will examine two different styles of poetry, their structure, style and historical context; from their understanding of contemporary issues they will create texts, design visual elements of story, research local history and create biographical articles. A variety of texts are available as resources including radio interview, historical archives, poetry websites and youtube clips. Included are poetry analysis worksheets, vocabulary activities and suggested summative and formative assessment. POEMS ‘We are going ’[available online at http://www.poetrylibrary.edu.au/poets/noonuccal-oodgeroo ] ‘No more boomerang’ This poem is read aloud to the indigenous music of the band ‘coloured stone’ http://youtu.be/codU1Ei2Etg] Summary Oodgeroo Noonuccal (formerly known as Kath walker ) was the first indigenous female poet to have her works published in 1964 to great success as the title We are going. Awarded the OBE in 1970 she famously returned the honour in 1987 in protest of the Bicentennial Celebrations Australia Day 1988. Born on North Stradbroke Island Minjerribah she worked in domestic service in Brisbane while raising two children. She returned to Minjerribah as a ‘grandmother’ and educator -
Statues and Figurines
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3 Researchers and Coranderrk
3 Researchers and Coranderrk Coranderrk was an important focus of research for anthropologists, archaeologists, naturalists, historians and others with an interest in Australian Aboriginal people. Lydon (2005: 170) describes researchers treating Coranderrk as ‘a kind of ethno- logical archive’. Cawte (1986: 36) has argued that there was a strand of colonial thought – which may be characterised as imperialist, self-congratulatory, and social Darwinist – that regarded Australia as an ‘evolutionary museum in which the primi- tive and civilised races could be studied side by side – at least while the remnants of the former survived’. This chapter considers contributions from six researchers – E.H. Giglioli, H.N. Moseley, C.J.D. Charnay, Rev. J. Mathew, L.W.G. Büchner, and Professor F.R. von Luschan – and a 1921 comment from a primary school teacher, named J.M. Provan, who was concerned about the impact the proposed closure of Coranderrk would have on the ability to conduct research into Aboriginal people. Ethel Shaw (1949: 29–30) has discussed the interaction of Aboriginal residents and researchers, explaining the need for a nuanced understanding of the research setting: The Aborigine does not tell everything; he has learnt to keep silent on some aspects of his life. There is not a tribe in Australia which does not know about the whites and their ideas on certain subjects. News passes quickly from one tribe to another, and they are quick to mislead the inquirer if it suits their purpose. Mr. Howitt, Mr. Matthews, and others, who made a study of the Aborigines, often visited Coranderrk, and were given much assistance by Mr.