Transcript of the 2014 Duguid Memorial Lecture, Held on Monday 17Th November at Flinders Victoria Square, and Hosted by Flinders University
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Writing Cultures 11/11
.. Aboriginal and Torres Strait Islander Arts Board, Australia Council PO Box 788 Strawberry Hills NSW 2012 Tel: (02) 9215 9065 Toll Free: 1800 226 912 Fax: (02) 9215 9061 Email: [email protected] www.ozco.gov.au cultures . WRITING ..... Protocols for Producing Indigenous Australian Literature An initiative of the Aboriginal and Torres Strait ISBN: 0 642 47240 8 Islander Arts Board of the Australia Council Writing Cultures: Protocols for Producing Indigenous Australian Literature Recognition and protection 18 contents Resources 18 Introduction 1 Copyright 20 Using the Writing Cultures guide 2 What is copyright? 20 What are protocols? 3 How does copyright protect literature? 20 What is Indigenous literature? 3 Who owns copyright? 20 Special nature of Indigenous literature 4 What rights do copyright owners have? 21 Collaborative works 21 Indigenous heritage 5 Communal ownership vs. joint ownership 21 Current protection of heritage 6 How long does copyright last? 22 Principles and protocols 8 What is the public domain? 22 Respect 8 What are moral rights? 22 Acknowledgement of country 8 Licensing for publication 22 Representation 8 Assigning copyright 23 Accepting diversity 8 Publishing contracts 23 Living cultures 9 Managing copyright to protect your interests 23 Indigenous control 9 Copyright notice 23 Commissioning Indigenous writers 9 Moral rights notice 24 Communication, consultation and consent 10 When is copyright infringed? 24 Creation stories 11 Fair dealings provisions 24 © Commonwealth of Australia 2002 Recording oral stories 11 -
A Sociology of the Chick Lit of Anita Heiss
A Sociology of the Chick Lit of Anita Heiss By Fiannuala Morgan Submitted in total fulfillment of the requirements of Master of Arts (Thesis only) School of Culture and Communication, University of Melbourne 1 Abstract Wiradjuri woman, Anita Heiss, is arguably one of the first Australian authors of popular fiction. Since 2007, she has published across a diversity of genres including chick lit, contemporary women’s fiction, romance, memoir and children’s literature. A focus on the political characterises her work; and her identity as an author is both supplemented and complemented by her roles as an academic, activist and public intellectual. Heiss has discussed genre as a means of targeting specific audiences that may be less engaged with Indigenous affairs, and positions her novels as educative but not didactic. There remains, however, some ambivalence about the significance of the role that genre plays in her literature as well as for the diverse and differentiated audience that she attracts. The aims of this thesis then are two-fold: firstly, to present a complication of academic conceptions of genre, then to use this discussion to explore the social significance of Heiss’ literature. My focus is Heiss’ first four chick lit novels: Not Meeting Mr Right (2007), Avoiding Mr Right (2008), Manhattan Dreaming (2010) and Paris Dreaming (2011). Scholarship in the field leans toward an understanding that the racial politics of non-white articulations of the chick lit genre are invariably incompatible with the basic formula of chick lit texts. My thesis proposes a methodological shift from the dominant mode of ideological analysis to one that is largely focused on reader response. -
SEVEN WOMEN of the 1967 REFERENDUM Project For
SEVEN WOMEN OF THE 1967 REFERENDUM Project for Reconciliation Australia 2007 Dr Lenore Coltheart There are many stories worth repeating about the road to the Referendum that removed a handful of words from Australia’s Constitution in 1967. Here are the stories of seven women that tell how that road was made. INTRODUCING: SHIRLEY ANDREWS FAITH BANDLER MARY BENNETT ADA BROMHAM PEARL GIBBS OODGEROO NOONUCCAL JESSIE STREET Their stories reveal the prominence of Indigenous and non-Indigenous women around Australia in a campaign that started in kitchens and local community halls and stretched around the world. These are not stories of heroines - alongside each of those seven women were many other men and women just as closely involved. And all of those depended on hundreds of campaigners, who relied on thousands of supporters. In all, 80 000 people signed the petition that required Parliament to hold the Referendum. And on 27 May 1967, 5 183 113 Australians – 90.77% of the voters – made this the most successful Referendum in Australia’s history. These seven women would be the first to point out that it was not outstanding individuals, but everyday people working together that achieved this step to a more just Australia. Let them tell us how that happened – how they got involved, what they did, whether their hopes were realised – and why this is so important for us to know. 2 SHIRLEY ANDREWS 6 November 1915 - 15 September 2001 A dancer in the original Borovansky Ballet, a musician whose passion promoted an Australian folk music tradition, a campaigner for Aboriginal rights, and a biochemist - Shirley Andrews was a remarkable woman. -
With Dr Anita Heiss)
DREAM FOR OTHERS® | EP #13: Consciousness Raising (with Dr Anita Heiss) You are listening to the Dream For Others® podcast with Naomi Arnold, Episode 13. Dream For Me, Dream For You, Dream For Others®. And now your host, award-winning life and business coach, Naomi Arnold... Hi there! Thank you for joining me on the podcast today. Those of you who have been listening since the first season, before I moved to solo episodes, would know that I used to do long-form interviews on the show. I got to speak to some of the most amazing people and I wanted to reshare some of those interviews with you, in case you’ve joined us in more recent times or want to listen to components in more digestible blocks. So today, I’m going to re-share part of my interview with one of my favourite authors Dr Anita Heiss. Before doing that though, I wanted to let you know that if you are located in Central Queensland, Dr Heiss will be visiting Yeppoon in May. I am on the executive committee for a local women’s networking group called Busi Women Inc and we’re bringing Dr Heiss to town for some community events in the naomiarnold.com |#DreamForOthers | Ⓒ 2018 area - one of which you’re invited to. You can find the details under the event tab on the Busi Women Inc Facebook page and on my Facebook page too. Okay let’s jump in and listen to Anita... For those who aren't as familiar with you and your work as me, would you mind introducing us to what you do and how you came to be doing it? So, I actually started writing back in 1992. -
The Blackwords Symposium: the Past, Present, and Future of Aboriginal and Torres Strait Islander Literature
The BlackWords Symposium: The Past, Present, and Future of Aboriginal and Torres Strait Islander Literature KERRY KILNER University of Queensland PETER MINTER University of Sydney We write to create, to survive, and to revolutionise; we write to haunt and we ache because we refuse to leave the past alone. We aim to disrupt the State’s founding order of things, to disrupt ‘patriarchal white sovereignty’ (Moreton- Robinson), white heteronormativity, and the colonial-continuum of history. (Harkin, herein) The BlackWords Symposium, held in October 2012, celebrated the fifth anniversary of the establishment of BlackWords, the AustLit-supported project recording information about, and research into, Aboriginal and Torres Strait Islander writers and storytellers. The symposium showcased the exciting state of Aboriginal and Torres Strait Islander creative writing and storytelling across all forms, contemporary scholarship on Indigenous writing, alongside programs such as the State Library of Queensland’s black&write! project, which supports writers’ fellowships, editing mentorships, and a trainee editor program for professional development for Indigenous editors. But really, the event was a celebration of the sort of thinking, the sort of resistance, and the re-writing of history that is evident in the epigraph to this introduction. The speakers, who included Melissa Lucashenko, Wesley Enoch, Sandra Phillips, Ellen Van Neerven, Jeanine Leane, and Boori Pryor alongside the authors of the works in this collection, explored a diverse range of topics -
Indigenous Stories Told Collectively by Anita Heiss
https://www.austlit.edu.au/austlit/page/15446544 Indigenous Stories Told Collectively by Anita Heiss Written for The BlackWords Essays. (Click the link to return to the Essays Table of Contents) Users are advised that AustLit contains information that may be culturally sensitive, including images of deceased persons. Author's Note - 2019 Anthologies continue to play an important role in bringing together Aboriginal and Torres Strait Islander voices across genres and on a range of topics and themes. Since this essay was published in 2015, there have been almost 40 anthologies indexed in BlackWords. Such titles include: Growing Up Aboriginal in Australia (non-fiction), Stories of Belonging (drama), Meet Me at the Intersection (short fiction, memoir, poetry), Deadly Sisters of Worawa (poetry, autobiography) and the Goanna Was Hungry and Other Stories (children’s, short story). Page 1 of 30 To see the full list of anthologies in BlackWords, click here! Introduction This paper addresses the important role of anthologies in the creation of communities of writers and in acknowledging, consolidating and launching writing careers. It is structured so that different clusters of anthologised writing are recognised: • general anthologies containing writing from a number of genres; • place-specific anthologies; and, • genre-specific anthologies - poetry, novel, short-story, oral history, gender, youth and themed. In this paper, for the most part, the opportunity to compare works and discuss common approaches to subject matter overrides any chronology of publication. There is, however, an ordering principle of sorts at work. Certain important general anthologies tended to appear before their genre-specific counterparts and they are discussed first. -
The Perils of Identifying As Indigenous on Social Media
genealogy Article Us Mob Online: The Perils of Identifying as Indigenous on Social Media Bronwyn Carlson * and Tristan Kennedy Department of Indigenous Studies, Macquarie University, Sydney, NSW 2109, Australia; [email protected] * Correspondence: [email protected] Abstract: Social media is a highly valuable site for Indigenous people to express their identities and to engage with other Indigenous people, events, conversations, and debates. While the role of social media for Indigenous peoples is highly valued for public articulations of identity, it is not without peril. Drawing on the authors’ recent mixed-methods research in Australian Indigenous communities, this paper presents an insight into Indigenous peoples’ experiences of cultivating individual and collective identities on social media platforms. The findings suggest that Indigenous peoples are well aware of the intricacies of navigating a digital environment that exhibits persistent colonial attempts at the subjugation of Indigenous identities. We conclude that, while social media remains perilous, Indigenous people are harnessing online platforms for their own ends, for the reinforcement of selfhood, for identifying and being identified and, as a vehicle for humour and subversion. Keywords: Aboriginal; Indigenous; social media; identity; hate speech; community; online 1. Introduction Citation: Carlson, Bronwyn, and For as long as social media platforms have existed, the topic of Indigenous identity Tristan Kennedy. 2021. Us Mob has featured in online conversations and debates. Research reveals that for Indigenous Online: The Perils of Identifying as people, identifying as Indigenous online is a risky business where you are likely to be Indigenous on Social Media. subjected to extreme hate and racism (see, Carlson 2016; Carlson and Frazer 2018a, 2018b; Genealogy 5: 52. -
A Personal Journey with Anangu History and Politics
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Flinders Academic Commons FJHP – Volume 27 ‐2011 A Personal Journey with Anangu History and Politics Bill Edwards Introduction Fifty years ago, in September 1961, I sat in the shade of a mulga tree near the Officer Creek, a usually dry watercourse which rises in the Musgrave Ranges in the far north- west of South Australia and peters out in the sandhill country to the south. I was observing work being done to supply infrastructure for a new settlement for Pitjantjatjara/Yankunytjatjara Aboriginal people. That settlement, which opened in the following month of October, is Fregon, an Aboriginal community which together with other Pitjantjatjara/Yankunytjatjara communities featured in newspaper and radio news reports in September 2011. These reports referred to overcrowding in houses, the lack of adequate furnishings, poverty and, in the case of Fregon, children starving. Later comments by people on the ground suggested that the reports of starvation were exaggerated.1 When I returned to my home at Ernabella Mission, 60 kilometres north-east of Fregon, in 1961, I recorded my observations and forwarded them to The Advertiser in Adelaide. They were published as a feature article on Saturday 23 September, 1961 under the heading ‘Cattle Station for “Old Australians”’.2 As I read and listened to the recent reports I was concerned at the limited understanding of the history and the effects of policy changes in the region. As a letter I wrote to The Advertiser, referring back to my earlier article, was not published, I expanded it into an article and sent it to Nicolas Rothwell, the Northern Territory correspondent for The Australian, seeking his advice as to where I might submit it. -
Anita Heiss's Chick Lit and the Destabilisation of a Genre
‘The Pretty and the Political Didn’t Seem to Blend Well’: Anita Heiss’s Chick Lit and the Destabilisation of a Genre IMOGEN MATHEW Australian National University Since the runaway success of Helen Fielding’s Bridget Jones’s Diary in 1996 (and arguably before then),1 chick lit has become a ubiquitous—if not always celebrated—feature of the contemporary literary, social and cultural landscape. Some typecast the genre as a series of clichés, castigating readers and authors alike for their embrace of pastel-pink covers, cursive font and plots designed to ‘lull you into a hypnotic state with their simple life lessons’ (Dowd, ‘Heels over Hemmingway’; see also Dowd, ‘Liberties’; ‘Bainbridge Denounces Chick-Lit’). These assessments ignore not only the diversity of the chick lit genre, but the many different types of political engagement at work within it. A growing body of academic and mainstream criticism (Butler and Desai; Chen; Donadio; Ommundsen; Sellei) documents the increasingly global appeal of chick lit. Collectively, these theorists argue that the chick lit genre affords non-Western authors (those authors who occupy ‘positions within, but marginal to, the global cosmopolis’ (Ommundsen, ‘Sex and the Global City’ 110)) a means of appropriating—and undercutting—Western narratives of romance in late capitalist consumer culture. In Australia, Anita Heiss is one of the genre’s preeminent and prolific practitioners. Since 2007, she has written five chick lit novels, the most recent, Tiddas, published in March 2014. A Wiradjuri woman from Central NSW, Heiss is a veritable one-woman industry, writing poetry, memoir, academic monographs and young adult fiction. -
Blackwords 5 Anniversary Celebration and Symposium
BlackWords 5th Anniversary Celebration and Symposium Friday, 19 October: Avid Reader Bookshop, Boundary Street, West End. Time: 6.00 p.m. for a 6.30 p.m. start 8.00 p.m. finish The event will celebrate five years of BlackWords and almost 25 years of the David Unaipon Award which has brought so many wonderful writers to light. Some recent award winners will read, and the UQP Unaipon eBook Collection will be launched. Saturday, 20 October – UQ Art Museum – BlackWords Symposium Time: 8.30 a.m. for an 8.45 a.m. start. 7.00 p.m. finish MC – Kerry Kilner 8.45 Kerry Kilner – welcome and acknowledgements 8.50 Welcome to Country – Uncle Joe Kirk 8.55 Welcome to the Symposium – Dr Anita Heiss, Convenor 9.00 Keynote address: Melissa Lucashenko 9.45 Session one: Writing Us Speakers: Dr Sandra R Phillips; Ellen Van Neerven-Currie; Dr Anita Heiss Chair: Dr Peter Minter 10.45 Morning tea 11.15 Session two: Writing the Record Speakers: Dr Jeanine Leane; Irene Howe; Natalie Harkin Chair: Kerry Kilner 12.30 Lunch Book selling and signing 1 1.30 Session three: Writing and Editing Speakers: Dr Peter Minter; J. Linda McBride-Yuke; Simone Tur; Faye Blanche Chair: Dr Jeanine Leane 2.30 Afternoon tea 3.00 Tour of the UQ Art Museum’s Desert Country exhibition with Gillian Ridsdale 3.30 Session four: Writing Across Land and Genre Speakers: Bruce Pascoe; Dr Jared Thomas; Wesley Enoch Chair: Dr Sandra R Philips 4.30 – 5.30 Australian Children’s Laureate Boori Pryor in conversation with Dr Anita Heiss. -
The Evolution of Contemporary White Australian Writers' Responses To
Here Where We Live: The Evolution of Contemporary White Australian Writers’ Responses to White Settler Status. Cassie Flanagan Willanski Discipline of English and Creative Writing, University of Adelaide Submitted for the degree of Master of Arts by Research, 4th May 2012. Contents Abstract 1 Declaration 3 Acknowledgements 4 Exegesis: The Evolution of Contemporary White Australian Writers’ Responses to White Settler Status. Introduction 6 Chapter One Remember the dead, cry for them: The “Haunted” Approach 10 Chapter Two Life now, fires lit, laughter now: The “Contemporary Representations” Approach 21 Chapter Three And a new day calling: The “Stepping Back”/“Stepping Forward” Approaches 31 Conclusion 43 Creative Work: Here Where We Live. A note on the relationship of the short story collection to the exegesis. 47 Country: My Good Thing 50 Ghosts: Drought Core 55 Night Blindness 66 Ways We Learn Things: Stuff White People Like 86 Karko 101 Free With the Animals 111 Country: Oak Trees in the Desert 116 Her Thoughts Heading North 138 List of Works Cited 144 Selected Bibliography 147 Abstract The Exegesis: The Evolution of Contemporary White Australian Writers’ Responses to White Settler Status. It is proposed that Australians of white settler heritage writing on the subject of Indigenous Australians in the period from the early 20th Century to the present day take a combination of three common approaches. The “haunted”, “contemporary representations” and “stepping back” approaches represent an evolving attitude in contemporary white Australian writing on Indigenous themes. This evolution occurs in a rough chronological order, however within this chronology the writing may exhibit a fluidity, moving back and forth between the three approaches. -
Indigenous Book Publishing Anita Heiss
From the Teaching Guide for the Macquarie PEN Anthology of Aboriginal Literature at www.macquariepenanthology.com.au Indigenous Book Publishing Anita Heiss The growth of an Indigenous publishing industry and literary publishing culture is the result of the pioneering roles of Aboriginal writers who paved the way for the current pool of emerging Indigenous writers. The development of this new Indigenous arts practice has also been fuelled by the increasing need for an authentic Indigenous voice in Australian literature. Although support mechanisms for Indigenous writers have improved and the scope of opportunities has broadened because more publishers are seeking Indigenous authors, opportunities are still limited by existing publishing practices. There have been concentrated efforts by smaller mainstream publishing houses (UQP, FACP, Currency Press), ad hoc contributions by some of the larger houses, and, finally, the establishment of three Indigenous houses. These three publishers—IAD Press in Alice Springs, Magabala Books in Broome, and Aboriginal Studies Press (ASP) in Canberra—aim to showcase Indigenous writing, fill a void in materials for Indigenous readers, and contribute to scholarship on Indigenous studies, and to the development of Indigenous, and therefore Australian, literature. In accordance with their own in‐house philosophies, Indigenous publishing houses in Australia determine the types of books and authors they publish and therefore what is available to the Australian reading audience. The inclusion of Indigenous titles