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(WA) from 1938 to 1980 and Its Role in the Cultural Life of Perth
The Fellowship of Australian Writers (WA) from 1938 to 1980 and its role in the cultural life of Perth. Patricia Kotai-Ewers Bachelor of Arts, Master of Philosophy (UWA) This thesis is presented for the degree of Doctor of Philosophy at Murdoch University November 2013 ABSTRACT The Fellowship of Australian Writers (WA) from 1938 to 1980 and its role in the cultural life of Perth. By the mid-1930s, a group of distinctly Western Australian writers was emerging, dedicated to their own writing careers and the promotion of Australian literature. In 1938, they founded the Western Australian Section of the Fellowship of Australian Writers. This first detailed study of the activities of the Fellowship in Western Australia explores its contribution to the development of Australian literature in this State between 1938 and 1980. In particular, this analysis identifies the degree to which the Fellowship supported and encouraged individual writers, promoted and celebrated Australian writers and their works, through publications, readings, talks and other activities, and assesses the success of its advocacy for writers’ professional interests. Information came from the organisation’s archives for this period; the personal papers, biographies, autobiographies and writings of writers involved; general histories of Australian literature and cultural life; and interviews with current members of the Fellowship in Western Australia. These sources showed the early writers utilising the networks they developed within a small, isolated society to build a creative community, which welcomed artists and musicians as well as writers. The Fellowship lobbied for a wide raft of conditions that concerned writers, including free children’s libraries, better rates of payment and the establishment of the Australian Society of Authors. -
SOLONEC Shared Lives on Nigena Country
Shared lives on Nigena country: A joint Biography of Katie and Frank Rodriguez, 1944-1994. Jacinta Solonec 20131828 M.A. Edith Cowan University, 2003., B.A. Edith Cowan University, 1994 This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities (Discipline – History) 2015 Abstract On the 8th of December 1946 Katie Fraser and Frank Rodriguez married in the Holy Rosary Catholic Church in Derby, Western Australia. They spent the next forty-eight years together, living in the West Kimberley and making a home for themselves on Nigena country. These are Katie’s ancestral homelands, far from Frank’s birthplace in Galicia, Spain. This thesis offers an investigation into the social history of a West Kimberley couple and their family, a couple the likes of whom are rarely represented in the history books, who arguably typify the historic multiculturalism of the Kimberley community. Katie and Frank were seemingly ordinary people, who like many others at the time were socially and politically marginalised due to Katie being Aboriginal and Frank being a migrant from a non-English speaking background. Moreover in many respects their shared life experiences encapsulate the history of the Kimberley, and the experiences of many of its people who have been marginalised from history. Their lives were shaped by their shared faith and Katie’s family connections to the Catholic mission at Beagle Bay, the different governmental policies which sought to assimilate them into an Australian way of life, as well as their experiences working in the pastoral industry. -
Art and Artists in Perth 1950-2000
ART AND ARTISTS IN PERTH 1950-2000 MARIA E. BROWN, M.A. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Design Art History 2018 THESIS DECLARATION I, Maria Encarnacion Brown, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by the University of Western Australia Human Research Ethics Committee. Approval # RA/4/1/7748. This thesis does not contain work that I have published, nor work under review for publication. Signature: Date: 14 May 2018 i ABSTRACT This thesis provides an account of the development of the visual arts in Perth from 1950 to 2000 by examining in detail the state of the local art scene at five key points in time, namely 1953, 1962, 1975, 1987 and 1997. -
'A Dying Race': the History and Fiction of Elizabeth Durack
Fresh Cuts: New Talents 2001 ‘A Dying Race’: The History and Fiction of Elizabeth Durack Kylie O’Connell On 25 May 2000, the eve of National Sorry Day and Corroboree 2000, painter Elizabeth Durack died, aged 84.1 Durack grew up on her family’s stations in the Kimberley, north Western Australia. She began her artistic career illustrating children’s storybooks written by her sister, the late Mary Durack, in the 1930s and 1940s. Elizabeth painted throughout her life, mainly depicting the Aborigines who lived on and around her family’s properties. She gained national focus in March 1997, when art historian Robert Smith revealed that she had invented the persona of ‘Eddie Burrup’, an emerging Aboriginal artist. At the time, many non-indigenous critics were sympathetic to Durack’s vocalised aims. Smith noted that ‘Eddie Burrup’ could ‘be seen as not just a homage to Aboriginal Australia, but a concrete exemplar for reconciliation between two communities and two cultures’.2 Other critics, such as the anthropologist Julie Marcus, disagreed. Marcus argued that Durack’s deception: offers a timely opportunity to examine some of the ways in which a colonial politics of dispossession, race, gender and an undoubted sympathy for Aboriginal people play out through the work and thought of an individual artist.3 This article builds on Marcus’ argument, demonstrating how Durack’s art retraced the history of colonial relationships between indigenous and non-indigenous Australians. Durack’s invention of Burrup, and in particular his ‘autobiography’, helped create and maintain his ‘material’ identity as an artist. Burrup stood before Durack’s ‘Aboriginal’ paintings, signifying their beginning or genesis. -
Nyungar Tourism in the South West Region of Western Australia: a Literature Review of Tourism
______________________Nyungar Tourism in the Southwest of Western Australia Monday, April 11, 2005 NYUNGAR TOURISM IN THE SOUTH WEST REGION OF WESTERN AUSTRALIA: A LITERATURE REVIEW OF TOURISM “….the Nyungar (Aborigine) not only welcomed the sailors [in 1821] but eagerly engaged in what was possibly the first tourist trading in Western Australia” (D’Urville 1826 in Green, 1984:37) Co-Authors: Dr Rosemary van Den Berg Len Collard Sandra Harben Julie Byrne For Leonard M Collard, Chair, Australian Indigenous Studies - Murdoch University And Emeritus Professor Geoffrey Bolton AO, Vice-Chancellor - Murdoch University 1 ______________________Nyungar Tourism in the Southwest of Western Australia CONTENTS INTRODUCTION .............................................................................................................................5 Indigenous Tourism .........................................................................................................................6 Figure 1. Indigenous Tourism (Hinch & Butler 1996: 10)..........................................................7 Figure 3. Tindale Map of WA Indigenous Language Groups 1950.........................................10 Figure 4. Hypothetical evolution of a tourist area (Butler 1980:7)...........................................11 Figure 5. Location of Nyungar Case Studies in Nyungar boodjar...........................................13 HISTORY OF ABORIGINAL TOURISM IN WESTERN AUSTRALIA.........................................14 Prelude – Nyungar Heritage and History .................................................................................14