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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. -
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. -
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. -
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. -
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. -
Northern Territory Emergency Response: Report of the NTER
NORTHERN TERRITORY EMERGENCY RESPONSE REPORT OF THE NTER REVIEW BOARD October 2008 i © Commonwealth of Australia 2008 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission from the Commonwealth available from Commonwealth Copyright Administration, Attorney-General’s Department. Requests and inquiries concerning reproduction and rights should be addressed to: Commonwealth Copyright Administration Attorney-General’s Department Robert Garran Offices, National Circuit Canberra ACT 2600 or posted at www.ag.gov.au/cca First published October 2008. Produced by the Australian Government. Disclaimer The opinions, comments and /or analysis expressed in this document are those of the authors and do not necessarily represent the views of the Minister for Families, Housing, Community Services and Indigenous Affairs or the Australian Government Department of Families, Housing, Community Services and Indigenous Affairs, and cannot be taken in any way as expressions of government policy. ii JENNY MACKLIN MP Minister for Families, Housing, Community Services and Indigenous Affairs Dear Minister The Board would like to present our report reviewing the Northern Territory Emergency Response, in accordance with our Terms of Reference, issued on 6 June 2008. We thank you for the privilege of undertaking the review and offer our report in the sincere hope that it will assist the Australian Government to improve the safety and wellbeing of Aboriginal children -
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. -
Unbranded Unbranded 06052019 — 22062019
unbranded unbranded 06052019 — 22062019 121 View St BENDIGO Victoria 3550 Damien Shen Dean Cross Gunybi Ganambarr Illiam Nargoodah James Tylor John Prince Siddon Ngarralja Tommy May Noŋgirrŋa Marawili Nyurpaya Kaika Burton Patrina Munuŋgurr Sharyn Egan Sonia Kurarra Wukun Wanambi Cover image: Sonia Kurarra, Martuwarra, 2015, syntheti c polymer paint on canvas, 152 x 137cm. Courtesy of the arti st and Mangkaja Arts. Image left : Gunybi Ganambarr at Gangan. Photo by Dave Wickens. Courtesy of the arti st and Buku-Larrŋgay Mulka Centre. unbranded presents work by Indigenous contemporary unbranded as a curatorial enterprise questions these artists whose practices undermine and subvert the notion reductive and divisive modes of representation and of a singular Indigenous ‘brand’ or ‘aesthetic’. Their work interpretation, while simultaneously affirming the unpicks preconceptions of what Indigenous creative diversity, multiplicity and complexity of contemporary practice is or, should be, rejecting binary assumptions Indigenous experience, both live and inherited. around ‘traditional/non-traditional’, or ‘urban/remote’ practices and other applied, and often arbitrary Emerging from ongoing discussions around the premise categorisations. Their work instead reflects multiplicity, established by Glenn Iseger-Pilkington in his essay complexity and sometimes-conflicting experiences of Branded: the Indigenous Aestheticoriginally published by culture and identity in contemporary Australia. the Centre for Contemporary Photography (CCP) in 2009, unbranded challenges the relevance of an The act of ‘branding’, clustering often disparate products ‘Indigenous brand’ or ‘aesthetic’, and refutes the notion together for marketing purposes, strips the voice of the that such a brand can somehow represent the experience individual artist or maker and separates creative output of Indigenous artists and Indigenous people across from the contemporary context in which it is created. -
September '17 Program
Program 14—25 September '17 Contents Staff Aahana Kumra Djalu Gurruwiwi Films Special Events Industry Events Opening Night Burma Storybook 13 Keepers of the Magic 23 Cinema 360 18 ACS NT Awards 30 Artistic Director with Petr Lom and Corinne van Egeraat Timothy Parish Lipstick Under My Burkha 5 Good Time 24 Immersive, full-dome Workshops 32 with special guest Aahana Kumra Best of Annecy 2017 13 planetarium cinema comes to General Manager A Ghost Story 24 Darwin for the very first time Alice Body SPARK Film Showcase 6 Best of Annecy Kids 2017 14 Ellipsis 25 with a temporary, pop-up Operations Manager Best of Territory Shorts 7 Ivan Tsarevitch and the Changing 14 with David Wenham structure at the Waterfront. James Parker Princess Westwind 8 Chauka: Please Tell Us the Time 26 Art House 28 SPARK Executive Producer and Workshops Coordinator with Ben Strunin and Djalu Gurruwiwi The Square 15 Information Manifesto 26 The art of the moving image is Blandine Ruffo The Documentary of 9 Loving Vincent 15 not limited to cinema screens. Dr G Yunupingu's Life Song to Song 27 Cinema 360 Coordinator Happening in participating Ticketing 36 with special guests and performances November 16 Cat Orme Endless Poetry 27 Darwin art galleries. Venues 37 Rock'n Roll 16 Publicist Closing Night ACS NT Awards 30 Calendar 38 Chryss Carr The Song Keepers 10 BPM (Beats Per Minute) 17 with Ray Martin and David Brill Cinesonic 31 with Naina Sen Photographer Drone Film Festival ANZ 17 Mad Max: Fury Road - Black & Chrome 30 Celebrating the relationship Murray Hilton King of Peking 11 Post-Apocalyptic Costume Party between sound and screen, Score 22 events include live cinematic Graphic Designer The Opposition 11 A Memory In Khaki 22 soundtracks and audio-visual Mike Frier Pop Aye 12 performances. -
Womadelaide 1992 – 2016 Artists Listed by Year/Festival
WOMADELAIDE 1992 – 2016 ARTISTS LISTED BY YEAR/FESTIVAL 2016 47SOUL (Palestine/Syria/Jordan) Ainslie Wills (Australia) Ajak Kwai (Sudan/Australia) All Our Exes Live in Texas (Australia) Alpine (Australia) Alsarah & the Nubatones (Sudan/USA) Angelique Kidjo (Benin) & the Adelaide Symphony Orchestra (Australia) APY Choir (Australia) Asha Bhosle (India) Asian Dub Foundation (UK) Australian Dance Theatre “The Beginning of Nature” (Australia) Calexico (USA) Cedric Burnside Project (USA) DakhaBrakha (Ukraine) Datakae – Electrolounge (Australia) De La Soul (USA) Debashish Bhattacharya (India) Diego el Cigala (Spain) Djuki Mala (Australia) Edmar Castañeda Trio (Colombia/USA) Eska (UK) – one show with Adelaide [big] String Ester Rada (Ethiopia/Israel) Hazmat Modine (USA) Husky (Australia) Ibeyi (Cuba/France) John Grant (USA) Kev Carmody (Australia) Ladysmith Black Mambazo (South Africa) Mahsa & Marjan Vahdat (Iran) Marcellus Pittman - DJ (USA) Marlon Williams & the Yarra Benders (NZ/Australia) Miles Cleret - DJ (UK) Mojo Juju (Australia) Mortisville vs The Chief – Electrolounge (Australia) Mountain Mocha Kilimanjaro (Japan) NO ZU (Australia) Orange Blossom (France/Egypt) Osunlade - DJ (USA) Problems - Electrolounge (Australia) Quarter Street (Australia) Radical Son (Tonga/Australia) Ripley (Australia) Sadar Bahar - DJ (USA) Sampa the Great (Zambia/Australia) Sarah Blasko (Australia) Savina Yannatou & Primavera en Salonico (Greece) Seun Kuti & Egypt 80 (Nigeria) Songhoy Blues (Mali) Spiro (UK) St Germain (France) Surahn (Australia) Tek Tek Ensemble -
Download PDF CV
BUKU-~ARR|GAY MULKA Yirrkala NT 0880 Phone 08 8987 1701 Fax 08 8987 2701 www.yirrkala.com [email protected] Djambawa Marawili Other Names Miniyawany Born 13/04/53 Died na Moiety Yirritja moiety Homeland Baniyala Clan Yithuwa Ma[arrpa - Nyu\u[upuy Ma[arrpa Selected Details of Artist’s Working Life Medium and Theme Earth Pigments on Bark Incised and painted wood scupture Printmaking Ceremonial objects - hollow log coffins Biography 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 well-being 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. -
Westwind: Djalu's Legacy
Screen Australia Presents a Jonnie & Kate Films Madman Production Company Production In Association with Melbourne International Film Festival Premiere Fund Film Victoria Screen Territory & National Indigenous Television Directed by Ben Strunin Produced by Kate Pappas, Virginia Whitwell, Nick Batzias, Ben Pederick & Ben Strunin westwindthefilm.com Running time: 86 Mins @ 24FPS Language: English Aspect ratio: 16.9 Year of Production: 2017 ANZ Distributor: Madman Entertainment PRODUCTION COMPANY (AUS) Jonnie & Kate Films Level 1, 274 Barkly Street Brunswick VIC 3056 PRODUCTION COMPANY (AUS) Madman Production Company Building 1, Level 1, 21-31 Goodwood Street Richmond VIC Australia 3121 T: +61 3 9261 9200 ONE LINER Ancient knowledge. A way forward. A legacy shared. An Old Man, Djalu Gurruwiwi warrior, shaman, and father, must find a way to bring two worlds together to save his sons and his culture. ONE PARAGRAPH SYNOPSIS Djalu Gurruwiwi is an aging elder in a line 60,000 years long who is running out of time to pass on the Yidaki Songlines entrusted to him for the future of his people, before it dies with him. His sons and community, struggling to come to terms with the consequences of colonisation, are lost. When Djalu breaks with tradition to try and save it, world famous musician Gotye becomes an unexpected family member and helps heal Djalu’s sons and amplify his songs to the world. ONE PAGE SYNOPSIS Djalu Gurruwiwi, an aging Elder in a line 60,000 years long, is running out of time to pass on the Yidaki Songlines entrusted to him for the future of his people, before they die with him.