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Cultural Heritage Series
VOLUME 4 PART 2 MEMOIRS OF THE QUEENSLAND MUSEUM CULTURAL HERITAGE SERIES 17 OCTOBER 2008 © The State of Queensland (Queensland Museum) 2008 PO Box 3300, South Brisbane 4101, Australia Phone 06 7 3840 7555 Fax 06 7 3846 1226 Email [email protected] Website www.qm.qld.gov.au National Library of Australia card number ISSN 1440-4788 NOTE Papers published in this volume and in all previous volumes of the Memoirs of the Queensland Museum may be reproduced for scientific research, individual study or other educational purposes. Properly acknowledged quotations may be made but queries regarding the republication of any papers should be addressed to the Editor in Chief. Copies of the journal can be purchased from the Queensland Museum Shop. A Guide to Authors is displayed at the Queensland Museum web site A Queensland Government Project Typeset at the Queensland Museum CHAPTER 4 HISTORICAL MUA ANNA SHNUKAL Shnukal, A. 2008 10 17: Historical Mua. Memoirs of the Queensland Museum, Cultural Heritage Series 4(2): 61-205. Brisbane. ISSN 1440-4788. As a consequence of their different origins, populations, legal status, administrations and rates of growth, the post-contact western and eastern Muan communities followed different historical trajectories. This chapter traces the history of Mua, linking events with the family connections which always existed but were down-played until the second half of the 20th century. There are four sections, each relating to a different period of Mua’s history. Each is historically contextualised and contains discussions on economy, administration, infrastructure, health, religion, education and population. Totalai, Dabu, Poid, Kubin, St Paul’s community, Port Lihou, church missions, Pacific Islanders, education, health, Torres Strait history, Mua (Banks Island). -
Dialogue and Indigenous Policy in Australia
Dialogue and Indigenous Policy in Australia Darryl Cronin A thesis in fulfilment of the Requirements for the degree of Doctor of Philosophy Social Policy Research Centre Faculty of Arts & Social Sciences September 2015 ABSTRACT My thesis examines whether dialogue is useful for negotiating Indigenous rights and solving intercultural conflict over Indigenous claims for recognition within Australia. As a social and political practice, dialogue has been put forward as a method for identifying and solving difficult problems and for promoting processes of understanding and accommodation. Dialogue in a genuine form has never been attempted with Indigenous people in Australia. Australian constitutionalism is unable to resolve Indigenous claims for recognition because there is no practice of dialogue in Indigenous policy. A key barrier in that regard is the underlying colonial assumptions about Indigenous people and their cultures which have accumulated in various ways over the course of history. I examine where these assumptions about Indigenous people originate and demonstrate how they have become barriers to dialogue between Indigenous people and governments. I investigate historical and contemporary episodes where Indigenous people have challenged those assumptions through their claims for recognition. Indigenous people have attempted to engage in dialogue with governments over their claims for recognition but these attempts have largely been rejected on the basis of those assumptions. There is potential for dialogue in Australia however genuine dialogue between Indigenous people and the Australian state is impossible under a colonial relationship. A genuine dialogue must first repudiate colonial and contemporary assumptions and attitudes about Indigenous people. It must also deconstruct the existing colonial relationship between Indigenous people and government. -
Molly Haydock
Molly Haydock Theresa Holtby Doctor of Philosophy 2018 Western Sydney University Acknowledgements Many thanks to my family and friends for their support and encouragement throughout this undertaking. I also wish to thank my supervisors, Anna Gibbs, Sara Knox and Carol Liston, for their direction and expertise. And to my husband, Derek Holtby, for gallons of tea, years of longsuffering, and generous help with all things technical, thank you. ii Statement of Authenticity The work presented in this thesis is, to the best of my knowledge and belief, original, except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. iii Table of Contents Abbreviations.......................................................................................................................................v Molly Haydock......................................................................................................................................1 Writing Molly...................................................................................................................................128 Preface..............................................................................................................................................129 1Introduction....................................................................................................................................130 Molly who?..................................................................................................................................132 -
CORANDERRK ILBIJERRI Theatre Company and Belvoir Teacher Resources 2017
CORANDERRK ILBIJERRI Theatre Company and Belvoir Teacher Resources 2017 Ideal for Years 9/10 and VCE This resource has been created by ILBIJERRI Theatre Company with Curriculum Links and Year 9 and 10 material created by Meg Upton. Page | 1 TABLE OF CONTENTS ABOUT THIS RESOURCE......................................................................................................................... 3 ABOUT REGIONAL ARTS VICTORIA ........................................................................................................ 4 CURRICULUM LINKS .............................................................................................................................. 5 INTRODUCTION TO THE PROGRAM ....................................................................................................... 6 PRODUCTION CREDITS .......................................................................................................................... 7 BIOGRAPHIES ......................................................................................................................................... 7 SUPPORT MATERIAL ........................................................................................................................... 15 YEARS 9 AND 10: PERFORMANCE ACTIVITIES .................................................................................. 19 YEAR 9 AND 10 - POST PERFORMANCE ACTIVITIES ......................................................................... 19 FURTHER LEARNING ACTIVITIES AND RESEARCH ........................................................................... -
The Black Arm Band Hidden Republic
BIOGRAPHIES David Arden Sally Dastey Bevan Gabanbulu Ruby Hunter Rachael Maza Long Steven Richardson NEW AUSTRALIAN WORK Artist, Repertoire Adviser Artist (Gapanbulu Yunupingu) Artist Artist, Stage Direction, Spoken Word Script Conception, Direction World Artist Premiere David Arden has worked with many Aboriginal As one-third of Tiddas, Sally Dastey released Ruby Hunter is an Aboriginal woman of the Originally from the Torres Strait Islands, Rachael Steven Richardson has broad experience in the artists, from Hard Time Band and Koori Youth two acclaimed albums and four singles with Gapanbulu Yunupingu (Bevan Gabanbulu’s Ngarrindjeri clan of South Australia and was the Maza Long comes from a family of actors that arts spanning 20 years in a variety of artistic, Band to Bart Willoughby and Mixed Relations. accompanying videos, and was awarded an ARIA stage name) is the grandson of Yothu Yindi lead first Aboriginal woman to record her own album. spans three generations. A graduate of the producing and programming roles. He holds a As a guitarist with Archie Roach, he has toured Award. She launched her solo career with Secrets singer Mandawuy Yunupingu, and current yidaki She has recorded two albums, Thoughts Within Western Australian Academy of Performing Arts, Fine Arts degree in visual arts and also studied extensively both nationally and internationally. To Keep (2002) and has performed at numerous (didjeridu) player with Yothu Yindi. Gapanbulu and Feeling Good, and has toured extensively in she has had an impressive career in theatre, film, contemporary dance at Victorian College of the He has also written and performed songs for festivals while working on a range of projects Yunupingu has performed everywhere from Australia and overseas. -
Annual Report 2019
ANNUAL REPORT 2019 We acknowledge and pay our respects to the Country We acknowledge the strength of First Nations that we travel through and share stories on, and in particular people and communities in continuing to practice culture, the Country on which ILBIJERRI Theatre Company is based and connection to Country. – the unceded lands of the Kulin Nations. We acknowledge the resilience and tenacity of First Nations We acknowledge and pay our respects to the Traditional peoples and communities fighting to protect and look after Owners, Elders, Ancestors, and young leaders. Country, Community, Language and Lore, in the face of ongoing colonial interruptions and cultural genocide. Always was, always will be, sacred Indigenous lands. Pictured: BLACKWRIGHTS CREATIVE TEAM DURING BLACKWRIGHTS CREATIVE DEVELOPMENTS | Photo: Tiffany Garvie MESSAGE FROM ELDERS IN RESIDENCE I have been involved with ILBIJERRI for quite a number of years and my role as Elder in Residence has given me the opportunity to be involved in the development and observation of various productions. One of these productions was BLACK TIES, which I must have seen 4 or 5 times. It took me on a journey – to another level. It is also taking ILBIJERRI to another level. Now, I’m seeing from across the ditch, two First Nations Peoples coming together to create a universal project – a story that plays out across many dimensions and cultures ... a story of love and conflict! It is probably the biggest scale work we’ve seen, which travelled around Australia and New Zealand. I’m Larry Walsh, Taungurung Elder ILBIJERRI Theatre is traditional in the We want to keep pushing ILBIJERRI’s of the Taungurung people, and sense that it tells stories of Aboriginal I am keen to see ILBIJERRI continue to People and their ways of life - ‘cause role in developing and training the next grow to another level and have it move a member of the Kulin Nations. -
“We Are Australian”: an Ethnographic Investigation of the Convergence of Community Music and Reconciliation
“We are Australian”: An ethnographic investigation of the convergence of community music and reconciliation. “We are Australian”: An ethnographic investigation of the convergence of community music and reconciliation. Julie Ann Rickwood Interdisciplinary Cross-Cultural Research Programme Research School of Humanities and the Arts The Australian National University 21 June 2013 A thesis submitted for the degree of Doctor of Philosophy The Australian National University Canberra Statement of Authorship I hereby declare that this thesis is entirely my own work. This thesis contains no material previously published or written by myself or another person, except where reference is made in the thesis itself. This thesis has not previously been submitted towards a degree or diploma in any university or other higher education institution. Julie Rickwood 21 June 2013 This research project has received clearance from the Human Research Ethics Committee at the Australian National University: Protocol 2009/337 Indigenous readers are advised that the thesis contains names and images of deceased individuals. IN MEMORY OF JEANNETTE HENNESSY-WRIGHT, 1957-2011: A SINGER IN A COMMUNITY CHOIR, A LONG TERM FRIEND AND A DETERMINED WOMAN And the first sound I heard in my heavens was the sound of moving air becoming the wind. Richard Lewis 1991 The second sound I heard in my heavens was the sound of many voices blending into one. Julie Rickwood 2013 IN RECOGNITION OF THE YOTHU YINDI FRONTMAN, 1956-2013: A MUSICAN, EDUCATOR AND CAMPAIGNER FOR RECONCILIATION “On the last day of National Reconciliation Week (Mabo Day) we are extremely saddened to learn of the passing of Yothu Yindi frontman Dr Yunupingu, who died overnight at his home in Yirrkala, East Arnhem Land following a long battle with kidney disease. -
A Global Representative System Of
A GLOBAL REPRESENTATIVE SYSTEM OF. MARTNE PROTE CTED AREAS Public Disclosure Authorized ; ,a,o k. @ S~~ ~r' ~~~~, - ( .,t, 24762 Volume 4 Public Disclosure Authorized .. ~fr..'ne .. G~,eat Barrier R M P.'k Authority Public Disclosure Authorized £S EM' '' , 0Th.o1,, ;, Public Disclosure Authorized a a b . ' Gtat Barrier Rdeef Mnarine Park Authori ''*' i' . ' ; -, a5@ttTh jO The'Wor1&~B'ank .~ ' a K ' ;' 6''-7 Th WorId>Conserutsibn Union (IUCN) $-. , tA,, -h, . §,; . A Global Representative System of Marine Protected Areas Principal Editors Graeme Kelleher, Chris Bleakley, and Sue Wells Volume IV The Great Barrier Reef Marine Park Authority The World Bank The World Conservation Union (IUCN) The International Bank for Reconstruction and Development/THE WORLD BANK 1818 H Street, N.W. Washington, D.C. 20433, U.S.A. Manufactured in the United States of America First printing May 1995 The findings, interpretations, and conclusions expressed in this paper are entirely those of the authors and should not be attributed in any manner to the World Bank, to its affiliated organizations, or to members of its Board of Executive Directors or the countries they represent. This publication was printed with the generous financial support of the Government of The Netherlands. Copies of this publication may be requested by writing to: Environment Department The World Bank Room S 5-143 1818 H Street, N.W. Washington, D.C. 20433, U.S.A. WORLD CNPPA MARINE REGIONS 0 CNPPAMARINE REGION NUMBERS - CNPPAMARINE REGION BOUNDARIES / > SJ/) a l ti c \~~~~~~~~~~~~~~~~~ali OD ' 0 Nort/h@ / North East %f , Nrkwestltsni North Eastt IPaa _?q g Nrharr etwcific \ t\ / , ............. -
Blakdance STRATEGIC PLAN 2017-2022, May 2016 1 Baldock
National Indigenous dance Forum 2017 BlakDance STRATEGIC PLAN 2017-2022, May 2016 1 Baldock Table of CONTENTS Acknowledgements 1 Executive Summary 2 Purpose of this report 5 Context 5 The NIDF 6 Addresses to the delegation 10 Achievements since the 2005 Creating Pathways 14 Topics for Open Spaces sessions 15 Priority themes 18 Priority actions 21 Closing Ceremony 22 BlakDance Presenter Series & delegates 24 Aboriginal Ballet Dancers of Australia 28 Attachment One: NIDF Delegate List 30 Attachment Two: Notes from Open Spaces Topic Sessions 37 Attachment Three: Open Mic 54 BlakDance STRATEGIC PLAN 2017-2022, May 2016 2 Baldock Acknowledgements BlakDance would like to acknowledge the Kulin Nation for welcoming the 2017 NIDF delegation to their country. Further, BlakDance would also like to thank and acknowledge: • Jacob Boehme and the YIRRAMBOI First Nations Arts Festival for including the NIDF in their program • The NIDF Steering Group for their guidance and support during the development of the program • Judy Harquail, Collette Brennan, Angela Flynn and Kirk Page for voluntary commitment and leadership on the BlakDance Presenter series • The many volunteers whose support in the lead-up to, and during the NIDF was critical • The NIDF team, producers, production crew and the Meat Markets production crew • Graham Brady, Marilyn Miller and Wesley Enoch and for their excellent facilitation skills • Mark Stapleton and Sandra Fields (Fieldworx) for putting together this report • And importantly, the 180 delegates who travelled from all over Australia who contributed to the discussion and setting the agenda for the future The National Indigenous Dance Forum 2017 was made possible through the financial assistance of the Department of Communications and the Arts, Indigenous Languages and Arts Program. -
Black Arm Band's Day of Reckoning
Black Arm Band’s day of reckoning Lou Bennett in Black Arm Band’s Dirtsong at the 2012 Darwin Festival. • The Australian • 24 April, 2018 • Matthew Westwood A year ago, the Black Arm Band celebrated its 10th anniversary with a concert at Sydney’s City Recital Hall. As with so many of the band’s performances during the previous decade, it was a celebration of black pride in music. Among the performers that Saturday evening were Black Arm Band regulars including Emma Donovan, Deline Briscoe and Mark Atkins, and Yirrmal Marika, a talented young Yolgnu singer from that hotbed of creative talent in northeast Arnhem Land. It was a birthday to celebrate. Black Arm Band was a kind of movable festival made up of longtime returning artists and newcomers. In earlier years, luminaries such as Geoffrey Gurrumul Yunupingu, Archie Roach, Ruby Hunter and Jimmy Little had appeared in the line-up. It also gave early exposure to now-established stars such as Dan Sultan. The group played all of the major Australian festivals, and when it toured internationally it was hailed as Australia’s answer to the Buena Vista Social Club. It was great music delivered with a powerful indigenous voice. Eight months later, the party was over. The end was announced in a Facebook post last December: despite ongoing support and appetite for its work, the Black Arm Band had made the difficult decision to close down. 2 Why did this vital outfit with so much community goodwill suddenly leave the stage? Certainly, the funding environment had changed, as it had for many other small to medium arts companies. -
Torres Strait Islanders by Anna Shnukal
Torres Strait Islanders by Anna Shnukal From: Brandle, Maximilian (ed.) Multilcutlural Queensland 2001: 100 years, 100 communities, A century of contributions, Brisbane, The State of Queensland (Department of Premier and Cabinet), 2001. Introduction Torres Strait Islanders are the second group of Indigenous Australians and a minority within a minority. Torres Strait, which lies between Cape York and Papua New Guinea, is legally part of Queensland. Its islands were annexed comparatively late: those within 60 nautical miles (97 kilometres) of the coast in 1872, the remainder in 1879. At annexation, the Islanders became British subjects and their islands became Crown lands. At Federation they became Australian citizens although until comparatively recently they were denied rights and benefits which their fellow Australians took for granted. Torres Strait Islanders are not mainland Aboriginal people who inhabit the islands of Torres Strait. They are a separate people in origin, history and way of life. From the waters of the Strait, where the Coral and Arafura Seas meet in one of the most fragile and intricate waterways in the world, rise hundreds of islands, islets, cays, reefs and sandbanks. All these are traditionally named, owned and used. No two islands are identical, each being shaped by its unique landscape, stories and history. In the past many more islands were inhabited. Islanders live today in 18 permanent communities on 17 islands although they continue to visit their traditionally owned islands for fishing, gardening, food collecting, camping and picnicking. The first European settlement was established at Somerset, Cape York, in 1863. It was removed to Port Kennedy on Waiben (Thursday Island) in 1877 and, since then, Thursday Island has been the administrative and commercial ‘capital’ of Torres Strait. -
Education Resource
AUSTRALIA / NZ DRAMA BLACK TIES BY JOHN HARVEY & TAINUI TUKIWAHO ILBIJERRI Theatre Company & Te Rēhia Theatre EDUCATION RESOURCE Image: Garth Oriander 1 7 February - 1 March CONTENTS 2 Synopsis 2 Credits 2 Biographies 6 A Note from the Creators 7 About the Performance 7 Major Themes 7 Resources 8 Q&A with Co-Directors 9 Before the Show 11 After the Show 13 Specific Links to Curriculum 14 Appendix Perth Festival respects the Noongar people who remain the spiritual and cultural birdiyangara of this kwobidak boodjar. We honour the significant role they play for our community and our Festival to flourish. SYNOPSIS BIOGRAPHIES Two families, two cultures ... too much! ILBIJERRI THEATRE COMPANY For Maori corporate hotshot Hera and Aboriginal consultancy ILBIJERRI is Australia’s leading and longest running First Nations entrepreneur Kane it was love at first sight. Ambitious and career theatre company. The company creates, presents and tours focused, Kane and Hera have their perfect future all mapped out. powerful and engaging theatre creatively controlled by First But there is one thing they can’t control … their families! Nations artists that gives voice to their cultures. Born from As the biggest mob get worked up for the blackest wedding ever, community, ILBIJERRI remains grounded in telling the stories of reality is sinking in. Fast! Will this international love story bring two what it means to be First Nations in Australia today. ILBIJERRI strong cultures together? Or will it blow Hera and Kane’s world supports self-determination for First Nations voices through apart? programs that foster emerging First Nations theatre makers and industry professionals.