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Arts & Culture Plan South Australia 2019
Arts & Culture Plan South Australia 2019 - 2024 1 To Dream To Explore To Create Acknowledgment of Country Aboriginal and Torres Strait Islander people have made and continue to make a unique and irreplaceable contribution to Australia. The South Australian Government acknowledges and respects Aboriginal people as the state’s first people and nations, and recognises Aboriginal people as traditional owners and occupants of South Australian land and waters. The South Australian Government acknowledges that the spiritual, social, cultural and economic practices of Aboriginal people come from their traditional lands and waters, and that Aboriginal people maintain cultural and heritage beliefs, languages and laws which are of ongoing importance today. Front cover Production: mi:wi Organisation: Vitalstatistix Photographer: Gregory Lorenzutti Table of Contents Page Vision, Mission, 4 Values 4 6 Goals 5 Message and commitment from the Government 7 Introduction 9 An Arts Plan for the future 10 Why now is the time for the Plan 10 Four reasons to pivot 11 South Australia. A history of creative and cultural innovation 12 1 The Structure of this Plan 16 South Australia, A gateway to the first and original story 17 Songlines: Tracking the Seven Sisters 18 Goal 1 20 Goal 2 24 Goal 3 28 Goal 4 32 Goal 5 36 Goal 6 40 Capturing value and impact 42 Footnotes 44 Adelaide College of the Arts Organisation: TAFE SA Photographer: Sam Roberts The Arts and Culture Plan for This Arts Plan is about igniting a This narrative is about how we TELL South Australia 2019 – 2024 new level of connectivity – between THESE STORIES, and relates strongly artists, organisations, institutions and to South Australia’s ‘market and brand’. -
3.0 ADELAIDE PARK LANDS and SQUARES 3.1 25 Tarndanya
3.0 ADELAIDE PARK LANDS AND SQUARES 3.0 ADELAIDE PARK LANDS AND SQUARES 3.1 25 Tarndanya Womma/Park 26 Report TARNDANYA WOMMA: 384 3.0 ADELAIDE PARK LANDS AND SQUARES Park 26: Tarndaya Womma function and edge extent of the lake, and structures and components erected and planted thereupon is the primary focus of this cultural landscape assessment. Overview: Site Context Arising from Light’s plan, Tarndanya Womma/Park 26 consists of all areas to the north and Along the River Torrens/Karrawirra Parri much of the area was simply called the ‘River south of the River Torrens/Karrawirra Parri, between North Terrace, King William Road, Torrens/Karrawirra Parri riverside’ or ‘river edge’. It was complicated because prior to the Pennington Terrace and Montifiore Road (Victoria Bridge Road and Montefiore Hill Road). It 1870s this area hosted the original ford across the River Torrens/Karrawirra Parri so the term includes the Adelaide Oval leasehold, Lawn Tennis Association of South Australian leasehold, ‘ford’ or ‘crossing’ is also applied. It also hosted the ‘Government Garden’ within the together with Pennington Gardens West, Pinky Flat, Light’s Vision, Creswell Gardens, Elder ‘Government Domain’ or ‘Domain’ and the ‘Survey Paddock’. Progressively the latter names Park and the middle portion of Lake Torrens. These spatial segments have remained consistent disappeared as also use of the ‘ford and ‘crossing’ nomenclature once Lake Torrens was created. to the original plan. Tarndanya Womma/Park 26 has carried several names over the years. Formally it is today known as Tarndanya Womma/Park 26 but colloquially it is known as the ‘Adelaide Oval park’ north of Lake Torrens or ‘Elder Park’ south off Lake Torrens. -
Aboriginal Agency, Institutionalisation and Survival
2q' t '9à ABORIGINAL AGENCY, INSTITUTIONALISATION AND PEGGY BROCK B. A. (Hons) Universit¡r of Adelaide Thesis submitted for the degree of Doctor of Philosophy in History/Geography, University of Adelaide March f99f ll TAT}LE OF CONTENTS ii LIST OF TAE}LES AND MAPS iii SUMMARY iv ACKNOWLEDGEMENTS . vii ABBREVIATIONS ix C}IAPTER ONE. INTRODUCTION I CFIAPTER TWO. TI{E HISTORICAL CONTEXT IN SOUTH AUSTRALIA 32 CHAPTER THREE. POONINDIE: HOME AWAY FROM COUNTRY 46 POONINDIE: AN trSTä,TILISHED COMMUNITY AND ITS DESTRUCTION 83 KOONIBBA: REFUGE FOR TI{E PEOPLE OF THE VI/EST COAST r22 CFIAPTER SIX. KOONIBBA: INSTITUTIONAL UPHtrAVAL AND ADJUSTMENT t70 C}IAPTER SEVEN. DISPERSAL OF KOONIBBA PEOPLE AND THE END OF TI{E MISSION ERA T98 CTIAPTER EIGHT. SURVTVAL WITHOUT INSTITUTIONALISATION236 C}IAPTER NINtr. NEPABUNNA: THtr MISSION FACTOR 268 CFIAPTER TEN. AE}ORIGINAL AGENCY, INSTITUTIONALISATION AND SURVTVAL 299 BIBLIOGRAPI{Y 320 ltt TABLES AND MAPS Table I L7 Table 2 128 Poonindie location map opposite 54 Poonindie land tenure map f 876 opposite 114 Poonindie land tenure map f 896 opposite r14 Koonibba location map opposite L27 Location of Adnyamathanha campsites in relation to pastoral station homesteads opposite 252 Map of North Flinders Ranges I93O opposite 269 lv SUMMARY The institutionalisation of Aborigines on missions and government stations has dominated Aboriginal-non-Aboriginal relations. Institutionalisation of Aborigines, under the guise of assimilation and protection policies, was only abandoned in.the lg7Os. It is therefore important to understand the implications of these policies for Aborigines and Australian society in general. I investigate the affect of institutionalisation on Aborigines, questioning the assumption tl.at they were passive victims forced onto missions and government stations and kept there as virtual prisoners. -
Our Cultural Collections a Guide to the Treasures Held by South Australia’S Collecting Institutions Art Gallery of South Australia
Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- tralia. South Australian Museum. State Library of South Australia. Carrick Hill. History SA. Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- Published by Contents Arts South Australia Street Address: Our Cultural Collections: 30 Wakefield Street, A guide to the treasures held by Adelaide South Australia’s collecting institutions 3 Postal address: GPO Box 2308, South Australia’s Cultural Institutions 5 Adelaide SA 5001, AUSTRALIA Art Gallery of South Australia 6 Tel: +61 8 8463 5444 Fax: +61 8 8463 5420 South Australian Museum 11 [email protected] www.arts.sa.gov.au State Library of South Australia 17 Carrick Hill 23 History SA 27 Artlab Australia 43 Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions The South Australian Government, through Arts South Our Cultural Collections aims to Australia, oversees internationally significant cultural heritage ignite curiosity and awe about these collections comprising millions of items. The scope of these collections is substantial – spanning geological collections, which have been maintained, samples, locally significant artefacts, internationally interpreted and documented for the important art objects and much more. interest, enjoyment and education of These highly valuable collections are owned by the people all South Australians. of South Australia and held in trust for them by the State’s public institutions. -
Adelaide Festival Centre Annual Report 2005-06
ADELAIDE FESTIVAL CENTRE ANNUAL REPORT 2005-06 18 September 2006 Adelaide Festival Centre King William Road ADELAIDE SA 5000 GPO Box 1269 ADELAIDE SA 5001 Telephone: (08) 8216 8600 Facsimile: (08) 8212 7849 Website: www.afct.org.au ABN: 90940 220 425 Contents Our Vision: ...........................................................................................................4 Our Mission is to: ..............................................................................................4 Introduction..........................................................................................................5 Highlights of 2005-06......................................................................................6 Chairman’s Report ...........................................................................................7 Chief Executive Officer’s Report ...............................................................9 Adelaide Festival Centre Trust Act 1971.............................................10 Trustees ..............................................................................................................11 The Objectives of Arts SA ..........................................................................12 The Objectives of the Adelaide Festival Centre Trust ..................12 Objective 1.........................................................................................................14 ENGAGE........................................................................................... 14 Education Program (CentrEd)...........................................................................15 -
ACCESS GUIDE Contents
26 FEB – 14 MAR 2021 ACCESS GUIDE Contents Access Information ................................................................. 1 Website Information ................................................................. 2 Booking Tickets ........................................................................... 3 Venue Facilities ........................................................................... 4 Access Ticket Prices ................................................................. 5 Auslan Interpreted Events ....................................................... 6 Audio Described Events ......................................................... 8 Sensory/Tactile Tour Events ............................................... 9 Events With Highly Visual Content ................................... 10 Events With Assistive Listening ............................................. 13 Venues With Wheelchair Access ............................................. 15 Open House ..................................................................................... 19 Adelaide Writers’ Week Access ............................................. 21 Calendar of Events ................................................................. 22 Map ............................................................................................... 25 Sponsor Thanks ........................................................................... 27 Access Information We make every effort to ensure Adelaide Festival events are accessible to our whole audience. Please check -
– Media Release – Collaborative Exhibition Opens at the South Australian Museum As Part of Tarnanthi
– Media Release – Collaborative exhibition opens at the South Australian Museum as part of Tarnanthi Still in my mind: Gurindji location, experience and visuality presented by Artback NT opens this Friday, 18 October at the South Australian Museum, as part of Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art. The exhibition reflects on the enduring impacts of dispossession and displacement, including those of a pivotal land rights event, the 1966–75 Gurindji ‘walk-off’. Gurindji/Malngin Leader Vincent Lingiari led over 200 countrymen, women and children off Wave Hill Station to protest slave labour conditions and human rights abuse. “Although other protest and strike actions had taken place preceding the 1966 Gurindji Walk-Off, it was arguably the birth of the national land rights movement in Australia. The events of this time and place have significance for me as a Gurindji/Malngin/Mudburra woman, through my direct family connection to the area, and through my family’s experience as members of the Stolen Generations,” said Brenda L. Croft, curator and participating artist. Croft developed the exhibition through practice-led research with her father’s community, Karungkarni Art and Culture Aboriginal Corporation, UNSW Galleries and UNSW Art & Design. As a part of this, Croft retraced the Gurindji ‘walk-off’ steps in homage to those before her, who made the 22-kilometre journey half a century ago. “I was motivated to develop this exhibition in partnership with Karungkarni artists and Gurindji community members in tribute to those whose profound communal act of courage, resilience and determination changed the course of history.” Croft said. -
Nyarapayi Giles
ABN 37 096 876 083 NYARAPAYI GILES Born c1940 Community Tjukurla, WA EXHIBITION HISTORY SOLO EXHIBITIONS 2008 Randell Lane Fine Art, Perth WA 2007 Randell Lane Fine Art, Perth WA GROUP EXHIBITIONS 2018 The Women’s Show, Vivien Anderson Gallery, 25 March 2017- 18 NGURRA: Home in the Ngaanyatjarra Lands, South Australian Museum, Adelaide SA 2017 Minyma Mayatja - Boss Women: Nyarapayi Giles & Katjarra Butler, Vivien Anderson Gallery, Melbourne VIC NG Salon, Praxis Artspace, Adelaide SA Desert Mob 2017, Araluen Art Centre, Alice Springs NT 34th Telstra National Aboriginal & Torres Strait Islander Art Award, Museum and Art Galleries of the Northern Territory, Darwin NT Tjukurla Tjukurrpa, Aboriginal and Pacific Art, Sydney NSW The Women’s Show, Vivien Anderson Gallery, Melbourne VIC Wala Wingki – Tjarlirli Artists, Raft South, Hobart TAS 2016 – 17 Who’s Afraid of Colour? National Gallery of Victoria, Melbourne VIC 2016 Painting. More Painting, Australian Centre for Contemporary Art (ACCA), Melbourne VIC Desert Mob, Araluen Arts Centre, Alice Springs NT Salon Des Refuses, Charles Darwin University, Darwin NT Wyndham Art Prize, Wyndham Art Gallery, Melbourne VIC Port Hedland Award, Courthouse Gallery, Port Hedland WA Power. Colour. Story, Harvey Art Projects, USA Touring exhibition, Art Kelch, Germany 2015 Palya – Martumili Artists, Tjarlirli Art and Warakurna Artists, Vivien Anderson Gallery at Brightspace, Melbourne VIC Tarnanthi – Festival of Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia, Adelaide SA Desert Mob, Araluen Arts Centre, Alice Springs NT Tjukurla 2015, Raft Artspace, Alice Springs NT Masterstrokes II, Vivien Anderson Gallery at Merricks House Gallery, Merricks VIC 2014 Warakurna Artists and Tjarlirli Art- Paintings from the Ngaanyatjarra Lands, Vivien Anderson Gallery, Melbourne VIC Our Home in Colour, Outstation Gallery, Darwin NT Living Spirit, Marshall Arts, Adelaide SA GROUND FLOOR, 284 – 290 ST KILDA ROAD, ST KILDA VICTORIA 3182 AUSTRALIA T. -
No.[Number] 67 1919. July 1. to 1920. Sep[Tember] 30 [1]
AMS587_64 – Edgar Waite Diary 67 – July 1919 to Sept 1920 This is a formatted version of the transcript file from the Atlas of Living Australia http://volunteer.ala.org.au/project/index/2204841 Page numbers at the bottom of this document do not correspond to the notebook page numbers. Parentheses are used when they are part of the original document and square brackets are used for insertions by the transcriber Text in square brackets may indicate the following: - Misspellings, with the correct spelling in square brackets preceded by an asterisk rendersveu*[rendezvous] - Tags for types of content [newspaper cutting] - Spelled out abbreviations or short form words F[ield[. Nat[uralists] - Words that cannot be transcribed [?] No.[Number] 67 1919. July 1. to 1920. Sep[tember] 30 [1] July. 1. Tues[day] Commencing this month as a convalescent from Sciatica. Locomotion is difficult &[and] slow. Wrote to Melbourne in reply, as to designation of Sardines &[and] pilchards, commercially. (Trades &[and] Customs Dep[artmen]t) 2. Wed[nesday] Received request from Narracoorte*[Naracoorte], through the Agric[ulture] Dep[artmen]t, to lecture at some future date. Com- mittee meeting. 3. Thurs[day] Reported on contents of a tin of Sardines marked [2] "Outing Brand" packed at Stockton Spring, Maine U.S.A. Determined them a Sardina pseudohispanica. (Amblygaster). Paid £1.4.<9>6 for making pattern of new piston. (A.W.Tremewen) 4 Fri[day] Prepared list of genera in fishes, proposed by me for Jordan's "Genera of Fishes. Attended (Presided) meet Aquarium Soc[iety] 5. Sat[urday] Wrote to Jordan and enclosed list of genera 7 Mon[day] Sent pocket wallet to Watson made by Miss Leicester for the purpose- [3] 8 Tues[day] "Children's Hour" for June contains my notes on the Big Whale. -
The Creation of the Torrens : a History of Adelaide's River to 1881
The Creation of the Torrens: A History of Adelaide's River to 1881 by Sharyn Clarke This is submitted for the degree of Master of Arts in History School of Social Sciences University of Adelaide CONTENTS List of Paintings and Maps Introduction 1 Chapter One: Conceiving the Torrens t4 Chapter Two: Black and White 4t Chapter Three: The Destruction of the Torrens 76 Chapter Four: Meeting the Demand for Progress 105 Chapter Five: The Torrens Lake 130 Conclusion 157 Bilbiography ABSTRACT The River Torrens in Adelaide is a fragile watercourse with variable seasonal flows which was transformed in the nineteenth century into an artificial lake on a European scale. This thesis presents the reasons behind the changes which took place. The creation of the Torrens covers both physical changes and altering conceptions of the river from a society which, on the whole, desired a European river and acted as though the Torrens was one. The period of study ranges from the Kaurna people's life, which adapted around the river they called Karrawirraparri, to the damming of the river in 1881, Being the major river forthe city, the relatively higher population density meant huge environmental pressure, an inability to assess its limits lead to it being heavily polluted and degraded only a decade after white settlement. Distinct stages in the use of the river can be observed and a variety of both positive and negative responses towards it were recorded. By studying the interactions with, and attitudes towards, the River Torrens, and the changes it has undergone, we learn much about the societies that inhabited the river and their values towards a specific and crucial part of the natural environment. -
STONE MASONRY in SOUTH AUSTRALIA I DEPARTMENT of ENVIRONMENT and NATURAL RESOUCES Published By
RITAG HE E CP ONSERVATION RACTICE NOTES TECHNICAL NOTE 3.6 STONE MASONRY IN SOUTH AUSTRALIA i DEPARTMENT OF ENVIRONMENT AND NATURAL RESOUCES Published by DEPARTMENT OF ENVIRONMENT AND NATURAL RESOURCES October 1993 ©October Department 1993 of Environment and Natural Resources and David Young © Department of Environment and NovemberNatural Resources; 2007 and David Young Published online without revision DepartmentSeptember 2008 for Environment and Heritage Published online without revision ISSNDepartment 1035-5138 for Environment and Heritage Prepared by State Heritage Branch DesignISSN 1035-5138 by Technical Services Branch TPreparedext and byphotographs State Heritage by BranchDavid Young Design by Technical Services Branch TextDEH andInformation photographs Line by(08) David 8204 Young 1910 Website: www.environment.sa.gov.au DEHEmail: Information [email protected] Line (08) 8204 1910 u Website www.environment.sa.gov.au Email [email protected] Disclaimer WhileCover reasonablephoto: Carved efforts panel have in been Sydney made sandstone. to ensure the contents of this publication are factually correct, Former Marine and Harbours Building, 1884, the Department for Environment and Heritage makes no representations and accepts no responsibility for Victoria Square. the accuracy or completeness of the contents, and shall not be liable for any loss or damage that may be occasioned directly or indirectly through the use of or reliance on the contents of this publication. Printed on recycled paper Cover photo: Carved -
Sa Arts- Strategic Directions and Fresh Ideas
SA ARTS- STRATEGIC DIRECTIONS AND FRESH IDEAS STEVEN MARSHALL, STATE LIBERAL LEADER “The arts sector in South Australia is internationally renowned as innovative, vibrant and varied. The State Liberals are committed to seeing all our creative industries thrive and grow.” Steven Marshall State Liberal Leader SOUTH AUSTRALIAN ARTS INDUSTRY Strategic directions and fresh ideas South Australia was once regarded as our nation’s most creative state. 1Adelaide and our regional centres continue to be home to numerous festivals, arts companies, cultural institutions, artists, administrators and creatives who make up our vital arts and creative sector, and whose creative endeavours enlarge and enrich our life, and help us all to celebrate our sense of identity, heritage and cultural diversity. However, after 12 years of Labor our arts and creative community is only just holding its head above water. The Weatherill Labor Government has taken an ad-hoc approach to arts policy. Its lack of a strategic plan for the industry has led to intermittent funding. The drip-feed of State Government funding and excessive red tape has kept arts organisations tied up in paper work and unsure about their economic viability from year to year. A Marshall Liberal Government is committed to seeing our arts and creative industries thrive and grow. We want South Australia to be a place where arts organisations and creative businesses are able to grow and network, be sustainable and plan for the future with confidence. A strong arts and creative sector is able to employ new artists and practitioners, produce new works, collaborate creatively and contribute as critical, creative participants to the culture, tourism and economic drivers of South Australia.