australian artist, first nations artist, female artist, wonder woman, suzie quattro, sport spice, dolly parton, beyonce, catwoman, tina turner, david hasselhoff, painting, indigenous

Picture story book written by Mission teacher, Miss Muriel Burthon, with illustrations based on drawings by Nugget James, from the Baptist Mission, Warrabri Native Settlement, Northern Territory. The book is published by Mission Publications Australia. This book states its uses as: as a story book and as an evangelizing tool. Historic Significance: this item reflects the nature of the relationship between Indigenous residents of Aboriginal missions and the mission masters. It provides an indication of the perception and representation of indigenous Australians during the early to mid- 20th Century. This item is a tangible reminder of the systematic captivity of indigenous Australians across the late 19th and 20th Centuries. Ring-bound paperback publication."One/Fella/Lost"aboriginal mission, indigenous history, colonialism, christianity,

Ten unique hand painted poles (wooden telegraph poles) reflect the surroundings of Lake Wendouree and tell First Nations' peoples stories. Tom Clark created the Koori Totem Poles prior to the establishment of the North Garden Indigenous Sculpture Park. The work is a set of 10 poles decorated and carved with ‘Koorie’ motifs and references and was commissioned originally for Ballarat’s Begonia Festival. These poles were shifted from the Ballarat Botanical Gardens main area in 2015 to their present site guarding the northern entrance to North Gardens.The artworks are of aesthetic and cultural significance to the people of BallaratTen hand painted wooden telegraph polestotem poles

Murrup Laarr translates as 'Ancestral Stones' in Wadawurrung. This artwork by Dr Deanne Gilson is located in the North Gardens Indigenous Sculpture Park. The park is a significant project for the City of Ballarat and features works by Aboriginal and Torres Strait Islander artists, celebrating the richness and diversity of culture and telling important cultural stories. Dr Deanne Gilson is a Wadawarrung Traditional Custodian and established artist. She installed the first artwork commissioned by the City of Ballarat for the Sculpture Park in early 2019. Murrup Laarr is a contemporary artwork consisting of a traditionally-built stone hut in the middle of a circle of basalt standing stones, marked with ceramic plates reflecting the stories and symbols of dreaming, memory, ceremony.The artwork is of aesthetic and cultural, social and spiritual significance to the people of Ballarat and to Wadawurrung peopleA traditional hut made from river stone and stacked rocks, with the hut surrounded by large basalt rocks with plaques featuring unique designs on stoneware plates imbedded into them. Murrup Laarr (Ancestral Stones), 2019 / By Deanne Gilson / Wadawurrung people have always used stones to mark places of ceremony and important business. The stones are the holders of memory and knowledge, Country and Spirit. They mark the cosmos and seasons. They follow the sun, marking the summer and winter solstice, important dates for planting and harvesting and telling stories of past, present and future. / The stones are alive and still present. Murrup Laar has been created using local basalt stones to tell Wadawurrung stories of dreaming, memory and ceremony. / “Creating Murrup Laarr (Ancestral Stones) at this time has placed Aboriginal people and practices back on Country and created a place to tell our stories. I am very honoured to have had this opportunity. An Aboriginal stone circle existed in Ballarat pre-colonisation; by putting back what was lost throughout colonisation I pay homage to my ancestors, past, present and emerging”/ – Deanne Gilson, March 2019 murrup laarr, wadawurrung

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

The Little Red Yellow Black Book is an accessible and highly illustrated pocket-sized guide. It's an invaluable introduction to Australia's rich Aboriginal and Torres Strait Islander histories and culture. It takes a non-chronological approach and is written from an Indigenous viewpoint. The themes that emerge are the importance of identity, and adaptation and continuity. If you want to read stories the media don't tell you, mini-essays on famous as well as everyday individuals and organisations will provide insights into a range of Australian Indigenous experiences.maps, b&w photographs, colour photographsindigenous history, culture, art, sport, health, education, employment, reconciliation, resistance, governance

A multimedia presentation showcasing Dreaming Stories belonging to the Yorta Yorta People, featuring artwork by Indigenous artist Zeta Thomson.CD-ROMyorta yorta, aunty zeta thomson, dreaming stories, folklore, artwork

Writing competition featuring stories, poems and plays by junior entrants. Encourages Indigenous people of the region to write well and develop good standards of literacy.Illustrationsgoulburn valley, creative writing, children, literacy, storytelling, rap, poetry, plays, articles

Creation story with word listmaps, illustrationswathaurong, yorta yorta, storytelling, word list

This book is a collection of stories, reflections and hopes abuot Language revival in Australian Aboriginal communities, extracted from a series of interviews carried out during 2009-2010.B&w photographslanguage revival, interviews, indigenous language victoria, indigenous language nsw, parkes, gumbaynggirr, wiradjuri

For almost 40 years, Michael Walsh has been working alongside Indigenous people: documenting language, music and other traditional knowledge, acting on behalf of claimants to land in the Northern Territory, and making crucial contributions to the revitalisation of Aboriginal languages in NSW. This volume, with contributions from his colleagues and students, celebrates his abiding interest in and commitment to Indigenous society with papers in two broad themes. ?Language, identity and country? addresses the often complex relations between Aboriginal social groups and countries, and linguistic identity. In ?Language, identity and social action? authors discuss the role that language plays in maintaining social identities in the realms of conversation, story-telling, music, language games, and in education. ?Language and Social Identity in Australian Indigenous Communities? will be of interest to students of linguistics, Indigenous studies, anthropology, and sociology. Contents: 1. Introduction /? Rod Gardner ... [et al.] 2. Michael Walsh : a personal reflection /? Ros Fraser 3. Place and property at Yintjingga/?Port Stewart under Aboriginal Law and Queensland Law /? Bruce Rigsby and Diane Hafner 4. Linguistic identities in the eastern Western Desert : the Tindale evidence /? Peter Sutton Juwaliny : dialectal variation and ethnolinguistic identity in the Great Sandy Desert /? Sally Dixon 6. Who were the 'Yukul'? and who are they now? /? Brett Baker 7. Colonisation and Aboriginal concepts of land tenure in the Darwin region /? Mark Harvey 8. Aboriginal languages and social groups in the Canberra region : interpreting the historical documentation /? Harold Koch 9. The Kuringgai puzzle : languages and dialects on the NSW Mid Coast /? Jim Wafer and Amanda Lissarrague 10. Dawes' Law generalised : cluster simplification in the coastal dialect of the Sydney language /? David Nash 11. Space, time and environment in Kala Lagaw Ya /? Lesley Stirling 12. Turn management in Garrwa mixed-language conversations /? Ilana Mushin and Rod Gardner 13. Laughter is the best medicine : roles for prosody in a Murriny Patha conversational narrative /? Joe Blythe 14. Collaborative narration and cross-speaker repetition in Umpila and Kuuku Ya'u /? Clair Hill 15. Co-narration of a Koko-Bera story : giants in Cape York Peninsula /? Paul BlackMaps, b&w photographs, charts, word listslanguage and identity, language maintenance, language and culture, language and country

The book tells the story of the Indigenous Aanaar Saami language (around 350 speakers) and cultural revitalisation in Finland. It offers a new language revitalisation method that can be used with Indigenous and minority languages, especially in cases where the native language has been lost among people of a working age. The book gives practical examples as well as a theoretical frame of reference for how to plan, organise and implement an intensive language programme for adults who already have a professional training. It is the first time that a process of revitalisation of a very small language has been systematically described from the beginning; it is a small-scale success story. The book finishes with self-reflection and cautious recommendations for Indigenous peoples and minorities who want to revive or revitalise their languages.Maps, colour photographsnative language studies, bilingual education, casle project, saami, language revival

The Wurrung Wurrung Kit is designed to introduce students at all levels to the heritage of Aboriginal languages within the area now known as Victoria. The kit aims to: Create awareness of Victorian Aboriginal languages in the past and present. The kit is not designed for the teaching of languages, Develop students' understanding of the relationship between the languages and culture of Victorian Indigenous people, or Koories, Create awareness of the importance of language to indigenous communities today and to foster respect for these communities and their languages, Highlight the diversity within Aboriginal Victoria and Australia in terms of languages and culture, Provide resources for students and teachers that can be used either as a window into Aboriginal culture generally, or to complement a broader unit of work in indigenous studies. Resources for teachers Purpose of this kit Using this kit Terminology Pronunciation Facts about Aboriginal languages in Victoria Language and Aboriginal culture Revitalizatoin of Aboriginal languages Language Alive in the community Community protocols Understanding the Language Map VELS and Curriculum links Teaching Framework Resources and contacts Activities for students Animal names Colouring in Possum Koala Kangaroo Code breaker What do yo know? Concentration Sounds, spellings and symbols Kinship Different things, different words Koorie Garden Timeline Story of Victorian Languages Language on the Mission Role Play Traditional Owners Placenames Graffiti Wall Map References.maps, b&w photographs, b&w illustrations, colour illustrations, games, referenceswoiwurrung, boonwurrung, gunnai kurnai, djadjawurrung, wathaurong, keerraywoorroong, jardwadjali, wergaia, ladjiladji, taungurung, dhudhuroa, kulin

Deals with the healing from colonial dispossession and the trauma caused Indigenous people by drug abuse, alcoholism and various forms of abuse. The creation of change and healing through personal stories.jiman, bundjalung, psychological trauma, psychology, indigenous mental health, spiritual healing

"A landmark history of Indigenous Australia which accompanies a major nine part Australian television series. It combines the most rigorous academic research with capitvating contemporary story-telling. Richly illustrated book that includes images of the landscape, evocative ninteenth-century photography and Aboriginal art. Written by Australia's leading Indigenous historian and public intellectuals"--Provided by publisher.maps, document reproductions, b&w illustrations, colour illustrations, colour photographs, b&w photographscolonisation, race relations, australian aboriginal history, pictorial histories

Section 1. Notes on the use of this resource Section 2. Policy support statements. Aboriginal Studies Policy Statement of Victorian Aboriginal Education Association Incorporated (VAEAI) National Principles and Guidelines for Aboriginal Studies and Torres Strait Islander Studies, K-12 Principles for the Introduction of Aboriginal Perspectives in the Curriculum of the Catholic School (Catholic Education Commission of Victoria Policy 1.3, 1987) Section 3. Language, culture and viewpoint: issues of terminology Section 4. Units of work Unit 1. Koorie people of south-east Australia: a contemporary view Unit 2. On sacred ground Unit 3. Koorie life in the pre-contact era Unit 4. Mulla Meea-Baa Gnuenjall: a long time ago, and today Unit 5. The land we share: human stories in the environment Unit 6. Frontier wars Unit 7. Aboriginal mission stations and reserves in Victoria Unit 8. Land, law and indigenous Australians Section 5. Directory of indigenous organisations and affiliated groups/?agencies. National organisations Victorian organisations Catholic Education Commission of Victoria Indigenous Education personnel Organisations within regions of the Archdiocese of Melbourne Organisations within regions of the Ballarat Diocese Organisations within regions of the Sale Diocese Organisations within regions of the Sandhurst Diocese Cultural centres/?camps across Victoria.maps, b&w photographsvaeai, history, curriculum development, koorie studies, catholic education commission of victoria, secondary school education,

The kit is designed for the general public, teachers and students, to give an understanding of Australian Indigenous people and culture and to break down stereotypes that are common in the school system and the wider community. The information presented is about the cultural, spiritual, economic and religious aspects of pre-contact societies. The impact of invasion on traditional societies and the post-colonial history of Australian Indigenous people is explored.Maps, b&w illustrations, b&w photographs, colour photographsculture, history, john batman, batman treaty, coranderrk mission, koorie culture, lake condah mission, kinship systems, aboriginal art, dreaming stories, kulin, gunai/kurnai, mara, wotjobaluk, wudjubaluk, koori