Pte W Shirley served with 13 Battalion during WW1. Whilst an inpatient at Lady Davidson Home ex Pte Shirley commuted to Ku-Ring-Gai Chase to cut the Sphinx out of rock as a Memorial to his comrades. The time taken for the project was approximately 1 year 6 months.This is a project of 5756 Pte W Shirley 13 Battalion AIF. The Memorial is dedicated 'To my Glorious Comrades of the AIF'2 x black and white photographs of the Sphinx War Memorial, Ku-Ring-Gai Chase, NSW. A buff coloured cover for the photographs with a detailed description of the Memorial and who was responsible for the erection and placement of the memorial.On the front of the 'Sphinx' 1st plaque - To my Glorious Comrades of the AIF, by the Late W. Shirley, no 5756, 13th Battalion. Died 27 August, 1929. 2nd plaque 'Lest We Forget'. 3rd plaque - 1914-1918.w shirley, aif, 13 battalion, sphinx memorial, ku-ring-gai chase, nsw

first nations artist, sculpture, dog, ku, animal, pet

first nations artist, sculpture, dog, ku, animal, pet

Various authors, technical linguistic studies of the encoding of particular syntactic functions across many Australian languages. Discussion of ?having? suffix, suffix -ku, syntactic ergativity, and verbal auxiliaries.Mapslinguistics, case relations in languages, pama-nyungan languages

1. Musical and linguistic perspectives on Aboriginal song Allan Marett and Linda Barwick Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 2. Iwaidja Jurtbirrk songs: Bringing language and music together Linda Barwick (University of Sydney), Bruce Birch and Nicholas Evans (University of Melbourne) Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 3. Morrdjdjanjno ngan-marnbom story nakka, ?songs that turn me into a story teller?: The morrdjdjanjno of western Arnhem Land Murray Garde (University of Melbourne) Morrdjdjanjno is the name of a song genre from the Arnhem Land plateau in the Top End of the Northern Territory and this paper is a first description of this previously undocumented song tradition. Morrdjdjanjno are songs owned neither by individuals or clans, but are handed down as ?open domain? songs with some singers having knowledge of certain songs unknown to others. Many morrdjdjanjno were once performed as part of animal increase rituals and each song is associated with a particular animal species, especially macropods. Sung only by men, they can be accompanied by clap sticks alone or both clap sticks and didjeridu. First investigations reveal that the song texts are not in everyday speech but include, among other things, totemic referential terms for animals which are exclusive to morrdjdjanjno. Translations from song language into ordinary register speech can often be ?worked up? when the song texts are discussed in their cultural and performance context. The transmission of these songs is severely endangered at present as there are only two known singers remaining both of whom are elderly. 4. Sung and spoken: An analysis of two different versions of a Kun-barlang love song Isabel O?Keeffe (nee Bickerdike) (University of Melbourne) In examining a sung version and a spoken version of a Kun-barlang love song text recorded by Alice Moyle in 1962, I outline the context and overall structure of the song, then provide a detailed comparative analysis of the two versions. I draw some preliminary conclusions about the nature of Kun-barlang song language, particularly in relation to the rhythmic setting of words in song texts and the use of vocables as structural markers. 5. Simplifying musical practice in order to enhance local identity: Rhythmic modes in the Walakandha wangga (Wadeye, Northern Territory) Allan Marett (University of Sydney) Around 1982, senior performers of the Walakandha wangga, a repertory of song and dance from the northern Australian community of Wadeye (Port Keats), made a conscious decision to simplify their complex musical and dance practice in order to strengthen the articulation of a group identity in ceremonial performance. Recordings from the period 1972?82 attest to a rich diversity of rhythmic modes, each of which was associated with a different style of dance. By the mid-1980s, however, this complexity had been significantly reduced. I trace the origin of the original complexity, explore the reasons why this was subsequently reduced, and trace the resultant changes in musical practice. 6. ?Too long, that wangga?: Analysing wangga texts over time Lysbeth Ford (University of Sydney) For the past forty or so years, Daly region song-men have joined with musicologists and linguists to document their wangga songs. This work has revealed a corpus of more than one hundred wangga songs composed in five language varieties Within this corpus are a few wangga texts recorded with their prose versions. I compare sung and spoken texts in an attempt to show not only what makes wangga texts consistently different from prose texts, but also how the most recent wangga texts differ from those composed some forty years ago. 7. Flesh with country: Juxtaposition and minimal contrast in the construction and melodic treatment of jadmi song texts Sally Treloyn (University of Sydney) For some time researchers of Centralian-style songs have found that compositional and performance practices that guide the construction and musical treatment of song texts have a broader social function. Most recently, Barwick has identified an ?aesthetics of parataxis or juxtaposition? in the design of Warumungu song texts and musical organisation (as well as visual arts and dances), that mirrors social values (such as the skin system) and forms 'inductive space' in which relationships between distinct classes of being, places, and groups of persons are established. Here I set out how juxtaposition and minimal contrast in the construction and melodic treatment of jadmi-type junba texts from the north and north-central Kimberley region similarly create 'inductive space' within which living performers, ancestral beings, and the country to which they are attached, are drawn into dynamic, contiguous relationships. 8. The poetics of central Australian Aboriginal song Myfany Turpin (University of Sydney) An often cited feature of traditional songs from Central Australia (CA songs) is the obfuscation of meaning. This arises partly from the difficulties of translation and partly from the difficulties in identifying words in song. The latter is the subject of this paper, where I argue it is a by-product of adhering to the requirements of a highly structured art form. Drawing upon a set of songs from the Arandic language group, I describe the CA song as having three independent obligatory components (text, rhythm and melody) and specify how text is set to rhythm within a rhythmic and a phonological constraint. I show how syllable counting, for the purposes of text setting, reflects a feature of the Arandic sound system. The resultant rhythmic text is then set to melody while adhering to a pattern of text alliteration. 9. Budutthun ratja wiyinymirri: Formal flexibility in the Yol?u manikay tradition and the challenge of recording a complete repertoire Aaron Corn (University of Sydney) with Neparr? a Gumbula (University of Sydney) Among the Yol?u (people) of north-eastern Arnhem Land, manikay (song) series serve as records of sacred relationships between humans, country and ancestors. Their formal structures constitute the overarching order of all ceremonial actions, and their lyrics comprise sacred esoteric lexicons held nowhere else in the Yol?u languages. A consummate knowledge of manikay and its interpenetrability with ancestors, country, and parallel canons of sacred y�ku (names), bu?gul (dances) and miny'tji (designs) is an essential prerequisite to traditional leadership in Yol?u society. Drawing on our recordings of the Baripuy manikay series from 2004 and 2005, we explore the aesthetics and functions of formal flexibility in the manikay tradition. We examine the individuation of lyrical realisations among singers, and the role of rhythmic modes in articulating between luku (root) and bu?gul'mirri (ceremonial) components of repertoire. Our findings will contribute significantly to intercultural understandings of manikay theory and aesthetics, and the centrality of manikay to Yol?u intellectual traditions. 10. Australian Aboriginal song language: So many questions, so little to work with Michael Walsh Review of the questions related to the analysis of Aboriginal song language; requirements for morpheme glossing, component package, interpretations, prose and song text comparison, separation of Indigenous and ethnographic explanations, candour about collection methods, limitations and interpretative origins.maps, colour photographs, tablesyolgnu, wadeye, music and culture

The St. Albans High School opened in 1956 and changed its name to St. Albans Secondary College in 19905536.01 - St. Albans Secondary College 1997 Year 9-5.jpg 3rd Row: Rea Ramos, Pauline Velkoska, Louise Papacharalambous, James De Sante, Mark Abela 2nd Row: Derrick Cassar, Andriana Filipovska, Diane Pirotta, Valentina Dupcinov, Mirjana Kostantinovic, Cindy Xerri, Mac Antansov, Tracylee Chapple Front Row: Louise Mifsud, Georgette Vella, Catherine Sweeney, Laura Campbell, Ryan Watt Teacher: Mrs. D. Coleman Absent: Kasey Wapshott, Steven Calpecos, Hugo Ortiz 5536.02 - St. Albans Secondary College 1997 Year 10-6.jpg 3rd Row: Quoc Anh Tran, James Pham, Luke Baldacchino, Chris Kirkopoulos, Leigh Spicer, Nathan Chick 2nd Row: Natasha Krstevski, Quan Thai, Jenny "Giang" Huynh, Lam Tran, Thanh Pham, Lisa Koutroupis, Thu Van Dang, Lena Celvska Front Row: Phuong Uyen Ho, Cuong Kien Le, My Hgoc Bui, Robert Gatt, Emmy Suwunnakal, Mary Hoang, Katherine Santos, Hong Kim Lee Teacher: Ms. J. Simpson Absent: Leng Be, Vu Nguyen, Thanh Truong 5536.03 - St. Albans Secondary College 1997 Year 11.jpg 8th Row: Pama Moses, Adam O'Flynn, Aaron Locke, Maarit Suonkmi, Sandra Petakovic, Sandra Milunovic, Ranko Vujkovic. Adis Kablar, Michael Ilie, Elvis Kesic, Robert Sarna, Yusuf Belik, Gregory Hluschko, Peter Kolevski, Huseyin Ylahayla, Ben Davies, Martin Mell, Dylan Btytex. Tania Briffa 7th Row: Nada Karaman, Maria Budair, Elena Pavicevic, Josip Kasalo, Troy Caldwell, Marvic Muscat, Suhnil Ilondi, Fndil Klancevle, Trong Dinh, Arturo Rojas, James Burt, Marijaneco Petkovski, Simone Wincar, Keana Kowanjko, Brandan Turner, Lucas Papacharalambous, Sandy D'Silva, Vashna Lal, Valentina Petrovska, Joao Jong 6th Row: Kili Nazifi, Tina Kuxanovska, Lidia Kostantinovic, Marina Kovacic, Marj Jankulovska, Elizabeth Majanovic, An Ho, Paul Cachin, Vu Truong, Neshwan Hurmex, Shane ratnam, Jasmin Allisle, Steven Veljanovski, Joe Tran, David Chieng, Baart Klek, Jimmy Ku, Lung Lai, Royee Lay, Cuong Truong 5th Row: Kerine Gun, Sanah Oblan, Diana Razamvska, Samantha Renda, Allison Bacchetti, Anil Mustafa, Linh Nguy, Gina Antonlo, Jacqueline Mifsud, Mellisa Plsani, David Lie, Leslie Kretzchmar, Kamil Sliwinski, Gebreil Medhanye, Son Nguyen, Jeffrey Lim, Sasko Usinov, Joseph Mercieca, David Kent, Bang Quach, Branka Jurilj 4th Row: Loan Le, Lieu Le, Kirsty Jones, Hung Ngo, Phuoe Pham, Branka Dragicevic, Hong Yvong, Melaine Kusznir, Natalie Kolendowska, Le Hang Tran, Yelly Meulenbrock, Betty Filipovska, Arzu Guncelar, Trang Tran, Elisa Tu'Itupou, Mira Mihajlov, Michelle Schreyer, Allison Anderson, Melissa Hardimann, Hau Nguyen, Jolanta Olesky, Stella Balaban, Maria Srokowska, Shane Willie, Warren O'Brien 3rd Row: Liem Tran, Sandra Gatt, Resmije Demiri, Ninna Clkoja, Ruth Farrugia, Anita Grasic, Nicolina Kondoska, Jaleh Forsyth, Faustina Surrao, Gabriela Avram, Natasha Mancevska, Diana Srbinovska, Tu Le, Huynh Nguyen, Phuong Nguyen, Thang Truong, Nhut Huynh, Renee Hill, Anne Tran, Lan Ngo, Duy He, Teng Sim, Ebru Osman, Maureen Binaday, Paul Spiteri, Marco Theodorou, Anh Vu Nguyen, Mauric Rivas-Sayes 2nd Row: Kim Ang Tran, Linh Lu, Christian Robas, Zora Nedelkovska, Hussein Hussein, Muc Nguyen, Am Iloang, Can Tran, Phuong Pham, Janette Jack, My Nguyen, Thinh Pham, Kristina Zelke, Diana Li, Ngoe Wang, Ue Chau Tran, Anna Abela, Vicky Nguyen Front Row: Thi Be Tran, Linda Tan, Jenny Nguyen, Lan Quach, Nhien Nguyen, Senthuy Tran, Soung Van, Thanh Vuong, Thuy Lam, Phuong Le, Trang Nguyen, Thuy Thi Tran, Michelle Seiberras, Sonta Li, Nuni sim, Frances Selberras, Cemaltye Ahmet, Hang Pham, Van Nguyen, Ly Lu, Ngoc Truong Teachers: Ms. M. Odde, Mr. J. Myers, Ms. Villani, Ms. R. Marehionda Absent: Gezim Alimsovski, Jana Bilali, Jason Bulter, Agim Emini, Elizabeth Cassar, Tien Quach, Lindita Rustemovska, Si Sin, Stacey Trinh, David Nguyen, Phuc Cao 5536.04 - St. Albans Secondary College 1997 Year 12.jpg 8th Row: Nick Sikman, Danial Love, Ovidiu Neagole, Michael Schrvyer, Peter Silkman, Tomhlav Pitra, Ferid Kbncevik, John Favlkie, Scott Mansfield, Daniel Samarxija, Michael Tasbnsan, Vrild Cehle, Daniel Lieurck, Danny Panlic, Vural Ramadan 7th Row: Veeraj Lal, Zlalko Hovaneck, Thai Tzo, Yi Fan Sun, Sam loutas, Patrick Agius, James Czarnoch, Paul Beska Anthea Lonsdale, Vladmir Ristevski, Andrew McKellar, Fady Ghanem, Mustafa Mustafa, Hien Le, Glang Nguyen, Truong Mai 6th Row: Sean Sutton, Darren Zammit, Tansu Cogar, Percival Jose, Nehir Abdicevie, Moses Mondia, Beadley Stamvenkovic, Kelvin Phan, Mervals Tawafi, Bao Nguyen, Rebecca Lutze, Avnija, Bala, Maryanne Tomsale, Julia Stam, Jodi Galea 5th Row: Angela Atanasovska, Bilyana Markovska, Dafina Kojdovska, Karina Locke, Kimblery Hindmarsh, Laura Obeid, Vang Bui, Cung Vu, Ramses Diana, Anh Tran, Nhiem Nguyen, Khuong Nguyen, Snezana Dimitrljevska, Louise Vella, Nada Mitrovic, Sally Petreski 4th Row: Trang Huynh, Taliya Cikoja, Maria Demetriou, Michelle Sie, Natall Musulin, Vkoteta, Bogojov, Anda Barun, Diana Cekovska, Nada Sismanovic, Vieleta Dimitrijecska, Michelle Stewart, Janelle Francis, Rebecca CAmpbell, Natasha Nikolovska, Sonia Dimitrievska, Menka Cyctanovska, Julie Kiriacoudis, Michelle Merceica, Nahida Garibovic 3rd Row: sandra De Sousa, Sifa Bahriyelli, Minushe Demiri, Alicia Cassar, Sonya Karovska, Kathy Debert, Mallorie Allen, Myrna Foentes, Tracey Singh, Meri Gheju, Suzie Mieecie, Stacey Brown, Julie Velevska, Tania Zdravkecska, Phi Tran Tracey Leung, Thao Phuong,, Ly Nguyen, Joanne Darvell, Thao Tran, Antoinette Alemida, Xuan Phan 2nd Row: Karolina Jovaneski, Suzi Ognenovska, Lily Rustemovska, Kirstin Mizis, Michelle Gatt, Phuong Le, Anna Nguyen, Ubanti, Nguy, Kristina Popovacki, Emina Gee, Anda Barisk, Sneza, Nikovski, Vanessa Catania, Front Row: Ngam ngo, Linh Luu, Phuong Lu, Katrina Gatt, Homaira Tawfi, Rosarin Suwuwwakul, Thanh Tran, Alde Lam, Chantha Kindavong, Huong Nguyen, Trang Nguyen, Nhu Ngo Absent: Emirson Allmovski, Stela Bervanakis, Svetlana Micevska, Hang Nguyen, Thang Nguyen, Jack Phillips, Hoang Phan, Phac Truong, Truong Doan, Chi Mai, Maria Oddo, Rosa Marchionda,John Myers, Carmela Vilbni 5536.05 - St. Albans Secondary College 1997 Staff.jpg 5th Row: Nigel tarr, Glenys Stevens, Brian Mundy, John Lacorcia, Rod Bear, Warren Niddrie, Ian Crocker, Andrew Wuttke, Craig Jennings, Maclor Himbury, Andrew McCarter, Peter Sinclair, Surjeet Singh, John Myers 4th Row: David Russell, Carolyn Learmonth, rosemary Banbury, Cinzia Cunningham, Frances Seketa, Trish Lowe, Stavroula Bekiarism, Stewart Fraserm Jon Kortuem, Les Chapman, Michael bowdenm Andrea Federico, Dorothy Coleman, Judy Simpson, Andrew Morrison 3rd Row: Graham Twist. Shayne Rule, Loue Traianou, Carol Greaves, Mark Micallef, Eric Gerqes, Volanda De Santos, John Cowl, Megan Jeffery, George Peart, Leonie McGannon, Kay Williams, Louise Talevska, Athan Theodorou, Denise Kirton, Andrea Miller, Rose Johnson 2nd Row: Janet McKenzie, Laura Gough, Miranda Truong, Stephaine Leontizdes, Michelle Veith, Thu Tran, Linh Dang, Mario Orsini, Roda Marchionda, Gael Meadowcroft Front Row: Vera Mitrovska, sue Brown, Pam Kernohan, ruth Radke, Ruth Hodgson, Kathy Haris, Roger Martin (Assistant Principal), Stewart Homer (Principal), Jo Doherty (Assistant Principal), Marla Oddo, Effie Goulas, Jaune Stephens, Jo Kelly, Amal Seif, Pam Oliver, Bev Davies st. albans high school, main road east, st. albans, st. albans secondary college

Clinton Naina’s earliest memory is attending Collingwood football matches at Victoria Park with his father and uncles. His dad was an avid Collingwood supporter and Naina proudly wore his football colours. Lining up to enter the grounds at the big old black-and-white painted wooden doors gave Naina the feeling of entering into another world. 'Rule 30' is a comment on race relations in sport. The artwork is made from the original doors located at the front entrance of the Collingwood Football Club’s grounds at Victoria Park. When the club was refurbished the door was gifted to Naina by a friend—an ex-Collingwood football player—for use in his art practice. The work depicts a big red target painted on the existing Black and white stripes—Collingwood colours—of the door. Naina placed a fabric number ‘30’ on top of the target—created from material used for numbers on the back of players’ football vests. This represents the individuals who have been racially vilified while playing football over many years. The red represents the colour of human blood, while the Blak and white Collingwood colours already painted on the wood are a very fitting comment on race relations. The door itself becomes a potent metaphor for “overcoming barriers, making change, breaking down doors and moving forth into a new era of respect for people”. Rule 30 in the AFL was the first racial vilification code in Australian sport. It prohibited conduct between players, clubs and other AFL officials, which threatened, disparaged, vilified or insulted another person on the basis of that person’s race, religion, colour, descent or ethnic origin. In 2013, ‘Rule 30’ was amended to ‘Rule 35’ to combat other forms of discrimination including disability, appearance and sexuality.The number '30' cut out of fabric placed on top of a painted red target at the centre of an existing black and white wooden door.Accompanying labelracism, sport, football, afl