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"Yolngu (Australian people) Social life and customs."
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Another country
The great Australian Aboriginal actor David Gulpilil tells the tale about when his people’s way of life was interrupted by ours.
Streaming Video
Shimmering Screens
A rich ethnographic study, Shimmering Screens examines the productive, and sometimes problematic, conjunctions of technology, culture, and imagination in contemporary Yolngu life. Jennifer Deger offers a new perspective to ongoing debates regarding “media imperialism.” Reconsidering assumptions about the links between representation, power, and “the gaze,” she proposes the possibility of a more mutual relationship between subject, image, and viewer.
eBook
Twelve canoes
A beautiful documentary from acclaimed Australian filmmaker Rolf de Heer, Twelve Canoes paints a compelling portrait of the people, history, culture and place of the Yolngu people whose homeland is the Arafura Swamp of north-central Arnhem Land in the Northern Territory, Australia.
Streaming Video
Experiments in self-determination
Outstations, which dramatically increased in numbers in the 1970s, are small, decentralised and relatively permanent communities of kin established by Aboriginal people on land that has social, cultural or economic significance to them. In 2015 they yet again came under attack, this time as an expensive lifestyle choice that can no longer be supported by state governments. Yet outstations are the original, and most striking, manifestation of remote-area Aboriginal people’s aspirations for self-determination, and of the life projects by which they seek, and have sought, autonomy in deciding the meaning of their life independently of projects promoted by the state and market. They are not simply projects of isolation from outside influences, as they have sometimes been characterised, but attempts by people to take control of the course of their lives. In the sometimes acrimonious debates about outstations, the lived experiences, motivations and histories of existing communities are missing. For this reason, we invited a number of anthropological witnesses to the early period in which outstations gained a purchase in remote Australia to provide accounts of what these communities were like, and what their residents’ aspirations and experiences were. Our hope is that these closer-to-the-ground accounts provide insight into, and understanding of, what Indigenous aspirations were in the establishment and organisation of these communities.
eBook
A question of value: Time to redress the price of silence
In August 2016, I stood on the sacred ceremonial grounds of the Yolngu, the people of north-east Arnhem Land, for the annual Garma Festival. I have been to the festival a number of times, but more than any other, this time held a great deal of poignancy for me.
Journal Article
A question of value: Time to redress the price of silence
In August 2016, I stood on the sacred ceremonial grounds of the Yolngu, the people of north-east Arnhem Land, for the annual Garma Festival. I have been to the festival a number of times, but more than any other, this time held a great deal of poignancy for me.
Journal Article
White ears and whistling duck: Waiting for the cicadas to sing
In Yolngu culture - the Aboriginal language group of north-eastern Arnhem Land - there is a song sequence for the small, anchovy-like fish that lives, uniquely, around the estuarial brackish where ocean water marries fresh in a long, deep kiss. The fish is called gunmarra, and its song describes the fine-boned animal and its foamy habitat. Although sacred, this knowledge is no secret: Yothu Yindi sing the sequence on their 1989 debut album, Homeland Movement (Mushroom Records International). The cover of Homeland Movement is illustrated with a fine white lattice, each diamond interior coloured yellow or reddish-brown or black. This is the gunmarra's home - that churning body of water where the fresh, embracing the salt, is pulled out to sea called ganma.
Journal Article
White ears and whistling duck: Waiting for the cicadas to sing
In Yolngu culture - the Aboriginal language group of north-eastern Arnhem Land - there is a song sequence for the small, anchovy-like fish that lives, uniquely, around the estuarial brackish where ocean water marries fresh in a long, deep kiss. The fish is called gunmarra, and its song describes the fine-boned animal and its foamy habitat. Although sacred, this knowledge is no secret: Yothu Yindi sing the sequence on their 1989 debut album, Homeland Movement (Mushroom Records International). The cover of Homeland Movement is illustrated with a fine white lattice, each diamond interior coloured yellow or reddish-brown or black. This is the gunmarra's home - that churning body of water where the fresh, embracing the salt, is pulled out to sea called ganma.
Journal Article
Gunybi Ganambarr: Yolngu lightning
It's to be hoped that Gunybi Ganambarr doesn't read his own catalogues. Of Guynbi's solo exhibition at Annandale Galleries, Sydney, earlier this year, the Sydney Morning Herald's John McDonald generated hyperbole sufficient to turn any young man's head: 'It's hard to think of another artist of any nationality or ethnicity that has made so many leaps in such a short space of time.' He then casually compares the North East Arnhem Land star with Carl Andre and Andy Warhol, concluding that their revolutionary breakthroughs 'were ridiculously trivial alongside Gunybi Ganambarr'!
Journal Article