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Item Metadata only How Australians Live: Social Policy in Theory and Practice(Macmillan Australia, 1989)Item Metadata only How Australians Live: Social Policy in Theory and Practice(Macmillan Education, 1993) Graycar, A.; Jamrozik, A.The new edition of this title brings the examination of the theory and practice of the welfare state in Australia up to date with documentation of changes since the first edition in 1989.Item Metadata only Crime and Justice in Australia(Hawkins Press, 1997) Mukherjee, S.K.; Graycar, A.Published with the Australian Institute of Criminology.This book gives a comprehensive picture of crime and the criminal justice system in Australia in the mid-1990s.Item Metadata only Constructing Subaltern Silence in the Colonial Archive: An Australian Case Study(University of New England, 2016) Speedy, K.E.On 8 June 1857, the barque Sutton, chartered by Franco-Australian Sydney trader Didier Numa Joubert and Reunionese merchant, 'Monsieur Chateau', and captained by Joseph Wilson, sailed from Sydney harbour. Her mission was to proceed to the Pacific Islands to take on board up to 370 'male and female immigrants'. These were to be sold to sugar planters in Reunion who, post-abolition and in the midst of a sugar boom, were desperate for workers. When the Sutton dropped anchor in St. Denis nearly five months later, however, her South Sea Island 'cargo', the first known group of workers from Micronesia and Melanesia to be introduced into Reunion, comprised only 66 male 'recruits'. These 'natives' were 'carefully examined and interrogated by the - Immigration and Medical Board' before being 'hired for 5 years'. Captain Wilson pocketed 40 per worker. But any plans for a second shipment were scuttled by the two disgruntled white men that Wilson had picked up in the Gilberts (Kiribati). For quite self-serving reasons, they alerted Mauritian authorities to certain irregularities on board. An enquiry was launched by the Mauritian Governor, William Stevenson, for whom this incident had the hallmarks of illegal French slave trading.Item Metadata only Home Alone: Solitary Pleasures(Dr Georgina Downey, 2017) Downey, G.Item Open Access L’Ordre et la Morale: Looking Beyond the Transnational in a Non-indigenous Film About Recent Pacific History(University of Otago, 2017) Speedy, K.E.Most films about the Pacific may be described as transnational in terms of production (and often content), but is it ever possible, within a Postcolonial or Indigenous critique, to move beyond conversations about appropriation? And is the transnational aspect of the film the most useful way to categorise it? Specifically engaging with the Mathieu Kassovitz film L’Ordre et la morale, a retelling of the 1988 French military assault on Kanak hostage-takers in Ouvéa, New Caledonia, this article explores whether we can reconcile the twin dangers of Pacific narratives going untold (and the consequent erasure felt by Indigenous people) versus the peril of Pasifika people seeing only shallow, erroneous, or negative stereotypes of themselves on screen. What role, if any, can non-Indigenous filmmakers play in the cinematic reproduction of Indigenous Pacific histories?Item Metadata only The archaeology of Maliwawa: 25,000 years of occupation in the Wellington Range, Arnhem Land(Informa UK Limited, 2018) Wesley, D.; Litster, M.; O’Connor, S.; Grono, E.; Theys, J.; Higgins, A.; Jones, T.; May, S.K.; Taçon, P.The archaeology of Bald Rock 1, Bald Rock 2 and Bald Rock 3 at the sandstone outcrop of Maliwawa has established 25,000 years of Indigenous occupation in the Wellington Range, northwestern Arnhem Land. Flaked stone artefacts were found from the beginning of the sequence, with ground-edge axes, pounding and grinding technology and ochre recovered from deposits dating from the Last Glacial Maximum (LGM) to the recent contact period. Maliwawa was occupied during the LGM and other major regional environmental changes arising from post-glacial sea level rise and stabilisation along with the climatic variability of the Indonesian Australian Summer Monsoon (IASM) and El Nino Southern Oscillation (ENSO), ~ supporting models that define Arnhem Land as a refugium. Lithic assemblages are represented by a quartz and quartzite flake abundance technological strategy, with an unusual lack of stone points observed, although other typical Arnhem Land Holocene retouched lithics are present. Raw material diversity in the late Holocene, alongside a variety of emergent pan-Arnhem Land rock art styles in the Wellington Range, supports the proposition of increasing exchange between Indigenous groups. These changes in the archaeological record signal the expansion of cultural systems throughout western Arnhem Land, documented historically and archaeologically, at the time of culture contact.Item Metadata only Beyond the colonial encounter: global approaches to contact rock art studies(Taylor and Francis Group, 2018) Goldhahn, J.; May, S.K.How can rock art signal contact between different social groups and cultures? In this special collection of papers for Australian Archaeology, we find several different answers to this question, based on a number of Australian and International case studies first presented at The Second International Contact Rock Art Conference in Darwin, September 2013 and further developed in the years since. In this introductory paper, we set these important depictions in a global context, and explore some of the information that contact rock art offers in studying past, present and emerging societies.Item Open Access Review: Matthew Potter, British Art for Australia, 1860-1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries(Association of Historians of Nineteenth-Century Art, 2019) Body, R.M.no abstract availableItem Metadata only 'This is my father's painting': a first hand account of the creation of the most iconic rock art in Kakadu National Park(Australian Rock Art Research Association, 2019) May, S.K.; Maralngurra, J.G.; Johnston, I.G.; Goldhahn, J.; Lee, J.; O'Loughlin, G.; May, K.; Nabobbob, C.N.; Garde, M.; Tacon, P.S.C.The Anbangbang Gallery in the Burrungkuy area of Kakadu National Park includes some of the most iconic rock art imagery from Australia. Visited and enjoyed by tens of thousands of visitors every year it stands as a testament to Aboriginal culture and provides a glimpse into the remarkable rock art traditions of this region. Yet, most visitors are surprised to discover that rock art was still being produced at this site in the 1960s. In this paper, we explore the most recent rock art created at the Anbangbang Gallery. Most importantly, we present new evidence from a first-hand account of the paintings being created in 1963/64 and discuss the implications of these new insights for our understanding of the practice, the artists, and the social context of rock art in northern Australia.Item Open Access Anne-Louise Willoughby, Nora Heysen: A Portrait(German Association for Australian Studies. Gesellschaft für Australienstudien, 2020) Body, R.Item Open Access Exposing the colonial routes of Island connectedness beneath the apparent French roots of Hunters Hill (Sydney, Australia)(MACQUARIE UNIV, DIV HUMANITIES, 2020) Speedy, K.The #BlackLivesMatter (BLM) movement, which has seen the felling of statues of white invaders, colonisers and slave traders, has highlighted the racist legacy of slavery and the inequities, racism and ongoing impact of colonialism throughout the world. The toppling of statues sits within an ongoing historical push to remove visible tributes to colonial violence from the land. The colonial project, however, in its consumption and transformation of the colonised space, has seen the settler narrative firmly imprinted on the landscape. While knocking down statues is a powerful demonstration of resistance, the layers of embedded colonial presence in and on the landscape and in the national narrative remain. In this article, in the spirit of the BLM movement and through both decolonial/activist historiography and a creative/poetic interpretative approach to history writing, I challenge and topple the colonial narrative surrounding Didier-Numa Joubert, 19th Century Franco-Australian trans-imperial entrepreneur and slave trader with interests in and across islands in the Pacific and Indian Oceans. A man of routes but also of roots, Joubert’s legacy is embodied not in a statue but in the topography and European architecture of Hunters Hill, the Sydney suburb he ‘founded’. I reveal how the ostensible Frenchness of Hunters Hill, ‘islanded’ between two rivers, conceals a complex history of island connection to far-flung sites of colonial exploitation and forced labour in the French and British empires.Item Metadata only Rethinking the age and unity of large naturalistic animal forms in early Western Arnhem Land Rock Art, Australia(Taylor and Francis Group, 2020) Jones, T.; Wesley, D.; May, S.K.; Johnston, I.G.; McFadden, C.; Taçon, P.S.C.The analysis of style is a widespread method for describing classes of rock art and plays a significant role in forming a chronology for Arnhem Land rock art assemblages. A longstanding issue identified in Arnhem Land rock art has been the ill-defined nature of the ‘Large Naturalistic Style’ (LNS) as originally proposed by rock art researcher George Chaloupka. We have re-examined the distribution, frequency and the stylistic design attributes of 163 early naturalistic macropod paintings from 88 rock art sites across the region utilising predominately legacy records. This provides us with an opportunity to re-examine Chaloupka’s stylistic category of the LNS and describe and map the stylistic attributes used by Indigenous artists in the depictions of early naturalistic animal forms that occur through the Early and Middle Periods (from Pleistocene to early Holocene). We examine Chaloupka’s LNS against established criteria for the definition of a style, such as whether it exhibits a specific and characteristic manner of production and if it is localised to a specific time and place. We present the first reported quantifiable dataset of design attributes for this regional art type. The results provide an opportunity to re-evaluate the temporal and spatial coherence of the Large Naturalistic Style class of rock art. Although a generalised standard depiction of naturalistic macropod forms exists in Early Period rock art, the original definition of LNS and its chronological placement in the rock art sequence is not supported. Therefore, we propose using the more generalised term ‘early large naturalistic fauna’ to represent this class of rock art, rather than LNS in the Arnhem Land rock art schema. This provides a platform by which future research can attempt to investigate the function of early large naturalistic fauna and the potential links of this class of rock art to group identity, ritual and religious behaviours in northern Australia.Item Metadata only Maliwawa figures—a previously undescribed Arnhem Land rock art style(Taylor and Francis Group, 2020) Taçon, P.S.C.; May, S.K.; Lamilami, R.; McKeague, F.; Johnston, I.G.; Jalandoni, A.; Wesley, D.; Sanz, I.D.; Brady, L.M.; Wright, D.; Goldhahn, J.In this paper, a previously undescribed rock art style consisting of large human figures and animals with stroke-line infill is introduced. These depictions have been named Maliwawa Figures. They are primarily found in northwest Arnhem Land and to date have been recorded at 87 sites from Awunbarna (Mount Borradaile area) to the Namunidjbuk clan state of the Wellington Range. There are solitary figures and others arranged in compositions or scenes. We describe the features of this style, its distribution, subject matter and probable age. The results of a detailed analysis of all sites are discussed and a new, refined Arnhem Land rock art chronology is presented. It is concluded that Maliwawa Figures are most likely to date between 6,000 to 9,400 years of age and to be contemporaneous with Northern Running Figures and Yam Figures found at sites to the south.Item Open Access Survival, Social Cohesion and Rock Art: The Painted Hands of Western Arnhem Land, Australia(Cambridge University Press, 2020) May, S.K.; Taylor, L.; Frieman, C.; Taçon, P.S.C.; Wesley, D.; Jones, T.; Goldhahn, J.; Mungulda, C.This paper explores the complex story of a particular style of rock art in western Arnhem Land known as ‘Painted Hands’. Using new evidence from recent fieldwork, we present a definition for their style, distribution and place in the stylistic chronologies of this region. We argue these motifs played an important cultural role in Aboriginal society during the period of European settlement in the region. We explore the complex messages embedded in the design features of the Painted Hands, arguing that they are more than simply hand stencils or markers of individuality. We suggest that these figures represent stylized and intensely encoded motifs with the power to communicate a high level of personal, clan and ceremonial identity at a time when all aspects of Aboriginal cultural identity were under threat.Item Metadata only How 3D models (photogrammetry) of rock art can improve recording veracity: a case study from Kakadu National Park, Australia(Taylor and Francis Group, 2020) Jalandoni, A.; May, S.K.Creating an inventory of a rock art site in the field can be time-consuming and expensive, but Structure-from-Motion (SfM) photogrammetry has the potential to alleviate these issues. Using SfM, rock art sites can be recorded rapidly, with a 3D model created to allow a digital inventory to be compiled. However, the veracity of a digital inventory can be questioned. At the Blue Paintings site in Kakadu National Park, Australia, we tested two field inventories against a digitally-derived inventory and ground-truthed the results. The results demonstrated that the digitally-derived inventory was slightly less comprehensive than the field recordings, but only unidentified lines and blotches were lacking; this would not necessarily adversely influence interpretation. Furthermore, the field inventories conducted by different people also had variations, demonstrating that whether the inventory is done on a 3D model or in the field, an inventory is still a human interpretation.Item Metadata only "Our dad's painting is hiding, in secret place": reverberations of a rock painting episode in Kakadu National Park, Australia(Archaeological Publications; Australian Rock Art Research Association, 2021) Goldhahn, J.; Biyalwanga, L.; May, S.K.; Blawgur, J.; Taçon, P.S.C.; Sullivan, J.; Johnston, I.G.; Lee, J.This paper presents and discusses a 1972 rock painting episode at Koongarra in Kakadu National Park in the Northern Territory, Australia. This painting, which depicts a macropod, was created by Billy Miargu when he camped at a sandstone outlier with his wife and young daughter. It was documented by two rock art scholars, George Chaloupka and Robert Edwards, but interpreted as untraditional 'casual art'. Using a community-based approach, we re-evaluate this painting episode by (i) exploring the depicted subject matter from an emic perspective, demonstrating how it refers to the origin myth of an important ceremony, and, (ii) through interviews with the descendants of the artist, we discuss and investigate how the 1972 painting episode is commemorated and understood today. Our findings are grounded in contemporary discussion within anthropology and archaeology that explores multivocal Indigenous voices in the interpretation of material culture in general, and rock art in particular.Item Metadata only À la mode In Hunters Hill(Blackmail Press, 2021) Speedy, K.; Carter, M.Item Metadata only Le tayo de Nouvelle-Calédonie : un cas d’étude pour repenser les histoires des origines des langues creoles(L'Harmattan, 2021) Speedy, K.; Fillol, V.; Vandeputte, L.Item Metadata only The missing Macassans: Indigenous sovereignty, rock art and the archaeology of absence(Taylor and Francis Group, 2021) May, S.K.; Wesley, D.; Goldhahn, J.; Lamilami, R.; Taçon, P.S.C.The contact period rock art of northern Australia provides unprecedented insights into Aboriginal cross-cultural experiences during the last few hundred years. Northwest Arnhem Land, Australia, has an extensive rock art assemblage and a complicated history of interactions between Aboriginal communities and island South East Asians (Macassans), colonists, explorers, missionaries, buffalo shooters, and more. This contact period rock art offers a unique opportunity to explore a variety of questions relating to cross-cultural interactions and artistic responses to new people, objects and ideas. In this paper we argue that a dichotomy exists in the number of European and south-east Asian themed rock art motifs. We suggest that there is an underlying theme in the proliferation of European related imagery relating to threats to Indigenous sovereignty. Our findings suggest that rock art illustrates the Aboriginal community’s responses to both groups and their experience of the existential threat posed by European intruders. The apparent lack of rock art relating to south-east Asian interactions, although perplexing, may in fact provide circumstantial evidence for a very different type of interaction between some northern Australian and south-east Asian communities.