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Author: Baldwin Spencer Publisher: ISBN: Category : Australia Languages : en Pages : 696
Book Description
V.1, pt.1; Geographical & binyurri), pointing bones & sticks, method of pointing, influence of magic love charms, Kurdaitcha, description of shoes; medicine men & sorcerers - method of graduation; Alchera beliefs & the cult of ritual objects, sacred objects of Urabunna, Luritcha & Arunta, Kaitish, Warramunga, stone & wooden ritual objects, sacred totemic beliefs, tradition dealing with Achilpa, or Wild Cat totem - ancestral route given with native place; names, map of totemic topography, meaning of designs on ritual objects; Engwura ceremony, 1895, plan of ceremonial ground, detailed account of totemic ceremonies, part enacted by women; camp at Charlotte Waters - rain making ceremony described, words of song; stone arrangement Finke valley, mythological background; rock drawings at Ooraminna; sun, witchetty grub & eagle hawk ceremonies performed; avenging expedition (Atinga); Barrow Creek, Kaitisha & Unmatchera people; history of the massacre in 1874; history of ancestor of rain man, grass seed totem ceremony, body decoration belief about the comet; myth explaining tooth avulsion, method of operation, magic; charm made of human hair & owl feathers carried by avenging parties; Tennant Creek - Warramunga; physical appearance, hair depilation; camp life; wearing womans headdress by men to cure headache, tooth avulsion operation, tooth afterwards ground & eaten by mother (if a girls tooth) & eaten by mother in law (if mans); Gammona relationship among Warramunga; ceremonies connected with hair; ban of silence, use of gesture language - 47 signs illustrated with meaning; details of fire ceremony.
Author: Baldwin Spencer Publisher: ISBN: Category : Australia Languages : en Pages : 696
Book Description
V.1, pt.1; Geographical & binyurri), pointing bones & sticks, method of pointing, influence of magic love charms, Kurdaitcha, description of shoes; medicine men & sorcerers - method of graduation; Alchera beliefs & the cult of ritual objects, sacred objects of Urabunna, Luritcha & Arunta, Kaitish, Warramunga, stone & wooden ritual objects, sacred totemic beliefs, tradition dealing with Achilpa, or Wild Cat totem - ancestral route given with native place; names, map of totemic topography, meaning of designs on ritual objects; Engwura ceremony, 1895, plan of ceremonial ground, detailed account of totemic ceremonies, part enacted by women; camp at Charlotte Waters - rain making ceremony described, words of song; stone arrangement Finke valley, mythological background; rock drawings at Ooraminna; sun, witchetty grub & eagle hawk ceremonies performed; avenging expedition (Atinga); Barrow Creek, Kaitisha & Unmatchera people; history of the massacre in 1874; history of ancestor of rain man, grass seed totem ceremony, body decoration belief about the comet; myth explaining tooth avulsion, method of operation, magic; charm made of human hair & owl feathers carried by avenging parties; Tennant Creek - Warramunga; physical appearance, hair depilation; camp life; wearing womans headdress by men to cure headache, tooth avulsion operation, tooth afterwards ground & eaten by mother (if a girls tooth) & eaten by mother in law (if mans); Gammona relationship among Warramunga; ceremonies connected with hair; ban of silence, use of gesture language - 47 signs illustrated with meaning; details of fire ceremony.
Author: Sir Baldwin Spencer Publisher: ISBN: Category : Aboriginal Australians Languages : en Pages : 722
Book Description
V.1, pt.1; Geographical & binyurri), pointing bones & sticks, method of pointing, influence of magic love charms, Kurdaitcha, description of shoes; medicine men & sorcerers - method of graduation; Alchera beliefs & the cult of ritual objects, sacred objects of Urabunna, Luritcha & Arunta, Kaitish, Warramunga, stone & wooden ritual objects, sacred totemic beliefs, tradition dealing with Achilpa, or Wild Cat totem - ancestral route given with native place; names, map of totemic topography, meaning of designs on ritual objects; Engwura ceremony, 1895, plan of ceremonial ground, detailed account of totemic ceremonies, part enacted by women; camp at Charlotte Waters - rain making ceremony described, words of song; stone arrangement Finke valley, mythological background; rock drawings at Ooraminna; sun, witchetty grub & eagle hawk ceremonies performed; avenging expedition (Atinga); Barrow Creek, Kaitisha & Unmatchera people; history of the massacre in 1874; history of ancestor of rain man, grass seed totem ceremony, body decoration belief about the comet; myth explaining tooth avulsion, method of operation, magic; charm made of human hair & owl feathers carried by avenging parties; Tennant Creek - Warramunga; physical appearance, hair depilation; camp life; wearing womans headdress by men to cure headache, tooth avulsion operation, tooth afterwards ground & eaten by mother (if a girls tooth) & eaten by mother in law (if mans); Gammona relationship among Warramunga; ceremonies connected with hair; ban of silence, use of gesture language - 47 signs illustrated with meaning; details of fire ceremony.
Author: Susan Lowish Publisher: Routledge ISBN: 1351049976 Category : Art Languages : en Pages : 292
Book Description
This book aims to redefine Australia’s earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term’s use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.
Author: Jo McDonald Publisher: ANU Press ISBN: 1760465364 Category : Social Science Languages : en Pages : 306
Book Description
Australia has one of the largest inventories of rock art in the world with pictographs and petroglyphs found almost anywhere that has suitable rock surfaces – in rock shelters and caves, on boulders and rock platforms. First Nations people have been marking these places with figurative imagery, abstract designs, stencils and prints for tens of thousands of years, often engaging with earlier rock markings. The art reflects and expresses changing experiences within landscapes over time, spirituality, history, law and lore, as well as relationships between individuals and groups of people, plants, animals, land and Ancestral Beings that are said to have created the world, including some rock art. Since the late 1700s, people arriving in Australia have been fascinated with the rock art they encountered, with detailed studies commencing in the late 1800s. Through the 1900s an impressive body of research on Australian rock art was undertaken, with dedicated academic study using archaeological methods employed since the late 1940s. Since then, Australian rock art has been researched from various perspectives, including that of Traditional Owners, custodians and other community members. Through the 1900s, there was also growing interest in Australian rock art from researchers across the globe, leading many to visit or migrate to Australia to undertake rock art research. In this volume, the varied histories of Australian rock art research from different parts of the country are explored not only in terms of key researchers, developments and changes over time, but also the crucial role of First Nations people themselves in investigations of this key component of their living heritage.
Author: Diana Wood Conroy Publisher: Sydney University Press ISBN: 1743328656 Category : Art Languages : en Pages : 368
Book Description
Tiwi Textiles: Design, Making, Process tells the story of the innovative Tiwi Design centre on Bathurst Island in northern Australia, dedicated to the production of hand-printed fabrics featuring Indigenous designs, from the 1970s to today. Written by early art coordinator Diana Wood Conroy with oral testimony from senior Tiwi artist Bede Tungutalum, who established Tiwi Design in 1969 with fellow designer Giovanni Tipungwuti, the book traces the beginnings of the centre, and its subsequent place in the Tiwi community and Australian Indigenous culture more broadly. Bringing together many voices and images, especially those of little-known older artists of Paru and Wurrumiyanga (formerly Nguiu) on the Tiwi Islands and from the Indigenous literature, Tiwi Textiles features profiles of Tiwi artists, accounts of the development of new design processes, insights into Tiwi culture and language, and personal reflections on the significance of Tiwi Design, which is still proudly operating today. 'Tiwi Textiles is a unique historical document, a formidable vindication of the accomplishments of great Indigenous artists, and an account of a missing chapter in world art history. The book is a wonderful chronicle of a vital and fertile period for Tiwi practice in the emergence of contemporary Indigenous art. But it is also a charter for the future.' — Nicholas Thomas FBA FAHA Director, Museum of Archaeology and Anthropology, University of Cambridge 'Wood Conroy not only writes, intricately and sensitively, a vital history of Tiwi art: she also firms up the place of fibre and textiles practices in Indigenous art and leaves space for us to consider how art history can shift to become more responsive to the lived realities of Indigenous peoples and our non-Indigenous accomplices.' — Tristen Harwood, The Saturday Paper
Author: Marie Geissler Publisher: Cambridge Scholars Publishing ISBN: 1527564274 Category : Art Languages : en Pages : 228
Book Description
This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.
Author: Baldwin Spencer
Author: Baldwin Spencer
Author: Sir Baldwin Spencer
Author: Wilfred Powell
Author: Baldwin Spencer
Author: 
Author: 
Author: Susan Lowish
Author: Jo McDonald
Author: Diana Wood Conroy
Author: Marie Geissler