'Blood on the Wattle records the massacres, maltreatment and spread of the white men's diseases that resulted in these astounding figures. It describes all of the major massacres of Australian Aborigines which have occurred since the arrival of the first fleet in 1788. From the early attacks on the Aborigines of the Sydney basin through the long history of the violence along the frontier to the final massacres in the Northern Territory and northern Western Australia in the late 1920s, the book tells of the plight of the Aborigines who were killed by the gun, the sword, disease and poisoning.(...more)
'Norman washes the clothes by hand in water drawn from the Hawksbury River, which runs through part of the artist’s ancestral country. The Hawksbury region was one of the first areas outside of Port Jackson (Sydney) to be occupied by free settlers, and saw some of the earliest and bloodiest conflicts between local clans and Europeans.'
'Norman washes the clothes silently and hangs them to dry on lines which intersect the space. When the clothes are hung out, they form an unstable surface for a looping projection of analogue slides, each hand inscribed with the name, date and location of every documented massacre of Indigenous people that has taken place on the Australian continent under British colonial rule.(...more)
'From Kim Scott, two-times winner of the Miles Franklin Literary Award, comes a work charged with ambition and poetry, in equal parts brutal, mysterious and idealistic, about a young woman cast into a drama that has been playing for over two hundred years ...
'Taboo takes place in the present day, in the rural South-West of Western Australia, and tells the story of a group of Noongar people who revisit, for the first time in many decades, a taboo place: the site of a massacre that followed the assassination, by these Noongar's descendants, of a white man who had stolen a black woman.(...more)
'Freda Glynn was never a big talker but these days she talks even less. When her documentary filmmaker daughter Erica Glynn tells her she wants to make a film about her, Freda responds simply with a shrug. And yet Freda has so much to relate. She could, for instance, talk about how she ran CAAMA, the Central Australian Aboriginal Media Association, an organisation that has been dedicated to Aboriginal music and culture since the early 1980s. Or perhaps how she trained Indigenous filmmakers at Imparja Television, casually managing to raise five children on her own at the same time.(...more)
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