The Wellesley Island decision: Offshore native title post Yarmirr and ward

Casenote on Federal Court decision, The Lardil Peoples v State of Queensland - recognition of non-exclusive native title rights and interests in offshore areas.

Of mermaids and spirit men

A late afternoon and two elderly people sit on an old, steel, wire-sprung camp stretcher bed. They sit back-to-back, engaging in commentary on the vehicles and people that pass them by. One of them, the old man, says suddenly, 'Me! I'm number one singer myself!' Without hesitation the old woman says, simply and bluntly, 'Bullshit!' For the next half an hour the dialogue between the two never varies though the utterances increase both in auditory levels and passion. To the outside observer the dialogue seems simple and nonsensical. However in the world of Yanyuwa music, composition and performance these two people - in their old age in the early 1980s - are unique. The old man Jerry Brown Ngarnawakajarra and the old woman Elma Brown a-Bunubunu are the last two people in Yanyuwa society to have had revealed to them what in this article we will call 'dream state' songs.

A longitudinal study of learning for a group of indigenous Australian university students: Dissonant conceptions and strategies

Conceptions of learning and strategies used by 15 indigenous students in three Australian universities were studied longitudinally over three years. Their academic achievements were good, but at a high cost in terms of time and effort. In spite of the fact that almost half of the students expressed higher-order (qualitative) conceptions of learning in the first year and more in the second and third years, all of the students reported using highly repetitive strategies to learn. That is, they did not vary their way of learning, reading or writing in the beginning of their studies and less than half of them did so at the end of the three years. It is argued that encountering variation in ways of learning is a prerequisite for the development of powerful ways of learning and studying.

AMS dating of rock art in the Laura Region, Cape York Peninsula, Australia - protocols and results of recent research

The authors describe rock art dating research in Australia using the oxalate method While the array of dates obtained (which range from c. 1200 to c. 25000 BP) show a satisfactory correlation with other archaeological data, there are mismatches which suggest that some motifs were often imitated by later artists, and/or that the mineral accretions continued to form periodically, perhaps continuously, as a regional phenomenon over a long period of time.

A visiting occupational therapy service to indigenous children in school: Results of a pilot project

The need for additional support for Indigenous children at school is well documented. Occupational therapists are well positioned to form part of this support. However, many occupational therapists report that Indigenous families do not access their services and when they do, the occupational therapist feels uncertain about how best to meet their needs. This article documents a pilot project which delivered occupational therapy services within several schools and preschools in Brisbane which had significant numbers of Indigenous students. The project was evaluated using a qualitative methodology and included focus groups and interviews with teachers and parents. The results indicated that in general the service provided valuable support to students, teachers and parents. In particular, providing the service within the school context was seen as critical to its success. Suggestions for improvements in future support services are also provided.

Moving and dancing towards decolonisation in education: An example from an Indigenous Australian performance classroom

This paper explores the special type of thinking, moving and dancing place which is opened up for decolonisaton when students engage in an embodied pedagogical practice in Indigenous education. The author examines what decolonisation means in this context by describing the ways in which the curriculum, the students and teacher, and more generally the discipline of ethnomusicology itself, undergo a process to question, critique, and move aside the pedagogical script of colonialism in order to allow Indigenous ways of understanding music and dance to be presented, privileged and empowered. Key questions are: What is the relationship between embodiment and disembodiment and decolonisation and colonisation? In what ways is embodiment more than, or other than, the presence of moving bodies? In what ways is performativity an aspect of power/knowledge/subject formations? How can it be theorised? What could the pedagogical scripts of decolonisation look like?