171 resultados para Aboriginal missions

em Deakin Research Online - Australia


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This chapter focuses on Matilda Ward, a missionary at the Presbyterian mission of Mapoon, north Queensland, and the first paid woman missionary to work on an Aboriginal mission. It examines the factors that led to Ward’s employment on the mission, the role that she played in the life of the mission and the consequences of her actions for Indigenous mission residents. While Matilda Ward was unusual for her time, her experience points to broader shifts in missionary practice and attitudes to gender within the Australian churches, particularly through the development of women’s missionary societies.

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This article examines the missionary career of Geraldine MacKenzie who, with her husband Bill MacKenzie, served on the Presbyterian mission at Aurukun on the Cape York Peninsula between 1925 and 1965. It focuses primarily on MacKenzie’s own interpretation of and reflection on her experiences, as described in her memoir, Aurukun Diary. While the memoir elides some of the more controversial features of the MacKenzies’ tenure at Aurukun, it provides insights into the changing nature of missionary theology and practice on Aboriginal missions in the early twentieth century, particularly as they relate to the role of women—both missionaries and mission residents.

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In 1901, the parliament of the new Commonwealth of Australia passed a series of laws designed, in the words of the Prime Minister Edmund Barton, “to make a legislative declaration of our racial identity”. An Act to expel the large Pacific Islander community in North Queensland was followed by a law restricting further immigration to applicants who could pass a literacy test in a European language. In 1902, under the Commonwealth Franchise Act, “all natives of Asia and Africa” as well as Aboriginal people were explicitly denied the right to vote in federal elections. The “White Australia policy”, enshrined in these laws, was almost universally supported by Australian politicians, with only two members of parliament speaking against the restriction of immigration on racial grounds.

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The author takes up the challenge from social psychologists to explore the coping responses of those who experience racism. Previous attempts to provide taxonomies of responses to racism-discrimination-oppression are reviewed. An analysis of data derived from semistructured interviews conducted with 34 Indigenous Australians that explored experiences of racism and emotional and behavioral responses is reported, and a taxonomy of coping made up of 3 broad categories is presented. The defining feature of these categories is the purpose of the responses contained therein: to defend the self, to control or contain the reaction, or to confront the racism. It is argued that this may be a more useful way to understand responses to racism than taxonomies previously proposed.

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Royal Commission into Aboriginal Deaths in Custody examined in the context of R v Scobie - the use made of the Commission's recommendations by Justice Gray in R v Scobie - questioning the value of imprisonment for certain types of offenders.

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The Aboriginal cultural sector is dynamic and highly valuable to the Australian economy, returning an estimated $100 million dollars annually. The majority of Aboriginal artists and art works have been perceived to be in northern Australia— eighty per cent of them are in fact in this region—but Aboriginal artists in south-eastern Australia are emerging as a strong force as they struggle for recognition from commercial and national galleries, curators, art dealers, newspaper critics, and buyers. If marketing is to be effectual, the Aboriginality of the art must be presented in a form that is understood and accepted by the audience. Thus changing public perceptions is crucial to marketing south-eastern Aboriginal art. The primary task of this article is to discuss this marketing priority for Aboriginal art and artists in south-eastern Australia, previously neglected in marketing literature. Specifically, the upcoming Melbourne Commonwealth Games are proposed as an opportunity for intensive marketing of the region’s Aboriginal arts.

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This article investigates aspects of the production, dissemination and consumption of UNESCO’s first international touring exhibition, Australian Aboriginal Culture, in order to explore the relationship between UNESCO and Australia in the development of a key cultural heritage program. It argues that the exhibition indicates a national and international spirit of universalism that attempted to address crosscultural ignorance in a period of post-war optimism.