The same plant species may hold significant meaning in one area and be ignored elsewhere. The Quinine tree (Alstonia Constricta), commonly known as Bitter Bark, Fever Bark and Australian Febrifuge is native to North Western NSW and South East QLD. It’s also known as Lacambie or Lecambil by the Aborigines of the Clarence River (Lassak & McCarthy 2011, p. 101). The bark of the tree has a variety of medicinal uses. The two types of traditional resources used in regards to the medicinal uses of the Quinine Tree were written book literature and video interviews/documentaries with the knowledge holders of this region.
THE BOOK "The Songlines" is not written in a conventional way and may challenge some readers; others hoping to read a straight travelogue which offers an insight into the reality facing Aborigines in Australia may also be disappointed. There is a travelogue element to the book but this is only a small part of it; intersperse it with verbal interpretations of the some of the songlines and stories from Aboriginal folklore, and a huge section based on Chatwin's many notebooks compiled on his numerous travels and you're just about there. The travelogue part basically covers the time when Chatwin accompanied Arkady, a "white advocate" to the Aborigines, on a research trip to some of the communities; the aim of the trip is to work with the Aboriginals, using the songlines, to help oil companies map out where they can work without affecting sacred sites. At times they encounter hostility, but overall this is an account of how Chatwin learnt how technological progress has affected, and still does, the lives and traditions of Aboriginal people in
Terry Smith’s ‘The Divided Meaning of Shearing the Rams’, Ian Burn’s ‘Beating about the Bush’ and Tim Bonyhady’s ‘Contrasting Lights’ are readings on the Australian art movement of the Heidelberg School, which was most prolific in the 1880’s. Australian-ness is one of the key features of the Heidelberg school. Recognised as the first discernible Australian school of art. Often referred to as Australian Impressionism the paintings are often characterized by their impressionist style with sun drenched landscapes and high key tones. The school is renowned for having produced some of the most unequivocally Australian and nationalist works of art in the country.
This painting was finished in 2000. The painting is a bark painting and the materials used for the painting were natural pigments painted on flattened eucalyptus bark. The techniques used were cross hatching, bark flattening, passing down the techniques and knowledge of Aboriginal painting and geometric design. The size of the painting is 157 x 63 cm, which is considered irregular. The bark painting Yawkyawk is a picture of a girl who has a fishtail.
This particular piece uses a variation of bright colours to create texture and power to the image of the Emu feathers. The Emu is known to be an important part of Aboriginal ceremony and is significantly used in the ceremonial dress of Aboriginal men as men paint the feathers of the Emu on their bodies, as the male Emu is seen to nurture and protect the young. This particular piece tells the story of the Dreamtime and the journey of 300 Emus that traveled across Central Australia, and in their great numbers,
To capture the innermost nature of something you must have a good understanding and relationship with it. John Olsen has been exploring and depicting the Australian landscape for many years, not only does he have an understanding of what it looks but also how it feels, sounds and behaves. Imagery involving the dominant theme of Sydney and the Harbour began to feature in his works during the 1970's during the time he traveled extensively across the country, giving new insights into Australia's regional and desert landscapes though he has always sought to capture a spiritual and universal dimension to the landscape in his work. Born in Newcastle, 1928, John Olsen grew
“Beneath Clouds” By Ivan Sen displays an accurate consciousness of Australia’s attitudes towards our culture and our history through direct and effective cinematic techniques and understated story telling. Sen utilizes techniques such as powerful imagery, sound and camera shots combined with a minimalist script to depict an emotionally loaded film. Not only exposing the soul of Australia, but more importantly his own. Sen has created an unusual road-movie encapsulating the natural beauty of Australian landscape. Sen allows you to venture onto a journey re-discovering the magnificence of Australia’s colonised land by displaying rich images depicting the importance of one acknowledging their heritage and in turn acknowledging their ‘self’.
PARRA 1- intro Journeys are not always personally instigated. They are brought about by an outside pressure, force or action. Furthermore, journeys can lead to a profound progress of not only the venturer but the people around them. This is evident in the prescribed Australian poems ‘Smugglers’ written by Maria Lewitt, ‘Homecoming’ by Bruce Dawe as well as the two chosen texts ‘Rabbit Proof fence’ directed by Phillip Noyce and ‘Sophie’s Journey’ edited by Sally Collings. PARRA 2- homecoming In the Australian poem ‘Homecoming’ the author, Dawe uses vivid visual and aural poetic techniques to construct his ongoing attitudes of the war.
Contemporary Australian Theatre Practice At their best, contemporary Australian plays explore and reveal important social, political and personal issues. This is done using an extensive variety of innovative, unique and brave theatrical techniques to evoke emotion and to engage an audience. Wesley Enoch and Deborah Mailman’s “The Seven Stages of Grieving” and “Ruby Moon” by Matt Cameron are two popular Australian plays where this is very apparent. Through our studies in class, it became clear “The Seven Stages of Grieving” is a modern day play which reflects the history of Australia’s Indigenous community and the suffering of the Aboriginal people. An important, noteworthy point is that the play is ever evolving.
Critical Research Face and Body Paint Tim Gratton Description: This painting was done by a well known Australian artist by the name Tim Gratton. As you can see in the painting, he works in a variety of mediums. He originally works with oils and other traditional mediums. The painting basically focuses on the colors orange, red and white. He started off with a dark color above then lightened it up a little and then again ended up with a dark color on the bottom.