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Aboriginal and Torres Strait Islander Histories and Cultures - The Australian Curriculum v8.1

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Aboriginal and Torres Strait Islander Histories and Cultures - The Australian Curriculum v8.1

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Aboriginal and Torres Strait Islander Histories and Cultures

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					Making connections: A case study of pre-service music
education students’ attitudinal change to indigenous
music 
				
			
		

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					Making connections: A case study of pre-service music
education students’ attitudinal change to indigenous
music 
				
			
		

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					Contemporary Aboriginal Music Module ISME 2008

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					Contemporary Aboriginal Music Module ISME 2008

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Aboriginal Pedagogies at the Cultural Interface

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Aboriginal Pedagogies at the Cultural Interface

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Aboriginal and Torres Strait Islander Histories and Cultures - The Australian Curriculum v8.1

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Aboriginal and Torres Strait Islander Histories and Cultures - The Australian Curriculum v8.1

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Australian Curriculum

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The best in Aboriginal & Torres Strait Islander Music

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Contemporary Aboriginal Music - Aboriginal Art Online

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Contemporary Aboriginal Music - Aboriginal Art Online

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CAAMA Radio - Australia's largest Aboriginal media organisation

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CAAMA Radio - Australia's largest Aboriginal media organisation

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Endangered Indigenous songs preserved in teaching resource | Music Australia

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Endangered Indigenous songs preserved in teaching resource | Music Australia

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The central importance of song in Indigenous cultural traditions was recently highlighted on ABC Radio National radio program The Spirit of Things. Rachael Kohn reported on a project underway to record stories and songlines from languages that are on the verge of disappearing.

An example the program focused on belongs to the Paakantji people in Wilcannia, NSW. Their Moon and the Gecko ( Patjuka and Punu) creation story can sing by only five people in its original language.

Sharing Stories Foundation, a not-for-profit organisation, has preserved it and many other endangered Indigenous songs in a Digital Storytelling Program teaching resource designed for schools.

"The passing on of lore by elders to children is a crucial part of membership of an Indigenous clan," observes Kohn. "It's a learning process that differs sharply from the template of western education, where a person armed with questions accosts a more knowledgeable person or simply reads books to find the answers."

Sharing Stories Foundation's other educational resources for schools can be found here.

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Endangered Indigenous songs preserved in teaching resource | Music Australia

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The central importance of song in Indigenous cultural traditions was recently highlighted on ABC Radio National radio program The Spirit of Things . Rachael Kohn reported on a project underway to record stories and songlines from languages that are on the verge of disappearing.

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High school music teaching lacks diversity | Music Australia

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High school music teaching lacks diversity | Music Australia

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Music history as taught in our schools, conservatoriums and universities still tends to be focused on a European cultural perspective, but why should it be so? One academic who urges the need for change is Jacqueline Kelly-McHale of Chicago's DePaul University. She thinks that high school music in the US teaching lacks diversity, and asks timely questions about why music teaching still holds to a Eurocentric point of view.

In her essay in The Conversation entitled ' Why music education needs to incorporate more diversity ', she says that the increasing mix of immigrant populations in the US means that music history needs a thorough revamp.

"Music education programs in the high school setting typically bring to mind the images and sounds of bands, orchestras and choirs. In the elementary context, general music classes are viewed as places where children sing, dance, and play the recorder and other classroom instruments. Each of these experiences is rooted in either a Western view of music that is focused on placement of Western classical music as the highest form of musical experience, or on methods of teaching that grew out of European music education practices."

Kelly-McHale instead advocates giving students "the chance to sing, play and listen to the music of other cultures" as a way of appreciating the values and diversity of music in "a more global perspective". She argues that music programs in schools need to be reimagined and reconfigured accordingly.

The ideas she raises are of course equally applicable in the Australian context. European perspectives still tend to hold sway in music teaching in schools in this country, as most who have studied or taught it will know. Millennia of Indigenous music history and a modern pluralist society made up of many immigrant cultures should surely change all that.

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High school music teaching lacks diversity | Music Australia

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Music history as taught in our schools, conservatoriums and universities still tends to be focused on a European cultural perspective, but why should it be so? One academic who urges the need for change is Jacqueline Kelly-McHale of Chicago's DePaul University.

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The National Indigenous Music Awards have today announced a star studded line up of Australian talent, set to perform at this year's award ceremony. Taking to the stage under the stars in Darwin's historic Amphitheatre on August 12 will be hip hop legends AB Original, Australian icon Paul Kelly, a special performance from Dan Sultan [...]

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The National Indigenous Music Awards have today announced a star studded line up of Australian talent, set to perform at this year's award ceremony. Taking to the stage under the stars in Darwin's historic Amphitheatre on August 12 will be hip hop legends AB Original, Australian icon Paul Kelly, a special performance from Dan Sultan [...]

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© 3 Kool n Deadly Home | Contact Us | Terms of Use | Sitemap | Login

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Great version of Midnight Oil`s song. Played on Australian radio JJJ`s Like A Version programme. 2007

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Aboriginal and Torres Strait Islander perspectives support materials [Queensland Curriculum and Assessment Authority]

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Aboriginal and Torres Strait Islander perspectives support materials [Queensland Curriculum and Assessment Authority]

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Queensland Curriculum and Assessment Authority

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The QCAA has developed a range of materials to support the inclusion of Aboriginal and Torres Strait Islander perspectives into the school curriculum.

QCAA respectfully advises Aboriginal peoples and Torres Strait Islander peoples that these webpages may contain names, images or voices of people who are deceased. We acknowledge that in some communities it is distressing and offensive to mention names and show images of people who have died.

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Resources: Aboriginal and Torres Strait Islander knowledge

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The QCAA has developed a range of materials to support the inclusion of Aboriginal and Torres Strait Islander perspectives into the school curriculum. QCAA respectfully advises Aboriginal peoples and Torres Strait Islander peoples that these webpages may contain names, images or voices of people who are deceased.

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Koorie Cross-Curricular Protocols for Victorian Government Schools

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Koorie Cross-Curricular Protocols for Victorian Government Schools

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To the Australian aboriginal, music is understood naturally and is an integral part of life. In the west, by contrast, music tends to be separated from life. For example, a Western music student must learn to "understand" a composed piece of music, like a Beethoven symphony or one of Bach's works.

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Australian Hip Hop | Wicannia Mob Music and Video - Down River

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Australian Hip Hop | Wicannia Mob Music and Video - Down River

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Australian Hip Hop | Wicannia Mob Music and Video - Down River

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The recording sessions with Morganics created a whole catalogue of music. Here is a small selection of the tracks that made it to disc.

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Nationally, engages with over 55 communities annually in a week-long capacity using an average of four artists. The project uses a balanced combination of female and male artists in each community. Every State and Territory in Australia has been visited, reaching out to young Indigenous people in remote, regional and urban communities.

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Protocols for music

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Mission Songs Project – Contemporary Indigenous Songs from the 20th Century

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Mission Songs Project – Contemporary Indigenous Songs from the 20th Century

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'We're looking at 4 to 5 generations of unrecorded cultural practice' - J.Lloyd

Curated by Jessie Lloyd, the Mission Songs Project is an initiative to revive and present a rare collection of early Australian Indigenous contemporary songs that were composed and performed between 1900 to 1999.

The Mission Songs Project faithfully explores the musical journey of Indigenous music, as Jessie Lloyd connects the traditional with contemporary and reveals the continuation of cultural practice and oral traditions into the twenty first century.

These songs, largely hidden from the outside world, offer a unique window of life on the Christian missions, native settlements and the fringes of townships where Aboriginal and Islander people were displaced.

The collection consists of rare and almost forgotten songs that now shed light on the history of our Indigenous communities, their stories and their resilience in a harsh changing world.

Roger Knox, aka the Koori King of Country or Black Elvis as he's known in his homeland, is an Aboriginal Australian Country & Western singer with a honeyed bear hug of a voice.

Lou Bennett

Feature Vocalist & Advisor

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Heralding from QLD, Monica moved to Melbourne 20 years ago to study jazz and pursue a musical career. An accomplished singer and guitarist, Monica has experience in teaching, recording and producing. She also performs with Koorie Tiddas Youth Choir.

Leah Flanagan is a singer-songwriter from Darwin, Northern Territory. She has Italian, Aboriginal and Irish heritage. She graduated from the Elder Conservatorium of Music in Adelaide with a degree in Classical Music.

'Mission Songs Project presents contemporary folk songs that continue the ancient song lines of this country. The songs speak of the daily lives of the First Peoples who were relocated from their traditional homelands to the missions. There are some well known songs and also hidden gems that have been uncovered.'

'The 20th Century songs composed and sung on Aboriginal mission and settlements are records of our history and tell us about the emotions and aspirations of their composers. Jessie Lloyd's research to find these songs is a profoundly important contribution to our nation and music.'

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'We're looking at 4 to 5 generations of unrecorded cultural practice' - J.Lloyd Curated by Jessie Lloyd, the Mission Songs Project is an initiative to revive and present a rare collection of early Australian Indigenous contemporary songs that were composed and performed between 1900 to 1999.

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Jessie Lloyd - Mission Songs Project - YouTube

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Jessie Lloyd - Mission Songs Project - YouTube

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A Great Landscape: Indigenous Music in Australia Video Teaching Resources | ClickView

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A Great Landscape: Indigenous Music in Australia Video Teaching Resources | ClickView

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This programme looks at the many diverse new forms of music and the trail-blazers who paved the way for the new and diverse contemporary Aboriginal sounds. It looks at the early beginnings of choir and Country, to Hip Hop, Funk and Rap. It provides a broad coverage of just how many musicians are part of Australia's Indigenous musical entourage. It looks at how their stories and music are broadcast to the nation via new technologies such as national radio, MySpace, Facebook, and downloadable MP3 files.

Want to learn more about ClickView?

We would be more than happy to come to your school and show you how your teachers and students can benefit from ClickView.

Try ClickView for Free

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Video Details - ClickView Library of Educational Videos

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This programme looks at the many diverse new forms of music and the trail-blazers who paved the way for the new and diverse contemporary Aboriginal sounds. It looks at the early beginnings of choir and Country, to Hip Hop, Funk and Rap.

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Australia: Aboriginal Music | Smithsonian Folkways Recordings

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Australia: Aboriginal Music | Smithsonian Folkways Recordings

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It is thought that the indigenous peoples of Australia (Aborigines) have inhabited the varying terrains of the continent for more than 40,000 years. Although only three percent of Australia's population (as of 2013), the first Australians belong to more than four hundred distinct tribal groups and speak over two hundred languages.

Aboriginal music is essentially vocal music and mainly the prerogative of men, although women may provide vocal support in some ceremonies. Music is primarily sung during ceremonial rites of passage and funeral rituals. Singers may occasionally be accompanied by the droning rhythmic patterns of the didjeridu (didgeridoo), a long, tubular wind instrument usually made from eucalyptus wood, or by sticks.

The album includes ten songs-Rain Dreaming songs, clan songs, dance songs, and women's songs-in nine languages. The liner notes present detailed information about regional variations in the music and about each selection.

FREE DOWNLOAD
Please enjoy a free download of the song "Rain-making Song"

This album is part of the UNESCO Collection of Traditional Music. More than 125 albums are being released by Smithsonian Folkways Recordings to make the series publicly available, including a dozen never-released albums of musical traditions from around the globe.

Track Listing

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It is thought that the indigenous peoples of Australia (Aborigines) have inhabited the varying terrains of the continent for more than 40,000 years. Although only three percent of Australia’s population (as of 2013), the first Australians belong to more than four hundred distinct tribal groups and ...

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Indigenous Sounds of Australia – by Christine Anu, Archie Roach, Yothu Yindi and more | NFSA

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Indigenous Sounds of Australia – by Christine Anu, Archie Roach, Yothu Yindi and more | NFSA

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This collection features sound recordings with cultural, historical and aesthetic significance that are by or about Aboriginal and Torres Strait Islanders.

They include the best-selling Aboriginal music album in history, the first mainstream chart hit for an Aboriginal artist, a poetry reading by Oodgeroo Noonuccal and Tasmanian Aboriginal songs and languages recorded in the 1890s.

Also represented are popular artists like Christine Anu, Archie Roach, Kev Carmody, No Fixed Address, Yothu Yindi and the Warumpi Band.

These sounds are all part of Sounds of Australia. Established in 2007, the Sounds of Australia is the NFSA's selection of sound recordings which inform or reflect life in Australia. See the complete Sounds of Australia list.
WARNING: this collection may contain names, images or voices of deceased Aboriginal and Torres Strait Islander people.

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This collection features sound recordings with cultural, historical and aesthetic significance that are by or about Aboriginal and Torres Strait Islanders. They include the best-selling Aboriginal music album in history, the first mainstream chart hit for an Aboriginal artist, a poetry reading by Oodgeroo Noonuccal and Tasmanian Aboriginal songs and languages recorded in the 1890s.

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Indigenous music | National Film and Sound Archive of Australia

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Indigenous music | National Film and Sound Archive of Australia

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Ten sound recordings with cultural, historical and aesthetic significance have been added to Sounds of Australia for 2020. This year's inductees include radio show Martin/Molloy, Arnhem Land...

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Ten sound recordings with cultural, historical and aesthetic significance have been added to Sounds of Australia for 2020. This year's inductees include radio show Martin/Molloy, Arnhem Land...

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5 new Indigenous artists that you need to hear | triple j Unearthed

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5 new Indigenous artists that you need to hear | triple j Unearthed

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triple j Unearthed is a hive for incredible Indigenous Australian music.

In the past, we've had the pleasure of being able to unearth some pretty big names in Indigenous music, like Thelma Plum, Robbie Miller, Zane Francis, Denni 420 and Philly, and we're also excited to reveal the winner of our 2016 National Indigenous Music Awards competition this week.

In celebration of NAIDOC week, and this year's NIMAs comp, we've put together a playlist of some of the most exciting Aboriginal & Torres Strait Islander talent we've come across in the past 12 months. Check 'em out below:

Emily Wurramara has captured our attention with moving, acoustic folk music. Her voice is faultless, her passion forthright, and her culture imbued in everything she does.

" I come from Groote Eyelandt in the Northern Territory," she explained to us recently. " It's my identity and my representation. I write about feeling grounded and belonging to your country and to your earth."

Ziggy's rap songs are inherently political, and smart as a button-up. You could look at artists like Mos Def and Common as a point of reference. He writes about Indigenous culture and race relations in modern Australia, stitched up over clean, jazz-infused beats, tracing and enveloping lived songlines that extend from Arnehm Land, to regional NSW, to his current home in Perth.

" My whole life I've been extremely passionate about Indigenous rights," he explained to us. "Unfortunately in 2016 in Australia, we still don't have equality. This drives me, and this drives me to create change."

If Dhapanbal Yunupingu's surname sounds familiar, it's for good reason: she's one of six daughters of Dr. Yunupingu, frontman of legendary Australian act Yothu Yindi. But she's more than her surname: her music takes her dreaming narrative and weaves it through a framework of acoustic guitars, percussion, and rich harmonies. " My new song 'Gurtha' represents The Fire - my identity, my homeland, my people and my heart," she told us. Hear her moving and important voice below:

Rock and Roll is at the heart of everything Luke Daniel Peacock does. His suburban, Springsteen-influenced songs explore the everyday in a fist-pumping way, pairing battle-tested vocals with clasically Australian grit and mettle. It's poignant, pointed music that never lacks for hooks.

Your man Steady is an electro-robot-flutter-whiz, making saucy, salacious beats in his bedroom in Perth. Expect all the traditional toppings - ham, pineapple, mozzarella, trap drums - and some synthy surprises too.

And head here to check out more great Indigenous Australian music on triplejunearthed.com!

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5 new Indigenous artists that you need to hear

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triple j Unearthed is a hive for incredible Indigenous Australian music. In the past, we've had the pleasure of being able to unearth some pretty big names in Indigenous music, like Thelma Plum, Robbie Miller, Zane Francis, Denni 420 and Philly, and we're also excited to reveal the winner of our 2016 National Indigenous Music Awards competition this week.

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The Welcome to Country and Acknowledgment of Country guide includes the basic protocols involved in conducting a Welcome to Country or Acknowledgement of Country.

The protocols support you to maintain meaningful relationships with your local Koorie communities.

Download the guide to Welcome to Country and Acknowledgement of Country (docx - 1 (docx - 3.6mb)

The guide has been developed in partnership with the Victorian Aboriginal Education Association.

More information is available on the Department policy for the use of Welcome to Country and Acknowledgement of Country.

Teachers must follow protocols for teaching Aboriginal and Torres Strait Islander culture.

The protocols seek to protect the integrity of Aboriginal and Torres Strait Islander cultural expressions in a way in which all Australians can engage respectfully and feel connected to this identity.

For more information, see Protocols for teaching Aboriginal and Torres Strait Islander culture.

National Aboriginal and Torres Strait Islander Children's Day is held on 4 August each year and is coordinated by the Secretariat for National Aboriginal and Islander Child Care.

It is a time for early childhood services and schools to celebrate the strengths and culture of Koorie children, as well as learn about the important role that community, culture and family play in the life of every Koorie child.

Resources for holding your own event

Early childhood services and schools are encouraged to hold their own event to celebrate National Aboriginal and Torres Strait Islander Children's Day. For further information, and for resources and ideas:

National Aboriginal and Torres Strait Islander Children's Day website

Listen to Aunty Joy Murphy, who is a Wurundjeri Elder, share her Welcome to Country story

Listen to Aboriginal students from Peninsula Specialist College, Dromana, sing the Acknowledgement song they wrote about Bunjil the Eagle

National Voice for our Children is the national non-government peak body for Aboriginal and Torres Strait Islander children. It works for the fulfilment of the rights of Aboriginal and Torres Strait Islander children, in particular to ensure their safety, development and well-being. It provides activities, tools and resources for children and family services

Victorian Aboriginal Child Care Agency is the lead community controlled Aboriginal child and family welfare organisation in Victoria, protecting and promoting the rights of Aboriginal children and young people. They provide resources, programs and services that Aboriginal culture and encourage best parenting practices.

Victorian Aboriginal Corporation for Languages is the peak body for Victorian Aboriginal languages, focussing on retrieving, recording and researching Aboriginal languages, and providing programs and educational tools to teach the Koorie and wider community about Victorian Aboriginal languages. They have resources including interactive digital storybooks.

Victorian Aboriginal Education Associated Incorporated is the peak Koorie community organisation for education and training in Victoria and is the Victorian Government's principal partner in Koorie education including in the implementation of Marrung: Aboriginal Education Plan 2016-2026

Koorie Kids Shine at Kindergarten - provides resources and video stories aimed at promoting the importance of and the benefits for Aboriginal and Torres Strait Islander children attending kindergarten.

Bunjilaka Aboriginal Cultural Centre, Melbourne Museum tells the story of survival and celebrates vibrant Koorie cultures through performances, storytelling, artwork and more.

Koorie Heritage Trust, Federation Square promotes, supports and celebrates the continuing journey of the Aboriginal people of South Eastern Australia.

Culture Victoria website includes Koorie artefacts, stories and artwork.

The National Apology to Australia's Indigenous Peoples on behalf of the Australian Parliament was delivered by the then Prime Minister Kevin Rudd, in Parliament House Canberra, on 13 February 2008.

The National Apology is a significant event in Australia's history and the anniversary provides opportunities for schools to plan appropriate events or activities.

The full transcript and video of the speech is available on Australian Government website, see Apology to Australia's Indigenous peoples.

For further resources including ideas for events and links to the AusVELS curriculum see: National Apology to Australias People - School Resources (docx - 530.93kb)

The Aboriginal Languages and Cultures Victoria website contains information on:

setting up a school language program

background information on language reclamation

links to the AusVELS Aboriginal Languages, cultures and reclamation in Victorian schools

standards P-10 and protocols

a collection of resources and links

sample units to assist language teams in the development of their lessons.

For more information, see Aboriginal Languages and Cultures Victoria.

​​

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The Welcome to Country and Acknowledgment of Country guide includes the basic protocols involved in conducting a Welcome to Country or Acknowledgement of Country. The protocols support you to maintain meaningful relationships with your local Koorie communities.

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CAAMA | Central Australian Aboriginal Media Association

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CAAMA | Central Australian Aboriginal Media Association

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Featuring Deline Briscoe Sung in Yorta Yorta Written Lou Bennett, Alexis Wright Musical arrangement Iain Grandage "From the Echuca, Barmah region, the heartland of Yorta Yorta country, it is a song of the connection of people, song and country. 'Baiyan Woka' is Yorta Yorta for singing for country/land. This song comes from the depths of my knowing and understanding that we all have connection, we just have to learn 'Gulpa Ngarwal' (deep listening)." - Lou Bennett Black Arm Band is a flexible musical theatre ensemble that performs on stages and in community contexts across the globe, as well as extensively across metropolitan, regional and remote Australia. In an international context, the group interrogates and promotes contemporary Aboriginal and Torres Strait Islander culture through the creation of large-scale music theatre productions, music, installations and multimedia projects. In seven years, the company has provided professional pathways and opportunities for many artists and performed to over one million people. Black Arm Band's current performance, titled dirtsong, inspired by the words of award-winning author Alexis Wright, mixes traditional approaches and contemporary songs, existing repertoire and newly commissioned music to conjure a sense of 'country' as not only a geographical place, but as encounters, memories, obligations and nature.

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Featuring Deline Briscoe Sung in Yorta Yorta Written Lou Bennett, Alexis Wright Musical arrangement Iain Grandage "From the Echuca, Barmah region, the heartland of Yorta Yorta country, it is a song of the connection of people, song and country. 'Baiyan Woka' is Yorta Yorta for singing for country/land.

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DUST ECHOES - English,History (7,8,9,10)

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DUST ECHOES - English,History (7,8,9,10)

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Explore "deep time" through the traditional, cultural and experiential knowledge that First Nations peoples have amassed over 60,000 years of living spiritually and sustainably with the land.

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Explore "deep time" through the traditional, cultural and experiential knowledge that First Nations peoples have amassed over 60,000 years of living spiritually and sustainably with the land.

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ALLARA - Wala Is Life, live in Meanjin (Brisbane) - YouTube

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ALLARA - Wala Is Life, live in Meanjin (Brisbane) - YouTube

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ALLARA - Wala Is Life, live in Meanjin (Brisbane)

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As part of our mission, Songlines works towards developing and showcasing Victorian based Indigenous performers. From our mentorship programs to festivals and events, we work with a range of talented artists that can also be referred for other community, government and corporate events.

For further information on a particular artists please click on their link or contact us via our contact form

CONTACT US IF YOU WOULD LIKE TO BE ON THIS WEBSITE!

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As part of our mission, Songlines works towards developing and showcasing Victorian based Indigenous performers. From our mentorship programs to festivals and events, we work with a range of talented artists that can also be referred for other community, government and corporate events.

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This Aboriginal pedagogy framework is expressed as eight interconnected pedagogies involving narrative-driven learning, visualised learning processes, hands-on/reflective techniques, use of symbols/metaphors, land-based learning, indirect/synergistic logic, modelled/scaffolded genre mastery, and connectedness to community. But these can change in different settings.

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This Aboriginal pedagogy framework is expressed as eight interconnected pedagogies involving narrative-driven learning, visualised learning processes, hands-on/reflective techniques, use of symbols/metaphors, land-based learning, indirect/synergistic logic, modelled/scaffolded genre mastery, and connectedness to community. But these can change in different settings.

# data[].attributes.attachment_link.readable_text
The Welcome to Country and Acknowledgment of Country guide includes the basic protocols involved in conducting a Welcome to Country or Acknowledgement of Country.

The protocols support you to maintain meaningful relationships with your local Koorie communities.

Download the guide to Welcome to Country and Acknowledgement of Country (docx - 1 (docx - 3.6mb)

The guide has been developed in partnership with the Victorian Aboriginal Education Association.

More information is available on the Department policy for the use of Welcome to Country and Acknowledgement of Country.

Teachers must follow protocols for teaching Aboriginal and Torres Strait Islander culture.

The protocols seek to protect the integrity of Aboriginal and Torres Strait Islander cultural expressions in a way in which all Australians can engage respectfully and feel connected to this identity.

For more information, see Protocols for teaching Aboriginal and Torres Strait Islander culture.

National Aboriginal and Torres Strait Islander Children's Day is held on 4 August each year and is coordinated by the Secretariat for National Aboriginal and Islander Child Care.

It is a time for early childhood services and schools to celebrate the strengths and culture of Koorie children, as well as learn about the important role that community, culture and family play in the life of every Koorie child.

Resources for holding your own event

Early childhood services and schools are encouraged to hold their own event to celebrate National Aboriginal and Torres Strait Islander Children's Day. For further information, and for resources and ideas:

National Aboriginal and Torres Strait Islander Children's Day website

Listen to Aunty Joy Murphy, who is a Wurundjeri Elder, share her Welcome to Country story

Listen to Aboriginal students from Peninsula Specialist College, Dromana, sing the Acknowledgement song they wrote about Bunjil the Eagle

National Voice for our Children is the national non-government peak body for Aboriginal and Torres Strait Islander children. It works for the fulfilment of the rights of Aboriginal and Torres Strait Islander children, in particular to ensure their safety, development and well-being. It provides activities, tools and resources for children and family services

Victorian Aboriginal Child Care Agency is the lead community controlled Aboriginal child and family welfare organisation in Victoria, protecting and promoting the rights of Aboriginal children and young people. They provide resources, programs and services that Aboriginal culture and encourage best parenting practices.

Victorian Aboriginal Corporation for Languages is the peak body for Victorian Aboriginal languages, focussing on retrieving, recording and researching Aboriginal languages, and providing programs and educational tools to teach the Koorie and wider community about Victorian Aboriginal languages. They have resources including interactive digital storybooks.

Victorian Aboriginal Education Associated Incorporated is the peak Koorie community organisation for education and training in Victoria and is the Victorian Government's principal partner in Koorie education including in the implementation of Marrung: Aboriginal Education Plan 2016-2026

Koorie Kids Shine at Kindergarten - provides resources and video stories aimed at promoting the importance of and the benefits for Aboriginal and Torres Strait Islander children attending kindergarten.

Bunjilaka Aboriginal Cultural Centre, Melbourne Museum tells the story of survival and celebrates vibrant Koorie cultures through performances, storytelling, artwork and more.

Koorie Heritage Trust, Federation Square promotes, supports and celebrates the continuing journey of the Aboriginal people of South Eastern Australia.

Culture Victoria website includes Koorie artefacts, stories and artwork.

The National Apology to Australia's Indigenous Peoples on behalf of the Australian Parliament was delivered by the then Prime Minister Kevin Rudd, in Parliament House Canberra, on 13 February 2008.

The National Apology is a significant event in Australia's history and the anniversary provides opportunities for schools to plan appropriate events or activities.

The full transcript and video of the speech is available on Australian Government website, see Apology to Australia's Indigenous peoples.

For further resources including ideas for events and links to the AusVELS curriculum see: National Apology to Australias People - School Resources (docx - 530.93kb)

The Aboriginal Languages and Cultures Victoria website contains information on:

setting up a school language program

background information on language reclamation

links to the AusVELS Aboriginal Languages, cultures and reclamation in Victorian schools

standards P-10 and protocols

a collection of resources and links

sample units to assist language teams in the development of their lessons.

For more information, see Aboriginal Languages and Cultures Victoria.

​​

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The Welcome to Country and Acknowledgment of Country guide includes the basic protocols involved in conducting a Welcome to Country or Acknowledgement of Country. The protocols support you to maintain meaningful relationships with your local Koorie communities.

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Kutcha Edwards Lecture (Melbourne 2006) | Red Bull Music Academy - YouTube

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Kutcha Edwards Lecture (Melbourne 2006) | Red Bull Music Academy - YouTube

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Kutcha Edwards Lecture (Melbourne 2006) | Red Bull Music Academy

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'We were the first': How No Fixed Address made white Australia listen

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'We were the first': How No Fixed Address made white Australia listen

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'We were the first': How No Fixed Address made white Australia listen

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In the lead-up to their Australia Day appearance, the groundbreaking band reflect on their struggle to be heard.

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Black Fella White Fella by Warumpi Band - Ukulele Chords and PDF

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Black Fella White Fella by Warumpi Band - Ukulele Chords and PDF

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Black Fella White Fella by Warumpi Band - Ukulele Chords and PDF

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Chords for Yothu Yindi - Treaty (Original Version)

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Chords for Yothu Yindi - Treaty (Original Version)

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Chords for Yothu Yindi - Treaty (Original Version)

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G A F#m D B F# G# C C#] ➧ Chords for Yothu Yindi - Treaty (Original Version) with capo transposer, play along with guitar, piano, ukulele & mandolin.

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East Journey - Treaty: Freedom Day Festival 50th Anniversary Music

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East Journey - Treaty: Freedom Day Festival 50th Anniversary Music

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East Journey - Treaty: Freedom Day Festival 50th Anniversary Music

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East Journey - Treaty Music clip live from the main stage of the Freedom Day Festival 50th Anniversary, August 19-21 2016. Commemorating the Gurindji, Wave Hill Walk Off and the birth of Aboriginal Land Rights in Australia.

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​​​​​​​Warning: This Article may contain names, images and voices of deceased Aboriginal and Torres Strait Islander people.

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25 years on, Yothu Yindi's 'Treaty' is more important now than ever | Beat Magazine

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25 years on, Yothu Yindi's 'Treaty' is more important now than ever | Beat Magazine

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It was 1988 - 200 years after the First Fleet sailed into Botany Bay. Buoyed by political goodwill, Prime Minister Bob Hawke attended the Barunga Festival in the Northern Territory, where he was issued with what would become known as the Barunga Statement. Written on a 1.2 metre piece of composite wood, the document outlined the wishes of Australia's Indigenous peoples for recognition of their original title, as well as the safeguarding of their land rights, language and customs. In response to the Barunga Statement, Hawke said he hoped an Australian treaty would be concluded by 1990. It didn't happen.

When Hawke was ousted from power by Paul Keating in 1991, he used his final act as Prime Minister to hang the Barunga Statement in Parliament House, just one minute before Keating was sworn in. "Its presence here calls on those who follow me," he said. "It demands of them that they continue efforts, that they find solutions to the abundant problems that still face the Aboriginal people of this country."

Hawke's political decline coincided with the rise of Yothu Yindi, a traditional/rock group made up of Yolngu and non-Indigenous musicians. Formed in 1985, the band were still relatively at the turn of the decade. A US tour with Midnight Oil had earned them a recording deal with Mushroom Records, but mainstream success remained elusive. Even 'Treaty', now recognised by APRA as one of the Top 30 Australian songs of all time, was a commercial failure. The protest song, written in collaboration with Paul Kelly, was missing a platform from which to be noticed. It needed an edge.

Enter Razor Recordings founder Gavin Campbell, one of Australia's most forward-thinking DJs in the '80s and '90s. A voracious consumer of new trends, Campbell was running clubs with dancefloors that were years ahead of the Melbourne mainstream. He was also a man in need of a hit, with a young label poised to fold. Campbell had assembled a crack production team with Paul Main and Robert Goodge under the name Filthy Lucre, with the express purpose of releasing local dance content. Unfortunately for them, their futurist output simply wasn't making the numbers. Desperate, Campbell remembers walking into the Mushroom offices and seeing "what actually looked like an Indigenous ceremony with a Mushroom logo on it."

He'd stumbled upon something fresh, but also palatable to local ears. He'd found Yothu Yindi."I instantly knew what I had to do, what I could do," he says. "I vetted the band's catalogue and found what I believed to be the strongest Yolngu Matha vocal there, which of course was 'Treaty'."

'Treaty (Filthy Lucre remix) ' exploded across radio stations and dancefloors around the world with its driving rhythms and unique sound. With the industry finally paying attention, 'Treaty'then went on to win Single of the Year and Song of the Year at the ARIAs. Twenty-five years later, Campbell believes that the song still has a lot to say about the Australian government's lip-service to Indigenous affairs.

"It calls out the hypocrisy and bullshit beautifully. Phrases like 'talking politicians' and 'words are easy, words are cheap, much cheaper than our priceless land' really do show the political game up for what it is," Campbell says.

"I believe that it needed to be said back in the late '80s and it very much needs to be said again. Only this time we are making sure that this project says it in a way that will resonate with all ages and inspire Australians to get on board with this once and for all."

The Treaty Project aims to update its message to appeal to old fans and new. That's meant an expanded lineup, with Campbell taking an active live role alongside plenty of new blood.

"There will be ten people onstage. Three original members of Yothu Yindi and a new Yolngu Matha language vocalist are travelling from Arnhem Land. Singer Yirrmal, who is based in Geelong, is the son of original member Witiyana."

Those who haven't heard Yirrmal are in for a pleasant surprise. The young vocalist is an incredible talent whose performance on Q&A had the audience visibly moved. "I think that Yirrmal will be a mesmerising figure. His voice is outstanding and is matched by his passion. We have a new song which has a special section where Yirrmal will dance traditionally. The theatre of that will be a strong moment."

It won't be the only theatrics nor commanding presence found onstage. "The burlesque queen of NT, Constantina Bush, is joining us, along with multi-instrumentalist Ania Reynolds who is musical director of Circus Oz, and guitarist Megan Bernard. Our special guest on some dates is Goanna frontman Shane Howard. Eight Yothu Yindi songs have been remixed by some of Melbourne's best dance producers and we also have four new songs written for this show."

In addition, a new electronic focus will move away from the sound of previous Yothu Yindi incarnations. "There won't be a lot of rock in the mix. We do have the traditional band elements, like guitar, bass and keyboards but the style of the new remixes is very much modern electronic. Malangay is one of the best yidaki players in the country, which is what Yolngu people call a didgeridoo. Along with the other Indigenous members of the band, the traditional elements will be very strong. In fact, it is the most important part of the music."

The strength of the live show still carries a purpose, one which Campbell and the band hope to spread far and wide. Australia is the only country in the world that doesn't have a treaty between its Indigenous population and colonial settlers, and that's something that needs to change, for all of our sakes.

"Hopefully, The Treaty Project will be seen by as many people as possible in this run of shows, as we would like to be considered a special events act. This type of raising awareness activism, as theatre and entertainment on a large scale, while effective and inspiring, is not enough," Campbell says.

"We need an ongoing conversation among Australians to raise awareness at the grassroots level - in homes, around the kitchen table, at the footy at halftime, in high schools at lunchtime, wherever it doesn't already happen. That conversation will evolve into a better awareness of our past, present and future, the good the bad and the ugly. We need to discuss genocide, for example, or we will never mature as a nation. In fact, a treaty without the acknowledgement of this country's dark past would be a hollow one."

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25 years on, Yothu Yindi's 'Treaty' is more important now than ever

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It was 1988 - 200 years after the First Fleet sailed into Botany Bay. Buoyed by political goodwill, Prime Minister Bob Hawke attended the Barunga Festival in the Northern Territory, where he was issued with what would become known as the Barunga Statement.

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A fresh approach to building relationships between Indigenous and non-Indigenous Australians.

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The disparity between Indigenous and non-Indigenous Australians across a range of social indicators is alarming. Find out more.

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Australians Together | Indigenous disadvantage in Australia

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Australians Together | Indigenous disadvantage in Australia

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Australians Together | Indigenous disadvantage in Australia

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The Closing the Gap strategy has resulted in some improvements, but national statistics indicate there's still a long way to go. In 2017, the government came under pressure to add a target to lower Indigenous imprisonment rates. Other areas where statistics show a concerning gap in the experience between Indigenous and non-Indigenous Australians are child removals and community and family violence.

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Welcome to Country and Acknowledgement of Traditional Owners

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Welcome to Country and Acknowledgement of Traditional Owners

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This page will provide information on Welcomes to Country and Acknowledgements of Traditional Owners . It also includes an interactive map tool that will tell you who the Traditional Owners of an area are.

Why are Welcomes to Country and Acknowledgements of Traditional Owners important?

A Welcome to Country or an Acknowledgement of Traditional Owners recognises the continuing connection of Aboriginal Traditional Owners to their Country. Victoria has a strong and proud Aboriginal history, comprising of complex ownership and land stewardship systems stretching back many thousands of years.

The Victorian Government supports Welcomes to Country and Acknowledgements of Traditional Owners as part of the process of reconciliation and healing, in addition to affording the appropriate respect to Traditional Owners of Country.

Anyone can provide an Acknowledgement of Traditional Owners to acknowledge the Traditional Owners of the land.

Why is it important to follow the advice for Welcomes and Acknowledgements?

A specific Acknowledgement, or request for a Welcome to Country, is not recommended in areas where formal recognition has not occurred as it may:

privilege one group's interests in Country over other groups

pre-empt the outcomes of formal recognition processes

lead to disputes between groups who have an interest in or association with Country

The Victorian Government seeks to support the formal recognition of Traditional Owners across Victoria. Formal recognition ensures Traditional Owners are afforded the rights, responsibilities and benefits as the First Peoples of Country, and provides the broader community with certainty about who are the Traditional Owners of Country.

The formal recognition processes uphold the self-determination of Traditional Owners to reach their own agreements about extent of Country.

Although Welcomes to Country and Acknowledgements of Traditional Owners are a significant way of recognising and celebrating the Traditional Ownership of Country, it is important they occur only when it is appropriate.

Welcomes to Country should be performed by Formally Recognised Traditional Owners on their land.

How does the Victorian Government formally recognise Traditional Owners?

There are 3 ways in which the Victorian Government formally recognises Traditional Owners of a particular Country:

1. by way of the Victorian Aboriginal Heritage Council appointing a Traditional Owner corporation as a Registered Aboriginal Party under the Aboriginal Heritage Act 2006

2. by way of a recognition and settlement agreement under the Traditional Owner Settlement Act 2010

3. by way of a consent determination by the Federal Court under the Native Title Act 1993 and accompanying Indigenous Land Use Agreements.

How can I find out who are the Formally Recognised Traditional Owners?

The easiest way to find out who the Formally Recognised Traditional Owners are for an area is to consult the interactive map.

Should I organise a Welcome to Country or Acknowledge the Traditional Owners of an area in Victoria?

Welcome to Country

A Welcome to Country ceremony is performed by Aboriginal Traditional Owners for people visiting their Country. These ceremonies vary from speeches of welcome to traditional dance and smoking ceremonies.

Acknowledgement of Traditional Owners

An Acknowledgement of Traditional Owners can be done by anyone and is a way of showing awareness of, and respect for, the Aboriginal Traditional Owners of the land on which a meeting or event is being held.

Contact us

For further information please contact us.

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Welcome to Country and Acknowledgement of Traditional Owners

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This page will provide information on Welcomes to Country and Acknowledgements of Traditional Owners . It also includes an interactive map tool that will tell you who the Traditional Owners of an area are. A Welcome to Country or an Acknowledgement of Traditional Owners recognises the continuing connection of Aboriginal Traditional Owners to their Country.

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Click the song names for interactive song sheet with video, chords and printable PDFs. Click the column headings to sort the table, for example by year of publication, country of origin, or song complexity.

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Click the song names for interactive song sheet with video, chords and printable PDFs. Click the column headings to sort the table, for example by year of publication, country of origin, or song complexity.

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Understanding Songlines: A 360 experience with Rhoda Roberts AO - YouTube

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Understanding Songlines: A 360 experience with Rhoda Roberts AO - YouTube

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Songlines explained: A 360 experience with Rhoda Roberts

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Teacher & student resources - Creative Spirits

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Teacher & student resources - Creative Spirits

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Aboriginal Culture Essentials - The resource you've been looking for

Many resources about Aboriginal culture are too long or outdated. Not this ebook.

Aboriginal Culture Essentials gives you key foundational knowledge about contemporary Aboriginal culture in a fun and engaging way.

It is no ordinary resource, it offers a fictional story, quizzes, crosswords and even a treasure hunt.

The e-book also includes a free list of significant Aboriginal days and a table that references all chapters to the Australian Curriculum.

A library license is also available.

Stop feeling bad about not knowing. Make it fun to know better.

Get your copy now!

Infographics

Infographics visually represent information and data concise, quickly and clearly. They express complex messages for easy comprehension. Infographics are a blend of arts, statistics, information and design, and tell a story.

Teachers can use infographics to keep students' attention in difficult lessons with an engaging and eye-catching experience. Students save time with infographics as compared to studying traditional articles.

The vast majority of students, teachers, and parents believe technology helps students' abilities to learn and want it to play a bigger role in classrooms.
Browse all Aboriginal infographics
Aboriginal books

Despite new media competing for students' attention books are still a good option for teaching and learning. They support novice teachers by taking them through organised units and structured information. It's a good idea to mix other resources with books.

Choose your Aboriginal textbooks carefully. Non-Aboriginal authors can have an agenda or be influenced by outdated ideas and stereotypes. I recommend using Aboriginal authors and consulting with Aboriginal teachers before deciding which books to buy.

Recently added books:
Browse all Aboriginal books
Aboriginal movies

Aboriginal films can be an engaging medium for students to learn about contemporary and traditional Aboriginal issues. If you don't have time for a feature film there are plenty of shorts to choose from.

Be aware of the time the film was shot-those influenced by the White Australia policy need more explanations, for example for the use of blackface and why no Aboriginal actors were used.

It is also interesting to investigate how different - or alike - similar Aboriginal topics are covered in films by Aboriginal directors versus non-Aboriginal directors.

Recently added films:
Browse all Aboriginal movies
Aboriginal music

Far from being only traditional, contemporary Aboriginal music covers all genres: pop (for example Jimmy Little), rock (Yothu Yindi), country (Troy Cassar-Daley, rap (NoKTuRNL) and alternative (Warumpi Band).

Students can explore the inner world of Aboriginal people by listening to their music and stories. Music can be a good link to texts and Aboriginal poetry, and to connect to the singer's emotional world.

An increasing number of Aboriginal musicians sing in their traditional Aboriginal language (Gurrumul Yunupingu is well-known), adding a layer of complexity for exploration.

Recently added albums:
Browse all Aboriginal musicians
Television & radio

You'll be surprised how many Aboriginal stations broadcast into their communities. Read also about Australia's only Aboriginal TV station, NITV.
Browse TV & radio resources
Aboriginal newspapers & magazines

There is no better way than to read the view of the 'other' side. Check out Aboriginal newspapers, both online and paper.
Browse Aboriginal newspapers and magazines
Newsletters

Stay up-to-date with Aboriginal issues and affairs by subscribing to a newsletter or getting news clippings with Aboriginal relevance directly into your inbox.
Find Aboriginal newsletters
Photography

Looking for photographs of Aboriginal people? Try these photographers:

Gary Radler has some superb photos of Aboriginal people - women, men and children. You can purchase private and commercial licenses on his site.

Rusty Stewart is often credited for photographs of Aboriginal people.

You might also want to contact Aboriginal photographers.

Teaching with Aboriginal resources

Teaching Aboriginal studies is especially difficult if you are non-Aboriginal. Very little in your education or experience has prepared you for an in-depth knowledge of Aboriginal peoples and cultures. Much of your knowledge about Aboriginal people is too often derived from popular myths or from a media which sensationalises, distorts or omits Aboriginal issues.

Your Aboriginal study materials should have a contemporary focus, yet too many people still think in 'traditional' terms, e.g. "a half-naked man performing a corroboree," which perpetuates those exotic and dated stereotypes inherited from a colonial past.

The resources and support materials for Aboriginal studies you select must value the diversity of Aboriginal cultures. They should recognise contemporary Aboriginal input, the cultural diversity of Aboriginal communities and present them as living, dynamic and changing cultures. Avoid older resources (before the 1990s) that contain text that is demeaning to Aboriginal people and their cultures or perpetuate the 'other' and traditional view.

When you decide which resources to use, do the following checks:

Authenticity

Is the material accurate: truthful, exact and free from error?

Before 1990 a lot of materials produced contained stereotyped and generalised information about Aboriginal people. Since then there are numerous resources and materials available which were written by, or in consultation with, Aboriginal people.

These contemporary resources contain information about particular groups or communities and reinforce the diversity and complexity of Aboriginal life. They convey a more authentic and accurate view of Aboriginal peoples and their cultures.

Balance

Does the material refer to Australian history as a shared history?

Resources and support materials for Aboriginal studies must value the diversity of Aboriginal cultures. They should give voice to Aboriginal opinions and points of view besides those of non-Aboriginal people.

There should not be any judgement of viewpoints, however subtle, and if there is it should be pointed out as a learning exercise (e.g. when discussing media sources).

Aboriginal participation

Have Aboriginal people participated in the development of the materials or reviewed and approved them?

It is important that materials and resources recognise contemporary Aboriginal input as a vital part of presenting Aboriginal culture and the cultural diversity of Aboriginal communities. Ideally a short biography of contributors acknowledges the status in their community and the authority that qualifies them to speak.

Be aware of resources, including recent publications, which make little or no reference to Aboriginal peoples, their perspectives and contributions. Simplistic information can be misleading. Teaching students to recognise such issues when using resources is crucial to developing critical skills.

Accuracy and support

Does the material use appropriate terminology? Has it been endorsed by Aboriginal education or community groups?

Some Aboriginal people may be upset if a resource includes material of a secret or sacred nature, which is not intended for public knowledge. This can include images of ceremonies, artwork, and names and photographs of people who are now deceased.

Consult with the local Aboriginal community to ensure you are using appropriate resources.

External resources to help you teach

Here are a few links to online resources that can help you gain a deeper knowledge and prepare lessons or assignments:

Respect Relationships Reconciliation (3Rs) provides study resources designed to support teacher educators incorporate Aboriginal content in initial teacher education (ITE) courses. It helps with strategies for teaching and understanding Aboriginal people. See rrr.edu.au for more details.

Kinship online learning module videos provide you with a deeper understanding of the richly complex Aboriginal kinship system by learning about the components of moiety, totem, skin names, language and traditional affiliations and individual identity. Provided by the University of Sydney.

Indigenous Cultural Learning is a 30-minute online learning module by ANZ that introduces you to Aboriginal culture. View the module.

Classpert is a free search engine for online courses, listing offers from services such as Udemy, Coursera, EdX and others. Check Classpert for Aboriginal courses.

Know another one? Let me know!

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Many resources about Aboriginal culture are too long or outdated. Not this ebook. Aboriginal Culture Essentials gives you key foundational knowledge about contemporary Aboriginal culture in a fun and engaging way. It is no ordinary resource, it offers a fictional story, quizzes, crosswords and even a treasure hunt.

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Music (2013) Teaching and learning resources: Aboriginal and Torres Strait Islander perspectives - snr_music_13_indigenous.pdf

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Music (2013) Teaching and learning resources: Aboriginal and Torres Strait Islander perspectives - snr_music_13_indigenous.pdf

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Simple Music Lesson - Indigenous Australian (NAIDOC) Composition and Performance by Toosh2013 - Teaching Resources - Tes

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Simple Music Lesson - Indigenous Australian (NAIDOC) Composition and Performance by Toosh2013 - Teaching Resources - Tes

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Simple Music Lesson - Indigenous Australian (NAIDOC) Composition and Performance

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In this straightforward lesson children are introduced to Indigenous Australian music in the form of 'Songlines'. Following the example of Indigenous Australian storytellers, children are encouraged to create their own musical composition usi...

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Aboriginal Music and Torres Strait Islander Music in the Primary Classroom – KMEIA

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Aboriginal Music and Torres Strait Islander Music in the Primary Classroom – KMEIA

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This article is based on a presentation given by Deb Brydon and Faith Baisden (First Languages Australia) at KMEIA National Conference 2016.
We often hear these at events and perhaps even at our school. What is a Welcome to Country and an Acknowledgement? Why are they done?

A Welcome to Country is a protocol where Aboriginal or Torres Strait Islander Traditional Owners welcome others to the land of their ancestors.

The Acknowledgement of Traditional Owners and Elders differs from a Welcome to Country in that it can be delivered by both Indigenous and non-Indigenous people.

This practice demonstrates respect for Aboriginal and Torres Strait Islander cultures and recognises the importance of acknowledging Traditional Owners of the land and/or sea. Sample wording:

I would like to respectfully acknowledge the[Name of the Group if known]Traditional Owners of the land on which this event is taking place and Elders both past and present.
I also recognise those whose ongoing effort to protect and promote Aboriginal and Torres Strait Islander cultures will leave a lasting legacy for future Elders and leaders. [i] [ii] [iii]

One of the five aims of The Australian Curriculum: The Arts is to develop an

"understanding of Australia's histories and traditions through the arts, engaging with the artworks and practices, both traditional and contemporary, of Aboriginal and Torres Strait Islander Peoples."[iv]

Two of the four F-2 Content Descriptions are:

"Sing and play instruments to improvise, Respond to music and consider where and why people make music, starting with Australian music, including music of Aboriginal and Torres Strait Islander Peoples."[iv] practise a repertoire of chants, songs and rhymes, including songs used by cultural groups in the community

The 3-4 and 5-6 Content Descriptions have the same phrase at the end of these two content descriptions.

F-2, 3-4 and 5-6 Band Descriptions all include:

"They explore the arts of Aboriginal and Torres Strait Islander Peoples and of the Asia region and learn that they are used for different purposes."[iv]

None of the achievement standards mention Aboriginal music or Torres Strait Islander music so it is not mandated to assess students' knowledge of this. This is not to say that it can't be used in assessment, just that it isn't mandated. For example, the 5-6 Achievement Standard says:

"They describe how their music making is influenced by music and performances from different cultures, times and places."[iv]

So while it doesn't specifically mention Aboriginal music or Torres Strait Islander music, this music could be described as part of the assessment.

Many of us want to include Aboriginal/Torres Strait Islander music and perspectives in our lessons but don't know where to start and are concerned about doing the wrong thing. Often our fear of doing the wrong thing can stop us from doing any thing.

Here are some ideas to get you started:

Find out who your local language group/s are. Invite them to share music with your school/class. Inform them of other Aboriginal/Torres Strait Islander Music you intend to share with your school/class.

Find out which language groups are represented by students/staff in your school community.

Make contact with the Elders or someone from your Aboriginal and/or Torres Strait community. Some suggestions:

Ask a parent of an Aboriginal/Torres Strait Islander child in your school.

Contact your local Aboriginal Health Centre, language group or museum.

Talk to other members of staff to find out anything that has been done in the past.

Contact your school's Aboriginal Liaison Officer

Contact QILAC (Queensland Indigenous Languages Advisory Committee) who might be able to put you in touch with someone local.

Ngarila Matilda in Yugambeh language
Interpretation by Faith Baisden, used with permission

This is not a direct translation of the English words into Yugambeh language. It is an interpretation of the song's general meaning into Yugambeh language. Yugambeh is the language of the Aboriginal people who live in the country from south of Brisbane to the Tweed River, and from the coast to around Beaudesert in the west.

Yalburru marrogunn

Weinani gwonggubungadi

Juwi malong mungeranah

Nyuli yarrabilen gwong marbanyun

Ngarila Matilda, Matilda nyulangi

Ngarila Matilda, Ngarila Matilda

Ngarila Matilda, Matilda nyulangi

Nyuli yarrabilen gwong marbanyun

Ngarila Matilda, Matilda nyulangi

The interpretation in English:

A happy man sat at a waterhole

Under the shade of a gum tree

He sang while the water boiled

He's dancing Matilda.

Dancing Matilda

Dancing Matilda

He's dancing Matilda

He sang while the water boiled

He's dancing Matilda.

This song is on the First Languages Australia CD Yamani. You can listen to it online and purchase and download this song or the entire album.
Taba Naba in Meriam Mir Language (Torres Strait Islands)
Taken from Music in the Middle Years DVD by KMEIA QLD.
Used with permission

[i] https://www.qld.gov.au/atsi/cultural-awareness-heritage-arts/welcome-to-country/index.html

[ii] www.CreativeSpirits.info, Aboriginal culture - Spirituality - Welcome to Country & Acknowledgement of Country,

[iii] https://www.reconciliation.org.au/

[iv] http://www.australiancurriculum.edu.au/

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Aboriginal Music and Torres Strait Islander Music in the Primary Classroom

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This article is based on a presentation given by Deb Brydon and Faith Baisden (First Languages Australia) at KMEIA National Conference 2016. We often hear these at events and perhaps even at our school. What is a Welcome to Country and an Acknowledgement? Why are they done?

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Aboriginal and Torres Strait Islander education: Resources for pre-service teachers

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Indigenous Aboriginal Music - MGSE Music Education YouTube playlist

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Indigenous Aboriginal Music - MGSE Music Education YouTube playlist

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Mission Songs Project – Contemporary Indigenous Songs from the 20th Century

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Mission Songs Project – Contemporary Indigenous Songs from the 20th Century

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'We're looking at 4 to 5 generations of unrecorded cultural practice' - J.Lloyd

Curated by Jessie Lloyd, the Mission Songs Project is an initiative to revive and present a rare collection of early Australian Indigenous contemporary songs that were composed and performed between 1900 to 1999.

The Mission Songs Project faithfully explores the musical journey of Indigenous music, as Jessie Lloyd connects the traditional with contemporary and reveals the continuation of cultural practice and oral traditions into the twenty first century.

These songs, largely hidden from the outside world, offer a unique window of life on the Christian missions, native settlements and the fringes of townships where Aboriginal and Islander people were displaced.

The collection consists of rare and almost forgotten songs that now shed light on the history of our Indigenous communities, their stories and their resilience in a harsh changing world.

Roger Knox, aka the Koori King of Country or Black Elvis as he's known in his homeland, is an Aboriginal Australian Country & Western singer with a honeyed bear hug of a voice.

Lou Bennett

Feature Vocalist & Advisor

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Heralding from QLD, Monica moved to Melbourne 20 years ago to study jazz and pursue a musical career. An accomplished singer and guitarist, Monica has experience in teaching, recording and producing. She also performs with Koorie Tiddas Youth Choir.

Leah Flanagan is a singer-songwriter from Darwin, Northern Territory. She has Italian, Aboriginal and Irish heritage. She graduated from the Elder Conservatorium of Music in Adelaide with a degree in Classical Music.

'Mission Songs Project presents contemporary folk songs that continue the ancient song lines of this country. The songs speak of the daily lives of the First Peoples who were relocated from their traditional homelands to the missions. There are some well known songs and also hidden gems that have been uncovered.'

'The 20th Century songs composed and sung on Aboriginal mission and settlements are records of our history and tell us about the emotions and aspirations of their composers. Jessie Lloyd's research to find these songs is a profoundly important contribution to our nation and music.'

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'We're looking at 4 to 5 generations of unrecorded cultural practice' - J.Lloyd Curated by Jessie Lloyd, the Mission Songs Project is an initiative to revive and present a rare collection of early Australian Indigenous contemporary songs that were composed and performed between 1900 to 1999.

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Framework for Embedding KoorieCultures, Histories and Perspectives inVictorian Schools

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Framework for Embedding KoorieCultures, Histories and Perspectives inVictorian Schools

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Emma Donovan & The PutBacks feat. Tim Rogers & Joelistics - Blackfella Whitefella - YouTube

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Emma Donovan & The PutBacks feat. Tim Rogers & Joelistics - Blackfella Whitefella - YouTube

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Emma Donovan & The PutBacks feat. Tim Rogers & Joelistics - Blackfella Whitefella

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Buy Vinyl: http://hopest.re/1KxSNfb ---- iTunes: http://hopest.re/1Otrg4N ---- Bandcamp: http://hopest.re/1KKDP9p Emma Donovan and The PutBacks have brought together some very special guests to release a new 7" single featuring two classic Aboriginal Australian songs.