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Resource 1: Aboriginal and Torres Strait Islander Flags

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Resource 1: Aboriginal and Torres Strait Islander Flags

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The Aboriginal Flag and the Torres Strait Islander Flag were designed to represent these groups of Indigenous Australians.

The Aboriginal Flag and the Torres Strait Islander Flag were designed in the 1970s and 1990s respectively and are proudly displayed around Australia today.

The Aboriginal Flag

Description and Meaning

The Aboriginal Flag is divided horizontally into equal halves of black (top) and red (bottom), with a yellow circle in the centre.

The black symbolises Aboriginal people.

The yellow represents the sun, the constant re-newer of life.

Red depicts the earth and peoples' relationship to the land. It also represents ochre, which is used by Aboriginal people in ceremonies.

History

The flag was designed by Harold Joseph Thomas, a Luritja man from Central Australia. It was first flown at Victoria Square, Adelaide on National Aborigines' Day on 12 July 1971. It was used later at the Tent Embassy in Canberra in 1972.

Today the flag has been adopted by all Aboriginal groups and is flown or displayed permanently at Aboriginal centres throughout Australia.

The Torres Strait Islander Flag

Description and meaning

A white dharri or deri (a type of headdress) sits in the centre, with a five-pointed white star underneath it. It features three horizontal coloured stripes, with green at the top and bottom and blue in between, divided by thin black lines.

The colour green is for the land.

The dharri or deri is a symbol for all Torres Strait Islanders.

The black represents the people.

The blue is for the sea.

The five-pointed star represents the island groups. Used in navigation, the star is also an important symbol for the sea-faring Torres Strait Islander people.

The colour white of the star represents peace.

History

The flag was designed by the late Bernard Namok from Thursday Island in 1992. In June 1992 it was recognised by the Aboriginal and Torres Strait Islander Commission.

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Aboriginal and Torres Strait Islander Flags

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The Aboriginal Flag and the Torres Strait Islander Flag were designed to represent these groups of Indigenous Australians. The Aboriginal Flag and the Torres Strait Islander Flag were designed in the 1970s and 1990s respectively and are proudly displayed around Australia today.

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Evaluation: Through application of the YARNS framework this website was last update in 2018 and published by the Australian Museum. The resource is credible as it provides current and up to date information regarding the Aboriginal and Torres Strait Islander flags that are presented. Students would need to understand information regarding the identity of Aboriginal and Torres Strait Islander Peoples to then transfer this and understand when observing the flags that are displayed. This resource is produced by the Australian Museum, however there are considerations of the designer of the flag and throughout their site. The resource uses appropriate language regarding the flag meanings and colours in present tenses, regarding the information as current. This resource shows significant acknowledgement and respect for both Aboriginal and Torres Strait Islander Peoples whilst providing information in a balanced way. There are no inappropriate terms present and using correct capitalisation for Aboriginal and Torres Strait Islander Peoples is consistent throughout the source. The site describes the history of the Aboriginal and Torres Strait Islander Flags and identifies the original creators of the flags. The website provides warning that the website contains ‘names, images, and voices of deceased Aboriginal and Torres Strait Islander Peoples’ this warning is essential (Shay, 2021, p.144). 

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Evaluation: Through application of the YARNS framework this website was last update in 2018 and published by the Australian Museum. The resource is credible as it provides current and up to date information regarding the Aboriginal and Torres Strait Islander flags that are presented. Students would need to understand information regarding the identity of Aboriginal and Torres Strait Islander Peoples to then transfer this and understand when observing the flags that are displayed. This resource is produced by the Australian Museum, however there are considerations of the designer of the flag and throughout their site. The resource uses appropriate language regarding the flag meanings and colours in present tenses, regarding the information as current. This resource shows significant acknowledgement and respect for both Aboriginal and Torres Strait Islander Peoples whilst providing information in a balanced way. There are no inappropriate terms present and using correct capitalisation for Aboriginal and Torres Strait Islander Peoples is consistent throughout the source. The site describes the history of the Aboriginal and Torres Strait Islander Flags and identifies the original creators of the flags. The website provides warning that the website contains ‘names, images, and voices of deceased Aboriginal and Torres Strait Islander Peoples’ this warning is essential (Shay, 2021, p.144). 

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Justification: To justify this resource there are strong links to AITSL standards under focus area 2.4 as there is acknowledgment of Aboriginal and Torres Strait Islander Peoples’ culture as students build deeper understanding of both flags (AITSL, 2018, p.13). This is supported through the EYLF that students are learning about their Country and establish a strong sense of connection to their world that they are living and learning upon, under outcome 2.1 (DET, 2016, p.29). Further to this, children are exploring diversity as they are broadening their understanding of Aboriginal and Torres Strait Islander culture, through broadening their understanding of the flags, which links to outcome 2.2 (DET, 2016, p.30). This associates to the theme of Country as students broaden their understanding of Aboriginal and Torres Strait Islander Peoples and the history of the Country in which the students live. For students to build a strong sense of identity and belonging they must understand the history and respect Aboriginal and Torres Strait Islander culture. The Country is Kin in Aboriginal and Torres Strait Islander culture, hence understanding these epistemologies teaches students about their Country (Grieves, 2009). 

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Justification: To justify this resource there are strong links to AITSL standards under focus area 2.4 as there is acknowledgment of Aboriginal and Torres Strait Islander Peoples’ culture as students build deeper understanding of both flags (AITSL, 2018, p.13). This is supported through the EYLF that students are learning about their Country and establish a strong sense of connection to their world that they are living and learning upon, under outcome 2.1 (DET, 2016, p.29). Further to this, children are exploring diversity as they are broadening their understanding of Aboriginal and Torres Strait Islander culture, through broadening their understanding of the flags, which links to outcome 2.2 (DET, 2016, p.30). This associates to the theme of Country as students broaden their understanding of Aboriginal and Torres Strait Islander Peoples and the history of the Country in which the students live. For students to build a strong sense of identity and belonging they must understand the history and respect Aboriginal and Torres Strait Islander culture. The Country is Kin in Aboriginal and Torres Strait Islander culture, hence understanding these epistemologies teaches students about their Country (Grieves, 2009). 

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Welcome to country - Aunty Joy Murphy and Lisa Kennedy - Story time with Karli

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Evaluation: Through application of the YARNS framework this book was published in 2016 and the Author of this book is Aunty Joy Murphy and it is illustrated by Lisa Kennedy. This resource is being read by Karli, an educator at The Grove Children's Centre published in 2021. The text is credible as it is up to date and provides present information regarding Aboriginal and Torres Strait Islander culture. The resource has text beneath it and acknowledges the land in which the source is created upon and recognises the Aboriginal and Torres Strait Islander People as the traditional owners of the land. The creator of this resource identifies and acknowledges the original Author as an Aboriginal Elder and shows respect through using the term ‘Aunty’ Joy Murphy. The creator of the video identifies the illustrator, Lisa Kennedy, as a descendant of the Trawlwoolway People on the north-east coast of Tasmania. Students would need to understand information regarding the significant impact of Aboriginal and Torres Strait Islander Peoples culture and their responsibility to the land to then grasp the text. There are no inappropriate terms present and use of correct capitalisation for Aboriginal and Torres Strait Islander Peoples is consistent throughout the source (Shay, 2021, p.144). 

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Evaluation: Through application of the YARNS framework this book was published in 2016 and the Author of this book is Aunty Joy Murphy and it is illustrated by Lisa Kennedy. This resource is being read by Karli, an educator at The Grove Children's Centre published in 2021. The text is credible as it is up to date and provides present information regarding Aboriginal and Torres Strait Islander culture. The resource has text beneath it and acknowledges the land in which the source is created upon and recognises the Aboriginal and Torres Strait Islander People as the traditional owners of the land. The creator of this resource identifies and acknowledges the original Author as an Aboriginal Elder and shows respect through using the term ‘Aunty’ Joy Murphy. The creator of the video identifies the illustrator, Lisa Kennedy, as a descendant of the Trawlwoolway People on the north-east coast of Tasmania. Students would need to understand information regarding the significant impact of Aboriginal and Torres Strait Islander Peoples culture and their responsibility to the land to then grasp the text. There are no inappropriate terms present and use of correct capitalisation for Aboriginal and Torres Strait Islander Peoples is consistent throughout the source (Shay, 2021, p.144). 

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Justification: This resource is justified through AITSL standard 2.4, as the text reflects Aboriginal and Torres strait Islander culture and histories through identification of the creator spirits contributions and explorations of reciprocity with the land and reiterates the importance of giving as much as taking (AITSL, 2018, p.13). Through links to the EYLF Outcome 2.2 children are learning about ways to contribute to the world by emphasis on caring for their environment through empathy and kindness (DET, 2016, p.31). This resource is supported by Uncle Bob, as he explains the strong connection Aboriginal and Torres Strait Islander withhold with the Country is the ownership is equal between land and People, in which the text asserts (Uncle Bob, 2007). This reflects Kinship as it builds students understanding of the Aboriginal and Torres Strait Islander Peoples significant responsibilities to the Country and the strong relationship they hold with Country in which reflects Aboriginal and Torres Strait Islander epistemologies. This text presents Aboriginal and Torres Strait Islander culture and establishes their important relationship that is known as their Kin with Country. The creator spirits reflect the making of the Country and identity responsibilities for Aboriginal and Torres Strait Islander Peoples (Grieves, 2009).

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Justification: This resource is justified through AITSL standard 2.4, as the text reflects Aboriginal and Torres strait Islander culture and histories through identification of the creator spirits contributions and explorations of reciprocity with the land and reiterates the importance of giving as much as taking (AITSL, 2018, p.13). Through links to the EYLF Outcome 2.2 children are learning about ways to contribute to the world by emphasis on caring for their environment through empathy and kindness (DET, 2016, p.31). This resource is supported by Uncle Bob, as he explains the strong connection Aboriginal and Torres Strait Islander withhold with the Country is the ownership is equal between land and People, in which the text asserts (Uncle Bob, 2007). This reflects Kinship as it builds students understanding of the Aboriginal and Torres Strait Islander Peoples significant responsibilities to the Country and the strong relationship they hold with Country in which reflects Aboriginal and Torres Strait Islander epistemologies. This text presents Aboriginal and Torres Strait Islander culture and establishes their important relationship that is known as their Kin with Country. The creator spirits reflect the making of the Country and identity responsibilities for Aboriginal and Torres Strait Islander Peoples (Grieves, 2009).

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Resource 3: Aboriginal and Torres Strait Islander Artwork

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Resource 3: Aboriginal and Torres Strait Islander Artwork

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Title: Bunjil

Bunjil flies high over the Yarra River watching over all he has created.

Bunjil (the eaglehawk) represents the Creator Spirit;
The set of three wavy lines represent the Yarra River in Victoria;
The campfire circles symbolise families and communities of the Kulin Nation gathering together;
The straight lines are the paths and relationships that connect people to each other;
The three large circles and lightning represent the power of prayer, worship and relationship with the Creator.

This painting of Bunjil is about how our Creator is lovingly watching over, protecting, providing and participating in relationship with His creation. It beakons our response to the invitation to be in relationship with Him as we live in connection with each other and the land.

Medium: Acrylic on Canvas
Date: 2007

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Title: Bunjil Bunjil flies high over the Yarra River watching over all he has created. Bunjil (the eaglehawk) represents the Creator Spirit; The set of three wavy lines represent the Yarra River in Victoria; The campfire circles symbolise families and communities of the Kulin Nation gathering together; The straight lines are the paths and relationships that connect people to each other; The three large circles and lightning represent the power of prayer, worship and relationship with the Creator.

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Evaluation: Through application of the YARNS framework this artwork was created in 2007 by Safina Stewart, a woman who identifies as an Aboriginal and Torres Strait Islander artist. Students would need to have background knowledge of Aboriginal and Torres Strait Islander Peoples and the existence of the creator spirit, Bunjil. This source acknowledges both Aboriginal and Torres Strait Islander Peoples through her artwork and all of the art contains meaning regarding Aboriginal and Torres Strait Islander culture. This artwork of Bunjil the Eagle provides relevant information that respects and identifies his current contribution to the land and describes Bunjil’s presence on protecting the land, worded in present tense. The artwork has patterns that hold meaning in which includes campfire circles, the Yarra River, paths, and lightning which hold descriptions that embrace Aboriginal and Torres Strait Islander People’s culture. Through further evaluation this resource is sensitive to both Aboriginal and Torres Strait Islander Peoples and recognises them independently. There are no inappropriate terms present and using correct capitalisation for Aboriginal and Torres Strait Islander Peoples is consistent throughout the source (Shay, 2021, p.144).

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Evaluation: Through application of the YARNS framework this artwork was created in 2007 by Safina Stewart, a woman who identifies as an Aboriginal and Torres Strait Islander artist. Students would need to have background knowledge of Aboriginal and Torres Strait Islander Peoples and the existence of the creator spirit, Bunjil. This source acknowledges both Aboriginal and Torres Strait Islander Peoples through her artwork and all of the art contains meaning regarding Aboriginal and Torres Strait Islander culture. This artwork of Bunjil the Eagle provides relevant information that respects and identifies his current contribution to the land and describes Bunjil’s presence on protecting the land, worded in present tense. The artwork has patterns that hold meaning in which includes campfire circles, the Yarra River, paths, and lightning which hold descriptions that embrace Aboriginal and Torres Strait Islander People’s culture. Through further evaluation this resource is sensitive to both Aboriginal and Torres Strait Islander Peoples and recognises them independently. There are no inappropriate terms present and using correct capitalisation for Aboriginal and Torres Strait Islander Peoples is consistent throughout the source (Shay, 2021, p.144).

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To justify this artwork through relations to the AITSL standard 1.4 in which is observing Aboriginal and Torres Strait Islander artwork reflects cultural identity for students of Aboriginal and Torres Strait Islander heritage (AITSL, 2018, p.11). Through the EYLF this artwork achieves learning goals as it increases knowledge of culture and heritage and this embracement of diversity creates opportunities for new knowledge for students (DET, 2016, p.30). This artwork speaks in regard to Aboriginal and Torres Strait Islander philosophies as it communicates knowledge of Country, history and culture through identifying Bunjil and the landscapes that surround him. This demonstrates the significant relationship with Country that Aboriginal and Torres Strait islander Peoples hold, which is signified by the creator spirits who provide unique identity and responsibilities (Mundine, 2022, p.76-77). This relates to Aboriginal and Torres Strait Islander Peoples Totems which is provided through Bunjil, these totems are responsibilities that give Aboriginal and Torres Strait Islander People and identity to ensure the Country is kept healthy. Hence, giving Aboriginal and Torres Strait Islander Peoples identity therefore, building children’s understanding of their culture and increasing respect and knowledge of Aboriginal and Torres Strait Islander Peoples culture (University of Sydney, 2014). 

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To justify this artwork through relations to the AITSL standard 1.4 in which is observing Aboriginal and Torres Strait Islander artwork reflects cultural identity for students of Aboriginal and Torres Strait Islander heritage (AITSL, 2018, p.11). Through the EYLF this artwork achieves learning goals as it increases knowledge of culture and heritage and this embracement of diversity creates opportunities for new knowledge for students (DET, 2016, p.30). This artwork speaks in regard to Aboriginal and Torres Strait Islander philosophies as it communicates knowledge of Country, history and culture through identifying Bunjil and the landscapes that surround him. This demonstrates the significant relationship with Country that Aboriginal and Torres Strait islander Peoples hold, which is signified by the creator spirits who provide unique identity and responsibilities (Mundine, 2022, p.76-77). This relates to Aboriginal and Torres Strait Islander Peoples Totems which is provided through Bunjil, these totems are responsibilities that give Aboriginal and Torres Strait Islander People and identity to ensure the Country is kept healthy. Hence, giving Aboriginal and Torres Strait Islander Peoples identity therefore, building children’s understanding of their culture and increasing respect and knowledge of Aboriginal and Torres Strait Islander Peoples culture (University of Sydney, 2014). 

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Bunurong Land Council Aboriginal Corporation

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Bunjil's Story for the City of Casey - Bunjil's Place

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Evaluation: Through applying the YARNS framework, the creator of this video is the Bunurong Land Council Aboriginal corporation, and the resource was published in the year of 2019. The resource links a website that represents themselves as the Traditional Owners of the land on the south-east Kulin nation which the resource was created, being that this website identifies as an Aboriginal corporation. The resource gives significant warning regarding the Aboriginal and Torres Strait islander Peoples who have deceased throughout all aspects of the source. The punctuation is used respectfully as capitals are used academically correctly throughout the resource. Through evaluation of this information, the Publisher demonstrates significant protection for Aboriginal Peoples. The video contains respectful language that is appropriate and there is no use of derogatory terms throughout the video or website. Contextual information that is relevant is prior knowledge of Aboriginal and Torres Strait Islander Peoples’ creator spirits that remain present, and this video furthers knowledge of Bunjil and Waa. In essence this source demonstrates significant respect for Aboriginal and Torres Strait Islander Peoples and the language used throughout is in present tense, defining it as present and respectful (Shay, 2021, p.144).

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Evaluation: Through applying the YARNS framework, the creator of this video is the Bunurong Land Council Aboriginal corporation, and the resource was published in the year of 2019. The resource links a website that represents themselves as the Traditional Owners of the land on the south-east Kulin nation which the resource was created, being that this website identifies as an Aboriginal corporation. The resource gives significant warning regarding the Aboriginal and Torres Strait islander Peoples who have deceased throughout all aspects of the source. The punctuation is used respectfully as capitals are used academically correctly throughout the resource. Through evaluation of this information, the Publisher demonstrates significant protection for Aboriginal Peoples. The video contains respectful language that is appropriate and there is no use of derogatory terms throughout the video or website. Contextual information that is relevant is prior knowledge of Aboriginal and Torres Strait Islander Peoples’ creator spirits that remain present, and this video furthers knowledge of Bunjil and Waa. In essence this source demonstrates significant respect for Aboriginal and Torres Strait Islander Peoples and the language used throughout is in present tense, defining it as present and respectful (Shay, 2021, p.144).

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Justification: This video is justified through the AITSL standard 1.4 as it explores concepts of Aboriginal and Torres strait Islander culture and explains the creator spirits and their position to Country (AITSL, 2018, p.11). This also extends students communication skills as they learn to adapt their own ideas and make meaning through the visual text being presented and share their ideas with others, under Outcome 5.3 (DET, 2016, p.45). This video demonstrates understanding of Country and describes the creation of it and through this exploration students can extend their knowledge of Aboriginal and Torres Strait Islander culture. The video explains the landscapes that Bunjil built to grow appreciation of the contribution Bunjil made landscapes and the made the rain fall to give people water, giving appreciation to our Country.  The creator spirt is crucial to understanding Aboriginal and Torres Strait Islander Peoples philosophy in regard to the Country and it is crucial to understand Bunjil’s presence of where his body rests (Meissner, 2022, p.17-18).

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Justification: This video is justified through the AITSL standard 1.4 as it explores concepts of Aboriginal and Torres strait Islander culture and explains the creator spirits and their position to Country (AITSL, 2018, p.11). This also extends students communication skills as they learn to adapt their own ideas and make meaning through the visual text being presented and share their ideas with others, under Outcome 5.3 (DET, 2016, p.45). This video demonstrates understanding of Country and describes the creation of it and through this exploration students can extend their knowledge of Aboriginal and Torres Strait Islander culture. The video explains the landscapes that Bunjil built to grow appreciation of the contribution Bunjil made landscapes and the made the rain fall to give people water, giving appreciation to our Country.  The creator spirt is crucial to understanding Aboriginal and Torres Strait Islander Peoples philosophy in regard to the Country and it is crucial to understand Bunjil’s presence of where his body rests (Meissner, 2022, p.17-18).