# data[].attributes.body
An example of what should be done on the day of the event, as well as the days following the event.

# data[].attributes.body
An example of an events management "Pre-Event" checklist

# data[].attributes.body
As we are celebrating Aboriginal culture, it is important to understand WHO exactly we are honoring.

Noongar means ‘a person of the south-west of Western Australia,’ and are one of the largest Aboriginal cultural blocks in Australia.

Of course it would be extremely difficult for all staff and volunteers to get a full understanding of Noongar culture (it would take weeks-years), out of respect it would be good to research a little of their culture. This website offers a great overview of Noongar history and culture.

# data[].attributes.attachment_link.readable_text
Amangu - Noongar dialectical groupNoongar dialectical groupNoongar dialectical groupNoongar dialectical groupNoongar dialectical group
Balardong/Ballardong - Noongar dialectical groupNoongar dialectical groupNoongar dialectical group
Ganeang - Noongar dialectical group
Bibulmun/Piblemen - Noongar dialectical group
Mineng - Noongar dialectical group
Goreng - Noongar dialectical group
Wudjari - Noongar dialectical group
Njunga - Noongar dialectical group
kaartdijin- knowledge
nyininy - sit, sat or sitting
nitcha - this, here
ngulla - our

About Noongar

Noongar means 'a person of the south-west of Western Australia,' or the name for the 'original inhabitants of the south-west of Western Australia' and we are one of the largest Aboriginal cultural blocks in Australia.

Noongar are made up of fourteen different language groups (which may be spelt in different ways): Amangu, Yued/Yuat, Whadjuk/Wajuk, Binjareb/Pinjarup, Wardandi, Balardong/Ballardong, Nyakinyaki, Wilman, Ganeang, Bibulmun/Piblemen, Mineng, Goreng and Wudjari and Njunga. Each of these language groups correlates with different geographic areas with ecological distinctions. Noongar have ownership of our own kaartdijin and culture. Not all Noongar cultural history and kaartdijin can be shared.

Noongar boodja - country covers the entire south-western portion of Western Australia. The boundary commences on the west coast at a point north of Jurien Bay, proceeds roughly easterly to a point approximately north of Moora and then roughly south-east to a point on the southern coast between Bremer Bay and Esperance. There is no evidence that there has been any other group than Noongar in the south-west. Archaeological evidence establishes that we Noongar - alternative spellings: Nyungar/Nyoongar/Nyoongah/Nyungah/Nyugah and Yunga - have lived in the area and had possession of tracts of land on our country for at least 45,000 years.

Ngulla boodjar, our land, they call this ngulla boodjar our land. Nitcha ngulla koorl nyininy. This is our ground we came and sat upon.
Noongar Elder Tom Bennell in Collard, Harben and van den Berg, 'Nidja Beeliar Boodjar Noonookurt Nyininy', 2004

Noongar people lived in harmony with the natural environment. Noongar social structure was focused on the family with Noongar family groups occupying distinct areas of Noongar Country. For the Noongar people in the Perth area the main source of food came from the wardan (ocean), the Swan River and the extensive system of freshwater lakes that once lay between the coast and the Darling Escarpment. Further south and east Noongar people lived off the resources of the Karri and Jarrah forests. In the southern coastal area around Albany Noongar built fish traps and hunted turtle. To the north and east Noongar people lived in the semi arid regions of what is now the wheat belt.

It is known that Noongar people travelled within their country to trade with other families. What is now the Albany Highway was once a Noongar track between families in Perth and Albany. Other trade routes existed in the south west and Noongar people could often travel for hundreds of kilometers on foot between each family group.

Noongar people have a long history of culture and tradition and continue to this day to assert their rights and identity in Noongar boodja.

The Tindale Map: Perspectives on the South-West and Noongar Country

Norman Tindale's map of tribal boundaries was published in 1974. It shows Noongar country as having 14 'tribal groups' with firm boundaries, which form limits of normal social and economic cooperation. Tindale identified communication between the groups through possession of a common language, which has led to them being known as 'dialectal' groups of Noongar language.

Maps of the Noongar groups of the south-west often do not contain the word Noongar (or the variants), but the language group names. This mapping of the different Noongar language groups is most associated with the work of anthropologist, Norman Tindale, who was influenced by the earlier work of Daisy Bates.

Norman Tindale's 'Tribal Boundaries of Australia'

Norman Tindale is well known for his map of 'Tribal Boundaries' (above) based on the work he did in the late 1930s when he established that there are at least 400 - and possibly up to 700 - different Aboriginal language groups in Australia. Published in 1974, Tindale's map still has great currency and influence. It was used by the Western Australian Government in the Single Noongar Claim to challenge the notion of a single Noongar society.

It should be noted that the term 'tribal groups' is not currently used. Much of Tindale's work was based on earlier writers who used the term, and like all social scientists, Tindale was a product of his time. Hence, Australia, including the south-west, is divided into the 'tribes' seen on the map. Today, we identify these 14 groups as sub-groups, or dialectal groups of the larger Noongar society.

The Expedition

In 1938, Tindale began his research as part of the 'Harvard-Adelaide Expedition.' He and the members of his team did an enormous amount of travel in their quest to map tribal boundaries across Australia. Because of the sheer size of the project, and with very slow transport at the time, Tindale's study was hurried. The research for the entire mapping project was done in 18 months.

Tindale visited missions (and government settlements) in the south-west to do his research on Noongar groups. We know he went to Moore River, Gnowangerup and a number of other places. He recorded as much information as he could from the Noongar people who turned up on the day, and others that he was in turn told about.

Norman Tindale's work was groundbreaking in that it showed Indigenous groups as having territory, geographical interests and country (rather than being 'wandering' nomadic people), with boundaries, language and identity. Today, anthropologists see the boundaries (including dialects of language, identity, custom) as far more fluid and malleable with enormous overlap and interchange, just like Noongar society. Many people today still think of Aboriginal people as nomadic or wandering people, when this is not the case.

The other members of Tindale's expedition were interested in things like physical anthropology, so Noongar were measured for skull size and bone length and then photographed. There was little research relating to social custom and no participant-observation field work, where the anthropologists try to get inside the culture and see how people really tick.

One point to make about Tindale's observations is that, like many of his time, he had a strong patrilineal bias, in that he saw land being transferred through the male line. This naturally influenced his mapping and ignored the fact that Noongar yorgas - women's lines - were, and are, equally important as men's.

The most current map we have is called 'Aboriginal Australia' and is generally referred to as the Horton Map. It is based on Tindale's work but is more up to date, as it includes the smaller Indigenous groups as sub-sets of larger societies.

# data[].attributes.attachment_link.description
Amangu - Noongar dialectical groupNoongar dialectical groupNoongar dialectical groupNoongar dialectical groupNoongar dialectical group Balardong/Ballardong - Noongar dialectical groupNoongar dialectical groupNoongar dialectical group Ganeang - Noongar dialectical group Bibulmun/Piblemen - Noongar dialectical group Mineng - Noongar dialectical group Goreng - Noongar dialectical group Wudjari - Noongar dialectical group Njunga - Noongar

# data[].attributes.body
As our target market includes families, younger people and those who like to actively participate in the community, the event should be colorful, interactive and FUN!
These are some examples of the aesthetics I have looked at and would like to achieve for our community project.

# data[].attributes.body
It is important to identify who the main target market is in order for the event to be successful. Determining the target market will ensure that activities during the event will be worthwhile as well as ensuring promotional material (like the press releases I will be in charge of) are relevant and do pull people into the event!

# data[].attributes.body
Targeted at children

Light colours = friendly, appealing

Large font to catch the eye

Incorporate the logo for the day

Bordered by symbols of nature

# data[].attributes.body
made with Canva

# data[].attributes.body
Checklist to abide by throughout process

# data[].attributes.body
Continuation of checklist

# data[].attributes.body
- film clip from the movie Human
Stephen discusses the discrimination he faces as an Aboriginal Australian and some stories of his culture

# data[].attributes.attachment_link.title
Stephen's interview - AUSTRALIA - #HUMAN

# data[].attributes.body
"Direct discrimination towards people from other cultures is a symptom of failing to learn, understand and appreciate unique identities and practices other than one's own."

# data[].attributes.body
Set the rules: genre, participant age group, restrictions

Set entry fee

Name judges

Sort out marketing

# data[].attributes.attachment_link.readable_text
When I compiled the online magazine, Buzz Words (The Latest Buzz on Children's Books) , I ran a number of writing for children competitions, sometimes open and other times restricted to subscribers. These included competitions for picture book texts, short stories and poetry. All competitions were held under the banner of the Kathleen Julia Bates Memorial Writing Competition. My daughter Kathleen was killed at the age of two, so it was a lovely way to honour her memory.

In most of the competitions I covered my costs, the exception being the children's (lyrical) poetry competition which didn't get many entries, probably because there is no market for children's poetry in Australia so not a lot gets written. A few times I actually made a profit running competitions - but not enough to live in the lap of luxury! The most successful competition was where I charged a $10 entry fee with every entrant receiving at least a one page critique of their story. (However, it was a lot of hard work as I critiqued all of the non-shortlisted manuscripts). The numbers of entries in the six competitions I ran ranged from 185 to 75. All competitions were offered prizes for first, second and third with certificates offered for Highly Commended and Commended. Prize money has totalled $300 in each of the competitions.

If you or your organisation decides to run a writing competition, there are a number of considerations. To begin, make sure you include every bit of relevant information in your competition description. When you are fully satisfied you have listed every relevant criteria that will go out to prospective entrants, make sure you get an impartial reader to check your notice: it is very easy to overlook a simple thing that can later cause problems.

Be prescriptive when describing what the competition is about. If it is for a short story, is it a story for adults or young people? If the later, what age group is the story aimed at? What is the maximum word length? Are there any restrictions; for example, is the competition only open to senior citizens or those under the age of 18 years?

Make it clear that all entries should have a title page with the author's name, full contact details (including email address) and word count; state that manuscripts be double-spaced and in 12 (14) pt with all pages numbered. Think about whether or not you are prepared to accept more than one entry per writer. State also that only those entrants who include a stamped addressed envelope will receive results. (I'd suggest that you don't return entries: this is because many people send a ssae that is too small for return of manuscript plus results' sheet).

If you are charging an entry fee, make sure that you state to whom cheques be made out to - such as a specific person or organisation. If you are prepared to accept more than one entry per writer, then you need to stress that there is $X for each separate entry. How much you charge will depend on factors such as the total amount of prize money and feedback on individual stories. Most writing competitions attract entry fees of $5 to $15.

Name the competition finalist judges and their positions. In my last competition I had two judges (children's book editors): I gave each of them the 10 entries I scored highest and they judged the winner and place getter using the same scoring criteria that I used such as story originality, use of language, characterisation, and reader impact. Judges provided a short sentence or two about winning entries. They worked to a deadline and were paid $100 each. It is a good idea to keep entrants' names anonymous when you pass short-listed manuscripts on to the finalist judges.

Finally, in organising the competition, allow about 12 weeks from announcement of the competition to the deadline for receipt of entries. Add about 6 - 8 weeks for judging.

Publicising your competition will largely depend on which writers your competition will appeal to, but you are wise to consider writers' centre magazines, the ASA and FAW newsletters, and online magazines such as Buzz Words.

Running a writing competition can be frustrating, but it also give the organisers a chance to take a look at the quality of writing that is being produced 'out there' and to learn valuable skills in organisation and networking.

Dianne (Di) Bates' most recent book - her 100th - is the YA novel, Crossing the Line (Ford Street). Recipient of the 2008 Lady Cutler Award for distinguished services to children's literature, Di is married to award-winning children's author, Bill Condon. They live in Wollongong, NSW and share the website www.enterprisingwords.com.

***

The Australian Literature Review has launched its first writing competition with a prize pool of $800 ($500, $200 and $100) and a professional appraisal of the winning and runner-up short fiction entry by author Sophie King ( www.sophieking.info). Entry is free. If you appreciate The Australian Literature Review and would like to help support the site, consider buying your next book by clicking one of the book cover images on the site and buying any book through Fishpond.

***

The Australian Literature Review
www.auslit.net

# data[].attributes.attachment_link.title
How to Run a Writing Competition, by Dianne (Di) Bates

# data[].attributes.attachment_link.description
When I compiled the online magazine, Buzz Words (The Latest Buzz on Children's Books) , I ran a number of writing for children competitions, sometimes open and other times restricted to subscribers. These included competitions for picture book texts, short stories and poetry. All competitions were held under the banner of the Kathleen Julia Bates Memorial...

# data[].attributes.body
Anthropologist:

Charlotte Sym

University Public:

Curtin University, University of Western Australia, Edith Cowan University, Murdoch University

Indigenous Performance Students:

Aboriginal Performance students of the Western Australian Academy of Performing Arts (this course has a strong focus on Aboriginal culture, and is therefore relevant).

Indigenous studies academics:

Head of the School of Indigenous Studies at the University of Western Australia.

Head of Murdoch University's Australian Indigenous Studies major.

Professor Marion Kickett, director of The Centre of Aboriginal Studies at Curtin University.

The director of Kurongkurl Katitjin Centre at Edith Cowan University.

The Film Crew:

Lauren Parkes (director)

Jodie Bell (producer). She has produced an award-winning Indigenous documentary: Puttupari and the Rain Makers.

Remaining crew: film students from participating universities and Indigenous participants that wish to gain skills in film-making.

Indigenous poetry students:

Winners of Josie's creative writing competitions

# data[].attributes.headline
Section 2.1 of Pathways and Protocols (Janke 2009) Continued

# data[].attributes.subject
Section 2.1 of Pathways and Protocols (Janke 2009) Continued

# data[].attributes.body
Consultation and Consent. It is paramount that we discuss the aims of film project before all consent to partake in it. Consent should be written in writing, so we shall draw up an individual contract outlining the points we hope the film will cover, how we believe it will be achieved, and what each individual's role is within this, including their rights. We will also need to receive consent if we choose to include WAAPA concert performances, from the institution itself.

Representing deceased peoples. It is offensive to provide names or images of people who have deceased for some Indigenous sub-cultures. Therefore, we must make sure that the film does not discuss or depict (in footage), anyone who has passed away.

Sensitive Issues. We will require the counsel of an Indigenous consultant on whether sensitive contemporary issues in Indigenous culture should be included in the final film. They will be a part of the process from script treatment through to post-production, and will be on the production set when filming content.

Paying Indigenous Contributors. It is recommended that we pay participants for sharing their knowledge, or at least provide skills development in some form. We will do both, by paying a wage appropriate to how much each person contributes, and also provide the opportunity for each individual to be a part of the technical filmmaking process. This can add to the reflexive nature of the documentary, whereby the camera turns on these crew members to uncover their opinions on what is being spoken about/filmed.

# data[].attributes.body
Ethnography is a form of qualitative research with roots in Anthropology (The study of society and people).
Ethnographies are a form of research, where the researcher attempts to gain an inside perspective of a particular topic of a group of people through everyday life and practice. Ethnographies tend to be written in First Person POV, however, they are to exclude biases held by the researcher to avoid contamination of understanding (Hoey, B. 2013). Ethnographies are written to gain an understanding that we may be unable to obtain due to our contextual prejudices.

# data[].attributes.body
Bright and eye-catching

# data[].attributes.body
Unbranded. 2007. Image. http://www.uqp.uq.edu.au/Book.aspx/193/Unbranded.

# data[].attributes.body
The Swan Song. 2016. Image. http://www.simonandschuster.com/books/The-Swan-Book/Alexis-Wright/9781501124785.

# data[].attributes.headline
What about the 'Ethical Codes' around filming Indigenous peoples/culture? 

# data[].attributes.subject
What about the 'Ethical Codes' around filming Indigenous peoples/culture? 

# data[].attributes.body
ScreenWest is the governmental film organisation for Western Australia, whom have comprised a guide on how to work with Indigenous people, culture and concepts as a filmmaker, called Pathways and Protocols (2009). This will be the document we (the crew) will refer to to ensure we are treating these subjects with the respect that they deserve.

Section 2.1 has key protocols of note:

Respecting Indigenous heritage. It is incredibly important for us to understand that Indigenous Australians have the authority to interpret their own cultures. We will achieve this by constantly including Indigenous groups to reflect on the documentary footage that has been gathered during the process, so they have the power to interpret their culture and retain ownership of their intellectual property. This will prevent the voices of other participants (eg: anthropologists and students) from taking over a film which is rightfully for the Indigenous people.

Cultural Integrity. Any Indigenous art forms must retain the integrity of the artist/author. In order to uphold this, we will consult the authors/artists in post-production, as to whether the representations of their work remain true and satisfactory. In addition, there is mention of the fact that it is important to acknowledge contemporary Indigenous culture/art-forms, in order to remind society that it is not purely a historical phenomena. We will abide by this principle by incorporating Indigenous Dance students from The Western Australian Academy of Performing Arts in the documentary, as this has both a historical and contemporary focus to the art.

Sacred Sites and Material.  Certain rituals, places and information is "restricted by customary law" (Terri Janke, 2009, p. 14). It would therefore be best for us to either veer clear of any rituals, and rely on the help of a hired Indigenous consultant (which can be found on the ScreenWest directory) to make sure we are not disrespecting customary law.

# data[].attributes.body
Keep it basic but nice

# data[].attributes.headline
DEVELOPING EFFECTIVE SOCIAL MEDIA CONTENT

# data[].attributes.subject
DEVELOPING EFFECTIVE SOCIAL MEDIA CONTENT

# data[].attributes.body
The link below provides a strategic process in which will help produce solid media content. Through the five steps:
1. Establishing an Audience = Target Market ✓
2. Social Keyword Research = Creation of # ✓
3. Multiple Media Platforms = Facebook and Posters ✓
4. Content Calendar = Planning and Drafting ✓
5. Double Checking Online Presence= Engaging With Consumers ✓

# data[].attributes.attachment_link.readable_text
Social media is one of the most fickle tools at a brand's disposal. On one hand it is an open platform allowing for direct engagement the likes of which we have never seen before it. But on the other it is an over-saturated platform full of constant noise that can be difficult to cleave through. The trick is to build a loyal fan base that are part of a circular community within social media. You want to foster a sense of belonging that brings people back again and again. While direct interaction is one way of doing that, it should be combined with another strategy, namely a content strategy.

The Power Of Content

Whether you like the buzzword or not, content is important. It is what you give your followers in return for their support and interest. It is a way to impart information and entertain. But most of all, it is the most consistent and fail-proof method of building a brand, not only in substance, but in authority. Social media content isn't actually a different animal to what you would find elsewhere. It is just another strain of species, a form of equally valuable content presented for optimized for social sharing. You can build an unstoppable social media content strategy in five basic steps.

Related: What matters more, the quality or size of your social media audience?

Step 1. Establish your audience.

I don't mean you should set about building your audience, that is what a social media content strategy is for in the first place. I am referring to establishing who that audience is, and what they want. How can you create good social content if you don't know your audience? Target audience research is most likely part of your overall digital marketing strategy, so you can get some insights from the website analytics software you are using (Google Analytics is probably the most widespread). Those insights will include basic demographics, acquisition channels, and content preferences. There are also social-media focused tools that will give you more information:

BirdSong Analytics provides an indepth analysis of your competitor's Facebook page showing which content has been the most successful for them, which days of the week and time of the day trigger most interactions, which words are the most common in their posts and much more.

BuzzSumo lets you compare Facebook pages and get insights into how their updates are being received by their fans

Fanpage Karma allows you to identify your competitor's most engaged social media followers

Step 2. Invest in some (social) keyword research.

Keyword research is going to help really hone your content. Social keyword research is a more specified form of research that will give you a good foundation for catching the eye of social followers (or potential followers). I prefer a tool like Hootsuite for this, as it is a quick way to see what is regularly updating, and what is engaging. Of course, you can also just do a search on Twitter, Facebook, or your other chosen network to see which context your core terms usually appear. If you want a cheap alternative that will give you plenty of widgets to play with, including customizable social media features, you can check out Cyfe. They have some great social researching tools to use. For example, you can import, archive and analyze Twitter search results for any keyword or hashtag. Serpstat is another must-use tool here. One of its free features allows you to find all various questions your target users tend to search for when it comes to your core term. This is great information giving you tons of content inspiration to address your audience most specific needs.

Related: Competitive Analysis - Small Business Encyclopedia

Step 3. Begin testing networks to focus.

In the past I would recommend people only focus on one or two social networks when they are building a campaign. That isn't really the rule anymore, as most brands have expanded beyond a single platform. For a smaller brand that doesn't have a team at their disposal, however, it is more likely that they will have multiple pages, but only really use one for major social growth. With that in mind, I would like to amend my past advice. Set up several social media profiles, and put equal effort into each one (in the beginning). See which yield the best results, testing out multiple forms of social content and tactics along the way. This is kind of like an A/B test, but a little less straightforward. You won't necessarily get rid of the under-performing networks, as you would with a design or feature. You will just discover what form of content and use works for each one, and then use the one that works best. So really, you are setting up several social media content campaigns individualized for the followers on each platform. This has the added benefit of allowing you to use each network for something for which it is suited.
Related: 6 Social Media Marketing Tactics That Give the Best Bang for Your ...
Step 4. Develop a content calendar.

Once you know what goes on which platform, and who you are writing for, you should have a good idea of what content to plan for. I am a big believer in having an editorial calendar for every piece of work drafted, or that will be drafted in the future. Incorporating a social element into that calendar is a great idea. It will turn an incomplete strategy into one that is completely integrated. Here are some ideas to include in your social media calendar:

Monthly holidays (including weird / unofficial holidays)

Big entertaining or business events (especially those specific to your niche)

Festivals, upcoming big movie releases and concerts (Find memes to cross-relate to your niche and gain attentions for exploiting long-awaited events)

Your company plans and events (birthdays, anniversaries, company trips, etc)

Step 5. Double-check your site performance.

There's nothing worse than spending days planning a social media campaign and then watch your users land on a broken or slowly loading page. This is what too many viral content campaigns have ended up looking like. The beauty of having a social media calendar is that you can actually anticipate more traffic coming in, so do your due diligence to let your tech team know your plans and let them get properly prepared. Here are some additional tools and tips:

Having a social media calendar makes sure your content and social strategy mesh and empower one another for better results.

# data[].attributes.attachment_link.title
Developing a Hardcore Social Media Content Strategy In 5 Steps

# data[].attributes.attachment_link.description
Social media is one of the most fickle tools at a brand's disposal. On one hand it is an open platform allowing for direct engagement the likes of which we have never seen before it. But on the other it is an over-saturated platform full of constant noise that can be difficult to cleave through.

# data[].attributes.body
Content:
-  The Facebook event enables a more detailed description compared to other social media platforms
- Dates, Times, Events Running
- Ability to engage with the community, the page can be shared and referred to wider social spheres

Image:
- A high resolution image, clear for viewing
- Familiarises the audience with the IDO logo prior to our first event

Links:
- Link provided to associated websites: Close the Gap Campaign and Naidoc Week
- Merchandise Link

Hashtag:
- #IDO engages the community, and provides a platform in which the event creators and the audience can communicate

# data[].attributes.body
Readability:
- Crucial to the clarity of the poster, writing must be large and clear to be communicated to the reader. Light writing on a dark background is effective and stands out from a distance.

Font Style:
- A bold, dense font has been used as it is clearest to read.

Colour:
- The theme of the posters runs along the Aboriginal Flag colours, Black, Yellow and Red. These are primary, bold colours and are effective in drawing in the viewer.

Layout:
- A blend of real life images, art, drawn graphics, text and blank space allows for an engaging and balanced poster.

Graphics:
- Digitally remaster, high resolution images will be used and constructed for a professional looking poster.

# data[].attributes.headline
INSPIRATION FOR IDO- Naidoc Week Advertisements

# data[].attributes.subject
INSPIRATION FOR IDO- Naidoc Week Advertisements

# data[].attributes.body
As our event is aligned with Naidoc week, we must plan for our advertising to be cohesive with previous works of the event.

# data[].attributes.headline
TARGET MARKET - From a Marketing Perspective

# data[].attributes.subject
TARGET MARKET - From a Marketing Perspective

# data[].attributes.body
Effective advertising can only occur after special consideration of who our target market is.

Types of Segmentation within the Market:
Geographic-
- Perth Specific
- Run through local Universities
- Perths Aboriginal Owners - Noongar People

Psychographic (Similar values, attitudes & Lifestyles)-
-  Value Multiculturalism
- Value Unity
- Active Participants within the community

Demographic -
- All Ages, Genders, Cultures
- Specifically, we are targeting the Noongar People
- Most likely a younger demographic due to the location

# data[].attributes.headline
PROMOTIONAL DESIGN RESEARCH - The Little Market Place 

# data[].attributes.subject
PROMOTIONAL DESIGN RESEARCH - The Little Market Place 

# data[].attributes.body
In order to create a successful advertising campaign, I analysed successful local events to draw inspiration from.

The Little Market Place is a Perth specific event, that brings together local businesses to promote and share their brand. Ranging from fashion, beauty, homewares and food, the Little Market Place collaborates and provides a platform for local business to  launch their business.

The Little Market Place has a strong social media presence on Facebook and Instagram, which has captured target audience. The creation of Facebook events has seen to local businesses collaborating with one another and sharing to various different social groups online. There success lies in the share-ability and simplicity of their project.

# data[].attributes.body
An author (eg. Kim Scott)
A lecturer or tutor
A guest judge

# data[].attributes.body
GrumbleTumms. (2017). GrumbleTumms. Retrieved from https://www.grumbletumms.com/

Home | Wadumbah Dance. (2017). Wadumbah.com.au. Retrieved from http://www.wadumbah.com.au/home

Inclusive Language Guidelines. (2017). Uow.edu.au. Retrieved from http://www.uow.edu.au/about/policy/UOW140611.html

Middar Aboriginal Theatre. (2017). Middar Aboriginal Theatre. Retrieved from https://vimeo.com/113583316

NAIDOC Week: Hyde Park Hosts Deadly Rappers And Crocodile Wraps. 2017. Image. http://www.sydneymedia.com.au/naidoc-week-hyde-park-hosts-deadly-rappers-and-crocodile-wraps/.

Perth Food Truck Rumble. 2017. Image. http://www.mra.wa.gov.au/see-and-do/perth-cultural-centre/events/food-truck-rumble.

Place Activation. 2017. Image. https://properties.curtin.edu.au/ourprojects/placeactivation.cfm.

Polen, R. (2017). NAIDOC Week in Mandurah. Mandurah Mail. Retrieved from http://www.mandurahmail.com.au/story/3188515/naidoc-week-in-mandurah-what-you-need-to-know/

Sydney Food Truck Final Report. (2017) (1st ed., pp. 1-38). Sydney. Retrieved from http://www.cityofsydney.nsw.gov.au/__data/assets/pdf_file/0016/211183/Sydney-Food-Trucks-Trial-Report.pdf

# data[].attributes.body
I respectfully acknowledge the past and present owners of this land on which we are meeting, the  Nyungar people, it is a privilege to be standing on Nyungar country.

# data[].attributes.body
Hoey, B. (2013, Nov 2). What is Ethnography?. BrianHoey. Retrieved from http://www.brianhoey.com/General%20Site/general_defn-ethnography.htm

Human The Movie. (2016, Aug 7). Stephen's interview - AUSTRALIA - #HUMAN. YouTube video, 4:19. https://www.youtube.com/watch?v=JeVBt536w_U

Islam, M. R., & Jahjah, M. (2001). Predictors of Young Australians' Attitudes Toward Aboriginals, Asians and Arabs. Social Behavior and Personality, 29(6), 569. Retrieved from https://search-proquest-com.dbgw.lis.curtin.edu.au/docview/209904363?accountid=10382

# data[].attributes.body
Racism is still a very real and prevalent part of Australian society. Young people are especially affected by the stereotypes that have been enforced by the people before them. (Islam and Jahjah, 2001). I believe that the only way to break a cycle of negative bias towards indigenous people is to figure out how to stop the cycle and to move away from untrue representations of culture.

# data[].attributes.body
As Design Leader and Advertising Account Executive, my role is to create both advertisements and awareness for the event in the forms of posters, social media posts and merchandising.

Specifically, as an Advertising account executive I work with both Naidoc Week programs and the IDO- acting as a link between clients and the agency. In addition to this, I am responsible of coordinating advertising campaigns and effectively communicating these with the  purpose researching traditional symbols from the Aboriginal culture and incorporating them into the advertising for the event.

THE GOAL:
- The goal with these tangible creations is to further boost awareness for the event itself
-  generating a profit from the merchandise
- making a substantial contribution to the Close the Gap Campaign

# data[].attributes.body
"Aboriginal Performance". 2016. Western Australian Academy of Performing Arts.

http://www.waapa.ecu.edu.au/courses-and-admissions/our-courses/aboriginal-performance

Collins, Ben. From Office Administrator to award winning Indigenous Film Producer. ABC. http://www.abc.net.au/news/2017-02-15/office-administrator-to-award-winning-indigenous-film-producer/8270238

Indigenous film checklist. 2009. Terri Janke https://www.screenaustralia.gov.au/getmedia/16e5ade3-bbca-4db2-a433-94bcd4c45434/Pathways-and-Protocols

Janke, Terri. 2009. Pathways and Protocols. Screenwest. https://www.screenaustralia.gov.au/about-us/doing-business-with-us/indigenous-content/indigenous-protocols

"Stories We Tell TRAILER (2013) Documentary Movie HD". 2013. Youtube.
https://www.youtube.com/watch?v=A_8BnZ471GY

Ward, Paul. 2012. ‘The Documentary Form’, in Nelmes, J. (Ed), Introduction to Film Studies. New York: Routledge (pp. 210-227)

# data[].attributes.body
The information for my case study will be documented via a questionnaire that will be filled out before and after participants have interacted with the content at the Indigenous Day Out festival.
I intend to write my case study based on averages as I wish to see a general view opinion of this issue without identifying any individuals opinion.
Ballet Boxes will be placed at entrance/exits of the event so the participants are able to place their opinions and experiences into the boxes.
People are able to fill out the same survey online at the Indigenous Day Out social media pages, however, if they fill out the surveys before the event day is finished they will be rewarded with possible merchandise. - This merchandise will become a gimmick to encourage people to help with research but also promote the event due to the exposure of the IDO brand.

# data[].attributes.body
My case study will attempt to prove that racism is based on ignorance of other cultures. This may be due to the majority holding towards prejudice other communities that stem from essentialist views that have been ingrained into them subconsciously or intentionally through the media.

# data[].attributes.body
It is very important to use the right language when communicating with different groups of people. As I will be contacting people from various groups and backgrounds, it is important to respect differences and make sure the language being used is non-discriminatory.
This webpage has a great range of definitions and guidelines that can be studied and utilised so that demeaning inferences and negative stereotypes can be avoided.

# data[].attributes.attachment_link.description
2. These guidelines are intended to assist staff and students in using language that is free from demeaning inferences and negative stereotypes that can make some individuals feel excluded. The examples contained in these guidelines are by no means complete but assist in raising awareness in how language can discriminate against certain groups in our community.

# data[].attributes.body
I will be working closely with the marketing team and local newspapers at each location to promote the event. By communicating with journalists the event will be promoted in the weeks prior to the event, as well as having another recap article.
The attached news article is an excellent example of how I would like our event to be promoted through the newspaper. Why? It includes a run down of what is happening at the event, time and location, encouragement to attend and contact information/where to find out more.

# data[].attributes.attachment_link.readable_text
The whole Mandurah community is invited to head to the Eastern Foreshore on Monday, July 6 and join the local celebrations for NAIDOC Week 2015.

This community event, organised by the NAIDOC committee under the guidance of the Bindjareb Aboriginal Interagency Network (BAIN) and supported by the City of Mandurah, provides many ways for people to get involved.

At 4pm there will be a community walk from the Eastern Foreshore rotunda to Mandjar Square for the flag raising ceremony at 4.30pm.

From 5pm at the Mandurah Performing Arts Centre there will be a range of exciting activities.

This includes a community dinner with locally sourced cultural cuisine, family activities and entertainment by Dewayne Everettsmith and the Yabu Band.

The winner of the annual Bindjareb Art Awards will also be announced.

This year's national NAIDOC theme is 'We all stand on sacred ground: Learn, Respect and Celebrate', which highlights the strong spiritual and cultural connection that Aboriginal and Torres Strait Islander people have to land and sea.

NAIDOC Week (July 5-12) will be celebrated with hundreds of events across Australia, providing many opportunities for people to come together to recognise the valuable contribution Indigenous people have made to this country.

Deputy Mayor Darren Lee said the City of Mandurah was proud to be involved in NAIDOC Week and to work with local Aboriginal people to make this event possible.

"NAIDOC Week is a very significant event for our community as it helps people to learn about, experience and celebrate the history, culture and achievements of Aboriginal and Torres Strait Islander people," he said.

"Through the City's Reconciliation Action Plan, we realise the importance of working together with our Aboriginal community to bring about positive change and to nurture our bonds and relationships.

"I would encourage all Mandurah residents, and visitors, to get involved in the NAIDOC celebrations and learn more about this wonderful culture - one of the oldest on the earth."

Mandurah's NAIDOC Week event will also include two exciting workshops at the Sebel Hotel on Monday. They are:

 Song writing workshop with the Yabu Band, 12.30pm-1.30pm

 Dance workshop with Binjareeb Middars, 1.30pm-2.30pm

All are welcome to the workshops.

Contact Jenni Burmaz on 9550 3712 or jenni.burmaz@mandurah.wa.gov.au to register.

To find out more about Mandurah's NAIDOC celebrations, go to mandurah.wa.gov.au/events.htm

# data[].attributes.attachment_link.authors[].name
Australian Community Media - Fairfax Media

# data[].attributes.attachment_link.title
NAIDOC Week in Mandurah - what you need to know

# data[].attributes.attachment_link.description
The whole Mandurah community is invited to head to the Eastern Foreshore on Monday, July 6 and join the local celebrations for NAIDOC Week 2015. This community event, organised by the NAIDOC committee under the guidance of the Bindjareb Aboriginal Interagency Network (BAIN) and supported by the City of Mandurah, provides many ways for people to get involved.

# data[].attributes.body
We wish to end the film with the final Case Study Question: "is Indigenous studies important?" in a poetic, associational way, using an original Indigenous poem/selection of prose and their V.O narration, alongside visuals performed by Aboriginal Performance students. Essentially, a film-montage symbolising the handing over of the film to the rightful owners of it.

# data[].attributes.body
Write the World- Global competitions held each month for ages 13 to 18.
https://writetheworld.com/competitions
University of Pittsburgh- Offers prizes to their undergraduate students.
http://www.english.pitt.edu/undergraduate/writing-contests
Get Writing Prize- Hosted by the University of Southern Queensland and open to high school students.
https://www.usq.edu.au/bela/school-of-arts-and-communication/get-writing-prize

# data[].attributes.body
Bates, Dianne. 2010. "How To Run A Writing Competition, By Dianne (Di) Bates". The Australian Literature Review. https://auslit.net/2010/06/26/how-to-run-a-writing-competition/.

"Biennial Art Writing Prize ". 2017. Lawrence Wilson Art Gallery. http://www.lwgallery.uwa.edu.au/education/writing-prize.

"Get Writing Prize - University Of Southern Queensland". 2017. University Of Southern Queensland. https://www.usq.edu.au/bela/school-of-arts-and-communication/get-writing-prize.

"Writing Contests". 2017. University of Pittsburgh. http://www.english.pitt.edu/undergraduate/writing-contests.

# data[].attributes.body
Winners of the daily writing competitions will have their works published on the event's social media pages and they will receive:
First: $200
Second: $100
Third: $50

# data[].attributes.body
All winning entries for the different age groups will be published in a book that will be sold during the event. In addition, they will receive:
First: $1000 and an invitation to attend a writing workshop
Second: $500
Third: $250

# data[].attributes.headline
Solution to Controversy: Reflexive Documentary (Ward 2012) 

# data[].attributes.subject
Solution to Controversy: Reflexive Documentary (Ward 2012) 

# data[].attributes.body
New, experimental and highly effective documentary form.

Would explicitly acknowledge that the documentary is constructing a narrative of Indigenous culture in its creation.

Would provide multiple perspectives to form a more historically and culturally-accurate documentary.

Challenges its representation (and our expectations)

# data[].attributes.headline
Techniques Drawn from Reflexive Documentary Style:

# data[].attributes.subject
Techniques Drawn from Reflexive Documentary Style:

# data[].attributes.body
Outtakes In film (eg: pre-production process documented, showing set-up)

Direct addresses of crew

Performative recreations of events (interviewees as actors).

Pastiching of the truth through the subjective viewpoints of many people—each of which reflecting on the "truths" the others have mentioned.

Turns to the maker of the film and questions their role in the "truth-telling process"

# data[].attributes.headline
Successful examples of this reflexive documentary style (inspiration for how we will construct our documentary)

# data[].attributes.subject
Successful examples of this reflexive documentary style (inspiration for how we will construct our documentary)

# data[].attributes.attachment_link.title
Stories We Tell TRAILER (2013) - Documentary Movie HD

# data[].attributes.attachment_link.description
Subscribe to TRAILERS: http://bit.ly/sxaw6h Subscribe to COMING SOON: http://bit.ly/H2vZUn Like us on FACEBOOK: http://goo.gl/dHs73 Stories We Tell TRAILER (2013) - Documentary Movie HD A film that excavates layers of myth and memory to find the elusive truth at the core of a family of storytellers.

# data[].attributes.body
At the Indigenous Day Out, I intent to survey participants from multiple universities to fill out a survey. This information will be kept anonymous (however i will ask for their age) and will help provide statistics and ethnographic data for my case study.

My case study will be discussing how people interact with a different culture before and after they have become knowledgeable of its customs and culture.

# data[].attributes.body
This survey will help aid the research my case study

# data[].attributes.body
We want people to learn about aboriginal culture from a first-hand experience, with this, we aim to bring awareness to the malicious cycle of stereotypes that affect how we view aboriginal people via representation from the media and other sources.

# data[].attributes.body
Indigenous Day Out (IDO)
A community day where all ages and ethnicities are able to learn about, recognise and appreciate aboriginal culture. The event will travel to different universities, although this event is held at Universities, it is a family day and everyone is welcome and are encouraged to attend.

# data[].attributes.body
Discipline: Anthropology and Sociology.
Project Role: Conducting a case study that uses results from Indigenous Day Out participants.

# data[].attributes.body
The IDO Logo is representative of traditional symbols that correlate to Australian Indigenous culture. The "I" is taken from a historical music instrument, the Didgeridoo. Important to the aboriginal culture, was the passing on of stories and education through music, dance, art and oral communications - which is why this music symbol is important to IDO. The "D" is derived from the two types of boomerang, hunting and recreational which is still prominent within Australia's Indigenous cultures today. Finally, the "O" is a direct reproduction of the aboriginal flag, which first gained legal recognition in 1995.

# data[].attributes.body
A poster universal for all participating universities and the general public.

Both Advertisements:
- Presented on campus & in surrounding local areas
- Online versions available to be shared on social media platforms

# data[].attributes.body
Depicts traditional Australian Indigenous artworks in the form of dot paintings, formed in the shape of hands to emphasise the themes of collaboration and unity in which our event is running by. Further details of the day are specified while cohesion is seen in the alliance with Nadoc Week. This advertisement is specific to Curtin's IDO.

# data[].attributes.body
"Do we as young Australians understand Indigenous culture and its importance?"

# data[].attributes.body
- To uncover the answers to the case study questions about Indigenous Culture in an engaging, sophisticated and accurate manner. ------> is this easy to do?

Key Problematics to address:

Documentaries are controversial representations of "truth". Indigenous culture is a sensitive topic that has been subject to misrepresentation in the past. We do not want to continue this trend.

I don't feel I am in an appropriate position to posit opinions on Indigenous culture, and will rely on other more informed and involved persons/parties. But then my "undercover" role in how I choose to edit this information together is constructing a "truth" in itself, which is morally problematic.

Documentary-making is an uncertain process, where we will not know what kind of material we will be gathering, and thus we will be unsure what overall theme-forming arguments will be most prominent.

# data[].attributes.body
- How to engage with the subject matter of the film  - How to portray the subject matters in the film
- How to make it appeal to target audience

# data[].attributes.body
Each of these subgroups will help to construct a textually-aware narrative, with creative recreations of events by participants, that involve Indigenous culture, in the form of aboriginal performance (WAAPA students) and the spoken word (Indigenous writing competition winners). This will be supplemented with the insights of academics that can shine light on history, cultural trends and statistics, whilst the university subjects will be case studies to see how these insights can be seen in 'real life' today.

# data[].attributes.body
Literary skills are an essential part of succeeding in the workplace, but people sometimes lose their desire to write creatively. Appealing to young Indigenous-Australians will help inspire them to embrace their creative side and potentially encourage  them to pursue careers in the arts industry.

# data[].attributes.body
using Canva

# data[].attributes.body
Discipline: Web Media : Media and Marketing

Project Role: Design Leader & Advertising Account Executive -

# data[].attributes.headline
The not so fun (but very important) bits

# data[].attributes.subject
The not so fun (but very important) bits

# data[].attributes.body
In event planning you also need to consider things like council grants, insurance and project proposals. Below is an example of a event proposal template

# data[].attributes.body
An example of Aboriginal dance and an idea of how the stage could be set

# data[].attributes.body
There are various companies that bring stories of the dreaming to life.
Based in Perth:

http://www.wadumbah.com.au/home

# data[].attributes.body
This map shows how different communities cover Australia, each with their own voices and stories.

# data[].attributes.body
I will approach a number of Indigenous groups and invite them to share their stories. This could be done through speech, art and/or dance.

# data[].attributes.body
There will be one main competition that begins before the event kicks off, and those winners will be announced on the first day. The winners of the main competition will have their works published in a book that will be sold during the event. They will also receive a cash prize. To include people who attend the event, there will be a smaller competition held each day. Those winners will have their works published on the event's social media page and they will also win cash prizes.

# data[].attributes.body
There will be two categories:
Prose
Entrants can submit one piece of work that is no longer than 600 words.
Poetry
Entrants can choose to enter a poem instead of a short story. The poem has to be no more than twelve lines.

# data[].attributes.body
As this is an event where people come to recognise and learn about Aboriginal culture, there will be food trucks and stalls that sell Aboriginal food, as well as cooking demonstrations/tasting sessions.

- Sydney Food Truck Trial: 92% of customers felt that the presence of a food truck in the area made it feel more welcoming

Examples of food trucks that could be employed:

https://www.grumbletumms.com/

https://www.facebook.com/clintoskupmurri/

Other catering services that offer Aboriginal foods and cooking demonstrations:

https://indigiearth.com.au/pages/bush-tucker-catering

http://www.banducatering.com.au/

# data[].attributes.body
I want to encourage as many young Indigenous girls and boys to enter as possible, but to make judging fair, there has to be an age range that will be split into three age groups. The groups are as follows:

1. Eight to eleven year-olds

2. Twelve to fifteen year-olds

3. Sixteen to eighteen year-olds

# data[].attributes.headline
Who Else has Hosted Writing Competitions?

# data[].attributes.subject
Who Else has Hosted Writing Competitions?

# data[].attributes.body
Writing competitions can be found globally.
One example is the writing competition held by the University of Western Australia to encourage people to visit their art gallery.

# data[].attributes.attachment_link.title
Biennial Art Writing Prize : Lawrence Wilson Art Gallery : The University of Western Australia

# data[].attributes.attachment_link.description
Lawrence Wilson Art Gallery Art Writing Prize

# data[].attributes.body
Talented young Indigenous-Australians don't always get the recognition they deserve. As my contribution, I will be organising a writing competition to help promote talented young writers. The competition will be open to Indigenous youth from the ages of eight to eighteen. The winners will have their works published in books that will be sold at the event. All proceeds from sales will go towards funding schools in Indigenous communities.

# data[].attributes.body
Discipline: Screen Arts
Project Role: Director of documentary being screened at IDO

# data[].attributes.body
Discipline: Public Relations
Project Role: Events Management and Media Communications

# data[].attributes.body
As a public relations student, my contribution to the event will primarily draw from events management. Events management is a tactical public relations technique that allows the communication of ideas and builds relations and reputations with stakeholders. I will create the event management plan, checklist, run sheet and evaluation the day.

In addition to this, I will work in collaboration with the marketing/advertising team to ensure there is communication between local journalists and media outlets to secure favourable promotional material in the lead up to the event.

# data[].attributes.body
Discipline: Creative Writing and Professional Writing and Publishing
Project Role: Young Indigenous Creative Writers Competition coordinator