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Sing along with First Nations people as they share songs using language from their Country

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Yarrabil: First Nations Songs - ABC Education

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Sing along with First Nations people as they share songs using language from their Country. Learn words in the Gooreng Gooreng, Noongar, Dharug, Meriam Mir, Gunditjmara and Kaurna languages.

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Australian teachers shouldn't be afraid to teach Indigenous Knowledge - Prof Melitta Hogarth - Pursuit

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Australian teachers shouldn't be afraid to teach Indigenous Knowledge - Prof Melitta Hogarth - Pursuit

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Education does not just impart information; it shapes who we are and who we might be.

Since 2010, the Australian Curriculum has included an Aboriginal and Torres Strait Islander Histories and Cultures cross-curriculum priority across all learning areas. As a result, beginning in every classroom, education in Indigenous Knowledge systems, histories and cultures has the potential to be a nation-building exercise.

Beyond bricks and mortar, documents like the Australian Curriculum inform institutions that shape our society.

Some Australian educators are afraid to teach Indigenous Knowledge. Picture: Getty Images

However, some educators say they feel fearful of making mistakes or appearing tokenistic and are underprepared to confidently showcase Indigenous Knowledge in their classrooms.

The Australian Teachers' Survey 2023 found that over half (51 per cent) of teachers aged 35 years and over felt unprepared to deal with First Nations histories and culture and student diversity.

These shortfalls are echoed in the recently released Improving Outcomes for All: Australian Government Summary Report of the Review to inform a better and fairer education system, which highlights the lack of understanding and confidence of educators when engaging with Indigenous Knowledge.

Australian universities must prioritise Indigenous engineers

This lack of confidence also exists when teaching First Nation students. There is an urgent need for schools and governments to work with Aboriginal and Torres Strait Islander stakeholders to ensure educators provide culturally responsive learning environments and assessments for all First Nations students.

At Ngarrngga (pronounced "Naan-gah", a Taungurung word meaning to know, to hear, to understand), an Indigenous-led project housed at the University of Melbourne's Faculty of Education, we learnt that many educators would love to include Aboriginal and Torres Strait Islander Peoples' cultural practices like dance, art and storytelling in their classes.

But they are unsure of where and under what circumstances this can be acceptable. This level of fear, and being unsure often leaves many educators frozen, perpetuating the silencing of Indigenous Knowledge.

We recently ran focus groups with classroom teachers from across the nation. The discussions highlighted the need for targeted support and resources for educators to ensure a more consistent and inclusive integration of Aboriginal and Torres Strait Islander content across all schooling year levels.

Ngarrngga provides curriculum and professional development resources, including a Year 10 Science module on groundwater. Picture: Tiffany Garvie

Educators reported strong concerns about the quality of relevant content at all career stages. They also identified other barriers to engaging with Indigenous Knowledge including time, budget constraints and lack of school and collegial support.

Ngarrngga aims to remove these barriers by making available curriculum and professional development resources produced by educators for educators.

We have partnered with schools to design, test and refine our resources, to support educators to be confident in showcasing Indigenous Knowledge in their teaching and learning.

Taking Indigenous Australia to NASA

We have identified three guiding principles to inform how we approach this work and believe these principles should apply to anyone working with Indigenous Knowledge and Indigenous Knowledge holders, and anyone teaching Aboriginal and Torres Strait Islander students:

1. Recognise Indigenous Cultural and Intellectual Property

By recognising Indigenous Cultural and Intellectual Property, we create space to equalise the imbalance between Indigenous Knowledge and the assumed authority of western knowledge systems.

This both improves educators' capacity and agency to better engage with and know their Aboriginal and/or Torres Strait Islander child or student and empowers teachers to engage with Indigenous content respectively.

2. Reparative justice

We must acknowledge and address past injustices and understand how they persist in people's lives.

Efforts must be made to redress the injustices experienced by Indigenous peoples by amplifying Indigenous voices and collaborating with educators to build knowledge, foster critical thinking and promote understanding of diverse perspectives in their classrooms.

In Australian Indigenous culture, everything is connected. Picture: Getty Images

Relationality - the idea that everything is connected - is intrinsic to Indigenous ways of being, knowing and doing, and extends beyond human connections to encompass relationships with Country, kinship, cosmos and ideas, serving as both a way of being and a way of knowing.

These principles and the thinking behind them should form the foundations of our understanding of Indigenous Knowledges and intellect. It also means that educators and schools must be supported in building relationships with Aboriginal and Torres Strait Islander communities and colleagues.

Without connection with, and involvement from the respective communities, educators run the risk of attempting to teach culture that does not belong to them.

The Indigenous cultural knowledges co-designing campuses

With Ngarrngga, we are putting these principles into action. The project is Indigenous-led and supported by an Expert Advisory Panel with most members being of Aboriginal and/or Torres Strait Islander descent. These Indigenous voices represent a breadth of lived experiences, including Indigenous Elders with representation from multiple Indigenous communities.

We recognise this project is just a small piece in the larger puzzle. Indigenous Knowledge, culture and history is a conceptual tapestry - expansive, abstract, universal, timeless and interwoven.

It transcends the limitations of the Australian Curriculum's isolated content descriptors, colloquially known as the 'curriculum dot-points'. We want educators to view these descriptors as the starting point for learning, not the endpoint.

The new cross-curriculum priority in the Australian Curriculum should be nation-defining, so it is vital that Ngarrngga and other groups support educators by illuminating the depth and complexity of Indigenous Knowledge, something that is currently missing in the Australian Curriculum.

This is an opportunity for all Australians to truly know, hear and understand the remarkable achievements and invaluable contributions of Aboriginal and Torres Strait Islander Peoples to our country.

Banner: Smoking ceremony by an Aboriginal Elder in Nimbin, Australia / Getty Images

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Professor Melitta HogarthKamilaroi woman; Associate Dean (Indigenous) and Principal Research Fellow, Faculty of Education, University of Melbourne

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Australian teachers shouldn't be afraid to teach Indigenous Knowledge

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Australia's Aboriginal and Torres Strait Islander Histories and Cultures curriculum priority needs well resourced teachers says University of Melbourne expert

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Coff, K. (2021). Learning on and from Country: Teaching by incorporating Indigenous relational worldviews. In M. Shay and R. Oliver (Eds.), Indigenous education in Australia (pp. 190-201). Routledge.

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Coff, K. (2021). Learning on and from Country: Teaching by incorporating Indigenous relational worldviews. In M. Shay and R. Oliver (Eds.), Indigenous education in Australia (pp. 190-201). Routledge.

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Webb, M. & Bracknell, C. (2021). Educative power and the respectful inclusion of Aboriginal and Torres Strait Islander music.

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Webb, M. & Bracknell, C. (2021). Educative power and the respectful inclusion of Aboriginal and Torres Strait Islander music.

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Songbook, CD, and videos available via ABC for the Mission Songs project, this website and resources are highly recommended

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Australian Aboriginal Folk Songs

"Islander rhythms, campfire country and defiant humour celebrate simple joys. Melancholy ballads chart a journey of blood, sweat and tears... you'll almost hear the kettle boil as a closing home recording of the elders invites us to sit down with these unsung survivors."- 4.5 stars, Fairfax Media

LATEST NEWS

MAY 2021 TOUR

Jessie Lloyd will be touring Mission Songs Project with Shellie Morris and Mindy Kwanten. Travelling to a selection of regional arts centres in QLD, NSW, VIC and TAS from the 1st May to the 1st June.

10 EPS DOCU-SERIES ON ABC IVIEW!

To celebrate NAIDOC Week 2020, Jessie Lloyd released a 10 mini episode docu-series on ABC iView on Sunday 8th of November 2020. Travel across Australia and learn the stories and histories of the songs from The Songs Back Home album.

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Watch here...

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LISTEN NOW - JESSIE LLOYD TALKS BEHIND THE SONGS

Suitable for radio, check out this 26min audio discussion on the stories and communities behind the songs. Includes live performances with Emma Donovan and Deline Briscoe at National Folk Festival in 2019.

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Download MP3 audio file here...

ABOUT MISSION SONGS PROJECT

Jessie Lloyd's profoundly moving Mission Songs Project reveals the daily life of Australian Aboriginal people on the missions, settlements and reserves during the Missions Era of 1901 to 1967. A musical time travel of original compositions from the residents over multiple generations.

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Mission Songs Project explores the human reality when Aboriginal people were forcibly removed from their homelands and moved onto managed lands, either as inmates or wards of the state. In a time of great distress, these truthful songs are surprisingly filled with optimism and hope, revealing a forgotten story on an unexplored corner of Australian history.

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Mission Songs Project faithfully navigates the musical journey of Aboriginal music and connects the traditional with contemporary, revealing the continuation of cultural practice and song traditions into the 21st Century. This is a musical journey through time and place, this is our songlines.

'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.'

Archie Roach

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Australian Aboriginal Folk Songs "Islander rhythms, campfire country and defiant humour celebrate simple joys. Melancholy ballads chart a journey of blood, sweat and tears... you'll almost hear the kettle boil as a closing home recording of the elders invites us to sit down with these unsung survivors."- 4.5 stars, Fairfax Media LATEST NEWS MAY 2021 TOUR Jessie Lloyd will be touring Mission Songs Project with Shellie Morris and Mindy Kwanten.

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Fienberg, T. (2023). Reaching out: Yarning, sharing and learning with First Nations artists through social media. Action, Criticism, and Theory for Music Education 22 (4): 44–78

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Fienberg, T. (2023). Reaching out: Yarning, sharing and learning with First Nations artists through social media. Action, Criticism, and Theory for Music Education 22 (4): 44–78

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THOMAS FIENBERG
University of Sydney (Australia)
November 2023
Published in Action, Criticism, and Theory for Music Education 22 (4): 44-78. [ pdf] https://doi.org/10.22176/act22.4.44

Abstract: In this article, I examine the potential of social media to meaningfully connect students and educators with First Nations popular musicians. Utilising yarning-as-method under the theoretical frame of storying, I present accounts of attempts to embed the practice in high school classes before exploring how the process was refined for an initial teacher education course under the guidance of Noongar scholar Clint Bracknell. In addition, I share yarns of First Nations artists, who reveal the reciprocal benefits of reaching out and sharing back as a decolonial tool for building relationships and supporting the inclusion of First Nations music. Although centred on an Australian context, I explore themes and pose questions that aim to resonate with a global audience searching for innovative and meaningful ways to embed First Nations cultures into music curricula.

Keywords: First Nations, Aboriginal, yarning, storying, social media, decoloniality, music education, popular music
Warami, this yarn is drawn from living and working on Gadigal and Dharug First Nations Research and the Non-Indigenous Researcher Country. I acknowledge the Gadigal and Dharug peoples as the ongoing Custodians of these unceded Lands in so-called Australia and pay respects to Elders past, present, and emerging. This respect is extended to the First Nations peoples whose knowledge and friendship has guided all stages of the research process. Storying and Yarning as a Non-Indigenous Researcher

Student: How are we meant to contact them?

Me: How do you usually talk to people?

Student: Um, using Messenger, Instagram, WhatsApp?

Me: That might be a starting point then. If you need to ask me a question, how do you start?

Student: Email or Facebook DM if it's urgent, but they're famous and you're not!

Me: I'm on YouTube too!

Student: That doesn't count. What if they don't respond?

Me: Wait a few days and send another message. Do you know who else played on the record? Try them. Have you emailed their management? The contact details are usually on their Facebook Page or website.

Student: And if that still doesn't work? Can we still perform the song?

Me: Generally, yes, but it depends on the song and what you want to do with it.

Student: What do you mean by "depends"?

Me: Whose voice are you assuming? Do you know what the song's about? Why not start up a yarn?

Student: Well, if we're just going to play it like all the other music we play in class, why even bother reaching out?

It is critical to acknowledge the ongoing links between academic research, European imperialism, and colonialism. Equally, as a non-Indigenous academic working in Australia, my position emerges from a place that has prospered as a result of the dispossession and denial of sovereignty for First Nations peoples (Ardill ). Māori scholar Linda Tuhiwai Smith () contends that "research is probably one of the dirtiest words in the indigenous world's vocabulary" (1). For her, decolonisation not only challenges the qualitative paradigm, but also seeks a broader agenda that transforms the institution of research. L. T. Smith also emphasises "the importance of retaining the connections between the academy of researchers, the diverse indigenous communities and the larger political struggle of decolonisation," as any separation would reinforce a colonial approach to education that is "divisive and destructive" (88). Similarly, Rigney () balances First Nations truth-telling about the "extraction, storage, and control over Indigenous knowledges" (109) with recognition of the need for non-Indigenous researchers to continue working in partnership to document "the struggles of Indigenous Australians for genuine self-determination" (117). For Kwaymullina (), this suggests "that the concern now for most who engage with Indigenous peoples is not whether this should be done according to best practice ethical standards, but how to go about ensuring this is the case" (440).

Non-Indigenous music educators have written extensively on the challenges of enacting decolonial research. Discussing the relationship between colonisation and philosophical inquiry, Bradley () questions "renditions of praxial music education, critical pedagogy, and multicultural education as potential forms of epistemological colonialism" (427). Cautioning against embracing undertheorized "philosophical nihilism" (427), she calls for music educators to critically analyse philosophy texts and view them as resources for further inquiry and thought. Hess () draws on anti-colonial perspectives to argue for self-reflexivity and interrogation of coloniality from non-Indigenous researchers, with the hope of leading towards a more ethical and participant-driven music education research praxis. Reflecting on the inadequacies of non-Indigenous epistemes when engaging in research with First Nations peoples, Kallio () challenges the Academy to take responsibility to decolonise methodologies and work in relation with others. Similarly, Prest and Goble () assert the need for non-Indigenous scholars to embrace First Nations ways of being, knowing, and doing in order "to ensure they are not complicit in absorption, erasure, selective extraction, and/or appropriation" (208).

While Western methodologies are generally concerned with questions of reliability, validity, and theorising judgements, Cree scholar Shawn Wilson () argues that First Nations methods are intrinsically grounded in relational accountability:

When you are relating a personal narrative, you are getting into a relationship with someone. You are telling your (and their) side of the story, and you are analyzing it. When you look at the relationship that develops between the person telling the story and the person listening to the story, it becomes a strong relationship. (178)

The interconnectedness between story and narrative in First Nations research contexts has become increasingly contested. Sobol et al. () suggest the broader methodological legitimacy of narrative attracts scholars and "respectable practitioners ... with an interest in appealing to the inclinations of adults in realms of power, prestige, and influence" (2). From an Aboriginal standpoint, Phillips and Bunda () argue the term " narrative" "would be ridiculed and mocked as another white concept that has snuck its way in, to colonise" (4). They theorise storying as a culturally congruent and ethical alternative that exists in all stages of the research process through "propositions/conceptualisations of research, in the gathering of data with others, in the theorising and analysis of data, [to] the presentation of research" (7). Storying challenges researchers to interrogate their "way of being and knowing the world through story" (105).
An Awakening Through Relationships
While storying is not unique to First Nations knowledge systems, its use and function as a research method differs significantly across various First Nations cultures (Kovach ). From an Aboriginal perspective, stories carry great power and are "central to processes of cultural maintenance, reclamation, and renewal" (Balla et al. , 23). Within Aboriginal communities, the purposeful telling of stories is better known as yarning (Walker et al. ). The phrase " let's have a yarn " is commonly used when an Aboriginal person wants to talk and exchange information "between two or more people socially or more formally" (Bessarab and Ng'andu , 38). Yarning is embedded into the structures of society, bringing people together "informally to relax and reflect on stories in recent or past history" (Ober , 8). When used in research contexts, yarning draws on Aboriginal ways of knowing and being, compelling researchers to negotiate how information is shared with Aboriginal communities, fostering "culturally safe and just research" (Dean , 6).
Fears, Problems, and Embracing Popular Music by First Nations Artists

Social yarning

Informal conversations that help build trust and relationships throughout the research process. Can include information about anything people feel inclined to share.

Research topic yarning

Conversation that is relaxed and interactive, but with a purpose to obtain information relating to the research project.

Collaborative yarning

When two or more people actively share information about a research project leading to new discoveries and understanding.

Therapeutic yarning

When a participant in the process of sharing a story discloses traumatic, personal, or emotional information. The researcher shifts to listener to help empower the participant to rethink their experience in new and different ways.

Table 1: Types of Yarning (Bessarab and Ng'andu , 40-41).

Following the completion of my undergraduate music education degree, I found myself teaching in a culturally and linguistically diverse high school, not too far from Redfern, an area identified as the heartbeat of Aboriginal Sydney (Norman ). I was confronted with a culture vastly different to the one I had experienced as a student-a school with settler heritage in the monocultural outskirts of Sydney. While I was aware that a few students within the large Catholic high school I attended were Aboriginal, the programs they participated in were rarely mentioned publicly. Similarly, after I was accepted into my undergraduate degree at the Sydney Conservatorium of Music, my exposure to First Nations peoples remained relatively minimal. In the absence of interpersonal relationships, I attempted to strengthen my understanding from afar, learning through listening to recordings and writing about partnerships between First Nations and non-Indigenous musicians.

In 1988, a renewed sense of nationalism spread across Australia and Australian music education (Callaway ) as the country celebrated 200 years of colonisation. A fleet of tall ships re-enacted the 1788 British invasion of Sydney Cove, accompanied by a flag waving envoy of people watching on the shoreline. Countering the fervour in a special bicentennial issue of the Australian Journal of Music Education, ethnomusicologist Margaret Kartomi () acknowledged the irony of celebrating two centuries of "unmitigated tragedy" (13) with ongoing colonisation leading to significant loss of First Nations languages and pre-colonial musical practices (Corn ). In addition to presenting the case for further musicological research and revitalisation of First Nations music traditions, Kartomi () noted that historically, "very little attention [had] been given in Australian schools to [First Nations] music, largely because very few teachers have had the resources and training to teach it" (16).

When I played [Took the Children Away], I was almost in a dissociative state, but when I finished, I came back to reality. People were stunned. Women were crying. Men had their heads bowed, shoulders heaving. People from all across this Aboriginal nation came up to me at the front of the stage to tell me that my story, my family's story, was also their story ... I was shocked. I was not prepared for how my song affected them. (Roach , 205)

Archie Roach, Took the Children Away https://youtu.be/HNQhCb8xH8E

Coinciding with Roach's release of the iconic album Charcoal Lane (Roach ), a band named Yothu Yindi emerged from North-East Arnhem Land. Yothu Yindi fused Yolŋu song practice with a variety of popular music styles, which would trigger the first wave of Aboriginal music resource creation that had been called for by Kartomi (Stubington and Dunbar-Hall ; Taylor ). Often neglected by educators, Yothu Yindi consisted of non-Indigenous and Yolŋu members (Webb and Bracknell ), with their hybridity modelling "thinking on the dynamic nature or 'reinvention' of tradition" (Wemyss , 32). The music of both Archie Roach and Yothu Yindi provided the ideal avenue for music educators to bring First Nations music, language, and lived experience into the classroom.

Neuenfeldt () argues, "the inclusion of Indigenous popular music in Australian curricula is a small step towards including Indigenous knowledge and viewpoints [to] help sound silences even amidst the cacophony of the new racism" (212). Similarly, Wemyss () describes popular music by First Nations artists as "an essential component of Australian music education," (28) with the potential to help "develop a positive self-concept in Indigenous students" (32). Further, Wemyss asserts that the commercial nature of popular music allows First Nations voices to be more easily included in the classroom, helping navigate teachers' fears of misrepresentation and cultural insensitivity. Writing on epistemological and sociological considerations within popular music education, Hebert et al. () question the impact of the capitalist and commercial realities of the popular music industry. Recognising that most popular music releases are actually inevitably unpopular (G. D. Smith ), this requires teachers to adopt a critical lens to navigate the dangers of excluding diverse First Nations voices who face inequitable access to a Western, male-dominated industry (Barney ). While surveys indicated that schoolteachers were increasing the presence of First Nations music in their classes, concerns were still held about improper pre-service teacher training; a lack of knowledge about First Nations music and cultural protocols; and inadequate resources to teach the music appropriately (Dunbar-Hall ; Dunbar-Hall and Beston ).

Writing on the attempt to categorise First Nations music, Bracknell () argues "the tag of Indigenous music is reliant on outsider-perceived notions of authenticity and also pigeonholes Indigenous artists as exotic" (103). In an interview for Bracknell's chapter, Archie Roach commented:

People always talk about me as an Aboriginal singer/songwriter. I say well, 'I'm a singer/songwriter who just happens to be Aboriginal.' You know? Sure, I write about the experience of the first nations' [sic] experience, first peoples' experience, but you know, like any songwriter I just want to write a good song and hope somebody likes it. (Bracknell , 103)

Entering the Mainstream and the Need for Relationship
In one of the research topic yarns for this article, Gumbayngirr/Yamatji songwriter and Solid Ground mentor Emma Donovan yarned with me about the evolving place of First Nations artists in the Australian music industry, and reflected on the influence of Archie Roach and his late wife, Ruby Hunter:

Emma Donovan: I used to watch the ARIAs [Australian Recording Industry Association Awards]when I was really young and I'd be looking for AuntyRuby and Uncle Archie there, and they'd be in these categories like "World Music." [In 2020] Uncle Archie was inducted to the ARIA Music Hall of Fame, but he also won Male Artist of the Year over some real big male artists that we hear in the country. To me, I'm getting teary just thinking about it, sorry, I feel like we've come a long way with our music and our representation. Our music is blakmusic, it's Aboriginal music, but it shouldn't be categorised. We should be there amongst everybody else in the industry.

Drawing on interviews with Roach and several other First Nations popular musicians, Bracknell () theorises that First Nations music is not a genre nor homogenous, with artists writing and performing in various popular music genres. While musicians like Roach want their music to be respected in its own right, Bracknell comments that many artists "foreground their Indigeneity as a point of difference to stand out in the crowded Australian music scene" (118). It is increasingly common for artists to proudly emphasise their specific regional cultural identity and connections to Country, whether or not their music makes an explicit political statement or reference to First Nations issues. These affirmations serve to "illustrate cultural diversity to non-Indigenous listeners" (115) and can powerfully link artists "to their ancestors and own community while informing specific socio-cultural relationships with other Indigenous audiences across the continent" (121).

In my early years as a teacher-researcher, I focused on including the music of a new generation of First Nations artists who were gaining a strong presence in the Australian mainstream media (Fienberg ). The R&B music of former Australian Idol runner up Jessica Mauboy, a proud Kuku Yulanji woman, became the catalyst for breaking down students' stereotypical understanding of First Nations music and its connection to Aboriginalism (Barney ). Referring to Mauboy and other prominent First Nations musicians, Guy () notes that their normality makes them complex, countering perceptions of terra nullius (no man's land) representing "Aboriginalities far from the essentialized imaginings of a temporally distant desert tribesman" (15). By performing her songs for my school's NAIDOC celebrations,both non-Indigenous and Aboriginal students deepened connections to music they enjoyed, contextualising Mauboy's music alongside diverse expressions of Blak excellence (Fienberg ).

Jessica Mauboy, Been Waiting https://youtu.be/_1UVVUq3X0E

Hess () observes that it is easy for music education scholars to "tell uncomplicated success stories" and "erase contradictions" (578). Critiquing story sharing in music education, Richerme () also argues that "while the educator might retrospectively select the events that they believe most influential in encouraging their changed practices, one can never fully account for the complicated nature of any single moment" (129). Although including First Nations artists in my programming had boosted representation of voices often silenced, preliminary interviews with the non-Indigenous high school students at the centre of my doctoral study (Fienberg ) revealed limitations of using popular music to transform understanding. When asked what First Nations music meant to them, the students responded:

Sione: Like didjeridu, like culture music ... stuff like that.

Melisa: Storytelling music, but more in depth than normal music... Spiritual stuff.

Louisa: Just like tribal music and stuff... I don't know... You know those hymns that they do in the desert.

Mele: Like doing cultural music, didjeridus, people dancing in their wares [traditional dress].

Further, when presented with the opportunity to engage with popular music by First Nations artists, Luis' response revealed a high level of ignorance, reflecting broader racial stereotyping of First Nations peoples in Australia.

Luis: It sounded like something Coldplay would sing. The guy who was playing [guitar] was Aborigine, but he didn't sound like an Aboriginal was playing that instrument... They [First Nations peoples] rap a lot about government, I've noticed. Like just going on around the government and what's going on. As opposed to American hip hop where they just rap about having a good time, drugs, alcohol or that stuff... I'd rather have a good time than talk about politics.

Critically, these non-Indigenous students' previous exposure to and experiences of First Nations music had not involved communication with or sharing music with First Nations peoples. In searching for strategies to foster deeper understanding, I turned to Mackinlay () and her theorising on relationship as pedagogy. Mackinlay challenges teachers to look locally for connections, rather than for "resources":

Is the door to my classroom open, ajar, or closed to the possibility of making space for Indigenous performers to stand alongside me as musicians, singers, and dancers with knowledge to share?... What do I need to do to open the door wider? If my door is still closed, what is stopping me from engaging in relationships with Indigenous Australian people and their musics? (4-5).

While the prospect of Jessica Mauboy and other prominent musicians entering the classroom seemed unlikely, building relationships with emerging First Nations artists presented a stronger chance of success. The strategy paid immediate dividends for my senior music class. When a student discovered that the lyrics for a song by Queensland band Slip-On Stereo could not be found online and became frustrated at having to transcribe the lyrical content, I encouraged them to contact the band directly on their Facebook page. Much to the surprise of the student, the band responded quickly, praising us for covering their music. Through connecting directly with the artists and performing in genres they identified with, students' understanding began to shift.
Constructing the "Sell the Song" Assignment for Pre-Service Teachers

Luis: Even though it's Aboriginal, they can still do pop songs. Just because they're Aboriginal doesn't mean they can't do it.

David: People most probably think of Aboriginal music as just didjeridu and the traditional stuff, but they're noticing that Aboriginal music branches up into heaps of different genres. It was good to learn that type of song.

Ben: I just think it's normal music. I don't think it should be called Aboriginal music. It should just fit into a genre like hip hop or R&B or something.

Slip-On Stereo, Mercury https://youtu.be/8AOyS09bHZk

The following year, I placed a stronger focus on searching for music by First Nations artists living in our local community. Discovering the indie group Pirra, led by proud Luritja woman Jess Beck, I sought to foster a relationship at a local NAIDOC event in which my students were also performing. Inspired by this interaction, we learnt a song by the band, and I sent a Facebook message to invite them to come listen to our cover. A few weeks later Pirra came into the school to play a small set and listen to the students' rendition of their song alongside other music we had learnt by First Nations artists. While the students were obviously excited to see them play with our instruments and in our space, Pirra were equally interested in the songs the class shared, demonstrating a mutually beneficial exchange. The diversity of First Nations artists covered by the students led to lead singer Jess openly sharing how Luritja culture lives through her music and her personal reticence of incorporating language without significant learning/guidance from Elders. As popular musicians entering the music classroom, the band also challenged expectations and essentialized perceptions of First Nations culture bearers (Hess ).

Pirra. Rose Coloured Glasses https://youtu.be/6MFNg5c-zH0

In 2016, Clint Bracknell and Michael Webb introduced the Sydney Conservatorium of Music's first music education course in First Nations music. I was fortunate to contribute to its development, and I taught in the course as a guest before coordinating the unit in 2019 and taking over permanently in 2021. It remains one of only two courses in the entire institution that concentrate solely on the music of First Nations peoples. Commenting on the scarcity of representation of courses across Australian universities, Bracknell and Barwick () argue that "without a dramatic cultural shift, these institutions will continue to essentialize, gloss over, and ultimately repel Aboriginal and Torres Strait Islander peoples and musics" (75).

To ensure the respectful inclusion of First Nations music, Webb and Bracknell () ask teachers to consider and identify the music's intended audience(s) and function(s) (Figure 1). The most general domain, Nation/World, includes music that communicates First Nations perspectives and cultural survival. The Indigenous domain features music "composed with the intention of maintaining Indigenous group solidarity through shared experiences and perspectives" (80). Music from this domain primarily addresses First Nations peoples identifying with lyrics that explore Indigenous identity and belonging. The third level is "music created by and for Local Mob, which may or may not be restricted in audience terms to members of that community" (81). Critically, Webb and Bracknell compel teachers to consult with First Nations artists and communities to learn about the music's context, noting that commercially available music can be found within all domains.
Reaching Out from the Perspective of First Nations Musicians
Figure 1. Intended audience(s) for First Nations music, as well as its key function(s)
(Webb and Bracknell , 79).

Modelling the process of selecting repertoire and engaging in consultation, Bracknell and Webb devised the "Sell the Song" assessment task. Working in pairs, pre-service teachers select a song to perform by a First Nations artist and are required to contact them for additional information and permission. Pre-service teachers are encouraged to use social media platforms as a starting point for yarning or to engage directly with management associated with the artist. This practice models the Australia Council for the Arts' () Protocols for Using First Nations Cultural and Intellectual Property. The protocols specify that projects involving commercial adaptation of First Nations content must gain "cultural permissions to use the material and find out its context" (43). While the process for obtaining consent for performing or adapting copyrighted recordings corresponds with broader intellectual property laws, the protocols also acknowledge that many First Nations musicians are not members of copyright societies and it "may be necessary to contact them directly" (46). For songs in First Nations languages, the protocols also recommend consultation with "the relevant language group" (46). At the heart of the protocols is recognition that First Nations artistic and creative expressions are "important ways of storytelling, transmitting knowledge, preserving, celebrating, and expressing culture and languages, reclaiming and maintaining culture, as well as passing culture down to future generations and raising awareness about Indigenous issues" (7).

In my first year of leading the aforementioned course, pre-service teachers covered a range of songs from the nation/world and Indigenous domains with varying levels of dialogue with the artists. Of the 7 artists contacted, 3 communicated directly back through social media, while another group performing a Jessica Mauboy song received approval and advice from her management. By sharing the evidence of reaching out to the class, pre-service teachers who did not receive a response were able to hear the success of others and visibly see its impact on their engagement, thus leading to a collective desire to continue building relationships with First Nations musicians. Through the pre-service teachers' efforts, I too was able to learn new strategies and consolidate relationships with the artists who communicated back.

Emma Donovan: I get lots of emails and lots of messages from people that want my lyrics, or asking if somebody can perform a dance to my song, or asking if someone can cover it. That's a huge honour for me because I know that people are listening to them stories and they have a connection with it, or they want to participate in this relationship. It's separate to what I do, you know, gigging or writing music, recording music out there in festivals and that. This is another part of my role, of my responsibility, and the way I want Aboriginal and Torres Strait Islander music to be heard from everyone. I'm a big advocate for that and I think we have a lot to say. I think we have some beautiful messages and stories, and I think in this country we should be sharing and celebrating it together.

As part of the Solid Ground program, the mentors would regularly teach songs by other First Nations artists. For Emma, sharing stories from the Indigenous domain (Webb and Bracknell ) was critically important in identity formation, particularly for students disconnected from their culture due to the ongoing impact of colonisation.

Emma Donovan: A lot of these young fellasidentify as Aboriginal, but there's that conversation about them not feeling that confident-as a young Indigenous student in school, society, and even probably in their home. So, I wanted to pick a few songs to start with; that kind of meant a lot to me. I think a song like "Yil Lull" was a good place to start.

Joe Geia, Yil Lull https://youtu.be/a8o0KgSiM-o
"Sell the Song" with Non-Indigenous High School Students and Emma Donovan

Emma Donovan: The kids FaceTimed him and he was yarning to them ... They loved it. Straight up, everyone should know Uncle Joey [Joe] Geia. He's a really strong Kuku Yalanji and Torres Strait Islander man. The first thing he wanted to do was tell the kids what Yil Lull meant ["to sing"]. I'd never seen them that quiet actually. He quickly gave them a little idea of the song ... After going over the lyrics of the verses, I kind of got them to imagine what it would be like if there was a third verse, and we sang it to Uncle Joey.

Emma's strategy of sharing influential songs by First Nations artists continued the following year, as the students covered the late Dr G Yunupingu's () "Bapa" under the mentorship of Evie J Willie and Wiradjuri/Weilwan choreographer Neville Williams Boney. While I had received permission from Dr G's management, Evie felt the need to speak directly with his daughter, especially as the students' collaboration was about to be widely shared by the New South Wales Department of Education (). For Neville, the process of reaching out was not as challenging as many teachers might think:

Neville Williams Boney: The information I get back from teachers or people who are doing First Nations stories or whatever ... they're like, "we don't know what to do. Like, it's too hard so we just won't do it." But in my mind, it's not that hard. It's literally just a phone call and having a yarn. It's that simple. It's not like a form that you have to fill out for the council, and you have to wait three months later and get approved. It's literally just a phone call, an email, or a call out just to talk to a First Nations person.

Emma Donovan: I think what's important for me as an Aboriginal artist and Aboriginal woman is to see non-Aboriginal people singing Aboriginal music, and it's really important for me that it's shared, and that people are acknowledging Aboriginal voice.

Emma Donovan and the Putbacks, Over Under Away https://www.youtube.com/watch?v=i2B1uJKoJtE

Emma Donovan: I couldn't believe it. I was blown away. I was blown away even more that there were kids there that weren't a part of the Aboriginal and Torres Strait Islander community that had done their homework, put all this effort into learning Indigenous songs. Just the actual content of the songs too. They were by an Aboriginal and Torres Strait Islander artist and these kids had a go at it. Their confidence and the way they wanted to express it just touched me. There were a few times where I did get teary. I was just really touched ... I think from my experiences, all these years I've been writing and putting music out, there's always been that conversation of "Doesn't matter what I want to write about, any topic. My music is Blak music. It's Aboriginal and Torres Strait Islander music. It doesn't have to sound like a specific way." And I think the thing that I loved most about that concert was the content and the way that the children chose their songs. Just to hear that they'd done their research, found out just where this artist was from, who was their mob, who was their Country. That was the stuff that hit home.

Figure 2. "Sell the Song" assignment: connecting music with Country and the artist's voice.

Figure 3. NAIDOC concert songline (NB: artist images are hyperlinked to verified Spotify pages for further listening and contextual information[27] ).

https://bit.ly/NAIDOCsongline
Cartography by Brenda Thornley.
Continuing to "Sell the Song" to Pre-Service Teachers
As this article was nearing publication, Emma Donovan released her new solo single "Blak Nation" (Donovan ). The song typifies the sentiment shared in our yarn together and the impact of holding space for First Nations voices; and acknowledging Country in music education. Fittingly, Emma shared the meaning of the song through her social media accounts:
About the Author

Lyrically Blak Nation is about a cultural practice called back burning, we make a cool fire to promote regrowth. The "cool fire" is reference to the new generation. Bringing the Blak Nation to front of this nation, new artists continuing to tell their powerful stories ...

I'm proud of the progress we have made as a nation. Seeing Aboriginal names of Country and People shared.

To see all kinds of people acknowledging traditional places where they live and work. This didn't happen for my old people and even me growing up, it's good to see it more now (Donovan 2023a ).

References
Emma Donovan, Blak Nation https://www.youtube.com/watch?v=67fEA7U_Lpg

To conclude, I will share one final anecdote from recent conversations with a pre-service teacher. All semester, she had been telling me about how excited she was to attend a concert by Wergaia/Wemba Wemba musician Alice Skye. Despite failing to receive a response from Skye during her assignment, the pre-service teacher persisted in reaching out to members of her band, eventually sharing the video of her group's performance. Much to her amazement, Skye responded a few months later and posted the students' cover with permission on her public Instagram page. Fast-forwarding to the concert held earlier this year, the pre-service teacher articulated that she suddenly understood cultural solidarity as she stood alongside several of the First Nations artists covered by other pre-service teachers in the class. While she was too scared to initiate a conversation with any of them, she has been proudly wearing merchandise and sharing with friends the reasons why she went to the concert and who else was there. Making contact matters, and as we globally search for ways to promote the voices of First Nations artists, the simple act of reaching out and sharing back presents an opportunity for us to build relationships that have the capacity to be mutually beneficial; and lead towards greater confidence in sharing incredible music and stories with a new generation of students.

Thomas Fienberg is a lecturer in music education and Acting Associate Dean Indigenous Strategy and Services at the Sydney Conservatorium of Music, The University of Sydney. His teaching and research interests include Indigenising and decolonising music education, industry and community collaboration in arts-based learning, culturally relevant pedagogy, and First Nations research methods. Thomas worked previously as a secondary teacher in NSW Government schools and was nominated for the Australian Recording Industry Association (ARIA) Music Teacher Award in 2020. His research has been published in a variety of academic books and journals, including Research Studies in Music Education, Action, Criticism, and Theory for Music Education, and the Australian Journal of Music Education.

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Notes
Wurramara, Emily. 2018. Milyakburra. Mushroom Music Publishing, Spotify. https://open.spotify.com/artist/0OKjEr4iSUvgGSebJakjNF?si=-JVFnFukQniP2IMuGnPO8A

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[1] Warami translates as "hello/where are you from" in Dharug language.

[2] Where possible, I refer to people by their preferred specific regional cultural identity (Nation and/or Language Group). First Nations is used predominantly elsewhere to outline the diversity of Indigenous groups both within Aboriginal and Torres Strait Islander cultures and globally. Trends and preferences vary from person to person, accounting for the different uses throughout the article.

[3] In Aboriginal English, several common nouns in Standard Australian English shift to proper nouns. Examples of words that can be capitalized include Country, Elders, and Custodians (Australian Government 2023).

[4] The data presented within this article are drawn from my doctoral studies (Fienberg, 2019) and the Finding Solid Ground research project. Approval for both these projects was sought and granted by The University of Sydney Human Research and Ethics Council. I would like to acknowledge the support and guidance of Debbie Higgison and Neville Williams Boney who are co-investigators in the Finding Solid Ground project.

[5] This vignette was created to explain the rationale of reaching out and common questions raised by students and pre-service teachers. It is not a presentation of data collected in the field.

[6] Aboriginal is a preferred term in Australia and is distinctly different from Torres Strait Islander cultures.

[7] Phillips and Bunda (2018) define storying "as the act of making and remaking meaning through stories" (7).

[8] Holding space requires "a commitment to tune into young people's renderings of their concerns and desires and to create room for them to assert themselves with authority and expertise" (Filipiak 2020, 453).

[9] Archie Roach passed away in 2022. Following cultural protocol, Archie Roach's sons, Amos and Eban, have given permission for Archie's name to be used after his passing.

[10] Many First Nations peoples use the word proud when stating their cultural affiliation to challenge the dominant discourse of cultural loss and assimilation, emphasising strength, survival, and links to their ancestors (Bracknell, 2019).

[11] Emma Donovan is a soul singer who is renowned for her collaborations with The Putbacks. Emma was a mentor for the Solid Ground Program (2019-2020) and this article features extracts from a research topic yarn held in December 2021.

[12] The Australian Recording Industry Association (ARIA) Awards are the Australian equivalent of the American Recording Academy Grammy Awards.

[13] In Aboriginal culture, Elders are addressed as Aunty and Uncle as a term of respect.

[14] Blak without the "c" is an Aboriginal English word used as an empowering descriptor for self-identity (Henningham 2021). The term Blak has been used by Indigenous artist-activists and community members to "reclaim historical, representational, symbolical, stereotypical, and romanticised notions of blackness" (Hazel 2018, 59).

[15] Jessica Mauboy was a finalist in the fourth season of Australian Idol (based on the British reality program Pop Idol created by Simon Fuller). She continues to hold a prominent position in Australian popular culture. Mauboy has collaborated with American R&B artists, appeared in films and television series, and even represented Australia in the Eurovision Song Contest.

[16] NAIDOC (National Aborigines and Islanders Day Observance Committee) Week is an annual event in the first week of July celebrating and recognising the history, culture, and achievements of Aboriginal and Torres Strait Islander peoples.

[17] A detailed discussion of ethical considerations can be found in my doctoral thesis (Fienberg 2019, 114-18).

[18] Pseudonyms have been used for the students who are quoted.

[19] Mob is an Aboriginal English word for First Nations peoples. In this context local mob refers to a specific regional cultural affiliation or community of First Nations peoples.

[20] Thelma Plum is a proud Gamilaraay woman from Delungra in rural New South Wales. She was the inaugural winner of the Triple J Unearthed National Indigenous Music Award. During her involvement in the Solid Ground program (Fienberg and Higgison 2022), Thelma was finalising the release of her ARIA award winning indie-pop album Better in Blak (2019) which she describes as "a story about culture, heritage, love, and pain" (Plum n.d.).

[21] Evie J Willie is a soul singer-songwriter working primarily in Sydney. In addition to her work as a professional musician, Evie completed training as a youth worker. Her involvement in the Solid Ground program is also profiled by Webb and Bracknell (2021).

[22] Fellas is an Aboriginal English word for people.

[23] Joe Geia is a singer-songwriter and Elder of the Aboriginal and Torres Strait Islander music community. "Yil Lull" (1988) was written as a song of protest and remains incredibly influential to this day (Geia n.d.).

[24] For cultural reasons, the full name of the late Dr G Yunupingu is not published.

[25] Neville Williams Boney participated in a research topic yarn in May 2022.

[26] For Aboriginal peoples, songlines (also known as dreaming tracks) "connect sites of knowledge embodied in the features of the land. It is along these routes that people travelled to learn from Country" (Neale and Kelly 2020, 9).

[27] This map locates the regional cultural affiliations preferred by the artists: https://drive.google.com/file/d/1khOOxXvPxlfW0SORquuYfe9i0iAWRXBj/view?usp=sharing. These affiliations include language groups (e.g., Ananindilyakwa), Nations (e.g., Gamilaraay) and geographic regions (e.g., Anangu Pitjantjatjara Yankunytjatjara (APY) Lands). The marks on the map are intentionally blurred, as there is a current avoidance of showing boundaries to minimise unnecessary conflict between Nations (Brenda Thornley, personal correspondence). Further information on each of the artists not previously profiled in the article can be found below:

Baker Boy (Danzal Baker) is a proud Yolŋu dancer, rapper, and singer. His songs regularly fuse English and Yolŋu Matha languages. Baker Boy's music has been widely celebrated through successive National Indigenous Music Awards (Baker Boy n.d.).

Robbie Miller is a blues and roots artist with connections to the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in central Australia. In 2013, he won the Triple J Unearthed National Indigenous Music Award helping launch his career. He has since released two EPs and an album in 2019 (Miller n.d.).

Miiesha (Miiesha Young) is a strong Anangu/Torres Strait Islander woman whose debut album Nyaaringu (2020) received the 2020 ARIA for Best Soul/RnB Release. The album translates as "what happened" in Pitjantjatjara language and is interspersed with stories from her late Grandmother (Miiesha n.d.).

Dallas Woods is a Noongar rapper from the East-Kimberley region in Western Australia. Dallas regularly collaborates with Baker Boy and released his debut album in 2022 (Woods n.d.).

Alice Skye is a Wergaia/Wemba Wemba woman from rural Victoria. In 2019, Alice signed to Bad Apples Music, a label that prioritises and "centres Blak excellence" (Skye n.d.). Her debut indie-pop album was released in 2021.

Benny Walker is a proud Yorta Yorta man and blues and roots musician. He has released three albums and received multiple National Indigenous Music Awards nominations (Walker n.d.).

Mo'Ju's album Native Tongue (2018) documents a "deep exploration of their Filipino and Wiradjuri roots" (Mo'Ju n.d.). Mo'Ju's music regularly crosses and challenges genre boundaries.

Emily Wurramara grew up on Groote Eylandt in the Northern Territory and releases music in English and Anindilyakwa, her first language. Her debut album, Milyakburra (2018), was nominated for an ARIA award for best Blues and Roots album (Wurramara n.d.). [28] Streaming services are placing an increasing emphasis on profiling First Nations artists, including Spotify's Blak Australia (Nicol n.d.) and Deadly Beats (Beetson n.d.). NB: Deadly is an Aboriginal English word for excellent or amazing.

[28] Streaming services are placing an increasing emphasis on profiling First Nations artists, including Spotify's Blak Australia (Nicol n.d.) and Deadly Beats (Beetson n.d.). NB: Deadly is an Aboriginal English word for excellent or amazing.

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Reaching Out: Yarning, Sharing, and Learning with First Nations Artists through Social Media

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THOMAS FIENBERG University of Sydney (Australia) November 2023 Published in Action, Criticism, and Theory for Music Education 22 (4): 44-78. [ pdf] https://doi.org/10.22176/act22.4.44 Abstract: In this article, I examine the potential of social media to meaningfully connect students and educators with First Nations popular musicians.

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Ngarrngga: To know, to hear, to understand

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Ngarrngga: To know, to hear, to understand

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The project is led by Professor Melitta Hogarth, Associate Dean (Indigenous) for the Faculty of Education. Ngarrngga originated from the pioneering work of the Aboriginal and Torres Strait Islander Curricula Project led by the Associate Provost and the Foundation Chair of Australian Indigenous Studies at the University of Melbourne, Professor Marcia Langton AO.

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“It’s important for younger people across this country to hear this song and understand it, because it’s an Australian story. It’s something that happened in this country and it’s still happening.” Uncle Archie Roach

Using Archie's song "Took the Children Away", the resources for both Primary and Secondary schools aim to honour Stolen Generations Survivors and shed light on the devastating government policies that still impact thousands of Aboriginal and Torres Strait Islander people and their families today.

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Culture is Life - We believe our young people have the right to thrive and flourish. Strong in knowing who they are, where they come from and who they are connected to.

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"It's important for younger people across this country to hear this song and understand it, because it's an Australian story. It's something that happened in this country and it's still happening." Uncle Archie Roach

In partnership with The Archie Roach Foundation, the resources for both Primary and Secondary schools aim to honour Stolen Generations Survivors and shed light on the devastating government policies that still impact thousands of Aboriginal and Torres Strait Islander people and their families today.

The resources are based on four key themes:
Cultural Identity
Stolen Generations
Talking Our Truths
Healing Through Story and Arts.

About the Primary Resources (Year Levels 1-6)

Archie Roach AM's internationally recognised iconic song, Took The Children Away, has been beautifully translated into a picture book for early years learning, featuring illustrations by Uncle Archie's late partner and musical collaborator Ruby Hunter.

The resources include a video of Uncle Archie Roach reading his children's book that you can share with your class, with accompanying discussion and inquiry questions and activities.

About the Secondary Resources (Year Levels 7-12)

A collection of interviews with Stolen Generations Survivors were also recorded and developed into four themed videos for secondary school learning including Cultural Identity, Stolen Generations, Talking Our Truths & Healing Through Story and Arts.
Please read cultural considerations carefully before viewing or teaching these resources.
In connecting with the Elders' stories through these resources, we acknowledge the Stolen Generations and their families, those who were separated and never found their way home, those who are still healing and those who continue to endure the intergenerational impact.

We would like to acknowledge Uncle Archie for his generosity, passion and dedication to our First Peoples and Stolen Generations survivors, and for all the healing work he has done sharing his song stories and spirit with the world.

We deeply honour the strength, knowledge and wisdom of our Elders who shared their stories in these videos and guided the content to be best delivered and learnt from in schools; Aunty Lorraine Peeters, Aunty Eva Jo Edwards, Uncle Jack Charles, Aunty Iris Bysouth & Uncle Syd Jackson.

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Archie Roach Stolen Generations - Culture is Life

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"It's important for younger people across this country to hear this song and understand it, because it's an Australian story. It's something that happened in this country and it's still happening."

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Contemporary Aboriginal Music Module Swainston ISME Conference Proceedings

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Want to keep up with the latest news and offers from MusicNT? Become a member and subscribe to our newsletter and we will keep you updated with the latest music news and opportunities.

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Want to keep up with the latest news and offers from MusicNT? Become a member and subscribe to our newsletter and we will keep you updated with the latest music news and opportunities.

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VCAA Koorie Cross-Curricular Protocols for Government Schools

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VCAA Koorie Cross-Curricular Protocols for Government Schools

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Creative Australia Protocols for Producing Australian Indigenous Music

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Creative Australia Protocols for Producing Australian Indigenous Music

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Key facts

The Australian Constitution sets out the laws of Australia.

Referendums are the only way that you can change the Australian Constitution.

The 1967 Referendum sought to change two sections of the Constitution in relation to Aboriginal and Torres Strait Islander peoples.

90.77 per cent of Australian voters voted 'Yes' to the changes.

While many people think that the Referendum gave Aboriginal and Torres Strait Islander peoples the right to vote, this wasn't the case. Aboriginal people could vote at the state level before Federation in 1901; Queensland and Western Australia being the only states that expressly prevented Aboriginal and Torres Strait Islander peoples from voting.

It wasn't until 1962, when the electoral act was amended, that Aboriginal and Torres Strait Islander peoples were given the right to register and vote, but voting was not compulsory. Full voting rights were not granted federally until Aboriginal and Torres Strait Islander people were required to register on the electoral roll in 1984.

The Constitution

The Australian Constitution came into effect on 1 January 1901, establishing the Commonwealth of Australia. It is a living document - which continues to shape Australia - and is notoriously difficult to change. Since 1901, 19 referendums have proposed 44 changes to the Constitution; only eight changes have been agreed to.

Before a referendum can take place, the proposed changes must be approved by the Parliament and put to the Australian voting public. A referendum is only passed if it is approved by a majority of voters in a majority of states, and by a majority of voters across the nation. This is known as a double majority. Territory voters are only counted in the national majority.

The need for change

When the Constitution first came into being in 1901 there were only two parts that referred to the First Peoples of Australia: Section 51 (xxvi) gave the Commonwealth power to make laws with respect to 'people of any race, other than the Aboriginal race in any state, for whom it was deemed necessary to make special laws'; and Section 127 provided that 'in reckoning the numbers of people of the Commonwealth, or of a State or other part of the Commonwealth, aboriginal natives shall not be counted '.

This meant that Aboriginal and Torres Strait Islander people weren't recognised as part of the Australian population.

It also meant that the states could create their own policies for Aboriginal and Torres Strait Islander peoples. Dispossession was rampant, as was oppression and control of Aboriginal and Torres Strait Islander peoples' lives. The states enacted Aboriginal Protection Acts which gave them the legal right to remove children from their families.

Campaigning for change

Aboriginal and Torres Strait Islander peoples have always protested and fought against these injustices. There was no single moment that sparked the 1967 Referendum, more a growing swell of support for change led by a range of people and organisations. In the late 1950s, changes in other countries toward equality and civil rights focused public attention on the injustices faced by Aboriginal and Torres Strait Islander peoples.

Protest events were getting more media attention as well. The Warburton Ranges controversy in 1957, the Yirrkala Bark Petitions in 1963, the 1965 Freedom Ride and the Wave Hill walk-off that began in 1966, are some that drove these issues into the international spotlight.

Targeted and effective campaigns were run by organisations like the Federal Council for the Advancement of Aborigines and Torres Strait Islanders (FCAATSI), the Australian Aborigines League, the Aboriginal-Australian Fellowship, and the Aborigines Progressive Association.

The ABC and AIATSIS' collaborative online exhibition 'Right Wrongs' is an excellent resource that pays tribute to these protests, organisations and individual activists.

Australians vote yes to change the Constitution

On 27 May 1967, Australians voted to change the Constitution so that like all other Australians, Aboriginal and Torres Strait Islander peoples would be counted as part of the population and the Commonwealth would be able to make laws for them. A resounding 90.77 per cent said 'Yes' and every single state and territory had a majority result for the 'Yes' vote. It was one of the most successful national campaigns in Australia's history.

Thousands of people worked on the campaign and achieving the 'yes' was a huge victory, signalling a change in the mindset of Australia's majority. It opened the door to First Nations Australian agency, bringing to light many strong leaders and organisations, and the expectation that things could be different. Change was possible, and they were willing to fight for it. In many ways, that fight continues today

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While many people think that the Referendum gave Aboriginal and Torres Strait Islander peoples the right to vote, this wasn't the case.

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National Film and Sound Archive: First Nations Sounds of Australia 

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National Film and Sound Archive: First Nations Sounds of Australia 

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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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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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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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Australians Together: Aboriginal and Torres Strait Islander authored Curriculum Resources

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Australians Together: Aboriginal and Torres Strait Islander authored Curriculum Resources

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Indigenous Australia, Culture, People & Resources | Australians Together

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Explore the rich diversity of Australian culture and First Nations history at Australians Together. Learn about Indigenous culture, migration, and more. Discover resources and information for educators, students, and all Australians.

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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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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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They have not been performed for more than 50 years and it was thought they had been lost forever.

The songs and dances are very significant - they were given to the men's tribe, the Djugun tribe, by their creator during the Buguragarra (the Dreamtime). They give the people their identity and set out the laws they must live by.

They are part of a broader songline, a series of songs sung by tribes throughout the region and beyond, that recount the journey of the creator as he traveled the land giving the people their law and culture.

Footprints, the impression in the sand rising up to bring forth a story of great importance to the Djugun people from the township of Broome and local region.

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They have not been performed for more than 50 years and it was thought they had been lost forever. The songs and dances are very significant - they were given to the men's tribe, the Djugun tribe, by their creator during the Buguragarra (the Dreamtime).

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KMEIA Aboriginal and Torres Strait Islander Music in the Classroom

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KMEIA Aboriginal and Torres Strait Islander Music in the 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?

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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Article by Deb Brydon This article is based on a presentation given by Deb Brydon and Faith Baisden (First Languages Australia) at KMEIA National Conference 2016. Welcome to Country and Ackn...

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Smithsonian Folkways Recordings Australian Aboriginal Music

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Smithsonian Folkways Recordings Australian Aboriginal Music

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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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Songlines: Aboriginal owned and run organisation 

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Songlines: Aboriginal owned and run organisation 

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A great place to start when looking for Aboriginal and Torres Strait Islander musicians to do workshops

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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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A collaborative work from Australian Indigenous singer Jessie Lloyd, Ailan songs project is a contemporarised exploration of popular historical songs from the Torres Strait between Australia and Papua New Guinea in the coral sea. Bringing together ancient languages and historical events with tropical island reggae grooves.

Jessie Lloyd has researched and collaborated with senior Torres Strait songwomen to compile an album of 'ailan' songs (island songs), well-known folk songs sung by families and communities in their various languages and dialects. The songs also tell of how islanders migrated to mainland Australia throughout the 20th century and their contribution to Australian society.

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Ailan Songs Project is a contemporarised exploration of popular folk songs from the Torres Strait, between Australia and Papua New Guinea in the Coral Sea. Bringing together ancient languages with tropical island reggae grooves.

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Emma Donovan & the Putbacks Blackfella Whitefella

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Emma Donovan & the Putbacks Blackfella Whitefella

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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.

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ACARA Cross Curriculum Priority: Aboriginal and Torres Islander Histories and Cultures

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ACARA Cross Curriculum Priority: Aboriginal and Torres Islander Histories and Cultures

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The Australian Curriculum sets consistent national standards to improve learning outcomes for all young Australians. ACARA acknowledges the gap in learning outcomes between Aboriginal and Torres Strait Islander students and their non-Indigenous peers. It recognises the need for the Australian Curriculum to provide every opportunity possible to 'close the gap'.

Therefore, the Australian Curriculum is working towards addressing two distinct needs in Aboriginal and Torres Strait Islander education:

that Aboriginal and Torres Strait Islander students are able to see themselves, their identities and their cultures reflected in the curriculum of each of the learning areas, can fully participate in the curriculum and can build their self-esteem

that the Aboriginal and Torres Strait Islander Histories and Cultures cross-curriculum priority is designed for all students to engage in reconciliation, respect and recognition of the world's oldest continuous living cultures.

New Science elaborations addressing Aboriginal and Torres Strait Islander Histories and Cultures
In response to feedback from community and educators, ACARA has developed 95 new elaborations with accompanying teacher background information to help teachers to incorporate the Aboriginal and Torres Strait Islander Histories and Cultures cross-curriculum priority in the Australian Curriculum: Science.

These elaborations were developed with the assistance of ACARA's Aboriginal and Torres Strait Islander Advisory Group and Taskforce, and Science and Aboriginal and Torres Strait Islander curriculum specialists, and provide practical examples across all three strands of the science curriculum and all year levels.

The elaborations acknowledge that Aboriginal Peoples and Torres Strait Islander Peoples have worked scientifically for millennia and continue to contribute to contemporary science. They are scientifically rigorous, demonstrating how Indigenous history, culture, knowledge and understanding can be incorporated into teaching core scientific concepts.

Each elaboration is accompanied by teacher background information that explains in detail the cultural and historical significance of the chosen topic and how it connects to the core science curriculum content. It also includes a list of consulted works, provided as evidence of the research undertaken to inform the development of the teacher background information. The teacher background information is accessible through the Aboriginal and Torres Strait Islander Histories and Cultures icon appearing next to the elaboration.

The elaborations and accompanying teacher background information support teachers in providing a more culturally responsive curriculum experience for Aboriginal and Torres Strait Islander students resulting in increased engagement and better educational outcomes. They also provide an opportunity for teachers to engage all students in respect and recognition of the world's oldest continuous living cultures.

Aboriginal and Torres Strait Islander Histories and Cultures
The Aboriginal and Torres Strait Islander Histories and Cultures priority provides opportunities for all students to deepen their knowledge of Australia by engaging with the world's oldest continuous living cultures. Through the Australian Curriculum, students will understand that contemporary Aboriginal and Torres Strait Islander communities are strong, resilient, rich and diverse.

The Aboriginal and Torres Strait Islander Histories and Cultures priority uses a conceptual framework to provide a context for learning. The framework comprises the underlying elements of Identity and Living Communities and the key concepts of Country/Place, Culture and People. Aboriginal and Torres Strait Islander Identities are represented as central to the priority and are approached through knowledge and understanding of the interconnected elements of Country/Place, Culture and People. The development of knowledge about Aboriginal and Torres Strait Islander Peoples' law, languages, dialects and literacies is approached through the exploration of Cultures. These relationships are linked to the deep knowledge traditions and holistic world views of Aboriginal communities and/or Torres Strait Islander communities.

Students will understand that Identities and Cultures have been, and are, a source of strength and resilience for Aboriginal Peoples and Torres Strait Islander Peoples against the historic and contemporary impacts of colonisation.

Figure1: Conceptual framework for the Aboriginal and Torres Strait Islander Histories and Cultures priority

Key concepts

The first key concept of the organising ideas highlights the special connection to Country/Place by Aboriginal and Torres Strait Islander Peoples and celebrates the unique belief systems that connect people physically and spiritually to Country/Place.

The second concept examines the diversity of Aboriginal and Torres Strait Islander Peoples' culture through language, ways of life and experiences as expressed through historical, social and political lenses. It gives students opportunities to gain a deeper understanding of Aboriginal and Torres Strait Islander Peoples' ways of being, knowing, thinking and doing.

The third concept addresses the diversity of Aboriginal and Torres Strait Islander societies. It examines kinship structures and the significant contributions of Aboriginal and Torres Strait Islander Peoples on a local, national and global scale.

Organising ideas

For each cross-curriculum priority, a set of organising ideas reflects the essential knowledge, understandings and skills for the priority. The organising ideas are embedded in the content descriptions and elaborations of each learning area as appropriate.

Country/Place

OI.1

Australia has two distinct Indigenous groups: Aboriginal Peoples and Torres Strait Islander Peoples, and within those groups there is significant diversity.

OI.2

Aboriginal and Torres Strait Islander communities maintain a special connection to and responsibility for Country/Place.

OI.3

Aboriginal and Torres Strait Islander Peoples have holistic belief systems and are spiritually and intellectually connected to the land, sea, sky and waterways.

OI.4

Aboriginal and Torres Strait Islander societies have many Language Groups.

OI.5

Aboriginal and Torres Strait Islander Peoples' ways of life are uniquely expressed through ways of being, knowing, thinking and doing.

OI.6

Aboriginal and Torres Strait Islander Peoples live in Australia as first peoples of Country or Place and demonstrate resilience in responding to historic and contemporary impacts of colonisation.

OI.7

The broader Aboriginal and Torres Strait Islander societies encompass a diversity of nations across Australia.

OI.8

Aboriginal and Torres Strait Islander Peoples' family and kinship structures are strong and sophisticated.

OI.9

The significant contributions of Aboriginal Peoples and Torres Strait Islander Peoples in the present and past are acknowledged locally, nationally and globally.

Learning areas statements

All Australian Curriculum learning areas can contribute to the Aboriginal and Torres Strait Islander Histories and Cultures cross-curriculum priority. Taken collectively, Australian Curriculum learning areas deepen students' knowledge and understanding of Australia and the First Australians. This knowledge and understanding enriches all students' ability to participate positively in the ongoing development of Australia.

Aboriginal and Torres Strait Islander Histories and Cultures are included in each learning area in ways that are consistent with its content and purpose. They also make it possible to link content across learning areas, which can lead to integrated units of work.

Each learning area contributes differently to the Aboriginal and Torres Strait Islander Histories and Cultures cross-curriculum priority and its key concepts of Country/Place, Culture and People. Australian Curriculum content descriptions and elaborations relating specifically to Aboriginal and Torres Strait Islander Histories and Cultures are tagged with the priority symbol. In other content descriptions and elaborations, the cross-curriculum priority can be inferred from the use of the terms 'Identity', 'Country/Place', 'Culture', and 'Peoples'.

Learning areas value Aboriginal and Torres Strait Islander Histories and Cultures. Each one articulates appropriate and relevant aspects of the priority and how it can be incorporated in the curriculum.

English

In the Australian Curriculum: English, students begin to engage with the priority as they develop an awareness and appreciation of, and respect for, Aboriginal and Torres Strait Islander literature. This includes storytelling traditions (oral narrative) and contemporary literature. Students will learn to develop respectful, critical understandings of the social, historical and cultural contexts associated with different uses of language features and text structures including images and visual language.

Mathematics

Students can explore connections between representations of number and pattern and how they relate to aspects of counting and relationships of Aboriginal and Torres Strait Islander cultures. Students can investigate time, place, relationships and measurement concepts within Aboriginal and Torres Strait Islander contexts. Through the application and evaluation of statistical data, students can deepen their understanding of the lives of Aboriginal and Torres Strait Islander Peoples.

Science

Students will have opportunities to learn that Aboriginal and Torres Strait Islander Peoples have longstanding scientific knowledge traditions and developed knowledge about the world by:

observation, using all the senses

prediction and hypothesis

testing (trial and error)

making generalisations within specific contexts such as the use of food, natural materials, navigation and sustainability of the environment.

Humanities and Social Sciences

The diverse cultures of Aboriginal and Torres Strait Islander Peoples are explored through their:

long and continuous strong connections with Country/Place and their economic, cultural, spiritual and aesthetic value of place, including the idea of custodial responsibility. Students examine the influence of Aboriginal and Torres Strait Islander Peoples on the environmental characteristics of Australian places, and the different ways in which places are represented.

experiences before, during and after European colonisation including the nature of contact with other peoples, and their progress towards recognition and equality. In particular, students investigate the status and rights of Aboriginal and Torres Strait Islander Peoples, past and present, including civic movements for change, the contribution of Aboriginal and Torres Strait Islander Peoples to Australian society, and contemporary issues.

exploration of how groups express their particular identities, and come to understand how group belonging influences perceptions of others.

The use of primary and secondary sources, including oral histories, gives students opportunities to see events through multiple perspectives, and to empathise and ethically consider the investigation, preservation and conservation of sites of significance to Aboriginal and Torres Strait Islander Peoples.

The Arts

Students' exploration of traditional and contemporary artworks by Aboriginal and Torres Strait Islander Peoples provides insight into the way the relationships between People, Culture and Country/Place for Aboriginal and Torres Strait Islander Peoples can be conveyed through the arts, their expression in living communities, and the way these build Identity.

Technologies

Students will identify the interconnectedness between technologies and Identity, People, Culture and Country/Place. They will explore, understand and analyse how this intrinsic link guides Aboriginal and Torres Strait Islander Peoples in sustaining environments, histories, cultures and identities through / by creating appropriate and sustainable solutions.

Health and Physical Education

This learning area allows students to appreciate and celebrate the beauty of the world's oldest continuous living cultures. Students will be able to explore personal, community and group identities and so build understanding of the differences and commonalities in systems of knowledge and beliefs about Health and Physical Education. There is the capacity for making strong connections between cultures and identities and to engage with and appreciate the lived experiences of Aboriginal and Torres Strait Islander Peoples. Students can learn about the richness of Aboriginal and Torres Strait Islander modes of communication and ways of living and being, and develop appreciation and understanding of uniquely Australian connections between People and Country/Place. They can explore the importance of family and kinship structures for maintaining and promoting health, safety and wellbeing within their community and the wider community. Students can also be given the opportunity to participate in physical activities and cultural practices such as traditional and contemporary Aboriginal and Torres Strait Islander games.

Languages

The Framework for Aboriginal Languages and Torres Strait Islander Languages provides a direct way of learning about and engaging with diverse Aboriginal and Torres Strait Islander communities. Aboriginal and Torres Strait Islander Histories and Cultures are an integral part of learning Aboriginal languages and Torres Strait Islander languages as there is an inseparable connection between the languages and land, sea, sky and waterways. Through learning a framework language, all students gain access to knowledge and understanding of Australia that can only come from an Aboriginal or Torres Strait Islander perspective.

For Aboriginal and Torres Strait Islander students, learning their own language can have a significant influence on their overall learning and achievements. It can foster a strong sense of identity, pride and self-esteem and enables students to develop a wider recognition and understanding of their culture, Country/Place and People. This then contributes to their wellbeing.

In all other language learning, there is scope for making interlinguistic and intercultural comparisons across languages to develop understanding of concepts related to the linguistic landscape of Australia and to the concepts of language and culture in general.

Work Studies

The exploration of concepts of self-identity provide opportunities to develop understanding of the distinctive sense of identity of Aboriginal and Torres Strait Islander Peoples. This can lead to an understanding of how identity is strongly linked to Aboriginal and Torres Strait Islander Peoples' unique belief systems and their spiritual connection to the land, sea, sky and waterways. The curriculum can demonstrate the influence these have on relationships within the world of work through the Australian Curriculum: Work Studies.

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Aboriginal and Torres Strait Islander Histories and Cultures

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Yunkaporta thesis - Aboriginal Pedagogies at the Cultural Interface

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Yunkaporta thesis - Aboriginal Pedagogies at the Cultural Interface

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Aboriginal pedagogies at the cultural interface - ResearchOnline@JCU

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This research project investigates two questions and proposes two answers. The first question asks how teachers can engage with Aboriginal knowledge. The proposed solution involves applying a reconciling theory of Cultural Interface to staff development. The second question asks how teachers can use Aboriginal knowledge productively in schools.

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ABC Songs in Australia's First Languages

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ABC Songs in Australia's First Languages

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First Nations people in Australia carry on the oldest living culture in the world. Across the country there is a rich diversity between regions, with more than 250 language groups and over 800 dialects.
Aboriginal and Torres Strait Islander readers are advised that the following article contains reference to and video of people who have died.
First Nation composers have been active in the Classical music world for many years, often incorporating cultural, political and social history into their music, embedding indigenous musical influences into what was once a Western artform.

Growing up in the culturally diverse Indonesia, I had the privilege of learning many regional languages as a child. Singing regional songs in different dialects was a particular joy and point of pride.

As an adult, I treasure those regional songs as a trove of cultural knowledge and a map through which I could traverse my birth country. As a chorister, this ability of singing in different languages is a valuable skill, enabling me to extend my repertoire to German, French, Italian and other languages.

In the last few years, I've found a great joy in discovering the richness in Australia's First Peoples' stories, songs and languages. To showcase this diversity, here are a small selection of songs with First Nations lyrics which speak of Australia's First Peoples' struggle and dreams, their abiding connection to land and waters and joy in sharing culture. For me, the ancientness of the words alone make them incredibly precious.

Bunuba: Ngindaji ngarragi muwai (This is our home)

The Bunuba people are the traditional owners of what is known as the Southwest Kimberley regions on the northern part of Western Australia. It is a country of rivers and fields, dominated by mountain ranges.

At the centre of the Bunuba story is the spirit of Jandamarra, a young man who chose to defend his land and people against the pastoralists who laid claim to the Bunuba country in the late 1800s and the police who enforced laws foreign to the Bunuba people.

Jandamarra, Sing For Our Country tells his story in a musical cantata. It is a collaborative project between composer Paul Stanhope, playwright and librettist Steve Hawk and the Bunuba Cultural Enterprises. It was premiered in 2014 and performed again in 2019. "Ngindaji ngarragi muwai" ("This is our home") is the reflective conclusion of the cantata.

In the cantata, Jini (Jandamarra's mother) introduces this final song by saying, "Jandamarra died for this country, for making it strong again. We remember with our songs. All this land, every hill, every creek, has a song. The land holds his spirit. His spirit gives us strength."

Galpu: Miyapunu (The Djari Project)

The Yolŋu people of Miwatj (North Eastern Arnhem Land) is an example of the rich tapestry of First Nations culture. Among their many gifts are the songline passed down from ancestors about the creation of their home on the shore of the Arafura sea.

In their collaborative album, musicians Guwanbal Gurriwiwi and Netanela Mizrahi present a reconciliation of Western and Galpu cultures in music by blending traditional singing with choir and orchestral accompaniment.

Miyapunu is inspired by a Yolŋu creation song line. It is a call of mother dolphin whose child has "strayed too far" from her heart.. The two are reunited by the end of the song.

"This work is a call for Yolŋu (Aboriginal) and Balanda (non-Aboriginal) people to work together towards Treaty."

Dhuwala: Gäliku (Flag)

The Yolŋu communities of Northern coast of Australia have traded trepang (sea cucumber) with the Makassan sailors hundreds of years before the arrival of European settlers. They exchanged not only trepang in the centuries of trade but also words, culture and knowledge.

Galiku is a song of the raising of the flag as it dances in the wind. Sung by the late Gumatj man Gurrumul, it speaks of the sea and shore of his home. The song is part of his posthumous album Djarimirri (Child of the Rainbow), his final gift to the world.

Gurrumul's long-time collaborator, Michael Hohnen, said of the song "Yolngu and other cultures in the Northern part of Australia have developed quite a strong flag tradition from the Indonesian people."

Lutheran Hymns in Western Arrarnta and Pitjantjatjara languages

In remote Aboriginal communities in the Northern Territory, Lutheran hymns introduced and translated by German missionaries in the 1870s have helped preserve local languages.

These hymns are still sung by local communities, notably the Central Australian Aboriginal Women's Choir (CAAWC). Morris Stewart, director of the Desert Songs Festival, a key platform to showcase this repertoire, explained that the hymns are: "a unique Australian musical conjunction of Baroque and Early Romantic era choral arrangements, centuries-old sacred poetry (hymns) presented in the Western Arrarnta and Pitjantjatjara languages."

The choir performed two of these hymns at the finale of the Desert Songs Festival held at Kwartatuma ( Ormiston Gorge) in 2019. Ingkaartai, alkira ngerra is A translation into the Western Arrarnta Language (Ntaria/Hermannsburg region of Central Australia) of the Hymn "Herr, deine Güte reicht so weit". It is followed by a translation into the Pitjantjatjara language (Northern South Australia and all across the South and Central NT) of Hail Gladdening Light, originally a third century Greek hymn.

These two hymns should be familiar to sacred music lovers, with compositions by J.S. Bach and Charles Wood.

Yorta Yorta: Dutala (Star filled sky)

The Yorta Yorta people's country lies on both banks of the Dungala (Murray) river in Victoria. It is a region of beautiful colours. It's the land of First Nation composer Deborah Cheetham, recognised as one of Australia's leading composers.

Dutala (Star Filled Sky) was premiered alongside Beethoven's Ninth Symphony on his 250th anniversary in 2020 by the Melbourne Symphony Orchestra and Choir.

Cheetham described the work: "For a long time, I considered the addition of a subtitle for this work - the spaces between. For this is where Indigenous cultures focus their attention when interpreting the sky. The spaces between the stars".

Cheetham quoted the text by Schiller which was used in Beethoven's Ninth Symphony "Above the starry canopy/Above the stars must Biami [the creator] dwell."

Palawa Kani: milaythina nika

The loss of connection, culture and country experienced by Australia's First Nation Peoples is particularly poignant in Lutrawita (Tasmania).

According to the Tasmanian Aboriginal Centre: "Between 8 and 16 separate languages could have been spoken here originally; we will never really know. Some tribes had been wiped out by contact sicknesses even before full scale invasion and the languages continued to die away with the people".

There are no living speakers of the original Tasmanian languages. However, the Tasmanian Aboriginal Centre has gone through a deliberate and arduous efforts to restore the remnants of these lost languages to life as Palawa Kani.

In true revival spirit, Palawa Kani speakers and songwriters are sharing their connection with the world. Tasmanian Aborigianal musician Dewayne Everettsmith performs Melaythina, the first commercially available song in Palawa Kani to school students during their visit to Tasmanian Museum and Art Gallery.

Gadigal: Dali Mana Gamarada

In 1976, television presenter and Yamatji man Ernie Dingo and the Noongar/Yamatji musician Richard Walley performed what they claim was Australia's first contemporary Welcome to Country. The practice was rooted in thousands of years old tradition. A ceremonial act in which traditional owners welcome people to their land, it often involves musical elements and dance.

30 years later, Welcome to Country by First Nation persons of significance, and Acknowledgements of Country, which can be performed by anyone, is a feature in public events. There were a few turning points along the way, such as the Sydney Olympic Games in 2000.

In 2000, Deborah Cheetham was commissioned to write and perform an original composition in the language of the Gadigal people of Sydney. Dali Mana Gamarada was performed as the Welcome to Country for the Opening Ceremony of the Sydney 2000 Olympic Games, alongside more than 2000 First Nations performers who danced to an ancient flag song and the unforgettable moment when Kuku Yalanji woman Cathy Freeman lit the cauldron.

Yidinji: Birinyi (the creation story of the Great Barrier Reef)

The Great Barrier Reef is considered by many as Australia's most remarkable natural wonders. Skirting the continental shelf off the coast of Queensland, it spans 2,300km and is the largest coral ecosystem in the world.

The Yidinji people and other traditional owners who live on the shores have an ancient creation story behind the remarkable reef.

Yidinji man Gudju Gudju tells the story as part of the performance by Gondwana Indigenous children's choir in collaboration with composer Luke Byrne.

Inspired by the story of the fisher folk of the Yidinji shores, it tells how Gunya and his wife invoked the rage of the stingray (a sacred fish) which caused the sea to rise. They retreated to the cliff and threw heated rocks which calmed the sea, which now still stand as the Great Barrier Reef. Some of the islands in the Great Barrier Reef have a substructure of igneous rocks, harking to its distant, volcanic past.

In the last few years, initiatives such as Ngarra-Burria: First Peoples Composers Project have accelerated the connection between First Nations composers and Australian choirs, orchestras and festivals. Composers such as Brenda Gifford, Elizabeth Sheppard, Nardi Simpson and others are writing music featuring First Nations languages which Australians can now hear and sing. Recordings are increasingly available, but you can also catch music by these composers on ABC Classic or in concerts in your local area.

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Songs in Australia's First Nations languages - ABC Classic

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Explore the richness of First Peoples' stories, songs and languages through a selection of classical music featuring languages from different regions across the country.

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The Dead Heart - Declan Kelly presents Diesel n'Dub featuring Emma Donovan

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Australian Hip Hop - Wilcannia Mob Down River

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Australian Hip Hop - Wilcannia Mob Down River

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Wilcannia Mob - Down River (Music Video)

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Recorded from the Australian music television program "rage". Digitised from a (very) old VHS tape. Apologies for the poor quality.

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The National Film and Sound Archive of Australia acknowledges Australia's Aboriginal and Torres Strait Islander peoples as the Traditional Custodians of the land on which we work and live and gives respect to their Elders both past and present.

Enter the NFSA Our Statement of Reflection

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The National Film and Sound Archive of Australia acknowledges Australia's Aboriginal and Torres Strait Islander peoples as the Traditional Custodians of the land on which we work and live and gives respect to their Elders both past and present. Enter the NFSA Our Statement of Reflection

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Central Australian Aboriginal Media Association

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Central Australian Aboriginal Media Association

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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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People of the ilk of a Gavin Jones come along very rarely in this life. People who make our lives better, our world better, purely through the largesse of their love, compassion, warmth and kindness, their burning and endless passion that pushes and reshapes the limits of what we once thought was possible, or once consigned ourselves to believe. It takes a truly special soul to change the way we view ourselves, and the world around us. I was blessed to have met a man like Gavin Jones, to have him in my life, as a mentor, a brother and most importantly, as a dear friend.

What has happened to this wonderful man is a crime against the beauty of the human soul, and the capabilities and potential we all possess, as one great family of people.

What Gavin built and achieved, his vision - those intangible qualities that exist within the hearts of people, the potential in all of us to care for each other, to help someone who is struggling or less fortunate, purely because something inside pushes you to do so, and speaks to you when you feel intuitively, in your heart, that something is not right - these are the verities, the higher truths that truly matter, and this is the realm in which the spirit of Gavin Jones lived, and will continue to live.

After 20 years of tireless work to bring joy, pride, confidence and self-worth to the lives of his people, improving the lives of so many, contributing to his nation in immeasurable ways - the actions of the Federal Government can be viewed as nothing more than an attack on the potential for Aboriginal empowerment in this country.

A man who gave so much, deserved far more. Rest in peace my brother. I look forward to the day I see your smiling face again, and until then, we will carry your spirit and your vision into the future.

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People of the ilk of a Gavin Jones come along very rarely in this life. People who make our lives better, our world better, purely through the largesse of their love, compassion, warmth and kindness, their burning and endless passion that pushes and reshapes the limits of what we once thought was possible, or once consigned ourselves to believe.

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3KND Aboriginal  Community Radio Station

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3KND Aboriginal  Community Radio Station

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3KND Kool 'N' Deadly is Melbourne's first Indigenous owned and managed radio station, providing a vital service not only to the Indigenous community but also to the wider community as a whole. 3KND provides information and entertainment for our community and anyone else who wants to join in.

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The pool of First Nations talent on triple j Unearthed is deep and broad, so let's dive in.

Dancingwater

You might think it's a big call to type a name like Erykah Badu in the 'Sounds Like' section of your triple j Unearthed profile but for Dancingwater, it's a no brainer.

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In their debut upload 'White Noise', the Meanjin based band create a soothing, swelling bed of neo-soul for their lyrical activism. Vocalist Nadine ebbs and flows between spoken word poetry and lush melodies with a poignancy that forces you to stop and listen to lines like, 'All I hear is white noise / All I hear is white lies / And all I hear is white silence'.

With a powerful debut under their belt and plenty of exciting live shows around the corner (including a support slot for Ngaiire), our fingers are crossed that more uploads from Dancingwater are coming our way in 2021.

Djanaba

It's already been a huge year for Djanaba, who participated in a songwriting sesh with local legend Nick Littlemore as part of our first ever Collab Comp.

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The Newy based artist, who has connections to the Wollombi people, lends her vocal chops to tracks inspired by the traditional dance and music she was raised on. Her unique take on electro-pop and distinct tone have drawn comparisons to Sycco and Vera Blue, but there's no doubt her style is singular.

'Belly' is the latest from Djanaba and if it's any indication of what the future holds for this promising talent, we're in for something special, sincere and completely unlike anything else on the local music landscape.

Hylander

Take a tablespoon of Flume's glitchy synths, mix it with a cup of Crooked Colour's brooding dark pop melodies and sprinkle with the vocal talent of some perfectly picked collaborators and you have yourself a Hylander track.

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The Sydney producer has delivered three banger uploads over the last few months and each is more impressive than the last. Incorporating the unique strengths of vocalists like Biond and Laya, Hylander paints sonic landscapes that'll make you feel like you're dreaming, floating or both at the same time.

In his most recent offering 'Touch', Hylander lays down a woozy soundscape for Japanese R&B artist Laya's gorgeous vocals to glide across. It also copped a glowing near-perfect review from triple j Breakfast Producer Ash, who said that the song "really gets me reflective, blocking out the external world."

Lija

You know a rapper means business when both triple j Lunch's Dave Woodhead and Hau Latukefu from the Hip Hop Show are singing their praises. That's exactly what met Lija when the Darwin based artist uploaded his track 'Too Black, Too White' to triple j Unearthed last year.

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His follow up, 'The Wizard Of Oz', landed in January and solidified his staunch and energetic attitude to hip hop. Combining old school beats and whip smart wordplay, Lija would be a perfect addition to any playlist that features the likes of Kobie Dee or reigning Unearthed Feature Artist JK-47.

'Bring The Ruckus' is not only Lija's freshest slice, but is also the title track from his debut EP that dropped last month. He's brought the ruckus, the momentum is high and we're hungry for more from the talented artist.

The Struggling Kings

They may be 'struggling' by name, but these kings are 'thriving' by nature.

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Hailing from One Arm Point in the Kimberley, brothers Luke, Mark and Dan Riches form The Struggling Kings. Describing themselves as "Kings of Leon meets the Pigram Brothers", the trio pour their heart and stories into the rich, full-bodied rock that King Stingray fans would absolutely appreciate.

Having already shared a stage with the likes of Pond, Spacey Jane, Stella Donnelly and San Cisco at festivals and sold out gigs across WA, The Struggling Kings have made it crystal clear that they sound as rollicking and robust live as they do in their uploads.

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Five First Nations artists from triple j Unearthed you need to get around - triple j

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Ready to discover your new favourite artist?

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Classic Kids: Music for the Dreaming - ABC Education

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Go on a journey through the sounds of the seasons on special Aboriginal land, Wreck Bay. Discover how music can tell stories and create atmosphere, hear stories from Yuin Elders about living in harmony with nature, and learn new words from the Dhurga Language of the Yuin People.

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Indigenous Knowledge Resources for Australian School Curricula Project

The Aboriginal and Torres Strait Islander Curricula Project is a University of Melbourne initiative which aims to empower all teachers to integrate Aboriginal and Torres Strait Islander histories and cultures in their teaching using these curriculum resources that incorporate Indigenous knowledge.

The project is a partnership between the Indigenous Studies Unit (Centre for Health Equity, MDHS), the Melbourne Graduate School of Education and the Indigenous Knowledge Institute.

Browse/ search by learning area

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
The development of these resources was funded through an Australian Government initiative delivered by the University of Melbourne's Indigenous Studies Unit. The resources include the views, opinions and representations of third parties, and do not represent the views of the Australian Government. They have been developed as a proof of concept to progress the inclusion of Aboriginal and Torres Strait Islander content in Australian classrooms. In drawing on the material, users should consider the relevance and suitability to their particular circumstances and purposes.
Project Team
Professor Marcia Langton AO Indigenous Studies Unit, Faculty of Medicine, Dentistry and Health Sciences
Professor Marcia Langton AM is an anthropologist and geographer, and since 2000 has held the Foundation Chair of Australian Indigenous Studies at the University of Melbourne. She has produced a large body of knowledge in the areas of political and legal anthropology, Indigenous agreements and engagement with the minerals industry, and Indigenous culture and art. Her role in the Empowered Communities project under contract to the Department of Prime Minister and Cabinet and as a member of the Expert Panel on Constitutional Recognition of Indigenous Australians are evidence of Professor Langton's academic reputation, policy commitment and impact, alongside her role as a prominent public intellectual.
Professor Jim Watterston Dean, Melbourne Graduate School of Education
From his first job as a teacher in a rural Indigenous classroom in his home state of Western Australia to his appointment as the Dean of the Melbourne Graduate School of Education at the University of Melbourne, Professor Jim Watterston brings more than 35 years of successful experience across a diverse range of educational roles and sectors. Jim spent his first ten years in the profession as a teacher before being promoted to the position of principal in a range of primary and secondary schools.

He then progressed to the role of Regional Director in WA and Victoria before he was appointed as the Deputy Secretary of the Victorian Education Department, and Director General of both the ACT and, most recently, Queensland Departments of Education and Training. Jim was awarded a Doctorate in Education at the University of WA in 2004.
Dr Kirsten Smith Indigenous Studies Unit, Faculty of Medicine, Dentistry and Health Sciences
Dr Kristen Smith is a medical anthropologist in the Indigenous Studies Unit. Her interdisciplinary work traverses the fields of anthropology, epidemiology, human geography, public health and health promotion.
Tahlia Eastman Indigenous Studies Unit, Faculty of Medicine, Dentistry and Health Sciences
Tahlia Eastman is a Research Fellow in the Indigenous Studies Unit with a background in Indigenous health policy. Tahlia has Palawa ancestry from the north-west coast of Tasmania. Tahlia is currently undertaking her PhD, focusing on the link between Aboriginal identity and youth mental health.
Dr Melitta Hogarth Melbourne Graduate School of Education
Melitta Hogarth is a Kamilaroi woman who is the Assistant Dean Indigenous and a Senior Lecturer in the Melbourne Graduate School of Education. Prior to entering academia, Melitta taught for almost 20 years in all three sectors of the Queensland education system specifically in Secondary education.

Melitta's interests are in education, equity and social justice. Her PhD titled "Addressing the rights of Indigenous peoples in education: A critical analysis of Indigenous education policy" was awarded both the QUT and Faculty of Education Outstanding Thesis Awards and was awarded the Ray Debus Award for Doctoral Research in Education.
Dr Sophie Rudolph Melbourne Graduate School of Education
As a non-Indigenous Australian, I have had a long-standing interest in exploring issues of social justice, diversity and equity in education and, in particular, the impact that colonial history has on present day inequalities in Australia. These interests frame my teaching and research practices.

My research includes sociological and historical examinations of education and investigates issues of curriculum, pedagogy and politics in education, policy and practice. My work is informed by critical and post-structuralist theories and aims to offer opportunities for working towards social change.
Dr Katherine Coleman Melbourne Graduate School of Education
Kathryn Coleman is a feminist, artist, researcher and teacher who lives and works in Kulin Nation. Her work focuses on the integration of digital pedagogies and digital portfolios for sustained creative practice, assessment and warranting of evidence across education sectors.

Kate's praxis includes taking aspects of her theoretical and practical work as a/r/tographer to consider how artists, artist-teachers and artist-students use site to create place in digital and physical practice.

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Aboriginal and Torres Strait Islander School Curricula

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Aboriginal and Torres Strait Islander School Curricula

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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. Written on a 1.2 metre piece of composite wood, the document outlined [...]

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Reconciliation Australia acknowledges and pays respect to the past, present and future Traditional Custodians and Elders of this nation and the continuation of cultural, spiritual and educational practices of Aboriginal and Torres Strait Islander peoples.

Aboriginal and Torres Strait Islander peoples should be aware that this website contains images or names of people who have passed away.

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Acknowledgement of Country and Welcome to Country - Reconciliation Australia

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There are many ways to appropriately Acknowledge Country or Welcome to Country, so it is key to learn and understand the differences between them, and why they are important. Incorporating Acknowledgement of Country and Welcome to Country into meetings, gatherings, and events shows respect by upholding Aboriginal and Torres Strait Islander cultural protocols.

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Paul Girrawah House has multiple First Nation ancestries from the South-East Canberra region, including the Ngambri-Ngurmal (Walgalu), Pajong (Gundungurra), Wallabollooa (Ngunnawal) and Erambie/Brungle (Wiradyuri) family groups.

Paul acknowledges his diverse First Nation history, he particularly identifies as a descendant of Onyong aka Jindoomang from Weereewaa (Lake George) and Henry 'Black Harry' Williams from Namadgi who were both multilingual, essentially Walgalu-Ngunnawal-Wiradjuri speaking warriors and Ngunnawal-Wallaballooa man William Lane aka 'Billy the Bull' - Murrjinille.

Paul was born at the old Canberra hospital in the centre of his ancestral country and strongly acknowledges his First Nation matriarch ancestors, in particular his mother Dr Aunty Matilda House-Williams and grandmother, Ms Pearl Simpson-Wedge.

Paul completed a Bachelor of Community Management from Macquarie University, and Graduate Certificate in Wiradjuri Language, Culture and Heritage and Management from CSU.

Paul provided the Welcome to Country for the 47th Opening of Federal Parliament in 2022. Paul is Board Director, Ngambri Local Aboriginal Land Council, Member Indigenous Reference Group, National Museum of Australia and Australian Government Voice Referendum Engagement Group.

Paul works on country with the ANU, First Nations Portfolio as a Senior Community Engagement Officer

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Reconciliation Australia's vision is for a just, equitable and reconciled Australia.

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Narragunnawali supports all schools and early learning services in Australia to develop environments that foster a high level of knowledge and pride in Aboriginal and Torres Strait Islander histories, cultures and contributions. Narragunnawali (pr

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

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The djantpangarri dance and song form is attributed to Dambidjawa, a Gumatj speaker of the Yirritja moiety and brother of Rrikin (Stubington, 1994, p. 254). It is a form of song that is about fun and entertainment which dominated the popular music scene among Yirrkala youths from the 1930s through to the 1970s (Knopoff, 1997, p. 603).

Dr Mandawuy Yunupingu, the lead singer of Yothu Yindi, recalled hearing the song at the Yirrkala Literature Production Centre in 1989. He noted:

'Though it borrows from rock 'n' roll, the whole structure of "Treaty" is driven by the beat of the djatpangarri that I've incorporated to it. It was an old recording of this historic djatpangarri that triggered the song's composition. The man who originally created it, Rrikin Burarrwanga, was my gurrung (mother's mother's mother's mother's brother's son) and he passed away a long time ago in 1978. He was a real master of the djatpangarri style.' (Yunupingu in Marett et. al. 2006)

The Waterman collection features a number of recordings in the djantpangarri style. This includes songs by Rrrikin, Dadaynga, Djeila and Dhambutjawa. The album 'Tribal Voice', which contains the song 'Treaty', is dedicated to these masters.

Three decades later, 'Treaty' continues to be a powerful reminder of First Nation people's desire for self-determination and self-management, including the freedom to pursue economic, social, religious and cultural development.

More about the Waterman collection

Further reading

Corn, A et. al. 2009 Reflections & Voices: exploring the music of Yothu Yindi with Mandawuy Yunupingu, Sydney University Press, Sydney.

SBS News 2013 Read the lyrics of Yothu Yindi song 'Treaty'

Stubington, J 1989. Yolngu manikay : the construction of a research field, Yirrkala, Australian Institute of Aboriginal and Torres Strait Islander Studies, PMS 4728

Stubington, J 1989. [List of tapes of Aboriginal songs from Arnhem land], Australian Institute of Aboriginal and Torres Strait Islander Studies, PMS 1979​

Stubington , J 1994. Yolngu manikay at Yirrkala : the construction of a research field, The World of Music, vol. 36 no. 1, pp. 82-92.​

Stubington, J and Dunbar-Hall, P 1994. Yothu Yindi's "treaty": ganma in music, Popular Music, vol. 13, no. 3, pp. 243-259.

References

Corn, A 2011, 'Treaty Now: Popular Music and the Indigenous Struggle for justice in Contemporary Australia' in I Peddie, Popular Music and Human Rights, 2 : World Music, Ashgate Publishing, Farnham, pp. 17-26

Marett, A., Yunupingu, M., Langton, M., Gumbula, N., Barwick, L., & Corn, A. (2006), 'The National Recording Project for Indigenous Performance in Australia: year one in review' in Backing Our Creativity: the National Education and the Arts Symposium, 12-14 September 2005 (pp.84-90). Surry Hills, NSW: Australia Council for the Arts.

Knopoff, S. 1997. "Accompanying the Dreaming: Determinants of Didjeridu Style in Traditional and Popular Yolngu Song," in The Didjeridu: From Arnhem Land to Internet. Edited by K Neuenfeldt. Sydney: Perfect Beat Publications

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'Treaty' was a worldwide hit and the first song by a mainly Aboriginal band to peak on the ARIA singles chart.

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Home page of Kutcha Edwards, a solo artist

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Queensland Curriculum and Assessment Authority

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This section of this website provides information on the QCAA strategies, resources, projects and initiatives that focus on increasing awareness of Aboriginal and Torres Strait Islander perspectives and improving outcomes for Aboriginal and Torres Strait Islander students in Queensland schools.

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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Aboriginal and Torres Strait Islander perspectives

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QCAA is committed to increasing awareness of Aboriginal and Torres Strait Islander perspectives and improving outcomes for indigenous students.

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IHHP artists in partnership with Central & North West Queensland Medicare Local, "Kalngkurr" Mornington Island Wellbeing Centre, and Mirndiyan Gununa, worked alongside the talented youth and elders from Mornington Island community, to create this health promotion music video "Strong Mind, Strong Spirit". The song talks about health issues around social and emotional well being, depression, stress and anxiety.

IHHP was proud to partner with Ngalangangpum School, Warmun Art Centre, Warmun Shire Council Department of Sport and Recreation to guide Warmun Community through the creative process of making a music video. Special thanks to Gabe for sharing the dreamtime storie and giving us permission to use the story as our central theme for the project. We just love this video and we know that the rest of the world will also.

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Indigenous Hip Hop Projects (IHHP) is a unique team of talented artists in all elements of hip hop, media, entertainment and performing arts, who have been working extensively in Indigenous...

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

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VAEAI - Victorian Aboriginal Education Association Inc.

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The Victorian Aboriginal Education Association Incorporated (VAEAI) are pleased to launch the Koorie Education in Learn Locals: Best... Read More → 10 Practical Protocols to empower and support Koorie Learners.

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Resources

For educators

Practice notes

Koorie Cultural inclusion is a system-wide shared responsibility at all levels of our Department. In early years settings and schools, it is an important part of deepening learners' knowledge and understanding of their world, their country, their community and identity.

The Koorie Cultural Inclusion Practice Notes Resource was developed to facilitate reflection on existing Koorie cultural inclusion practices within schools - what it looks like at a whole school and classroom level. This resource provides examples of ways in which educators can enhance their practice to cultivate a culturally supportive and responsive learning environment in which Australia's First Nations Peoples contributions are visible and celebrated. It includes a school-based case study, teacher tips and leadership guidance that expands on Professional Practice Note 19 published in the teaching and learning professional practice suite in July 2019.

This professional practice note supports teachers and school leaders to embed Aboriginal and Torres Strait Islander cultural inclusion, as an enabling foundation for learning in all Victorian Government schools.

Other resources for educators

Programs and reforms

Further Department support

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Practice notes Koorie Cultural inclusion is a system-wide shared responsibility at all levels of our Department. In early years settings and schools, it is an important part of deepening learners' knowledge and understanding of their world, their country, their community and identity.

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This is a great resource with some language included and pronunciation by Deborah Cheetham-Fraillon AO. I have found that Music Ed students can easily pick up on the melodies and part singing opportunities.

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Contact Dhungala Children's Choir Dhungala Children's Choir DCC Online Reconciliation Now! Resources Woven Song whats on Shop

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Busking for Change - Learn a song - Change lives

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Busking for Change - Learn a song - Change lives

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Busking for Change is fundraiser by the Indigenous Literacy Foundation (ILF), developed by Josh Pyke to engage Primary School students in a musical literacy raise awareness about Indigenous languages.

The idea is simple, learn a song and raise funds for the ILF.

Here's how it works:

Register and commit to learning a song, Shordi Krik, in English or Kriol, an Aboriginal language spoken in the Top End of Australia﻿

Raise funds while rehearsing Shordi Krik﻿

Once students master the song, they ‘busk’ or perform the song collectively or individually to their friends, family, school, or post a video online.

The 2024 song is Shordi Krik. The ILF provides sheet music, charts, videos, lyrics and promotional assets - everything you need to make your fundraiser a success. The money you raise supports more remote Communities to access and create books in languages they speak at home.

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Learn a song, change the world. Support the Indigenous Literacy Foundation.

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Early Childhood in focus but some very helpful and authentic resources across the arts.

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Aboriginal Early Childhood Consultancy | Koori Curriculum | About us | Koori Curriculum

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Koori Curriculum is an Aboriginal early childhood consultancy based in Sydney’s inner west. Consultants at Koori Curriculum facilitate a range of professional development workshops for educators that help guide the inclusion of Aboriginal and Indigenous perspectives in early childhood curriculums.

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Birrarung Wilam: A Story from Aboriginal Australia - Candlewick Press

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“A lovely, immersive introduction to a language, and a closely observed view of the Australian natural world.” —Publishers Weekly (starred review) As n…

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Curriculum resources available on Culture is Life website

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Archie Roach AM's deeply personal song, 'Took the Children Away', from his 1990 debut album, Charcoal Lane, was the first song ever to receive a prestigious Australian Human Rights Award. Its impact was immediate, shining a stark light on Australia's shameful past practices of removing children from their families. The song also speaks of love and reconnection and has travelled across seas into the hearts of First Nations communities everywhere. In this special 30th anniversary edition, Archie's iconic lyrics sit alongside evocative illustrations by his beloved soulmate and musical collaborator, Ruby Hunter. Also included are Archie's recollections Aboriginal and Torres Strait Islander readers are warned that this book contains images of people who are deceased or who may now be deceased. Longlisted for the 2021 ABIA Book of the Year for Younger Children of his family and rare historical photographs.
One dark day, when Archie was just two years old, big black government cars came to his home at Framlingham Aboriginal Mission in southwest Victoria. They forcibly took Archie away from his mother, father and family - everything he had ever known. They took away thousands of other Aboriginal children, right around Australia. Powerful people had decided that these children would be better off living and learning all the white man's ways. Frightened and alone, they grew up in institutions and foster homes. They became known as the Stolen Generations.

Ruby Hunter was one of those children, too, only eight when she was taken from the loving arms of her grandmother living on the Coorong in South Australia.

Archie and Ruby met and fell in love as homeless teenagers and Archie started writing songs to help ease his pain. Archie's songs, loved by fans worldwide, tell a powerful story of survival and renewal, and the healing power of music.

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Took the Children Away by Archie Roach - Archie Roach AM's deeply personal song, 'Took the Children Away', from his 1990 debut album, Charcoal Lane, was the ...

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Songlines First Knowledges for Younger Readers - Margo Neale & Lynne Kelly

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Songlines First Knowledges for Younger Readers - Margo Neale & Lynne Kelly

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Songlines: First Knowledges for younger readers | Thames & Hudson Australia & New Zealand

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This Younger Readers adaptation of Songlines comes from the critically acclaimed, best-selling First Knowledges series, with striking illustrations by Archibald winner Blak Douglas

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Always Was Always Will Be - Aunty Fay Muir & Sue Lawson

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Always Was Always Will Be - Aunty Fay Muir & Sue Lawson

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SHORTLISTED, 2025 CHILDREN'S BOOK COUNCIL OF AUSTRALIA BOOK OF THE YEAR AWARDS, EVE POWNALL AWARD LONGLISTED, 2025 ASLA DANZ CHILDREN'S BOOK AWARDS 'Each protest has been a stepping stone to the next battle...'
From the first protest of January 26th as a Day of Mourning in 1938, to the Pilbara Strike of 1946, to the struggle for the right to vote and be counted; the fight for justice for First Nations people takes many forms.

Always Was, Always Will Be takes a closer look at some of the iconic First Peoples protest movements of the last 200 years, celebrating the strength, wisdom, and bravery of Aboriginal and Torres Strait Islander people defending their land and asserting their right to self-determination through history.

Praise for Always Was, Always Will Be

"....a valuable resource for young (and old) Australians..."
- Dani Solomon, Readings

"Always Was, Always Will Be has a place in all libraries...an honest and important resource to be shared and discussed, not only for upper primary...but also older Australian non-First Nation adults..."
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"...powerful and deeply moving book... educating younger readers to this aspect of First Nations' history..." -
Margot Hillel, CBCA Reading Time

"...set to be an indispensable resource for young people...However, I would also recommend it to adult readers..."
- Angela Glindemann, Books+Publishing

"This book will encourage discussion... a must for all primary and secondary school and public libraries. Highly recommend."
- Liz Derouet, Magpies Magazine

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SHORTLISTED, 2025 AUSTRALIAN BOOK INDUSTRY AWARDS, SMALL PUBLISHERS' CHILDREN'S BOOK OF THE YEAR SHORTLISTED, 2025 CHILDREN'S BOOK COUNCIL OF AUSTRALIA BOOK OF THE YEAR AWARDS, EVE POWNALL AWARD LONGLISTED, 2025 ASLA DANZ CHILDREN'S BOOK AWARDS 'Each protest has been a stepping stone to the next battle...'

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Curriculum resources available

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Welcome To Country | Walker Books Australia

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This multi-award-winning picture book is an expansive and generous Welcome to Country from a most respected Elder, Aunty Joy Murphy, beautifully given form by Indigenous artist Lisa Kennedy.

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NOTABLE, 2023 CHILDREN’S BOOK COUNCIL OF AUSTRALIA BOOK OF THE YEAR AWARDS, EARLY CHILDHOOD
LONGLISTED, 2023 AUSTRALIAN BOOK DESIGN AWARDS, BEST DESIGNED CHILDREN’S PICTURE BOOK
The third title from Sally Morgan and Johnny Warrkatja Malibirr.
Another simple, universal story from Sally Morgan and Johnny Warrkatja Malibirr, this time, a beautifully illustrated celebration of rain. Thank you rain! is a joyful read, and is full of the plants and animals that welcome rain: raindrops in the treetops; birds singing in the rain; raindrops wetting the dry earth and filling creek beds; birds, frogs and kangaroos all enjoying the rain and finishing with Johnny dancing with happiness! Sally Morgan’s beautiful words and Johnny Warrkatja Malibirr’s sensitive artwork combine to give this distinctive children’s picture book global appeal. Johnny infuses his illustrations with his fine-art aesthetic and traditional motifs to bring each page to vivid life.

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SHORTLISTED, 2021 AUSTRALIAN BOOK INDUSTRY AWARDS, SMALL PUBLISHERS’ CHILDRENS BOOK OF THE YEAR
Family is a thoughtful contemplation for all to learn the different ways that family makes us whole. This beautifully illustrated children’s picture book shows everyone that ‘family’ can be about heart and home; an endless sky; stories and songs. It ‘learns’ us how to be with each other and with Country. Families come in all shapes and sizes, and this remarkably simple story teaches us all, that family can be many things.
This is the second book from the Our Place series, that introduces young minds to First Nations’ cultural philosophies that Aunty Fay Muir, a Boonwurrung Elder, holds close to her heart.