Wave Hill Indigenous Protest 1966 -1975.

5S587x880by Jude Dinely
On 23 August, 1966, the Gurindji people walked off the job at Wave Hill Station in the Northern Territory in protest over low wages, bad work conditions and the dispossession of their land.
The 250 men, women and children were led by Vincent Lingiari, (pictured above) a community elder and head stockman at the 26,975sq.km cattle station 600km south of Darwin in the Northern Territory.
A nine-year strike followed that remains the longest in Australian history, ending with the handing back of the land to the Gurindji by the Australian government.
This event marked a crucial point in the national Aboriginal land rights movement and led to the establishment of the Aboriginal Land Rights Act (Northern Territory) of 1976, the first law to recognise indigenous land ownership.
Poor conditions for indigenous workers
“Wave Hill was a major step on the long road towards equality between settlers and indigenous Australians,” says Professor Deborah Rose, an anthropologist at the University of New South Wales in Sydney.
Vincent meets Prime Minister Gough Whitlam in 1975. (ABC News).
Read on further via On this day: Wave Hill indigenous protest – Australian Geographic.

Myall Creek Massacre, NSW, 1838.

Myall Creek massacre 1838, by Harold Joseph Thomas (Bundoo)

The Myall Creek massacre near Gwydir River, in the central New South Wales district of Namoi, involved the killing of up to 30 unarmed indigenous Australians by ten Europeans and one African on 10 June 1838 at the Myall Creek near Bingara, Murchison County, in northern New South Wales.
After two trials, seven of the 11 colonists involved in the killings were found guilty of murder and hanged.
A group of eleven stockmen, consisting of assigned convicts and former convicts, led by one, John Henry Fleming, who was from Mungie Bundie Run near Moree, arrived at Henry Dangar’s Myall Creek station in New England on 9 June 1838.
They rode up to the station huts beside which were camped a group of approximately thirty-five Aboriginal people. They were part of the Wirrayaraay (alternative spelling: Weraerai) group who belonged to the Kamilaroi people.
They had been camped at the station for a few weeks after being invited by one of the convict stockmen, Charles Kilmeister (or Kilminister), to come to their station for their safety and protection from the gangs of marauding stockmen who were roaming the district slaughtering any Aboriginal people they could find.
These Aboriginal people had previously been camped peacefully at McIntyre’s station for a few months. They were therefore well known to the whites. Most of them had been given European names such as Daddy, King Sandy, Joey, Martha and Charley.
Some of the children spoke a certain amount of English. When the stockmen rode into their camp they fled into the convict’s hut pleading for protection.
When asked by the station hut keeper, George Anderson, what they were going to do with the Aboriginal people, John Russell said they were going to “take them over the back of the range and frighten them.” The stockmen then entered the hut, tied them to a long tether rope and led them away.
They took them to a gully on the side of the ridge about 800 metres to the west of the station huts. There they slaughtered them all except for one woman who they kept with them for the next couple of days.
The approximately 28 people they murdered were largely women, children and old men. Ten younger men were away on a neighbouring station cutting bark.
Most of the people were slaughtered with swords as George Anderson, who refused to join the massacre, clearly heard there were just two shots. Unlike Anderson, Charles Kilmeister joined the slaughter.
Testimony was later given at trial that the children had been beheaded while the men and women were forced to run as far as they could between the stockyard fence and a line of sword-wielding stockmen who hacked at them as they passed.
After the massacre, Fleming and his gang rode off looking to kill the remainder of the group, who they knew had gone to the neighbouring station. They failed to find the other Aboriginal people as they had returned to Myall that night and left after being warned the killers would be returning.
On the party’s return to Myall two days later, they dismembered and burnt the bodies before resuming the search for the remaining people.
The ten people had gone to MacIntyre’s station near Inverell, 40 kilometres to the east, where between 30 and 40 Aboriginal people were reportedly murdered with their bodies being cast onto a large fire.
Many suspect this massacre was also committed by the same stockmen. After several days of heavy drinking the party dispersed.
Read On via Myall Creek massacre – Wikipedia

Life in Arctic Bay, Canada.

A photographer’s journey into the Canadian Arctic reveals the vibrancy of life in one of the coldest inhabited regions on the planet.
In early November the sun dips below the horizon in Arctic Bay and the sky bruises violet and blue.
The sun won’t rise again here for three months, plunging the landscape into infinite twilight.
Amid tundra and sea, Nunavut (“our land” in Inuktitut) is the largest and northernmost territory of Canada, where a majority of the country’s Inuit population cluster in remote coastal communities.
Photographer and Fulbright grantee Acacia Johnson embraced one of the coldest and darkest winters on Earth in order to document the Inuit’s evolving relationship with their environment in her dreamlike series, Under the Same Stars.
“The only constant thing about the Arctic landscape is that it’s constantly changing,” Johnson says. “My [original] idea was to do this landscape project … I showed up and the reality is quite different from what you imagine. Instead, it seemed more important for me to focus on the cultural transition happening there.”
The faces of the Tatatoapik family glow under the light of the full moon. Each of their parkas has been sewn by women in the family.
Image Credit: Photographs by ACACIA JOHNSON.
Source: Dreamy Photographs Illuminate Life in Dark Arctic Winters | Travel | National Geographic Australia – National Geographic

Buffalo Calf Road, Cheyenne Warrior woman.

The remarkable story of a young Cheyenne warrior woman in her early twenties, Buffalo Calf Road, spans a period of 3 years from 1876 until her death in 1879.
During this time the Cheyenne were caught in the westward expansion of pioneers, miners and the army, all determined to colonize the land on the great plains occupied by native peoples.
The Cheyenne and other native tribes endured attacks, massacres and forced removals to reservations.
It is not known how she acquired her skill with a gun, but Buffalo Calf Road first rose to prominence among her people at the Battle of the Rosebud. Since General Crook and his men were seen advancing toward their village, warriors prepared to ride out to stop them.
Determined to help save her people, Buffalo Calf Road decided to ride with the warriors despite some opposition to a woman doing so. As the battle raged, she fought bravely.
At one point she spotted her brother, Comes In Sight, in a gully below, trapped by soldiers closing in. Immediately, Calf rode down into the gully amidst the flying bullets and, in an amazing rescue, pulled her brother onto her horse and out of the gully to safety.


Those warriors observing the scene were greatly impressed, since they themselves had hesitated, thinking the situation too impossible to save Comes In Sight. Victorious, her people named the battle for her, The Battle Where the Girl Saved Her Brother, and called her Brave Woman.
A week later, General George Armstrong Custer led his troops against an encampment of Cheyenne, Lakota and other tribes camped along the Little Bighorn River.
Buffalo Calf Road again joined the warriors and fought bravely for her people, the only woman to do so.
During the battle, she rescued a young warrior who lost his horse. Again victorious, the tribes regrouped, each going their own way.
Five months later, the Cheyenne village was viciously attacked again by soldiers in the early morning hours.
When it was over, more than 40 Cheyenne lay dead, many wounded, and the village burned to the ground. Forced to flee again, this time without blankets, adequate clothing or food, Buffalo Calf Road and her people made their way through a freezing, blinding snowstorm that descended on them.
That first night in the icy cold, eleven babies froze to death.
Read on via Buffalo Calf Road, Heroic Cheyenne Warrior Woman – Amazing Women In History.

Aboriginal Art aims for the Sky.

Kyle-Pickett-EmuInTheSky-2Emu in the Sky by Kyle Pickett (Australia). “When the Yallabirri (emu) appears in the sky in preparation for the laying of the eggs.” Image Credit: Kyle Pickett/Shared Sky
by Karl Gruber
A project connected artists in Western Australia and South Africa, where the two parts of the Square Kilometre Array radio telescope will be built.
SINCE THE DAWN of our species, humans have been fascinated by the night sky, and celestial objects such as stars or planets feature in some of humankind’s most ancient artworks.
For some Aboriginal groups, the stars have historically provided pointers to seasonal events or have been tied up in Dreamtime narratives.
For the Yamaji people of the Murchison region of Western Australia, for example, the appearance of an emu-like shape along the Milky Way has signalled the start of emu-egg collecting season for thousands of years.
“Creation of the Sun” by the First People Artists of the Bethesda Arts Centre (South Africa). “In the early times, the Sun was asleep in his house, shining for himself alone. The Earth was cold and dark. The mothers couldn’t dry the ant-larvae to eat so they were hungry, and the people were cold. Then the old woman gathered the children together: ‘My children, creep up to that old man the sun while he is sleeping. Creep up to that old Sun Armpit, and fling him into the sky, so that the earth can be warm for us, so that all the world will be bright.’
Photo credit: First People Artists of the Bethesda Arts Centre/Shared Sky
Aboriginal art of the night sky
Yamaji and other Aboriginal groups live a different lifestyle to their ancestors, but the night sky remains central to their lives and has now served as inspiration for new artworks.
via Aboriginal art aims for the sky – Australian Geographic.

‘We Can Be Heroes’ by Tony Albert.


Tony Albert, We Can Be Heroes, Pigment print on paper
An artwork based on a police shooting in Sydney has become the first photographic work to win the first prize in the National Aboriginal and Torres Strait Islander Art Award.
We Can Be Heroes is a series of photographs of young Aboriginal boys staring at the camera, defiant and proud, with red targets on their chests.
Artist Tony Albert said he made the work after Sydney police shot two Aboriginal teenagers who drove into a Kings Cross footpath in April 2012.
At the announcement of the $50,000 award at the Museum and Art Gallery of the Northern Territory in Darwin, he said young Aboriginal men were targets for prejudice.
“We are kind of walking targets in society, whether that be through police violence or brutality, or being followed around in shops,” he said.
“It even transfers to things like the intervention in the Northern Territory, where without naming anyone or anyone imprisoned, there was blanket statements about men being paedophiles and women-bashers.
“It was a really hard time for us as men.”
via ABC News Australia.