Podcasts about maningrida

Why are Darwin port biosecurity officers only working daylight hours? Two boats destroyed as 12 Indonesian fishers arrested near Maningrida.  

Cette semaine à mâmawi musique, Moe Clark nous présente le groupe féminin Ripple Effect Band originaire de la communauté Maningrida, située au cœur de la région de la Terre d'Arnhem dans le Territoire du Nord de l'Australie. Leur son innovateur s'inspire des traditions des peuples d'eau salée tout en combinant quatre langues autochtones différentes dans leurs chants.

Toni sat down with Ingrid Stonhill for a cracking yarn recently! Ingrid is the current CEO of Katherine Town Council. Born in the 'Land of the Log White Cloud' she now counts herself as a proud Aussie!From Mooloolaba to Maningrida, Christchurch to Fiji and everywhere in between, this dynamic lady leads a life of passion and convistion. While attending University in New Zealand, a tragedy changed her trajectory in life when she realised that she needed to give it her all because life really is such a precious gift. This led to her to spending a number of years in the USA working for a world famous blues musician as his media organiser, before heading off to London and meeting her future husband. With a young family she continued her education, gaining a number degrees in business management, before they moved to the Gold Coast in Queensland, where Ingrid took on the CEO position Neighbourhood Watch Australasia, which took her all over Australia. She took a leap of faith and applied for (and was successful) as the CEO of a very remote indigenous community in Arnhem Land in the Northern Territory. Working in such a remote location with a completely different culture changed her in many ways and finally led her to Katherine, a little Township of 11,000 people in outback Northern Territory. Ingrid proclaims that Katherine has the an unreal number of extraordinary, strong, resilient and powerful women. And we reckon she is one of them!Ingrid has a warmth and genuineness you will feel in every word she speaks. A wonderful interview that shows how amazing the Untold Territory really is! Hosted on Acast. See acast.com/privacy for more information.

Tune into artist talks from Tarnanthi 2023 partner exhibitions across South Australia. Maningrida artists discuss their exhibition 'mane djang karirra: the place where the dreaming changed shape' at FUMA.

Mayála-Bol is a social enterprise focused on holistic social and emotional wellbeing for First Nations women and youth in Darwin, NT. We are 100% Aboriginal owned and run for the purpose of wellness & healing for First Nations women. They develop and facilitate holistic wellbeing workshops, culturally safe healing circles and wellbeing resources. Mayála-Bol was co-created by Noni Eather and Menah Mckenzieaim to encourage and increase Social & emotional wellbeing protective factors via mindfulness, story telling and creating space for connections.Noni is recognised as Njawámud/Godjan belonging to Kunibídji / Kunbarlang families in the west Arnhemland, balancing French anglo-celtic lineage.Noni's life includes manoeuvring between the city of Meanjin (Brisbane) with her fathers guidance around artists and creatives of the 'Campfire Group' collective and also her mothers homelands of and around remote coastal community Maningrida. The fusion of two different world-views embedded into her realities has allowed Noni a unique insight as well as lived experience which she is learning to harness, to work towards bridging gaps and cross-cultural connections. She acknowledges the privilege gained from mainstream opportunities & education alongside matrilineal responsibilities in community via relationships, families, language and environment. She also recognises the challenges in these spaces.Menah Mckenzie known as Bulanjyan is from the community of Maningrida of West Arnhem Land.Following her fathers side she belongs to the Anbarra Diyama people and speaks the Burarra language. Her mothers lineage tracks to central Australia and to the Kimberley's in Western Australia. Menah proudly holds bloodlines from saltwater to Desert. Menah has worked in community services, Youth work, suicide prevention and event work for many years. Developing and delivering a vast arrange of workshops to youth across Arnhem Land & the Darwin region including social and emotional wellbeing, sexual health, women's Empowerment, youth re-engagement, Leadership workshops, & music and song writing.Recommendations throughout this episode: https://www.mayalabol.com/ Website: www.blackmagicwoman.com.auFollow us on Instagram - @blackmagicwomanpodcast The Black Magic Woman Podcast is hosted by Mundanara Bayles and is an uplifting conversational style program featuring mainly Aboriginal guests and explores issues of importance to Aboriginal people and communities. Mundanara is guided by Aboriginal Terms of Reference and focusses more on who people are rather than on what they do. If you enjoyed this episode, please ‘Subscribe' on Apple Podcasts or ‘Follow' on your Spotify app and tell your friends and family about us! If you'd like to contact us, please email, info@blackmagicwoman.com.auSupport this show http://supporter.acast.com/black-magic-woman. Hosted on Acast. See acast.com/privacy for more information.See omnystudio.com/listener for privacy information.

Seeking a new challenge and a career change after 20 years of emergency care, Lorraine Harry shares her experience of transitioning to remote health, and why she fell in love with it. In this episode, Lorraine reflects on her career and the past five years as Quality & Safety Officer at Mala'la Aboriginal Health Service, Maningrida in the heart of Arnhem Land. Listen in to hear some of the ways her community are working together to address challenges and improve health outcomes in the region; important skills and attributes of being a Clinical Educator; the best parts of Lorraine's role; and a heartfelt moment from her first remote health experience, that she says she'll never forget.

In this episode of Jam Pakt, Naomi catches up with Ripple Effect Band - the awesome all-female rock band from Maningrida, a coastal community in Arnhem Land about 400 kilometres east of Darwin in the NT. Every member of the band is a songwriter as well as a multi-instrumentalist, and they sing in 6 different languages. As multi-instrumentalists, they swap around so that each woman can move forward and sing in her own language. In the middle of a tour which is taking them through NSW and Victoria, bandmembers Jolene Lawrence, Jodie Kell, Patricia Gibson, Tara Rostron, Rachel Thomas and Rona Lawrence took some time out to yarn with Naomi about how they bonded over their love of music, the stories behind some of their songs, and wanting to inspire the next generation of musicians no matter where they're from.See omnystudio.com/listener for privacy information.

The West Arnhem Land community of Maningrida has more than 200 confirmed cases of the flu, with some residents flown to Darwin for urgent medical care.

“All in all a pretty devastating trip.”

“All in all a pretty devastating trip.”

“All in all a pretty devastating trip.”

A lock-in of Maningrida is on the cards as the remote Aboriginal community in East Arnhem recorded its first cases of COVID - Prime Minister Scott Morrison responds to criticism over COVID-19 outbreaks in aged care facilities... - A Brisbane Christian college is facing an investigation after its enrollment contract has sparked controversy...

Actor and musical theatre star Mia Morrissey talks with Australian theatre, film & TV royalty Ursula Yovich about the complicated process of grief and how you can harness it in your writing process and performances. Mia Morrissey is a film, TV and theatre actor whose credits include Bat Eyes (by Killing Ground director Damien Power), In Your Dreams (Channel 7), The Voices Project: Out Of Place (ATYP), The Voice (Channel 7, picked by Ricky Martin), Molly (Channel 7), Harrow (ABC), Alice in Slasherland (The Old Fitz theatre), Home and Away (Channel 7), RENT (Sydney Opera House) and produced and performed in her cabaret Anything You Can Do which brought together female performers to play roles originally written for men. Mia also signed on as an associate producer of Chips and Gravy's Screen Australia funded musical comedy series, She Becomes Her and received funding from The Hayes Theatre to complete her original musical In Loving Memory. Ursula Yovich is a singer, song-writer, actor, playwright and story teller. She grew up in Australian's Northern Territory, in Darwin and Maningrida. As an actor Ursula has worked for all of Australia's leading theatre companies, her performances and writing have been recognised with numerous awards and nominations, most recently four Helpmann Awards 2019 and four Green Room Awards 2020 for the rock musical, Barbara and The Camp Dogs, which she co-wrote with Alana Valentine.

On Sunday alone, the people of Maningrida and the Mala'la Health Service vaccinated 453 people, which is the most COVID-19 vaccines given in one day by any vaccination hub in the Northern Territory. Since then people have been turning up in droves, and now more than 800 residents have now had their first dose of Pfizer.

2019 Young Australian of the Year – He did acceptance speech in English and Yolngu Matha. He also known as Danzal Baker, is based in Melbourne but was born and raised in Milingimbi and Maningrida — two remote communities in the Northern Territory's Arnhem Land. - 2019年のヤング・オーストラリアン・オブ・ザ・イヤーです。メルボルンに住んでいますが、出身はノーザン・テリトリーのアーネムランドの奥地の先住民コミュニティーです。

Stringray Sisters documentary poster, photo courtesy Katrina Channells 'We don't need anything more from gas'Peter Newman is a Professor of Sustainability at Curtin University and founding director of the Curtin University Sustainability Policy Institute. He is the Coordinating Lead Author for Transport with the IPCC, the Intergovernmental Panel on Climate Change. His most recent book, published in 2017, is Resilient Cities: Overcoming Fossil Fuel Dependence, co-authored with Timothy Beatley and Heather Boyer. Peter Newman joined me on Listening Notes to talk about his article Creative destruction: Covid-19 economic crisis is accelerating the demise of fossil fuels, published in The Conversation on August 3rd. Katrina Channells is a documentary film maker based in Melbourne. Her video production company We Are Yarn, set up with Bridget O'Shea, focuses on films about social justice issues. Katrina joins me on Listening Notes to talk about Stingray Sisters, a documentary on the campaign to prevent fracking along the coast of Maningrida in Arnhem land and the role of the Eather sisters, Noni, Alice and Grace, in that campaign.  And a warning to Aboriginal and Torres Strait Islander peoples that this story speaks about and includes the voice of a person who has passed away.   The Stingray Sisters is being screened on Friday, August 28th as a fundraiser for Sue Bolton's re-election campaign to Moreland Council. You can book on trybooking.com/BKYIJ.   

John Mawurndjul is a Kuninjku bark painter and sculptor and one of Australia's most successful contemporary artists. Take a listen to director of the MCA Elizabeth Ann Macgregor talk about his life and work in this week's lesson.

John Mawurndjul is a Kuninjku bark painter and sculptor and one of Australia’s most successful contemporary artists. Take a listen to director of the MCA Elizabeth Ann Macgregor talk about his life and work in this week's lesson.

John Mawurndjul is a Kuninjku bark painter and sculptor and one of Australia’s most successful contemporary artists. Take a listen to director of the MCA Elizabeth Ann Macgregor talk about his life and work in this week's lesson.

Maningrida bush apples are being used in one of Australia's best restaurants. WA is declared citrus canker-free.

I had a yarn with Djolpa up in Darwin about life and culture in Maningrida as well as his latest EP 'Red'. The title track plays underneath my intro. - https://www.djolpamckenzie.com/music

Thank you for listening to this Lunchtime Talk, produced by the Art Gallery of South Australia. In this live recording, Fiona Salmon, Director, Flinders University art Museum, shares her observations on the exhibition 'John Mawurndjul: I am the old and the new' and her experience working with the artist in Maningrida. For further information visit www.agsa.sa.gov.au Photo: Nat Rogers

Ben McNiece chats with ABC Darwin about the Dons trip to Maningrida, Northern Territory.

Yorta Yorta painter, sculptor and activist, Lin Onus developed a distinctive visual language from a combination of traditional and contemporary Aboriginal imagery. Lin Onus was unjustly expelled from school on racist grounds at the age of 14, yet later attended university. He worked as a mechanic and spray painter, before managing his father's boomerang workshop in Melbourne. A self-taught artist, Onus forged a brilliant career and held exhibitions throughout the world. Onus's political commitment was inherent in his work. His Scottish mother was a member of the Communist Party, while his Aboriginal father, Bill, and uncle Eric were leading lights in the Aboriginal rights movement of the 1950s and 1960s. After a visit to Maningrida in 1986, Onus began his long and close association with the late Djinang artist, Djiwut 'Jack' Wunuwun and other central Arnhem Land artists, including John Bulunbulun. Onus then developed his signature style of incorporating photorealism with Indigenous imagery. It is a virtuoso effect, in which the landscape is overlaid with traditional Indigenous iconography, reflecting his strong ties with his father's community at Cummergunja Mission, on the Murray River. Onus's works from this period often have a riddling, Magritte-like quality. A memorable motif in his work is the breaking up of a seamless surface into jigsaw puzzle pieces – a metaphor for the sense of dislocation he felt, caught between black and white, urban and rural, worlds. In Onus's sculptures, irony, wit and whimsy are the predominant features. 'Fruit bats', 1991, is made up of a flock of fibreglass sculptures of bats decorated with rarrk (crosshatching), hanging on a Hills Hoist clothes line. Beneath this icon of Australian suburbia are wooden discs with flower-like motifs, representing the bat droppings. In this powerful installation, the sacred and the mundane combine. The work was inspired by Murrungun-Djinang imagery, which Onus was given permission to use. In 'Fruit bats', the artist shows a head-on collision between two contrasting sets of values, and throws in a few inversions of his own. The backyard – suburban Australia's haven of privacy – becomes spooked by the formidable presence of these noisy animals. The pre-colonial bats seem to have taken over and reclaimed their place, in a story worthy of Alfred Hitchcock. George Alexander in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 © Art Gallery of New South Wales

John Mawurndjul is one of the most experimental bark painters in Arnhem Land. Mawurndjul grew up in his country near Mumeka on the Mann River. He lived for a considerable time in the newly established Aboriginal town of Maningrida in the 1960s, but returned to Mumeka from 1972. Today he moves regularly between Maningrida and his outstation at Milmilngkan, south of Maningrida. He was taught to paint by his father, Anchor Kulunba, his brother Jimmy Njiminjuma and his uncle Peter Marralwanga. Mawurndjul's early work of the late 1970s reveals his meticulous attention to detail and very fine rarrk (crosshatching) technique. Many of his early works are relatively small images of the rainbow serpent Ngalyod in snake-like form, or of the yawkyawk, mermaid-like creatures that were devoured by Ngalyod in Mawurndjul's clan lands. However, in the late 1980s Mawurndjul began to produce larger paintings of this subject, which evoked the powerful twists and turns of the body of Ngalyod. The iridescent rarrk across Ngalyod's body captures the almost electric, radiating power of this being. In other paintings, Mawurndjul experimented with complex interactions of figurative forms, particularly in depictions of Ngalyod involved in the act of biting or swallowing the yawkyawk. Sometimes Mawurndjul shows the dismembered bodies, and at other times they may be merging together. In essence, the imagery of the rainbow serpent swallowing these other beings is a reference to site creation, of the yawkyawk joining with Ngalyod inside the earth and investing it with their everlasting power. More recently, Mawurndjul has emphasised the geometric aesthetic in Kuninjku painting. He has produced works that comprise grids of crosshatching with circles representing waterholes enmeshed in the grid. These paintings relate to Mardayin body paintings, and focus attention upon the abstract representation of features of the associated landscape. In the context of the Mardayin ceremony, these geometric body designs are said to physically connect initiates to the sacred power of the ancestral beings who made their clan lands. Mawurndjul has said that he is not simply reproducing ceremonial designs in works such as 'Mardayin ceremony', 2000, but that he is also creating new forms of patterning and composition. Mawurndjul has travelled the world with his art, and studied collections of early bark painting in cities as far afield as Paris. Through his art, Mawurndjul draws upon and extends Kuninjku traditions to promote a wider understanding of his culture. Luke Taylor in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 © Art Gallery of New South Wales

John Mawurndjul is one of the most experimental bark painters in Arnhem Land. Mawurndjul grew up in his country near Mumeka on the Mann River. He lived for a considerable time in the newly established Aboriginal town of Maningrida in the 1960s, but returned to Mumeka from 1972. Today he moves regularly between Maningrida and his outstation at Milmilngkan, south of Maningrida. He was taught to paint by his father, Anchor Kulunba, his brother Jimmy Njiminjuma and his uncle Peter Marralwanga. Mawurndjul's early work of the late 1970s reveals his meticulous attention to detail and very fine rarrk (crosshatching) technique. Many of his early works are relatively small images of the rainbow serpent Ngalyod in snake-like form, or of the yawkyawk, mermaid-like creatures that were devoured by Ngalyod in Mawurndjul's clan lands. However, in the late 1980s Mawurndjul began to produce larger paintings of this subject, which evoked the powerful twists and turns of the body of Ngalyod. The iridescent rarrk across Ngalyod's body captures the almost electric, radiating power of this being. In other paintings, Mawurndjul experimented with complex interactions of figurative forms, particularly in depictions of Ngalyod involved in the act of biting or swallowing the yawkyawk. Sometimes Mawurndjul shows the dismembered bodies, and at other times they may be merging together. In essence, the imagery of the rainbow serpent swallowing these other beings is a reference to site creation, of the yawkyawk joining with Ngalyod inside the earth and investing it with their everlasting power. More recently, Mawurndjul has emphasised the geometric aesthetic in Kuninjku painting. He has produced works that comprise grids of crosshatching with circles representing waterholes enmeshed in the grid. These paintings relate to Mardayin body paintings, and focus attention upon the abstract representation of features of the associated landscape. In the context of the Mardayin ceremony, these geometric body designs are said to physically connect initiates to the sacred power of the ancestral beings who made their clan lands. Mawurndjul has said that he is not simply reproducing ceremonial designs in works such as 'Mardayin ceremony', 2000, but that he is also creating new forms of patterning and composition. Mawurndjul has travelled the world with his art, and studied collections of early bark painting in cities as far afield as Paris. Through his art, Mawurndjul draws upon and extends Kuninjku traditions to promote a wider understanding of his culture. Luke Taylor in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 © Art Gallery of New South Wales