Podcasts about Pintupi

As Andrew Dwyer ventured further into the desert, he fell in love with the people and the landscape. He battled sandstorms, floods and isolation to serve fine foods under the stars.When Andrew Dwyer was growing up in 1960s Melbourne, the city wasn't the foodie destination it is now, in fact it was often described as a "culinary wasteland".But luckily for Andrew, his Czechoslovakian godfather and his Chinese stepmother introduced him to incredible flavours and cooking techniques from further afield.At the same time, Andrew was bushwalking and skiing and falling in love with the outdoors.Eventually, he combined his passion for wild places with his passion for good food.Andrew started venturing further and further west, far into the Australian outback — and he took his fine foods with him.This episode of Conversations explores travel, fine dining, food, cooking, camp cooking, travel, snow skiing, the Victorian Alps, good food, good weekender, travel recommendations, the Gibson Desert, Nothern Territory, South Australia, Adelaide, Australian Explorers, Giles, Pintupi 9, Indigenous tourism, tourism industry, foodies.

W październiku 1984 roku dziewięciu członków plemienia Pintupi w Australii Zachodniej spotkało zaginionych krewnych, których nie widzieli od lat. Krewni zaprosili te dziewięć osób, aby zamieszkały z nimi w ich społeczności w Kiwirrkura. Znaczenie tego wydarzenia polega na tym, że te dziewięć osób, dwie kobiety z czterema chłopcami i trzema dziewczynkami, były ostatnimi rdzennymi mieszkańcami Australii, którzy nie mieli kontaktu ze światem zewnętrznym. Do 1984 roku żyli tak, jak ich przodkowie przez dziesiątki tysięcy lat. Dowiedz się więcej o zaginionej dziewiątce Pintupi w tym odcinku podcacstu WszystkoWszędzie. #pintupi #aborygeniTo jest nowy podcast, bardzo potrzebuję :) Twojej pozytywnej recenzji na Spotify, Apple Podcasts czy Google Podcasts, albo na YouTube. Jeśli to co usłyszałeś lub usłyszałaś było ciekawe, poświęć minutkę na napisanie recenzji, to pomoże mi kontynuować tą historię i da motywację na dalsze odcinki. Codziennie. #podcast #słuchowisko #wszystkowszedzie #codziennie #wszystko #wszędzieSłuchamy na Spotify: https://open.spotify.com/show/5jAxA7ZCDIJ3c4oYIabP3k?si=49af7c981a164025Słuchamy na Apple Podcasts: https://podcasts.apple.com/nl/podcast/wszystkowszedzie/id1707180797Słuchamy na YouTube:https://youtube.com/@WszystkoWszedzie?si=XLuxsEXMonapvolg Oglądamy na Instagramiehttps://instagram.com/wszystkowszedzieplOglądamy na Facebookuhttps://www.facebook.com/wszystkowszedziepl/ Oglądamy na X dawniej Twitterhttps://twitter.com/WszystkoWszedziNasza strona www:https://wszystkowszedzie.buzzsprout.com

Julie Rrap is an Australian artist born in 1950 in Lismore, New South Wales. She has 15 works of art in the national collection, including Persona and shadow: puberty 1984 from her Persona and shadow series which is currently on display in the touring exhibition Know My Name: Australian Women Artists. In this episode of Artists' Artists, host Jennifer Higgie speaks with Rrap about four works of art from the national collection that explore history, humour and biography. To find out more visit www.nga.gov.auArtworks Discussed: Tracey Moffatt, Pineapple Cannery 1978, 2008 from the series First Jobs, National Gallery of Australia, Kamberri/Canberra, gift of Rupert and Annabel Myer, 2008Sol Wiener, (Mother and daughter) 1985, National Gallery of Australia, Kamberri/Canberra, kODAK (Australasia) PTY LTD Fund 1988Yukultji Napangati, Pintupi people, Untitled 2006, National Gallery of Australia, Kamberri/Canberra, purchased 2006 © the estate of the artist, licensed by Aboriginal Artists Agency LtdSarah Lucas, TITTIPUSSIDAD 2018, National Gallery of Australia, Kamberri/Canberra, purchased 2021 © Sarah Lucas, courtesy Sadie Coles HQ, London Hosted on Acast. See acast.com/privacy for more information.

This episode of Nursing Australia presents:  The latest Nursing Australia News (02:36) Pharmacists prescribing scope extended, Ballooning demand for Ozempic bites again, and CPR gender bias revealed. 1. Purple House: Sarah's Story (05:25) Meet Sarah Brown, CEO of Purple House. Before the Purple House was established Pintupi people from the Western Desert of Central Australia were forced to leave their country and families to seek treatment for end-stage renal failure in Alice Springs or Darwin. Far from home, they suffered great loneliness and hardship, and weren't around to pass on cultural knowledge in their communities.  Discover Purple House  #yes23 2. Navigating Medical Abortions (20:40) In 1996, the Australian government stifled access to RU-486. Despite some eventual revisions, barriers to access still remained, until today. The space around abortion care in Australia continues to evolve. So, what is the latest?  The Australian Contraception and Abortion Primary Care Practitioner Support Network (AusCAPPs) is an online community of practice interested in increasing women's access to long-acting reversible contraceptives (LARC) and medical abortion. GPs, practice nurses and pharmacists are invited to join. There is no cost to do so.  3. Early Detection & Management of CKD (34:38) Early detection and management of chronic kidney disease (CKD), so, how can this preserve vital renal function? What can health professionals and patients do to prevent this silent killer? Access Chronic Disease Management Tools here Kidney Health Australia   Refer your workplace for an APNA Corporate Membership   Subscribe to The Connect (our weekly newsletter)  APNA Online Learning Hub   Astra Zeneca's Chronic Disease Management Tools Hosted by: Matthew St Ledger & Mitch Wall Produced by: Leith Alexander & Matthew St Ledger

14-year-old Onyx, from the Kukatja and Pintupi people in the Kimberley performed at a gathering of 500 people in Perth at a special event celebrating disability advocates on International Day of People with Disability (December 3).

Pintupi-Luritja is from the Alice Springs region of the Northern Territory, part of the Western Desert language family. The Northern Territory is one of the most linguistically diverse areas of the world. For comprehensive information about Aboriginal languages of the Northern Territory visit aiatsis.gov.au.

Pintupi, Politik, Protest, Pop. "Midnight Oil" wollte mat hirem Song d'Welt waakreg rëselen - et ass hinne gegléckt.

In October 1984, nine members of the Pintupi Tribe in Western Australia met some long lost relatives they hadn’t seen in years. The relatives invited the nine people to come and live with them in their community in Kiwirrkura. The significance of this event is that those nine people, two women with four boys and three girls, were the last aboriginal people in Australia to have contact with the outside world.  Up until 1984, they had lived their lives the same as their ancestors had for tens of thousands of years. Learn more about the Pintupi Nine on this episode of Everything Everywhere Daily. http://www.audibletrial.com/EverythingEverywhere -------------------------------- Executive Producer James Makkyla Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Twitter: https://twitter.com/everywheretrip Reddit: https://www.reddit.com/r/EEDailyPodcast/ Website: https://everything-everywhere.com/everything-everywhere-daily-podcast/

We are transported to the Western Desert of Central Australia as Pintupi-Luritja woman Linda Tjungkata Anderson listens to her father Nosepeg Tjupurrula singing songs from the Wanji Wanji public song set recorded by musicologist Professor Richard Moyle in 1976. These legacy recordings, held at AIATSIS in Canberra, were taken back to the community in 2018 by Dr Myfany Turpin. Linda’s interview is archived in MMT1, a PARADISEC collection of interviews Myfany has made with descendants of such legacy recordings and the sound of her father’s voice and his songs evoke Linda’s memories of a time when corroborees were part of everyday life.

This episode takes you away from Mull and over to Tiree where I talk with John Holliday. John was the doctor on the island for 30 years and is often known as 'Doc'. Originally from the England, John lived in Australia before settling on Tiree. We talk about his work in Australia with the Pintupi people, the choice of coming to live and work on Tiree, the nature of rural locations, his engagement with local Gaelic culture, the place names of the island and the remarkable Ringing Stone, a feature of the island which has had 6 thousand years of continuous human use. There’s also a section in Gaelic, in which we talk about characters of the island, which then leads us into place names. Throughout the episode you’ll hear a tune that John wrote for his son, called Michael John’s Reel. The tune was recorded in 2018 at the Tiree Fèis Tutor's Ceilidh. It features the wonderful Màrtainn Skene on the box, Dr John Holliday on flute, Kenny Rankin on guitar and Anna Garvin on keys. John's daughter Sarah has a podcast, too, it's called Utopia Dispatch. It "takes on the small task of radically reimagining the future of human society, while somehow managing to keep our spirits up at the same time. [They] talk to thinkers with ideas that break the mould, and to citizens taking radical action for a better future, to bring you closer to a vision of the future we actually all want, and we might even have a few laughs along the way." It can be found here: http://utopiadispatch.com/ I was across on Tiree to work with https://feis-thiriodh.com/ Check them out, they do great work! Episode links and more can be found on www.whatwedointhewinter.com Thanks for listening!

Kaytej and Pintupi are just two of the languages spoken in central Australia - a linguistically diverse part of the continent.

Kaytej and Pintupi are just two of the languages spoken in central Australia - a linguistically diverse part of the continent.

Carl Franklin and Richard Morris discuss the conventional wisdom that we all believe, even when we know it's unsupported by actual evidence - like saturated fat clogging your arteries, or the health benefit of plants, or the idea that eating fat "a priori" makes you fat. This show runs a little longer than usual (an hour and 20 minutes) because we made a major announcement that affects the future of our online group. Errata: Richard mentioned the last un-contacted paleolithic tribe in Australia walked out of the desert in 1989, but it was in fact 1984 - and they are known as the Pintupi 9.

This week features a new format, and the incredible story of the Pintupi 9. Learn about the last Aboriginal group in Australia to live a traditional hunter-gather life before being found by modern society.         Show Notes: … The post The Pintupi 9 appeared first on Incredible Stories Podcast.

The Pintupi Nine is a family of two woman, their four sons and 3 daughters who were known as the last Aboriginal group to live as Hunter Gatherers in the Gibson Desert, Western Australia. The family lived like their ancestors did for thousands of years, and it was only by accident that they were found near Lake Mackey in Western Australia. What eventuated was a bit of a media circus, they were labelled 'The Lost Tribe'. This in-depth documentary was only made possible by a mutual relationship of trust and respect built up over time between the Pintupi Nine and the NG Media Radio Production team. Narrated by Daniel Browning, Executive Producers are Safia Desai and Alana Mahony.

The Pintupi Nine is a family of two woman, their four sons and 3 daughters who were known as the last Aboriginal group to live as Hunter Gatherers in the Gibson Desert, Western Australia. The family lived like their ancestors did for thousands of years, and it was only by accident that they were found near Lake Mackey in Western Australia. What eventuated was a bit of a media circus, they were labelled 'The Lost Tribe'. This in-depth documentary was only made possible by a mutual relationship of trust and respect built up over time between the Pintupi Nine and the NG Media Radio Production team. Narrated by Daniel Browning, Executive Producers are Safia Desai and Alana Mahony.

Lorna Brown Napanangka, Pintupi/Luritja peoples (1961), Grandfather's Country at Warren Creek 2005. Painting, synthetic polymer paint on canvas, 183.0 h x 152.5 w cm. Gift of Rupert and Annabel Myer in honour of his parents Sarah and Baillieu Myer © the artist licensed by Aboriginal Artists Agency.

Ronnie Tjampitjinpa was born in Pintupi land at Muyinnga, about 100 kilometres west of the Kintore Range, just across the Western Australian border. He is the son of Uta Uta Tjangala's older brother, Minpuru Tjangala (c.1899-1976). After his initiation into Pintupi law at the site of Yumari, Tjampitjinpa and his younger brother Smithy Zimran Tjampitjinpa walked into the Aboriginal community of Yuendumu. They later joined their parents and other siblings – who had come in to Ikuntji (Haasts Bluff) in 1956 from the Dover Hills/Yumari area – at the new settlement of Papunya. Tjampitjinpa worked as a labourer, assisting with the fencing of the aerodromes at Papunya and Ikuntji. He was one of the youngest of the group of men who began painting at the start of the Western Desert art movement in 1971, and was a founder of Papunya Tula Artists. During the 1970s, Tjampitjinpa was preoccupied with returning to his traditional lands and became a strong advocate for the outstation movement, travelling between meetings in Papunya, Yuendumu, Wirrimanu (Balgo) and Mount Doreen Station. His goal was finally achieved with the establishment of the Walungurru (Kintore) settlement in 1981. Tjampitjinpa moved there with his young family in 1983, establishing an outstation at Ininti (Redbank) and serving as chairman of the Kintore Outstation Council. During this period, he emerged as one of Papunya Tula Artists' major painters, pioneering the bold, scaled-up, linear style that came to dominate many of the Walungurru painters' work during the 1990s. His distinctive aesthetic preoccupation is exemplified in the untitled works of 1994 and 2001. Now one of the last founding members of Papunya Tula Artists, Tjampitjinpa's career spans more than 30 years. He has had six solo exhibitions since 1989 in Australia, most recently at Utopia Art, Sydney. Throughout the 1980s Tjampitiinpa worked devotedly on a land claim for Ininti, holding meetings in Darwin, Warmun (Turkey Creek), Utopia and many other places before finally abandoning political involvement as '... too much humbug for too long'. Tjampitjinpa now wants '... to settle down and work for myself, just painting', and resides on his outstation when not at Walungurru or in Mparntwe (Alice Springs). Vivien Johnson in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 © Art Gallery of New South Wales

Ronnie Tjampitjinpa was born in Pintupi land at Muyinnga, about 100 kilometres west of the Kintore Range, just across the Western Australian border. He is the son of Uta Uta Tjangala's older brother, Minpuru Tjangala (c.1899-1976). After his initiation into Pintupi law at the site of Yumari, Tjampitjinpa and his younger brother Smithy Zimran Tjampitjinpa walked into the Aboriginal community of Yuendumu. They later joined their parents and other siblings – who had come in to Ikuntji (Haasts Bluff) in 1956 from the Dover Hills/Yumari area – at the new settlement of Papunya. Tjampitjinpa worked as a labourer, assisting with the fencing of the aerodromes at Papunya and Ikuntji. He was one of the youngest of the group of men who began painting at the start of the Western Desert art movement in 1971, and was a founder of Papunya Tula Artists. During the 1970s, Tjampitjinpa was preoccupied with returning to his traditional lands and became a strong advocate for the outstation movement, travelling between meetings in Papunya, Yuendumu, Wirrimanu (Balgo) and Mount Doreen Station. His goal was finally achieved with the establishment of the Walungurru (Kintore) settlement in 1981. Tjampitjinpa moved there with his young family in 1983, establishing an outstation at Ininti (Redbank) and serving as chairman of the Kintore Outstation Council. During this period, he emerged as one of Papunya Tula Artists' major painters, pioneering the bold, scaled-up, linear style that came to dominate many of the Walungurru painters' work during the 1990s. His distinctive aesthetic preoccupation is exemplified in the untitled works of 1994 and 2001. Now one of the last founding members of Papunya Tula Artists, Tjampitjinpa's career spans more than 30 years. He has had six solo exhibitions since 1989 in Australia, most recently at Utopia Art, Sydney. Throughout the 1980s Tjampitiinpa worked devotedly on a land claim for Ininti, holding meetings in Darwin, Warmun (Turkey Creek), Utopia and many other places before finally abandoning political involvement as '... too much humbug for too long'. Tjampitjinpa now wants '... to settle down and work for myself, just painting', and resides on his outstation when not at Walungurru or in Mparntwe (Alice Springs). Vivien Johnson in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 © Art Gallery of New South Wales