At Uluru, the Anangu elders associate every crevice, bump, and notch around the perimeter of the mountain with knowledge that is stored to memory. Star maps and memory But loci is not only linked to places you can touch or visit. Indigenous people also use the stars as memory spaces. For example, groups of stars can represent features on the landscape. Aboriginal Law Man Ghillar Michael Anderson explains how the Euahlayi people were able to travel long distances for trade and ceremony. The Euahlayi would memorise star maps at night and learn the songs that talk about their relationship to the land.
Each star was associated with a landscape feature, such as a waterhole. Later in the year, they would sing the song as they travelled across country by day. These songline routes became the foundation of some of our highway networks that criss-cross the country.
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Rather than navigating by the stars, the stars themselves serve as a memory space. In The Memory Code, Kelly provides new insights into how oral societies are able to store vast quantities of knowledge to memory without it degrading over time. It may explain how Aboriginal memories of land that existed before it was flooded by rising sea levels during the last Ice Age survived in oral tradition for more than 7, years. And she can now recite them flawlessly.
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You might be surprised how easy it is to do yourself. Originally published in The Guardian Sept 27, We spent many fantastic, memorable long hot summer holidays, mild winter breaks, glorious spring and autumn days stretched out on the beaches during the day and trawling the stunning little rock pooled bays as the sun went down or bush walking to bloated waterfalls and bracing cold pools for a refreshing plunge before drying out on hot sun drenched rock platforms.
People feel a strong sense of belonging here connected to this stunning ever changing landscape. Having the opportunity to call this place home since after retiring from thirty odd years teaching Theatre Studies, Drama and Art has meant being able to enjoy all that Lorne and its surrounds have to offer every day. It feeds my life, it feeds my soul, it feeds my creative needs like nothing else can. They were heady days for Australian theatre and I remained heavily involved with fringe theatre within various iconic Melbourne venues prior to my move to the Surf Coast.
In I was a founding ensemble member of the Contemporary Performance Centre which was established in a disused church in Hawthorn Melbourne for the purpose of promoting experimentation, research and innovative, creative work in the theatre arts. Word of mouth gave us full houses by the second week with a core audience who have supported all our ventures since.
The company has gone from strength to strength and our theatre skills have reached a very high standard. A couple of our members have turned to writing plays which the company has produced. The real test for our audience came with Self Accusations, a contemporary voice piece by Peter Handke and presented simply on the stage on which we projected images of the written text.
Seven women dressed in black standing at seven music stands with scripts, seven microphones and a text to die for.
We used minimal movement and gesture except for the turning of pages of the script in unison at appropriate times. The actors delivered the piece exploring the rhythmic vocal patterns and playing with and exploring. We performed it for the One Act Play Festival and the audience loved it after which we took it to Torquay for a season as one of three short plays. We have just finished performing in our third season from our last collaboration and very successful venture with award winning playwright Janet Brown who approached me last year to direct a piece of verbatim theatre The Hope Song based on interviews she conducted with seven people living with a mental illness.
It has been one of the most rewarding experiences for us as a company as we were approached by Sane Australia after a sold out season on the Surf Coast. They offered to partner and sponsor us in taking the play to Melbourne. It had just been chosen by La Mama for their Summer Season and we performed it to another sold out season prior to the opening night in Melbourne. All in all, a very rewarding heartfelt project for all concerned. We continue to present many different genres and styles, extending our skills base and exposure to new and exciting material and rehearsal techniques, pushing the boundaries for both actors and audience alike.
We have had rewarding and exciting collaborations with other companies and award winning playwrights. The future looks full of opportunities and creative purpose. I then on research into massacres and murders of Aboriginal travel to this area and photograph it using an old-style people by the early colonial settlers. My step-family are camera and special techniques that cause the photograph from the Taungurung clan from the Yea- Kilmore area and to take several minutes to be taken.
In this time, rather they have stories of such traumas handed than just obtaining a snapshot, a down through the surviving generations. It can research. Most so far has been centred around Germany and the landscapes where concentration camps once stood. The main aspect of it is to show past traumatic events through landscape photography, where no sign of the event, no people, no violence, is actively shown.
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Otway Life interviews Eldritch and Jade Forest about their tarot project. Eldritch: The Otways first filled me during my early witchcraft training for one of my rites of passage. I really love the sense of deep intelligence I feel in parts of the forest. I've been coming here ever since. Jade: Back in the nineties I heard that there were people campaigning against clearfell logging in the Otways.
I came with curiosity and left enraged and engaged. I came back every summer for years until the Otways was declared a national park. I fell in love with the land and made many wonderful friends. In a dear friend decided to sell her house in Skenes Creek The southern Otways is home to so many really interesting, caring people: organic farmers, artisans, artists, poets and quiet, competent people who get things done. We had been wanting to make a tarot deck for a lot of years, but the deck we envisaged was quite an epic undertaking.
The Artisan Coast Tarot grew from a humbler idea of a local tarot, celebrating local people. We were sitting in the bath at 2am; talking about whether the local project was something we could do, when we heard knocking. There was an ibis balanced on top of our gas bottle pecking at the window. Thoth the scribe showing up in that moment felt like a blessing.
We started the project the next day. We put out the word we were looking for models, and within two weeks most of the major arcana and royalty were photographed. For the pip cards we took photos in landscapes around Apollo Bay. And then she modelled for us with almost her whole family! The photos were simplified into layers of solid colour and the palette was kept very minimal.
We used transparency for skin and picked out shadows for definition. We had many late nights in front of the computer and enjoyed every minute of it. When it came to picking a box for the cards, nothing seemed quite right until we thought of the beautiful work of local textile artist Lyndi Whelan, and asked if she'd like to help with creating a 'reading cloth'.
As we tell this, she is bent over her cauldron experimenting with soy milk, gum leaves, seaweed and a huge pile of muslin. Stylistically, this project is a big leap away from what we've done in the past. We were inspired by Art Nouveau and Art Deco poster art. We tried to find an aesthetic that matched the feeling we got from the Apollo Bay area. Fate offers such grace.
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We can either take the offer or step back. This house, this land, these excellent people have been offered to us so we'll do our best to be worthy of the offering. What's next for us? Maybe a Coastal Kama Sutra? Really, we're just very excited about the growth of the Otway region into a thriving community of fine artists, artisans, and all of those who would lead a finely crafted life.
Being part of that is amazing. Our website is blackwoodandgreenstone. Apollo Inc. Apollo BayArts Arts Inc.
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Apollo BayBay Arts Inc. We activitiesininall allart artforms, forms,totoassist assistlocal localartists artists and and bring bring artistic artistic performances performances to We are are activities in all art forms, to assist local artists and bring artistic performances to Apollo Bay. We are 33 years old, formed in and incorporated in Over the years, the group has grown and now 33 years old, formed in and incorporated in Anyone can join and it's free. Enquiries to apollobayarts gmail.
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Our funding is from grants, fundraising raffles Enquiries to apollobayarts gmail. Lorna Pitkethly and Brian Williams We have lived here for 25 years since , before that we would visit on holidays. One time we were heading back to Melbourne from our caravan trip and stopped out on the Great Ocean Road at the Museum which was newly opening at the Cable Station. For 18 years we have been part of the Apollo Bay Art Show, both in exhibiting and setting up. Lorna works with kiln-fired transparent and opaque glass to create 2D and 3D artworks, and Brian with a wood turners lathe to create pieces from various timbers.
Huon pine and Blackwood are 2 timbers he likes to use, however he uses all timbers and has also used recycled materials. Lorna and Brian were both raised in families with artistic leanings. Creativity was encouraged and they have always themselves been interested in attending art exhibitions. Lorna is inspired by the environment, natural world and history of art. Her main interest is design and colour and the practical techniques of using a kiln and firing and slumping glass. Brian likes to produce items which are needed so that they are useful whilst at the same time ornamental.
His inspiration comes from the ideas he dreams up in his mind and then tries to create in the making process. Since this interview Brian sadly passed away. Our thoughts are with Lorna, friends and family. I then focussed on painting on canvas. I get inspired by the history of places and things, whether it be driving through rural countryside or walking around the block, and usually make works in series to explore a concept.
My Hull series was inspired by old boat hulls stored around the corner from my studio.