Issue 91.4

ISSUE 91.4

WELCOME

Thank you TO OUR AMAZING GUEST EDITORS, TALARA AND KANISHA. THIS FEAT WOULD NOT HAVE BEEN POSSIBLE WITHOUT YOU.

GUEST Editors

Talara McHugh

Kanisha Wills

Editors

Kathers Anderson

Louise Jackson

Sebastian Andrew

Sienna Sulicich

Cover Art

‘TrANSformation’ BY

Karii Doolan-O’LoughLin

Arrernte and Narungga Artist

Graphic Design

Sienna Sulicich

Lily Baxter

SAbrina donato Art

Shania Richards @blackbitch26

Karii Doolan-O’LoughLin @k_I_R_dools

Sienna Sulicich

Contributors and Sub-Editors

Patricia Mullen

Jan Victory

Lily O’Donoghue

Judah Tan

Peter Jackson

Emily Kelsall

Skye Xie

Arantza Garcia

Devanshi Shah

Charlotte Whincup

Sabrina Donato

Asirah Abdul Kadir

Lily Baxter

We want to acknowledge that the University of Adelaide’s On Dit is written and created upon Kaurna land. The Kaurna People are the traditional custodians of the Greater Adelaide Plains and their culture, knowledge, and spiritual connections continue to run deeply within this Country. We acknowledge that the University of Adelaide is a place of learning attended by First Nations People from around the continent and, like Kaurna, their land and sovereignty was never ceded. We pay our deepest respects to the Elders of the past, present, and emerging. Since 1788, First Na tions people in Australia have been FIghting against colonisation to reclaim our identities, language, land, and also heal from the injustices experienced not only by us today, but also our ancestors be fore us. We continue to live on as the oldest sur viving culture on Earth, inheriting thousands of years of ancestral strength and wisdom. To all mob, we see you, we hear you, and you are valued. We stand with you today and on all days as we con tinue to FIght, heal, and thrive in the colony. This land always was and always will be Aboriginal land.

E D I T O R I A L

E D I T O R I A L

Hey you mob!

Welcome to the FIRST ever First Nations edition of On Dit magazine!!

We are so stoked to be the first guest editors and help bring this issue to life. Creating this has been amazing and we’ve loved every minute of it — even when our fingers hurt from hours of typing and searching the endless abyss that is the internet.

It is an honour to have had the opportunity to lead an issue dedicated to uplifting and celebrating First Nations creativity, stories and voices, but also the different perspectives, ideas and experiences of First Nations people.

This issue has been a long time coming and we’re so excited to *finally* have a First Nations issue to feature alongside other special editions such as Elle Dit and Queer Dit.

We would like to give a huge thank you to everyone who submitted their beautifully created pieces - First Nations excellence has never failed to impress us. Your honestly and genuinely curated words of wisdom warmed our hearts. We are beyond proud to share them. If we were you, we would reread our pieces over and over again and think - damn we are bloody amazing.

For our allies; we hope that this edition helps you to further understand, learn, and empathise. Read with compassion, empathy and respect. Stare at the art until it hypnotises you. Absorb what you can; learn from our feelings. It can take a lot of courage, confidence, self-understanding and preparedness to share personal stories and experiences, especially as First Nations people. Admire the strength of those who share their stories. Most importantly, if you pick up a copy at Uni, or read it at home on the couch - remember whose land you’re resting your feet upon.

We hope that you love this issue as much as we do and that this becomes the first of many First Nations editions in future.

Meet the Editors Meet the Editors

TALARA KAnisha

Hi! I’m Talara (she/her) and I’m a proud Ngarrindjeri and Narungga woman, writer, and third year journalism student.

I discovered my love of writing through Wattpad as a preteen fangirl and would spend hours writing terrible fan fiction that (thankfully) never saw the light of day. My fan-fiction era ended in 2015, but my love for writing remains stronger than ever.

When not writing, you can find me raving about my latest hyper-fixations (currently Animal Crossing New Horizons) or buying bubble tea to fill the void.

I’ve always been passionate about storytelling, which is what led me to become a sub-editor and a guest editor for On Dit this year - slay. I’m so grateful to have been involved in the creation of this issue, the first ever First Nations issue of On Dit.

Here’s to continuing to uplift, empower, and, most importantly, listen to First Nations voices in future!

Hi lovelies, I’m Kanisha (she/her)! My family are Wagadagum from Badu and Mabuiag Islands in the Torres Strait. I’m currently studying psychology and neuroscience.

Growing up, I was a quiet and shy child who always withheld my voice. Even now, at 21, I still withhold it to some extent. However, in recent years, I’ve learnt to have a big mouth and to talk as much smack as I want. I’ve only recently got back into writing stories and poetry after a 10 year hiatus. I was so excited to join On Dit as a Guest Editor for the First Nations issue - to share my voice and the voice of all First Nations students at Uni.

I just moved to Melbourne and found work at a First Nations owned cocktail bar and restaurant, where we serve the most delicious native foods and cocktails. Come to Melbourne and visit us (Interlude on Chapel St) !!! I also love to garden, play video games, watch anime, and explore all the hidden gems in Melbourne.

Editors’ picks

Charlotte Allingham she/they @coffinbirth on Instagram (artist)

I met Charlotte 5 years ago when we volunteered together for SEED, an Indigenous Youth Climate Justice Network. Back then, Charlotte’s art absolutely fascinated me and it has only become even more beautiful. Charlotte is a Wiradjuri and Ngiyampaa creator. She creates the most beautiful strong blak warrior characters I’ve ever seen in art. The vibrance and relationship between the colours and the delicately placed details are my favourite aspects of her work. I love the inclusivity, the variety of characters, the beauty in their existence, and the emotions evoked by her art. Literally just scroll through her Instagram account and you will be blessed. Also she has a shop so buy her art. Or else.

Amber Days the Label

@amberdays_thelabel on Instagram (clothing)

Founded by Corina, a Boonwurrung and Yorta Yorta woman, Amber Days has grown to be a successful business supplying ethically sustainable clothing that feature the most gorgeous Aboriginal designs. I have borrowed a few of my sister’s clothes from Amber Days for an extended period of time and I probably will not give them back.

Creators and Creatives

Yuku-na Glow @yukuna.glow on Instagram (makeup/clothing)

One thing about me is I love makeup, especial ly Aboriginal owned, cruelty-free and vegan friendly makeup (triple slay). Founded by Bar kindji woman Kimberly Mann (Payne), Yuku-na Glow makeup is 100% aboriginal owned and inspired by culture, connection and country. Their eyeshadow palettes in particular are incredible with an amazing range of shades along with a variety of clothing and swimwear available in sizes 6-24! They’ve recently been collabing with other First Nations artists to release country inspired palettes that are to die for. Yuku-na Glow donates a minimum 10% of their sales to various communities with options to pay it forward and donate items to Blak-owned organisations that support and empower mob.

Mardlaapa Designs @mardlaapa_designs on Instagram (clothing)

Based in Adelaide, Mardlaapa Designs was founded by Adnyamathanha, Narungga and Wangkangurru Yarluyandi artist and UoA student, Temaana Sanderson-Bromley. If you love surf fashion, you’ll love Mardlaapa Designs which fuses traditional Aboriginal art and surf styles. Mardlaapa has got a great range of graphic tees and hoodies, my personal favourite is their “Change the Date” tee. I also love their tote bags which are perfect if you’re like me and always on the hunt for cute bags for uni or beach trips. They’ve also got new jumper designs and beanies on the way which are perfect for the upcoming colder months if you’re looking to update your wardrobe. I had the pleasure of yarning with Temaana about Mardlaapa Designs which you can check out in this issue too!

Indigenous, First Nations, Aboriginal – Which one is it?

Have you ever been confused about what the right term is for Indigenous Australians?

Perhaps you’ve not had the chance to learn and accidentally used the words like “tribal”, “native” or “Aborigine” in an assignment and been completely obliterated for it.

Well, keep reading to find out.

Aboriginal and Torres Strait Islander peoples are the traditional custodians of the lands in Australia. Generally, if you want to refer to us as a collective, “Aboriginal and Torres Strait Islander peoples” is best. In the context of a collective, please don’t only use “Aboriginal”, because this lack of inclusivity makes Torres Strait Islander people feel forgotten. You can also use “First Nations” when referring to us as a whole.

The word “Indigenous” is accepted by many and is often used in professional or government contexts. However, it also has some negative connotations from when it was first implemented as the ‘right word’ to use. Some Aboriginal and Torres Strait Islander people do not accept the word “Indigenous” and prefer the two above.

As mentioned above, please remember to name both groups when talking about First Nations people as a collective. However, if you’re only talking about Aboriginal peoples, it is totally ok to not do so. The same goes if you’re only talking about Torres Strait Islander peoples. Everything depends on the context you’re speaking in, and who you’re talking about. For example, when acknowledging country, you pay your respects to the group of people who are the traditional custodians of the land. Here in Adelaide, we pay our respects to the Kaurna people. Learning the names of the language groups shows respect and it is important to educate yourself on the land on which you live.

It’s important to know the name of the city you’re living in and its traditional owners. Adelaide is called Tarndanya. I’m currently living in Melbourne, called Naarm. Here in Melbourne, the city is located across multiple lands. I work on the lands of the Wurundjeri people but live on the border of the Wurundjeri and Boonwurrung lands.

To our international friends, First Nations people are BLAK not BLACK. Blak is our skin, our blood and our identity. The impacts of colonisation and the stolen generations have meant that some of us are “white-passing” but regardless of our skin colour, our blood remains blak. Our eyes, noses, hair, bodies and souls remain blak. You may have heard the analogy about tea. No matter how much milk you put in it, it is still tea. No matter how much the colonisers tried to breed the blak out of us, we are still blak.

In saying the above, it’s important to remind yourselves of the incredible diversity amongst First Nations people in Australia. Aboriginal people are made up of hundreds of cultural groups. Each with their own customs and traditions. Similarly, Torres Strait Islander people have different nations across the islands.

So when you do talk about us, keep all of the above in mind. And if there’s something you don’t know or understand, take time to educate yourself.

SRC President'sReport

I firstly want to congratulate On Dit and the Guest Editors, Talara and Kanisha, on their production of the first ever First Nations edition of our student magazine. Amplifying the voices of Aboriginal and Torres Strait Islander students is more important than ever, and this edition of On Dit is an opportunity to engage with and listen to the stories and experiences of those around us. Thank you to everyone who took the time to contribute.

We still have lots of work to do to support Indigenous students on our own campus. On a university level, Indigenous students remain underrepresented - estimated to still represent less than 1% of Australian university enrolments. Whilst enrolment rates have steadily increased over the past decade, they are not the be-all-end-all. Support during the university experience is more integral than enrolment statistics, and it is the responsibility of the University to ensure we are providing resources to help First Nations people thrive at uni. Wirltu Yarlu is an excellent support at the University of Adelaide. They provide education programs and wellbeing support for Aboriginal and Torres Strait Islander students - you can visit them on Level 1 of the Schultz Building.

The SRC Education Officer, Grace Franco, and myself have written to the Vice-Chancellor calling on the University to affirm their commitment to achieving social justice for Aboriginal and Torres Strait Islander Australians by publicly supporting a Yes vote in the upcoming referendum. At the time of writing, we are yet to receive a response. This is a step the University can take right now to prove its commitment to reconciliation and advocacy for Aboriginal and Torres Strait Islander peoples.

The SRC have established a University of Adelaide branch of the Students for Yes campaign. Through this action group, we will advocate for a Yes vote in the upcoming referendum to recognise Indigenous Australians in the Constitution and establish a Voice to Parliament.

The national Students for the Yes Campaign is headed up by National Union of Students First Nations Officer Patrick Taylor, and we’re excited to work with him to educate and activate students in Adelaide. We are committed to Voice, Treaty and Truth, and affirm our dedication to listening and advocating alongside Indigenous Australians. We hope you will join us in bringing our nation together and making history.

If you would like to be involved with this action group, please reach out via Facebook or email srcpresident@adelaide.edu.au.

In unity, Georgia Thomas

Enjoy a relaxing mid-year break. If you’re doing winter school, condolences.

STUDENT REEPRESENTATIVE

COUNCIL Aboriginal & Torres Strait Islander OffIcer

Represents Aboriginal and Torres Strait Islander students by liaising with the Uni versity, running campaigns, or through other means decided by the member. Appli cants must identify as an Aboriginal or Torres Strait Islander person.

If successful, the candidate is required to submit reports at SRC meetings (meetings are held fortnightly) and attend meetings during the academic year.

Email SRC President Georgia Thomas to apply:

srcpresident@adelaide.edu.au

Do you support a state

First Nations Voice to Parliament?

socialist alternative:

Written by James Wood

We don’t oppose the Voice, even if we have no illusions in Labor’s faux-progressive symbolism in championing it. Opponents of the Voice have taken up right-wing, racist, talking points, with the Liberals denouncing it as a ‘third chamber of parliament’ and One Nation dog-whistling about ‘racebased legislation’. Contrary to right-wing hysteria about ‘radical’ change, though, the Voice will do nothing to combat Indigenous oppression. As an advisory body, its advice can be ignored by Labor, the key perpetrators of Indigenous oppression. Labor can continue mass incarceration, deaths in police custody, and undermining native title to build nuclear waste dumps.

GREENS CLUB:

Written by Cameron Cook

Yes, of course. First Nations people have a long lasting connection with this land that was never ceded and subsequently colonised by the English. It is time to listen.

Liberal club: [No Response]

labor CLUB:

Written by Grace Franco

SA’s historic Voice is a positive demonstration to the nation that Aboriginal and Torres Strait Islander inclusion does not herald the collapse of democracy. The Voice provides an opportunity for Aboriginal and Torres Strait Islander people to have their voices heard on topics with significant cultural and socioeconomic impacts. All Australians should support and vote Yes for a federal Voice to Parliament.

2. socialist alternative:

Do you agree with the State Parliament removing gender-specific terms?

Written by James Wood

Yes, gender-specific language should be removed. Our workplaces and universities are obsessed with policing gender binaries so axing this is good.

GREENS CLUB:

Written by Cameron Cook

Yes, it is important for parliament to reflect the diversity of gender. We must strive to further recognise and affirm gender self-recognition on a scale that is not a binary.

Liberal CLUB:

[No Response]

labor CLUB:

Written by Steph Madigan

Removing gender-specific terms moves the Overton window in the right direction (two-thirds of Aussies support non-binary identities) and with record numbers of Labor women in parliament, it makes no sense to call them “chairman”.

What do you think of the Adelaide City Council’s plans to revamp the streets of the CBD? Do you think the estimated $140m makeover will be worth it?

socialist alternative:

Written by James Wood

The CBD needs upgrades if these improve liveability for ordinary people. Any revamp though shouldn’t be paid through hiking rates for homeowners and tenants, as the Lord Mayor argues for. Workers and students, facing a cost-of-living crisis, shouldn’t foot the bill for infrastructure that makes the CBD more business-friendly. The council should instead hike rates for the rich and property investors.

GREENS CLUB:

Written by Cameron Cook

The city must shift away from car prioritised infrastructure towards a liveable, walkable urban area that allows for safe and swift travel on foot and bicycle.

Liberal CLUB:

[No Response]

labor CLUB:

Written by Steph Madigan

Revamping four key city streets may be costly but represents a huge investment in SA’s future. Outdoor dining and greening makes city workers happier and more physically active. Major events with growth potential that attract interstate and international visitors like AFL Gather Round and WOMADelaide also benefit from infrastructure fixes.

The Gig

Classical

Vital Blossoms

Elder Conservatorium Symphony Orchestra

Conducted by Luke Dollman; w Tahla Williams on violin

9/6/2023 @ 12.30pm

Elder Hall, Adelaide

$14 general admission, 25% savings with a Gold Pass subscription

Tickets available from Elder Conservatorium of Music Concert Series website, Lunchtime Concert Season One

A Joyous Encounter

Elizabeth Layton, Danny Yang

19/5/2023 @ 12.30pm

Elder Hall, Adelaide

$14 general admission, 25% savings with a Gold Pass subscription

Tickets available from Elder Conservatorium of Music Concert Series website, Lunchtime Concert Season One

The March of Time

Elder Conservatorium Wind Orchestra, Bryan Griffiths

26/5/2023 @ 12.30pm

Elder Hall, Adelaide

$14 general admission, 25% savings with a Gold Pass subscription

Tickets available from Elder Conservatorium of Music Concert Series website, Lunchtime Concert Season One

Choral

The Last Hurrah

Adelaide University Choral Society (AUCS)

Conducted by Peter Kelsall

10/6/2023 @ 7pm

Pilgrim Uniting Church, Adelaide

$20/$25 from trybooking

Stories of Time & Place

Elder Conservatorium Chorale

Conducted by Carl Crossin OAM; w Karl Geiger on piano

2/6/2023 @ 12.30pm

Elder Hall, Adelaide

$14 general admission, 25% savings with a Gold Pass subscription

Tickets available from Elder Conservatorium of Music Concert Series website, Lunchtime Concert Season One

Unwavering Passion

Australian String Quartet

9/6/2023 @ 7pm

Elder Hall, Adelaide

$20/$32

Tickets available from Elder Conservatorium of Music Concert Series website, Evening Concert Series

Guide

TONE SKA

MONKEY SPANNER AUS TOUR

2023

Monkey Spanner, \The Overits, Start! (Paul Weller Tribute), Mark Reggae Fever Williamson (Vinyl DJ)

27/5/2023 @ 7pm

Unibar Adelaide, Adelaide

$43.43 Second Release from Moshtix

Indie Folk

Salt Tree (WA) - AU/NZ Tour

Salt Tree, Brightsider

26/5/2023 @ 8pm

Unibar Adelaide, Adelaide

$22.02/$28.14 from Moshtix

FESTIVAL

Autumn Arches Festival

Mum’s Favourite, The Tullamarines, Stormy-Lou, Lost Woods, Puree, Blush, Ella Ion

Drinks by Shut the Gate Wines, Never Never Distillery, and Uraidla Brewery + food trucks

21/6/2023 @ 12pm

Unibar Adelaide, Adelaide

$22.02 from Moshtix

Synth-metal

Voyager Australian Tour 2023

Voyager, guests tba

16/6/2023 @ 9:30pm

Unibar Adelaide, Adelaide

$43.43/$105.11 from Moshtix

If you’re a student of UofA and have an upcoming gig in May, please email us at onditmag@gmail.com and we’ll include it in our gig guide!

A FIRST NATIONS VOICE IN SA

March 26 will forever be remembered as the day that North Terrace was transformed into a sea of red, black, yellow, green and blue, as thousands descended upon the steps of Parliament to celebrate Australia’s first First Nations Voice Bill officially passing in both houses of the State Government.

Braving wet weather, five thousand South Australians from all backgrounds and walks of life stood shoulder to shoulder to witness history in the making, as First Nations representatives walked the Royal Arms copy of the Bill inside a special Coolamon as part of the ceremony.

Historically, our state has led the way in achieving parliamentary firsts.

In 1844, SA was the first state to adopt the legal provision that evidence from Aboriginal people could be accepted in courts of law.

In 1876, SA was the first jurisdiction within the British Empire to legalise trade unions.

In 1894, SA became the first Australian state, and fourth jurisdiction in the world, to grant women the right to vote (including Aboriginal women). That same year we also became the first in the world to grant women the right to stand as members of parliament.

Crowd at the Ceremony, via Talara McHugh

Now in 2023, we have become the first to pass a First Nations Voice Bill, ahead of the upcoming referendum that will decide whether the Australian Constitution is altered to recognise and enshrine an Aboriginal and Torres Strait Islander Voice to Federal Parliament.

WHAT IS THE SA FIRST NATIONS BILL?

The SA First Nations Voice Bill 2023 was introduced to Parliament in February, proposing a ‘connected, direct and independent’ line of communica tion for First Nations people to South Australia’s Parliament to allow important, shared communication by locally elected regional members.

The SA Voice will be an independent advisory body that has the right to address Parliament

on legislation that concerns First Nations people. The purpose of the Voice is to give First Nations people the right to have their voices heard by Parliament, and to ensure their views are taken into account during the decision-making process.

The Voice is NOT a third chamber of Parliament, NOR does it have the power to change, stop, or veto what the Parliament decides to do.

Additionally, the implementation of the SA Voice did not change the state’s Constitution - meaning it can be removed by any future government.

WHAT WILL IT LOOK LIKE?

The SA Voice will be community-led, inclusive, culturally informed, accountable, and transparent. It will work

alongside existing Aboriginal and Torres Strait Islander organisations and traditional tructures.

Forty-six representatives across six regions will be chosen by Aboriginal and Torres Strait Islander people in an election later this year, and aim to be representative of local Aboriginal and Torres Strait Islander communities, including youth.

Two representatives from each region will form the SA Voice, a group of twelve representatives who will be able to speak before the SA Parliament at the second reading stage of any bill.

WHAT DOES IT MEAN TO HAVE A FIRST NATIONS VOICE TO PARLIAMENT?

At its heart, the SA Voice aims to empower Aboriginal and Torres Strait Islander voices across the state and ensure that we are heard through our own elected representatives.

Historically, the voices of Aboriginal and Torres Strait Islander people have been disregarded and diminished, especially by governments and lawmakers.

After the invasion of colonists, First Nations people were stripped of their land, rights, and freedom. All that we had left was our voice, and since then people have argued whether or not our voices hold any value in our country - a direct result of institutionalised racism.

It wasn’t until 1962 that all Aboriginal and Torres Strait Islander people were granted the right to vote in federal elections for the first time. But voting wasn’t compulsory and encouraging Aboriginal and Torres Strait Islander people to enrol was a criminal offence. This wasn’t amended until 1984 when voting was made compulsory for Aboriginal and Torres Strait Islander adults, finally granting us equal voting rights in our own country - almost two-hundred years post colonisation.

There continues to be debate on whether or not our voices should be counted, and if a voice is even necessary.

Not every First Nations person is in favour of the state Voice. Many are concerned about how it will be representative of the 30+ groups in the state, all of which hold their own distinctive beliefs, cultural practices and languages. There is also concern with how the national Voice will represent the 250+ First Nations groups across the country. That being said, if we get this right, I have faith that the Voice can help achieve great things for our community, by driving real and meaningful change as the first step in the full implementation of the Uluru Statement from the Heart.

According to the Uluru Statement, first comes the enshrinement of a First Nations Voice in the Australian Constitution. Next, the establishment of a Makarrata Commission to supervise a process of truth-telling about our history and agreement-making between governments and First Nations. These processes will help pave the way for truth-telling and treaty.

The SA Voice will lead by example as either a success or failure, under the watchful eye of the nation, and set the tone for the referendum vote.

In the meantime, keep listening and engaging with different First Nations voices.

Commissioner for First Nations Voice to Parliament, Dale Agius and local elders at the ceremony, via Facebook

identity

One of my friends called me the most racially ambiguous person they know. Yeah maybe it’s because on my mum’s side I’m Australian and Russian and on my dad’s side I’m Torres Strait Islander, Pacific Islander, Filipino, and Chinese.

I identify as Torres Strait Islander. My homelands are Badu and Mabuiag Islands. My Nanna comes from the Ahmat family line. She has 15 siblings all of which had kids, grandkids and great grandkids. My people are Wagadagum. My totem is koedal, aka crocodile. I’ve never been to the islands though. When I go to the beach and swim in the salt water I break out in hives.

You ask me to speak my language? Idk. Yeah I learned traditional Torres Strait Islander dancing and performed at Survival Day events when I was 14. I listened to Elders and learnt from their wisdom and experience. I learnt words and their meanings and sang them while kicking dirt off the ground. But I can’t speak it.

But I am definitely a blackfulla. I lived on Keen’s curry and chicken vermicelli my whole childhood. But I actually am picky and hate Keen’s curry. Yeah my Nanna used to cook lemongrass goose and my uncle used to make turtle stew for Christmas, but I never learnt, just ate.

I am a Torres Strait Islander. I struggle to swim and lost all my swimming carnival races at school. I’m 4 foot 11 and sucked at sports growing up. My brother on the other hand, travelled the world to play rugby. And yet I have huge shoulders and quads.

I am a proud Torres Strait Islander. I was a token black kid at the private school I got a scholarship for and had to read Acknowledgement of Country every assembly. At 12 years old, I felt pressured to decide what I wanted to do with my life while making sure I dealt with my cultur al burden. I led activism at my school to stop fracking and coal mining and I educated people in my classes on Indigenous issues and rights and “Australia Day”. I was grateful I had other people of colour in my year level to bond with. And I was grateful that the white people at my school listened and learnt from me. But nonetheless, I still had to educate. I lost my passion for activism after high school. It was so draining.

In all my classes and Indigenous networking events, and yarn circles, all I learnt and experienced was Aboriginal culture. I’m not Aboriginal. At the time I felt like I knew more about Aboriginal culture than my own.

Again, I am a proud Torres Strait Islander. At 14, I decided I wanted to study marine biology to protect the environment. I had such a strong connection with the land and waters. I wanted to use it. At 19, I had my quarter-life crisis. Who was I? I asked myself everyday. I switched to study psychology. First thing I heard from my sister after deciding was, “and what are you going to do to help your people? You need to do this and that and …..”

I want to help my people. But don’t put this pressure on me when I can’t even help myself.

I am Torres Strait Islander, and Australian and Russian and Pacific Islander and Filipino and Chinese. I matched with a guy on Hinge and when I told him, he said, “You were so hard to guess, I couldn’t tell until you told me but it makes sense now.” He meant well, or maybe not. But comments like these really affect me. No one can guess my ethnicity, hence why I am the most racially ambiguous person that friend of mine knows.

I always felt misunderstood throughout my life. Maybe it’s not because others don’t understand me, but more so because I don’t understand myself. I am lost, trying to figure out who I am in a world where I am expected to know.

Who am I though? Within me is the little girl who would always catch the biggest snapper, get mad when mum would let the men stay out fishing while I had to go home (I was 5), stick my head out of the side of the boat trying to find crocodiles in the water, run around barefoot in the mud while my mum yells “put some shoes on you’re gonna get melioidosis!!!”, know the weather by smelling the air, play with the geckos on the wall, scream at the sight of a cane toad, try to put all the mud crabs caught from the day on my dinner plate, and run around in the rain with pure joy.

This is me at heart and sometimes I forget that. I forget what it means to be me. 5-year-old me was a happy little kid who lived with the earth, air and water and loved mother nature. I loved mother nature and mother nature loved me. Her ways taught me to love, cherish, nurture, and feel.

17-year-old me got so caught up in the expectations placed on myself. I never felt black enough and that’s why I lost my way. But I know who I am now. I love my culture and family and my heart feels so full when surrounded by other black people who uplift me and remind me of my roots. Society is not kind to blackfullas, but all we need are others who will love and care for us and help us remember who we are.

Kanisha Wills

Survival Day

Patricia Mullion

You could say that it was a day like any other; the hours slipped by on the wings of crows that cawed their greetings to the rising sun; but this day wasn’t. It was a day that had long since divided a country. This division was closeted, hidden by many, until the collective memory of oppression rose and a voice that had long been unheard, spoke. It spoke of a brokenness that few could comprehend. Of land lost and a culture relegated to the pages of history books. But history lies, fuelled and written by those that have been the victors. It tells of wars fought, and lives lost, but what is never spoken about is the language and culture that had been deemed unworthy of being carried forward.

The smoke rose from the fire, permeating the air with the scent of sweet grass, the embers burning low, a soft muted orange through the haze of the swirling smoke. It swept through the gathered people, rising on a breeze that buffered the square softly. It whirled around those who stood and those who sat with their legs crossed, eyes turned up to watch the sky in the early dawn. The smoke cleansed those present, but it did so much more. It warded off the bad spirits that seemed to cling to a long-dying culture, or those that wrote the history books would have you believe. A deep-seated grip so entrenched, that it went from one generation to the next; taking with it each problem that had been created.

The people’s lungs filled with the smoke that settled over the area. One deep collective inhale of breath. One that held in that cleansing smoke, that momentary connection, to the land and elders that had walked the terrain many dreamtimes before, when only landmarks marked the way… The weeping started long before eyes opened for the memories that had been suppressed, for the languages that were no longer spoken, for the loss that had been passed from the elders to the young, for the connection severed, for those who had no choice but to leave behind their culture, for the families that had been broken, torn apart by laws, not of their making.

It was a moment of united grieving, a loss felt so deeply that it had yet to be healed. A scar that reached from one coast of Australia to the other, crisscrossing and spanning the width and breadth of the land. As the weeping subsided, a hum took over the crowd. Low and steady, it moved through like a wave, ebbing and flowing. Inhale, exhale; tear-stained faces glancing from left to right. Solidarity, kinship, togetherness... community.

In this moment, there was no debate. No calling for a change of date. A pure point in time, coming together to remember, to acknowledge, to cleanse to and feel whole. Sunlight spilt over the square, and for a moment, people, land and sun were in perfect sync, renewed.

AND FIRST NATIONS

MUA Zoë FREDA

“For a long time, First Nations peoples have been excluded from this industry and a variety of other industries too. To be real, we’ve only recently been featured more often within these spaces. For this exact reason, diversity within the beauty industry is exceptionally important to me. Not only for my own community, but for all BIPOC and LGBTQIASB+ communi-

“Since I began working directly in the beauty and fashion industry, I can recognise the extensive lack of representation of BIPOC, especially First Nations peoples. I knew this journey would come with its challenges but that’s ultimately what drove me to pursue this line of work. I’m looking forward to following the paths of First Nations HMUAs I look up to, whilst also guiding the way for the future

Central deserts. Zoë has always had a passion for makeup, especially in SFX (special effects) and Avant Garde looks. After recently completing a Diploma of Screen and Media (Specialist Makeup) at TAFE SA, Zoë founded her brand FACE BY ZOË FREDA and is currently pursuing a freelance career in makeup artistry.

“I aim to be the representation that the future generation can look up to. I take pride in knowing I now have the power to create safer spaces within this industry that haven’t existed before. It’s long overdue but the time for change is now. I’m just extremely grateful to be a part of that.”

“You must clarify what your brand stands for and what values you are dedicated to upholding. Post about it. Let your audience know that your service is more than just applying makeup. You must then follow through with what you’re preaching. Set those standards. Do your research and educate yourself on how to cater to different complexions and hair types. For non-Indigenous HMUAs, I recommend including the correct cultural awareness protocols into your research to ensure you can respectfully cater to First Nations peoples.”

Talara McHugh

For First Nations creatives like Zoë, social media has become a space to celebrate the visibility and talents of First Nations makeup artists.

As a content creator, Zoë posts her latest looks along with educational videos on how to block out your brows, master colour theory and perfect graphic liner. Inspired by the art of bringing characters to life through prosthetics and SFX makeup, Zoë aspires to channel that energy into helping others express themselves through makeup.

“I want to provide services that allow my clients to be authentic. I want makeup to feel playful and fun, whilst also making the individual feel super beautiful.”

Despite only starting her career, Zoë has already been a part of several projects and will have a creative makeup exhibition in Naarm as part of the upcoming Barring Yanabul x YIRRAMBOI Festival on May 6.

“This year has started off so deadly [and] I’m thrilled for what’s to come. My experience so far has been quite surreal. Just not long ago, I was daydreaming about being where I am now. Although I’m right at the beginning of my career, I’m still insanely proud of myself for coming so far despite the obstacles,” she says.

“To any young mob reading and also as a reminder to myself: You’re capable of all those deadly dreams you think of. The road to accomplish your goals may look a bit different to your peers, and at times a lot more difficult but despite the challenges, you can do it. Back yourself and believe in your power. You come from strong bloodlines, you were meant to shine, bubba.”

Picture:MUAZoëKopp(supplied)

Clear communication on values is important for brands online who want to promote and support diversity, says Zoë.

Zoë is currently building her professional kit but will soon be open for freelance appointments! In the meantime, you can find Zoë on Instagram: @facebyzoefreda & @zoefredakopp.

ATTENTION MED STUDENTS

Med School Made Colourful is a First Nations-owned business that supplies notes and summaries for medical students, and soon allied health students. Ran by First Nations 4th year Medical student, LJ, Med School Made Colourful creates summaries for physical examinations and medical histories for pre-clinical med students.

As a Psychology and Neuroscience student (who is really, really bad at studying), I am super interested in different ways of learning and development. Colour psychology and the neuroscience behind it is one of my nerdy research hobbies. I’m not going to go into depth of how the brain processes colour and links it with emotion and memory, because I would fill up the whole magazine — I’m just going to talk about how pretty the notes are.

The cover art on the summaries LJ has released so far are absolutely GORGEOUS. Immediately, I’m sensing a slay. I know these notes are going to be super aesthetic. The colour theme is easy on the eyes; for those who can’t stare at bright white coloured sheets of paper, the background is a soft beige colour and the font colour is a complementary dark, soft brown. The pages are full of pastel colours that aren’t overwhelming. You can tell that LJ spent a lot of time carefully curating these notes and the aesthetic; I give it a 9/10 in that aspect. I personally think some colours don’t match, but they’ve done a pretty good job. It’s giving that millennial earthy tone aesthetic. Big thumbs up.

Most of the notes have physical examination step-by-step guides, and explanations of symptomology, pathologies, and types of diseases related. I personally do not study medicine, however I have dabbled in the subject of human biology for the past 6 years, so I have a pretty good understanding of the above. The step-by-step guides are very concise and easy to understand. I read through the notes once and I even remember that in a physical examination you think of Greek philosopher Socrates (iykyk). Explanations of symptomology and pathologies of diseases are quite simple and succinct — very helpful for a first-year student who might be overwhelmed by the sheer amount of medical jargon. There are some really great diagrams and art for the visual learner. I personally think a bit more visual aid could be helpful, so I’d give this aspect another 9/10.

Med School Made Colourful should one day look at creating a podcast for the auditory learners out there that have to suffer at the hands (or voice) of med school lecturers (that may or may not ramble and turn a 20 minute lecture into a 1 hour long lecture).

They’ve made the commitment to supply their resources for FREE to First Nations students. I highly recommend utilising their resources because you get some pretty awesome notes and summaries for free < 3

Email hello@medschoolmadecolourful.com. au with proof of an AIDA Australia Membership for your freebies. Give them a follow on Insta too @medschoolmadecolourful

First Nations Entrepreneurship and Making Mardlaapa:

An interview with Temaana Sanderson-Bromley

This issue I got to yarn with Mardlaapa Designs founder Temaana Sanderson-Bromley about being a young First Nations entrepreneur and starting his own clothing brand.

Temaana is a proud Adnyamathanha, Narungga, and Wangkangurru Yarluyandi man from the Flinders Ranges, Yorke Peninsula, and Simpson Desert. Temaana is the owner and founder of surf clothing and apparel brand, Mardlaapa Designs. Temaana is also a UoA student currently completing a Bachelor of Marine and Wildlife Conservation and mentor at the Aboriginal Basketball Academy.

What inspired you to start Mardlaapa Designs?

Mardlaapa Designs started out as a dream in late 2021. I had always wanted to create my own clothing because of my interest in fashion and design. One day I decided to bite the bullet and take it head on. This was a big leap as I poured around $750 of my own savings into buying 50 shirts to print on. I was inspired by east and west coast surf brands and the way they operated their business in such a relaxed and welcoming way.

What has the process of starting your own business been like?

The first step I took was choosing the name. After brainstorming for a couple days, I settled on Mardlaapa (pronounced as mud~lar~pa) which is an Adnyamathanha word meaning “little”. When I was younger, I was called “mardlaapa yura’’ which means “little man”. I then started creating designs and eventually started producing the clothing. This process came with a lot of learning, feedback, experimenting, and trial and error.

What was your motivation for becoming an entrepreneur?

My parents have owned their own business since before I was born, running tours around Aboriginal history and cultural awareness training. As a result of this, growing up I always wanted to work for myself. My brother created his own business, which was the final kick I needed to fuel my desire to create a business of my own.

How did you build your customer base? Were there any strategies that worked really well for you?

I built my customer base through social media, word of mouth, and getting my name out at markets. This process was really slow and took a lot of work - I’ve still got a lot of work to increase my customer base. Some strategies I found really useful was identifying my target audience and making all my social media posts relevant to that group. This helped get the best responses from them.

Where can people find you?

You can find us on Instagram and TikTok @ mardlaapa_designs. We are also on Facebook as Mardlaapa Designs. I will also have my website up and running soon which you can reach at www.mardlaapadesigns.com

What is your favourite thing about running your own business?

I love having the chance to make clothing that people enjoy wearing. I like being able to create a fusion of contemporary Aboriginal art with surfy coastal life designs that hasn’t really been done by anyone else. I also love seeing others in my clothes and hope to see more and more people wear them. I also love the way it has developed me as a person, with aspects across my life [improving] such as [my] organisation and confidence.

What’s next for Mardlaapa?

Where do you see yourself and your business in five years?

I will keep pushing Mardlaapa throughout uni and in five years I want to see my business asup there with some of the other big league surf/street wear brands. Eventually, I want to open a store front and have my own shop to work in, but I think that’ll take a bit more time and work.

What advice would you give to other young First Nations people wanting to start their own business?

My biggest piece of advice is to stop dreaming about making your own business and make ita reality. Put in the work, time, and effort to create it, and lean on others for guidance and support. Also, once you get it started, push through thick and thin as there will be times where it’ll be really hard but you will have to [keep pushing].

Talara McHugh

A Conversation with Dr. Jared Thomas:

[Kathers] Thank you very much for joining me today, Dr Jared. Could you let us know what you do?

[Jared] Well, I do several things. I work at the South Australian Museum as a researcher or curator, and that’s a shared role between the Museum and the University of South Australia. It’s focusing mostly on Museology and Curatorial Practices – particularly regarding First Nations representation. My focus is on how to transform representations of First Nations people in the South Australian Museum.

[Jared] I’m also an author. I write young adult fiction and children’s fiction. Occasionally, I make documentaries and work on other film and television projects.

[Kathers] You’ve written a collection of young adult stories, all of which have, over the years, been shortlisted for the Victorian Premier’s Literary Awards - have you utilised your writing craft to examine identity and culture?

[Jared] Yeah, absolutely. An important thing is that I’m a PhD graduate from Adelaide University, through the Creative Writing program, and I felt it was really important to write for young adults because it can be such a transformative period of your life. I wanted to write for that audience, because often, when you’re young –particularly Aboriginal readers – may not be interested in fiction, or writing, but during your teens or early adulthood, people can grab onto a book and it can be really transformational.

I’ve wanted to write to that audience for a long time, and I also love writing for children. The thing that’s most important to me is using my skills and knowledge and talents to contribute to social change. I think connecting with young people is an important part of influencing social change.

[Kathers] Your latest book, My Spare Heart, was published last year and highly commended at the Victorian Premier’s Literary Awards. It follows a 17-year-old Nukunu woman called Phoebe and one thing I noticed straight away, which you’ve touched upon in other interviews, is the flipping of the stereotypical character struggling with alcoholism. Why was this important for the novel and its readers?

[Jared] Going back to the last question, yes, I often write about identity, because there is so much essentialization of what Aboriginal culture, and who Aboriginal people, should be. I wanted to flip those stereotypes because the truth is that Aboriginal people drink less in comparison to non-Aboriginal citizens of the country – and yet there’s such a strong stereotype about Aboriginal people drinking.

[Jared] I wanted to show that I’m writing for Aboriginal young people but also for all young people. I think, unfortunately, all of us will have to grapple with unpleasant things regarding alcohol in our lives, whether that’s the problematic drinking of a friend, family member, partner etc.

[Kathers] How important is it to combat stereotypes and why is YA such a key genre to do so?

Nukunu man, Research Fellow, Aboriginal and

Torres Strait Islander Material, Culture, and Visual Arts at the South Australian Museum and the University of South Australia

[Jared] The Churchill report is now public and, while we haven’t started to test it yet at the South Australian Museum because we’re waiting for a new director, my personal hope is that it does underpin the development of Aboriginal representation through the Museum.

[Jared] I hate prejudices and discrimination. Addressing racism has been something that I set out to do as a young person, as a 16-yearold – I was only turning 17 when I was enrolled into university. You start to question more of the world and become more critical during your teen and young adult years. It’s a really good time to engage with young people going through that transformation: detaching from your parents’ viewpoints, or that of your community. You’re starting to form your own vision of the world. For me, it’s just putting before non-Aboriginal people how I see the reality about people in my communities-in my [Nukunu] community and other Aboriginal communities.

[Kathers] You were awarded the Churchill Fellowship to ‘investigate colonised people’s interpretative strategies in permanent gallery displays’ in museums in the US, NZ, Norway, Canada, and Finland. What were some of the key strategies you learnt through your travels? Have they been tested here at the South Australian Museum?

[Jared] There were a number of key findings, and it wasn’t only in regards to how to present content, but how do you develop things like First Nations workforce, what is the relationship between repatriation and community engagement, and then the quality of exhibits. I was looking very broadly across each of those countries, meeting with CEOs of institutions, curators (especially First Nations curators), community members, artists, scholars, to kind of gain a better insight into what is international best practice surrounding First Nations representation, and what are the changing dynamics in First Nations Museology.

[Kathers] How difficult has it been to transform what has been a traditionally colonial space into one that is more approachable for First Nations peoples?

[Jared] That’s a great question. I’m on the journey towards doing that, and part of that journey is undertaking research. The Churchill research is one part of the key that will hopefully be able to unlock the door. I’ve also conducted an audit of the Australian Aboriginal Cultures Gallery at the South Australian Museum, and then I’m just undertaking further research where I’m engaging with First Nations curators of other national institutions, so that I can see what the trends are and the developments are.

[Kathers] With the Federal Voice to Parliament referendum coming up, what are your thoughts? Are you ‘for’ or ‘against’?

Nukunuman,Dr.JaredThomas. Source: NITV radio

[Jared] During my time in the countries I visited for the Churchill Fellowship - many of which I had visited before - it was really clear to see the impact of treaties on positive outcomes for First Nations people. Finland and Norway don’t have a Voice to Parliament: their First Nations peoples have their own parliament. And then you look at all the treaty agreements happening in the US, Canada, and New Zealand. They have public holidays in Canada and New Zealand marking key First Nations cultural events. There’s even a public holiday in Canada which marks the experiences of residential schools, which is almost the equivalent to Australia’s Stolen Generation.

[Jared] Those kinds of rapid changes have occurred. I’ve visited some of the countries shortly before COVID and there’s been such a huge transformation, including other social justice isses. In the US and Canada in particular, you can see the impact of #MeToo, Black Lives Matter, and Climate Change Activism, which is changing the way things operate within social institutions.

[Jared] So that was really heartening to see and inspiring. Regarding the Voice, it’s such a small step, but it’s such a big and necessary step. Ultimately, I would like to see us jump straight to treaty and negotiations, but if you have a Federal Opposition that doesn’t even want to have a conversation about the Voice, how the hell do we get to a treaty?

[Jared] The Voice is a small but huge step, and it’s important to have representation enshrined through the constitutions, because if there is a future government that doesn’t want to have an Aboriginal Voice, they can just erase it. Once it’s enshrined through the referendum, it makes itnot impossible, but very difficult to take away.

[Jared] It is disappointing, as an Aboriginal person in this country, to think that this is such a small step that is available to us, and I’m fearful that we won’t get a positive outcome in the referendum – what does it say about Australia and its citizens, and how they feel about Aboriginal and Torres Strait Islander people, if we can’t even have a representative body to parliament?

[Kathers] Do you have any upcoming projects you’d like to talk about/mention?

[Jared] At the moment, I am influencing some change through the Museum. One change is an augmented reality app that allows us to start to layer content upon existing exhibits, which comes at a far lesser cost than actually overhauling the whole of the exhibits. It’s all about putting Aboriginal voices up front and centre within existing spaces. I released Uncle XBox in March, the first book in a junior fiction series, and I’m currently working on books 2 – 6.

[Kathers] Awesome, thank you so much Dr Jared! I really appreciate you coming down here and talking with me.

[Jared] Of course!

Law: The Way of the Ancestors

by Professor Marcia Langton AO and Professor Aaron Corn

Book Launch

Tuesday 23 May, 5:00-6:00pm

Bonython Hall, the University of Adelaide

Doors open from 4.30pm with music by Tilly Tjala Thomas, CASM Graduate and Singer/Songwriter

Tickets via https://lawthewayoftheancestors.eventbrite.com

The Referendum Crossword

ACROSS

1. …(ty). Possession of supreme political power. It implies autonomy, freedom, independence, and self-government.

The Uluru Statement from the Heart identifies it as a ‘spiritual notion’ explaining the tie between nature and people through time which cannot be ceded or extinguished.

4. In accord with fact or reality. Its purpose in society is to create social cohesion and well-being. One of the things First Nations people invite others to speak.

7. A French preposition used to talk about a place. Equivalent to English to or in.

8. A connective word between two mutually exclusive possibilities. Referendums seek answers to questions that have two mutually exclusive possibilities. The astute decision maker will contemplate the outcomes of deciding between these mutually exclusive possibilities.

9. Denotes three. Voice, Treaty, Truth are the three aspirations of First Nations People. Self-determination is the core rights principle upon which these aspirations are based.

11. The way to change Australia’s Constitution is through a … .The rules of conduct and communications are contained in legislation enacted in 1984 (The Referendum (Machinery) Provisions Act. It regulates the education of voters. Voters, in today’s world use diverse ways of getting information which fall outside of the Act. The Referendum (Machinery Provisions) Amendment Bill 2022 is about Constitutional change. Its purpose is to modernise the provision of information processes for voting in a referendum so that voters make informed choices. This is to ensure consistency of voter experience. Individual states do not require citizens to vote to establish a First Nations Voice in the State Parliaments. South Australia is leading the way.

14. … Nations. The ethnic groups that lived in Australia before colonisation and most usually will say we have always been here. The ethnic group possesses a rich diversity of belief systems, distinctive languages, and cultural systems. They engaged in trade and cultural exchange across Australia. They are many sovereign nations, and their distinctive identities were collapsed by policies subsequent to colonisation.

18. One of the earliest words children learn and practice with diligence. Discretion about its use is an important part of maturation.

19. Preposition expressing location or arrival in a particular place or position. It is relevant to the Uluru Statement from the Heart which brings together the many First Nations into a singular expression of their interests.

20. Full information. The Constitutional changes being proposed in the Voice Referendum are premised on principles. Therefore, full information is neither essential nor helpful. The full information is appropriately a responsibility for legislators subject and secondary to consensus about the principle of First Nations advisory body representing to Parliament.

22. Before colonization First Nations people … plant foods and animal produce locally and seasonally available. Their diet was balanced and healthy. Colonization limited their access to food and rendered First Nations people dependent upon the colonizers for food which did not meet their dietary needs. The further outcome is the erosion of functional familial and social groups.

23. To join or unite so as to bring about an improvement. The Voice may enable Australia to better fulfill its human rights obligations, especially benefitting First Nations people.

24. Abbreviation for that is. Restates something said previously.

25. Abbreviation for a member of a council. Council means an advisory, deliberative or administrative body of people formally constituted and meeting regularly. While the structure recommended in the Final Report of the Indigenous Co-Design Process for Local and Regional Groups is not a Council within the meaning of Local, State and Federal Government, the members of the Local and Regional Groups may be perceived as councillors external to this Local, State and Federal Government structure.

26. To unite or join to change the total effect.

27. Attained. Conformity to human rights is more likely to be attained by a yes vote in the Voice Referendum.

28. … Nullius – land, legally deemed to be unoccupied or uninhabited. This determination was the subject of legal dispute in Australia. Early documents reveal both this designation and knowledge of the occupancy of land by First Nations people. The South Australian Act of 1834 said the land was ‘waste and unoccupied’. The Letters Patent (19th February 1836) which established the province of South Australia gave recognition to the rights of First Nations people. The letters patent said ‘provided always that nothing in these Letters Patent contained shall affect or be construed to affect the rights of any Aboriginal Natives. In practice, the Rights of First Nations people were secondary to the acquisition of land. The 1966 Aboriginal Lands Trust Act (Don Dunstan) was to address the unfulfilled rights of First Nations people contained in the Letters. Some First Nations people say that the Act failed to fulfill the promise and subsequent failure of the Letters Patent. They, therefore, construe the successful 1967 Referendum as part of a continuing process. The Voice Referendum of 2023 is another step towards doing what is right.

31. Tear or pull quickly or forcibly away from something or someone. The experience of this happening is connoted as being ‘stolen generation’ people who were removed from their families by Government and church agencies.

33. A title used before the surname or full name of any woman regardless of their marital status. It is a neutral term while First Nations refer to people as in Aunty to describe a female elder. First Nations people use relational terms for title.

34. A person, action or idea which shows willingness to take risks. The Voice Referendum is an action which has risk attached because a No Vote will affect the well-being of First Nations People going forward and the relationships between First Nations and non-First Nations Citizens. A No Vote outcome in the Referendum would add further damage to Australia’s International Human Rights Record.

36. Abbreviation - Stands for heads up - a popular way to notify people that something is about to happen. Some First Nations people identify that reconciliation will be a great deal more difficult if the outcome of the Voice Referendum is no.

37. A formal indication of a choice between two courses of action. The Voice Referendum refers to constitutional change enabling First Nations Voice to Federal Parliament and Government.

38. A name that means joined in harmony derived from Levites, one of the 12 tribes of Israel. The Voice has potential to harmonise citizen relationships by its capacity to influence legislators and decision-maker.

40. The system of rules recognised by a country which regulates the actions of its members and to which a penalty for non-conformity to the rules apply. First Nations groups possessed a system of rules of which they were dispossessed.

41.The surname of an elder of the Kungarakan people whose traditional lands are in the Northern Territory. He co-wrote the Indigenous Voice Co-Design Process Report.

43. Nations or territories considered as organised political communities under one government.

47. To enclose a person in a small area by surrounding the area with a fence (walls). It may be applied to frequency, duration and absence of legal intervention relevant to the incarceration of First Nations people. In earlier times is may also apply to mission residency for First Nations people disenfranchised from their lands and lifestyle.

49. Expressed opinions. The Voice represents the opinion of local and regional First Nations people about matters that are of concern to them.

50. Be aware of through observation, inquiry or information. The declaration of Australia being unoccupied is at odds with observation and encounter of colonists with First Nations people.

52. A state of being.

54.The means by which a Government accrues revenue for the purpose of providing resources and services for the benefit of its citizenry. In Australia the separate states surrendered their taxation raising power to the Commonwealth.

55. Abbreviation, Disease transmitted through sexual contact – Diseases of various kinds were introduced by interaction between First Nations people and colonisers, one of which were of this kind.

57. One of the alternative responses to the Voice Referendum questions. The Voice Referendum in the affirmative is to achieve recognition of First Nations people in the Constitution and consultation about law, policies and programs that affects First Nations people.

58. A comparative adjective meaning lasting or taking a great amount of time.

62. Refers to a thing previously mentioned.

63. Prepare or train (someone) for a particular purpose or activity.

First Nations people traditionally undertake education, induction and rites of passage on their country for their specific responsibility.

66. Abbreviation - A territory in Australia. This territory has the greatest proportion of First Nations people. Successful referendums require a majority of people in a majority of States to vote yes. The Territory is outside States’ majority criteria though their vote counts towards the majority of people. The relevant States are New South Wales, Victoria, Queensland, South Australia, Western Australia, and Tasmania. The Yes vote in the Voice Referendum is more likely in some States than in others.

68. An Australian jurisdiction abbreviation resulting from the federation of colonies/states. Western Australia was the last to agree to Federation by voting yes in a Referendum held in July 1900.

69. The total number of times the Constitution has been changed due to yes vote in referendums in Australia. The most successful referendum occurred in 1967 where the change to the Constitution was to include First Nations people in the census. This had the effect of improving knowledge about inequality on various measures of well-being which have been the subject of many subsequent reports and initiatives.

75. A speaker referring to him or herself and others. The Voice intends First Nations people to do this for all.

76. An act or process through which something becomes different.

77. The consequences of a decision or action.

10. The third largest political party in Australia by vote and fourth largest by election and promotes environmentalism and participatory democracy. Lydia Thorpe is a DjabWurrung Gunnai Gunditjmara Senator who quit the Greens party in response to its support of the yes vote in the absence of consideration of treaty. Ms Thorpe is now an independent and co-founder of the First Nations Network in response to the limitations of the Voice which in its advisory capacity does not guarantee self-determination.

12. Surname of a famous Ngarrindjeri man (1872 – 1967) who broke stereotypes of First Nations people and is featured on Australia’s $50 note. He was educated at Raukkan. He lobbied for the Australian Government and not the constituent states, take responsibility for First Nations People and that the role of the protector (in South Australia) be replaced by a responsible board.

13. A way in which something occurs, is experienced, expressed or done. The Final Report of the Indigenous Co-Design Process sets out the way in which First Nations people may engage with Parliament and Government and the limitations of the engagement. It provides a way for Local and Regional First Nations voices to secure this engagement.

15. An expression that cannot be understood from the meaning of its separate words. The Voice is an example and is a focus of debate.

16. Abbreviation for street. Wakefield Street in Adelaide is named after Edward Gibbon Wakefield (1796-1862) who developed the concept of systemic colonisation. This concept is about the sale of colonial waste lands to finance emigration of British labourers unable to finance their own immigration.

17. Sense and sensitivity in dealing with others or with difficult issues.

21. Anger

1. … - determination. The process by which a person controls their own life and the process by which a country determines its own statehood and forms it own government. Both meanings have resonance for First Nations people and are mirrored in the Uluru Statement from the Heart.

2. Adverb indicating continuation of a movement or action. The Voice may be perceived as a continuation of the outcome of the yes vote in the 1967 Referendum.

3. The early days of interaction between First Nations People and colonists tended to be conducted with reciprocal exchange of …

4. Signed, negotiated agreement that recognises First Nations history. It is one element of The Statement from the Heart premised upon the First Nations peoples not ceding sovereignty of land. Some First Nations people place greater emphasis on treaty than Voice as a first significant step towards genuine reconciliation. ‘…’ or covenants are also part of Australia’s obligations for human rights in international law. Australia is perceived internationally as performing its obligations badly.

5. Those who protects the person and interests of another. The Report of the Parliamentary Select Committee on Aboriginal Tribes recommended protectors of Aboriginal people to guard against encroachment on their property and protect from acts of cruelty, oppression, and injustice. The role was first established in South Australia in 1836 and Mathew Moorhouse was the first non-interim protector from 1839. In 1844, the Aboriginal Orphans Ordinance gave in parenti loci role to the State of half caste and other destitute children of First Nations people. Half caste is an offensive term and should not be used.

26. Obsolete term for working class woman or sex-worker. The missionary work taught First Nations women to be women who worked in the service of others and in the early days of colonisation, some conflict between First Nations people and colonisers was in response to the exploitation of First Nations women.

The Maria Massacre event (1840) was the outcome of some members of the Maria shipwreck violating the women of the Ngarrindjeri people who were providing for the shipwreck survivors’ needs, safety and well-being.

With adequate resourcing First Nations people show that they are more than competent to achieve success and well-being in the realm of non-First Nations people. Frank Brennan (2015) argues that ‘It is incumbent upon non-Indigenous members of the nation to guarantee the minimum requirements for… Indigenous groups to make realistic life choices.’

29. Control of or dominion over an area or people.

30. Having or consisting in the power to make recommendations but not to take action to enforcing them. The role of the Voice has no enforcement capacity. It is a touchstone of debate for and against the no vote in the referendum.

32. A thought or suggestion as to a possible course of action. The Voice referendum which if voted yes does not; create a new Indigenous State, does not make laws and does not alter the essential framework and functioning of the Constitution.

It is a realistic, substantive, and symbolic idea. It does provide an advisory voice to both parliament and government for better informed legislation and its administration.

35. Perform an action.

36. Make it easier or possible for someone to do something by offering ones’ services or resources. The First Nations people are offering their unique essential services and resources to aid decision making. Acceptance of this offer is subject to what 97% of the population say. Reconciliation is subject to this reciprocity.

38. Surname of an activist for indigenous rights. Co-wrote with Calma the Indigenous Voice Co-Design Process Report setting out the model for the integration of local and regional Voice to Parliament and Government. This model addresses the same substantive issues as previous First Nations entities but sets out the structure for First Nations to speak with a unified and authoritative voice, giving credence to more localised views.

39. An affirmative response.

42. Used by a speaker to refer to himself or herself.

44. Music - Seventh note of a major scale. Music and dance are important forms of communication and educative story telling for First Nations people. It may be a gift given to a person by a Dreaming ancestor then communicated through the generations to aid recollection about living successfully on country. They are therefore a signifier of continuing association with land for the purpose of native title.

45. A collection of provisions regarding the same subject which have become law.

46. French for you.

47. A legally recognised subject or national of a state or commonwealth either native or naturalised. It is a misnomer to say that First Nations people did not have this status prior to the successful 1967 Referendum.

50. Ones Family. First Nations people create a system which prescribes rules about marriage and relationship through the network created by family. Laws and programmes of Government and Non-government has had the effect of removing people from their family, community, and country. First Nations children are still greatly over-represented in State care.

51. Singular. The Uluru Statement from the Heart joined together many First Nations to express their needs and aspirations as ‘…’.

53. Past tense of sit. First Nations peoples’ art depicts people sitting together in a circular space for decision-making purposes. Its relevance is an equal right to speak and giving respect to the speaker.

55. Written abbreviation for senior referencing age. First Nations elders however are someone who has gained recognition as a custodian of knowledge and lore, and who has permission to disclose knowledge and beliefs.

56. …Painting. A style of art. The art form started in 1971. It originated in Papunya near Alice Springs. It is a medium for enlivening and telling stories and enlivening the culture of First Nations people.

The artists were concerned that their sand drawings, transferred to other mediums were being seen by people who did not have the right to see them. This included Westerners and other First-Nations people outside of their clan. They abstracted their design into dots to conceal the sacred meanings contained in their art from those who should not have access to the sacred meanings.

59. On the 13th May 1787, 11 vessels carrying over 700 convicts journeyed….(Abbreviation) arriving at Port Jackson on 26th January 1788.

60. Comes to have something that did not previously have.

61. In the matter of.

64. An organ of hearing and balance essential for the receiver of the Voice.

65. A slang term for someone who is exceptional. Exceptional people form part of all cultures. In SA, Dr Doreen Kartinyeri, a Ngarrindjeri Elder (1935-2007), demonstrated greatness in her endeavours pertaining to the construction of the Hindmarsh Island Bridge because of the significance of the area for Ngarrindjeri women.

67. Expanse of salt water which surrounds land masses.

68. Abbreviation for a period of time referencing Christianity. The First Nations Creation stories refers to the period when life was created and explains how life came to be. Stories, and beliefs of creation are often embedded in land forms and are instructive for the present time.

71. Creation story legend (Markulla Clan – Arnhem Land) is it is a bird that used to fly and look over the land. It can be seen in the night sky south of the Southern Cross. Its instruction for the present time is about conflict between two brothers in law in response to greed who became two different bird’s which are native to Australia.

73. Say something to obtain a response. The Uluru Statement from the Heart is a statement of this type.

74. Exist, occur, or take place.

Talara McHugh

Hailing from Kaurna country, Street Legal are a five-piece new wave indie act making a big splash in the local scene. They’ve recently supported Horror My Friend and Egoism as well as playing the Adelaide Fringe, Umbrella Festival and Tour Down Under.

Described by 3D Radio as “Andy Kaufman meets LCD Soundsystem meets John Farnham,” Street Legal are turning heads with their socially conscious tunes and no-holds-barred approach to music inspired by their love of post-disco and punk ethos.

Just when I thought they couldn’t get any cooler, the group also has some UofA alumni.Members Matt, Max and Libby all completed their respective studies in education, music, and music education at The University of Adelaide.

Earlier this month the group dropped their debut track and music video “Hair Today, Gone Tomorrow”; a nostalgic late 1980s daydream of unrequited crushes on movie stars, haunted by the slow march of time that tears us all apart.

The song features hypnotising synth and electronic beats that scratch the brain combined with catchy bass lines and fills you can’t help but tap along to - apologies to my deskmates - creating a wistful ambience accompanied by lyrics reminiscent of a time long gone.

The lyrics themselves are a rose tinted recount, reminiscing the love felt for a former silver screen, starlight long forgotten. A ‘star living in the eighties” who can no longer be reached.

My favourite line is “now those dreams have grown just like my waistline / and it’ll work out fine once I hit the bigtime,” which I believe captures the gradual yet inevitable fall from grace we all endure.

The music video aesthetics do not disappoint, with the group leaning into the late 80s/90s aesthetics. Despite the bittersweet lyrics, the video itself is fun, with a mashup of short clips featuring a CRT TV, an old snakes and ladders board game, and toy dinosaurs in a suitcase, flashing between the “formal” on-stage performance.

I had the pleasure of speaking with Street Legal’s very own Matt Hayward about millennial meltdowns, making a music video, and what’s next for Street Legal.

How does it feel to have your first single and MV out in the world?

It’s great. Lots of bands feign nonchalance at releasing a single - it’s great to have people connect with your music, whether it’s on a deep or a superficial level. Oh you like 90’s movie references about Meg Ryan? That’s awesome. Let’s exchange details.

What inspired the concept behind “Hair Today Gone Tomorrow”?

Well the title is a pun - my friend Walter Marsh likes puns and he’s pretty smart, he wrote a book about Rupert Murdoch which does not feature an awful lot of puns but everyone should read (it’s called Young Rupert, alum UoA shout out here.)

Thematically it’s about being an untethered millennial faced with all these predetermined levels of social/career success and achievement and feeling like you haven’t quite lived up to expectations. Your parents bought their house working part time at the biscuit factory and you’re stuck listening to podcasts about serial killers while trying to keep your houseplants alive. People might refer to this as some sort of mid life crisis or even self-entitlement, which is fine and probably true. It’s basically a three minute Facebook rant from the worst mature age student in your tutorial group.

What was filming the MV like?

It was quick, perfunctory and fun! I am a bit of a stickler when it comes to the creative side of things so it was nice to mention one or two things I liked from my first year Screen Studies and have Kris [Lucia], Harry [Kellaway] and Chris [Best] make it happen.

What’s next for Street Legal?

We’ve just finished recording with engineer Colby Robertson at Interim Studios (home of Ricky Albeck & the Belair Line Band and others) for our next single a little later in the year. Then a plan to head interstate, play some shows and sleep on some couches.

Any parting words?

It’s the selfless and unrecognised who are generally the ones saving kids, not self-entitled or appointed children’s authors. Most edgy people are just really stupid. Trans lives matter now and forever.

The music video was part of an Adelaide Fringe initiative with American filmmaker Norwood Cheek, where we were paired up and given a week to come up with the goods. It makes me appreciate the industriousness of creative local people even more. We had to work quickly and under budget. It’s very exciting, we had fun making it and I hope anyone watching does too.

Hair Today, Gone Tomorrow is available for streaming via Spotify and BandCamp.

Want more? Follow Street Legal on Instagram and Facebook

@streetlegalau to keep up with new releases and gig updates.

I recently had the incredible privilege of interviewing the co-founder and director of Bunya Productions, the multi-talented and award-winning film creator, Ivan Sen. Hailing from the Gamilaroi nation, NSW, Ivan Sen has become one of Australia’s leading First Nations filmmakers. His films met with acclaim both in Australia and overseas. In this Q&A, we discussed his experience as a First Nations filmmaker, the importance of representation, and his upcoming film, Limbo (coming to a cinema near you on the 18th of May!)

Ivan Sen: Writer and Director InterviewbyKathersAnderson

How has being a First Nations person impacted your filmmaking career?

It’s all the same thing really. I think “me,” “what I do,” and “being a Gamilaroi person” are intertwined. I think that by doing a creative or artistic job in some way, there’s more emphasis on my Indigenous heritage because, by its existence, it is always seen as political. That will always inhabit - not only me - but other Indigenous people within their creativity, no matter what the subject matter is. If I were just to be an electrician, I would be an Indigenous electrician. But no one would care about that, because we’re not representing some aspect of society through an Indigenous perspective creatively, and putting it out there for comment.

Your new film, Limbo, is being released in cinemas on the 18th of May, and is available to stream on various platforms. The film had its premiere at the 73rd Berlin International Film Festival. What has the reaction been to the film so far?

The reaction has been positive! Which was a bit of a relief, actually, because you never know what the response will be. We don’t know how Australian audiences will react to it, but I think it’s something that will have an impact in many different ways. It’s such an Australian story specifically, even though the international audience have responded well. It’s one of our stories, and I think our audiences will respond to the more intricate, socio-political details Limbo presents.

What is the meaning behind the name Limbo?

The word “limbo” is something that had been there from the beginning. I had a general idea that I wanted to write a film set within Coober Pedy, and Limbo is one that I felt affected a lot of Indigenous families, or defined the experience of a lot of Indigenous families involved with the Justice system in Australia. When they are victims of crime, they invest in this kind of limbo that’s being passed down through generations of trauma. That is one of the current examples of this limbo, but the film also references how it affects the generations before and the new generations as well. Limbo is something that affects the main character, the police officer, Travis Hurley - someone who is a damaged individual who’s stuck in his own rut. He’s not been able to get out of the situation he’s in. Everyone within the film is damaged in some way, and finds an attraction to each other because of that.

There are interactions where your actors speak in language; how do you choose which language is spoken in film when you have actors from different language groups?

It’s always a tricky thing, language. When you’re shooting on a location, you have to represent the Indigenous perspective of that location. In the end, we’re making a narrative, a drama-fiction, not a documentary. It’s a balancing act. There is some local language in the film, and there was a lot of consultation on which actual language we would use. Coober Pedy contains several different language groups, and having an actor who is not from there - you have to be aware of that as well. There’s no real “right” or “wrong” in the end, because feature film drama is an artform, and is just like any other artform where you take bits of real life and they manifest into something else.

What are the main messages you are trying to convey in Limbo?

I’m not into conveying a certain message. You set the scene, you set up the characters, you set the atmosphere, and press go. There’s certain things the audience will pick up on and get out of it. If you try to get a certain message through to every single audience member, you will actually kinda destroy what you’re trying to achieve in the first place: a piece of art that’s not too loaded or trying to tell people what to think.

You cofounded Bunya Productions with David Jowsey. How important is having First Nations run production houses to the Australian Film Industry?

Bunya has produced a lot of Indigenous films, helped other companies get a foothold, and helped other Indigenous producers to begin their careers. Bunya has played a really important role in helping to establish Indigenous companies and producers, as well as creating work for Indigenous crews and creatives. David - he started off in CAAMA (the Central Australian Aboriginal Media Association) many years ago, before heading to the ABC. He’s a Kiwi, and very well integrated with film and TV when it comes to Indigenous content in Australia. We’ve been getting a lot done. I’m not sure how much longer we’ll keep going, but we will keep fighting the fight.

Do you have any new projects coming up?

I’ve got so many on the go! I’ve been writing two long film series, and I’ve got about three or four features at the moment in various stages of development. In the last couple of years, I’ve reignited a creative flame that I had when I first started at university. I’m getting more intimate with the craft than ever before. I think it has to do with getting older – you’re going to be gone at some point. I’m trying to do as much as I can.

Simon Baker in Limbo, ImagefromBunya Productions

How an Internship Changed My Life

Internships are important, whether you like them or not, providing you with the opportunity to gain real work experience, exposure to work environments and develop professional skills in your field.

Last year after a mid degree meltdown I decided I needed to pursue an internship and gain some experience before graduating. But I soon found that journalism internships were few and far between, especially in Adelaide, which terrified me.

I found out about CareerTrackers (CT) during a conversation with another student at a morning tea of all things. Over poached eggs (which are gross) they told me all about the program and how it supports Indigenous university students to complete paid internships throughout their degree.

It honestly sounded too good to be true and I jumped at the chance to find out more, registering for the program as soon as they emailed me the link later that week. Fast forward a few weeks later and I’m wandering around Westfield Marion when I get a call from CT welcoming me to the program.

For those that don’t know, CT is an organisation dedicated to supporting pre-professional Indigenous students across Australia by linking them with employers to complete paid, multi-year internships throughout their degree with the aim of securing full-time employment after graduating. The program also provides regular networking events with other CT interns and alumni to broaden your network and meet others in the community. Each student is assigned an advisor who assists them throughout the entire internship process as well as throughout their studies with regular check-ins.

I was soon introduced to my advisor, Patrick, and began preparing to complete an internship in the upcoming summer break. Over tea we discussed potential companies that I could intern with and put together my resume, application and interview gameplan.

TalaraMcHugh

Patrick warned me that journalism specific internships may be hard to come by and that I may have to travel interstate to pursue that avenue if successful in my application. We also discussed interning in related fields such as in the communication teams at a local construction company or Sky City (dodged a bullet there lol).

So when he called me to tell me there was an opportunity to intern with The Advertiser under the mentorship of their Indigenous Affairs reporter (shoutout Doug) I was stoked. CT worked their magic and set up an interview with the editor. The nerves and anxiety kicked into full gear but I pushed through it and scored a summer internship.

my career as a journalist with guidance from my mentor Doug who was also a CT and UoA alumni. While a student, Doug interned at The Advertiser through the CT program and had returned to Adelaide after working across the country as a professional journalist. I was able to learn so much from Doug as an aspiring Indigenous journalist and after years of being the only (to my knowledge) Indigenous student in my journalism classes.

Currently at The Advertiser, Doug and I are the only Indigenous people in the newsroom. As Indigenous people you get used to being the “odd one out” in various situations but it is not something we should accept. Growing up I never saw Indigenous journalists in mainstream media and that needs to change.

CT is all about changing the corporate face of Australia by breaking down barriers preventing Indigenous people from being represented across all levels and in all occupations, industries and workplaces. Indigenous people aren’t always afforded the same opportunities as non-Indigenous people with too many talents going to waste due to the systematic barriers in place which is why I encourage any and all Aboriginal and Torres Strait Islander students to become part of the CT community and seize the opportunity to take charge of your professional future.

Visit careertrackers.org.au to find out more or follow them on Insta @careertrackers

My time as a CT intern over the summer was life-changing as I was able to kickstart

In-Fear? Nah, inform!

Plz educate yourself on the Voice to Parliament

A few days before I began writing this article, I had a conversation with someone who pointed out that the average person doesn’t know what The Voice is and/or means, and quoted the phrase “people fear what they don’t know”.

My first thought was, fear of what? What could the average non-indigenous person fear from the creation of a Voice to Parliament? Is it the fear that Indigenous Australians will suddenly get special powers and rights (which they won’t)?, or is it the fear that the Voice isn’t practical or it’ll further divide Australia (can’t be any worse than calling Indigenous people flora and fauna). Perhaps for financially conservative people there’s the fear that the referendum and following appointments will “break the bank” (that whole 75 million, as opposed to the billions already spent on failed policies created by old, white, male politicians).

These fears, to me, will never amount to anything that First Nations people face everyday : fear of racial discrimination, lack of medical services and education, unemployment, broken families, and the constant threat of being incarcerated at ridiculously high rates, and dying in police custody.

Or even fear of subtle racism that is forever prominent; belittling, being ignored, forgotten, and being plainly disregarded.

The fear that I have going into every conversation about the Voice, thinking that someone will somehow minimise, dehumanise or devalue my own experiences and connection to my culture. In the last month alone, I have had someone argue that it’s racist to give First Nations people a voice, one say that the White Australia Policy was necessary to create the beautiful country in which we live. I’ve been told I’m taking advantage of the systems because I’m not Aboriginal enough, and that I’m not Aboriginal enough to have an opinion. And, when trying to educate one friend on their cultural insensitivities concerning a mass genocide and the stolen generation in my area, they responded with 3 soul crushing words: “I don’t care”.

Whether intentional or not, comments and actions like these highlight to me that institutionalised racism towards First Nations people remain deeply ingrained in the minds of everyday Australians. And it’s that racism embedded in Australian culture that calls attention to the need for a Voice to Parliament. So that First Nations people can speak for themselves. Without being spoken over, have their words twisted or be plainly ignored.

It shows the need for educating others and campaign for a yes vote for a Federal Aboriginal and Torres Strait Islander Voice to Parliament, as well as full implementation of the Uluṟu Statement from the heart.

It’s up to us, the people who know what is going on, people who care about the Aboriginal and Torres Strait Islander people of this country to teach others what they don’t know.

ArtbyShaniaRichards

@blackbitch26https://linktr.ee/blackbitch26

Did you know, that Spanish doesn’t have a word for sorry. Only Perdóname, which means, forgive me. It’s not an extension of sympathy or regret, but instead, a demand of selfish intent.

When I was younger, I used to wonder the reason for this, and of course I landed on history. Because when the Spanish Conquistadores ravished the bones of my land, licking my ancestors’ ashes from their hands, they did not have the words or guts to say sorry.

They saidit’s easier to demand forgiveness than to ask for permission, and my indigenous land was too seductive for their hungry eyes -they couldn’t resist sucking every bone dryAnd when they left a stripped skeleton, buried, in an unmarked grave, all they could do, all they could demand was“Perdóname. I took everything from you. Forgive me.”

Well, did you know, that Spanish doesn’t have a word for struggle. Only LuchaWhich means, to fight. And maybe this is why I feel adrenaline fuelling my limbs like a steroid shot, eyes twitching, always searching, they say I’m an addict for it. I was born with a fight or fight instinct, seared into my tongue, and it can’t stop fighting for an apology I know won’t come-

Did you know that I don’t have the words big enough to paint my griefDid you know that I’m still trying to find that unmarked graveDid you know that my Spanish words sometimes feel like invaders in my own mouthDid you know that colonization stole my voice in more ways than oneDid you know

That when the Spanish cut out my tongue and replaced it with theirs, they took my ability to forgive with it. Buried it, besides the corpses of my ancestors, not to be awakened

even in the face of demands like “Perdóname.”

ARANTZA GARCIA

Craft Corner

Tjanpi Basket Weaving

The Tjanpi Desert Weavers are a group of 400 Anangu/Yarnangu female artists from the Ngaanyatjarra Pitjantjatjara Yankunytjatjara (NPY) lands. Tjanpi (meaning grass in Pitjantjatjara) is a social enterprise of the NPY Women’s Council, working with women in remote Central and Western desert regions. Through Tjanpi, these women earn an income creating temporary fibre art, and selling woven products such as baskets, sculptures and jewellery. The Tjanpi Desert Weavers also sell their own weaving kits, with all profits going back to the artists - amazing! So if you can, I definitely recommend supporting them.

For this edition of Craft Corner, I followed their basket weaving tutorial, which you can find for free on their website. Here is my own Tjanpi inspired guide:

What you need:

- Lots of raffia, it is recommended to have at least two different colours. The total amount of raffia will depend on how big you want your basket

- A medium/large sized needle

- Scissors

Method:

1. The Tjanpi Desert Weavers suggest using 5-10 pieces of raffia. The more raffia, the thicker the rows will be. Tie these pieces together, leaving a small gap in the middle to thread through. These pieces will serve as your ‘tails’.

2. To begin, thread a piece of raffia through a needle - ideally, the bigger the needle the better. You don’t need to tie this piece. Using a different colour will make it easier to differentiate between the tails and thread piece, but is not mandatory.

3. Begin threading through the centre of the knot and work your way around the raffia tails. Once you’re done it will resemble a snail-shape.

4. Keep working around the tails by threading through the middle of the previous row to expand the centre. Wrap the thread tightly for firmness.

5. When your tails become too short, simply grab new pieces and thread them through the existing tails. If your threading piece is running out you can add a new piece by folding it over the existing one. You can also connect the ends of the old and new pieces by wrapping them together or tying them by their endswhatever works for you!

6. When you’re happy with the size of the ‘snail shell’ centre, place the tails on top to create the walls of the basket and resume weaving as usual.

7. Once you’ve reached the desired height, thread around the top row until it is covered. To finish, tie the ends and tuck away any bits that stick out around the basket.

To find out more about the Tjanpi Desert Weavers scan the QR code!

I found the process of weaving my basket really calming despite watching my partner play competitive Overwatch (iykyk) while doing it. I did make a few mistakes here and there but felt so proud holding up my tiny, wonky basket. I sent my mum a picture, who told me ‘that’s deadly’ which was all the validation I needed. Now, my basket is being used to store my headphones, hair ties and keys on my bedside :)

Talara McHugh

A gift from down under: What the recent Academy Awards gift bag controversy tells us about Indigenous land rights and native title in AustraliA

ByAsirahAbdulKadir

This year’s Academy Awards was full of historic wins and long-anticipated representations in media, but in true Hollywood fashion, questionable affairs have taken the spotlight. After all, what is Hollywood without a little bit of controversy?

No, I’m not talking about the infamous Slapgate nor the Moonlight/La La Land debacle. This year’s Academy Awards controversy hits close to home; pieces of land in outback Queensland were passed out in the goodie bags like packets of Wizz Fizz. Following the ceremony, The Guardian Australia reported that a company called Pieces of Australia paid upwards of $4,000 for a spot in the coveted Oscars hamper, distributed by Distinctive Assets (unaffiliated with The Academy).

Hollywood celebrities were each gifted 1 square metre of Pieces of Australia’s privately-owned land on Baruŋgam Country, a symbolic certificate of land licence, and two trees planted in their honour. The company claims that the Conservation Packs featuring these items aim to preserve and protect Australian land from exploitation, whilst also recovering First Nations peoples’ connections with the land.

These glittering promises are all well and good, but we hit a pointy iceberg when it was reported that the property is situated in the heart of a coal seam gas field that’s currently being exploited. What’s more, the company has been accused of using the name and images of an Indigenous organisation in Pieces of Australia marketing without their consent.

A lot could be said about the irony of this situation, and indeed, many have made their thoughts known. What intrigues me more are the signals it seems to send about the limitations of Australia’s native title laws.

Before we dive into that discussion, it’s important to understand the history of native title. One of the many reasons why colonisation was successful in Australia was because of the Latin word, terra nullius. The colonisers did not consider the Indigenous inhabitants as humans, and used that to justify taking their land. Two centuries and a historic High Court decision later, the archaic suggestion that this country belonged to nobody was eradicated. Finally, the pre-existing rights of First Nations Australians to their land were legally recognised!

Legislations codifying these rights followed soon after, yet like many other policies and systems, these were not without flaws.

A common misunderstanding is that with native title comes ownership. However, according to the Native Title Act 1993, native title is limited to the recognition of rights and interests of First Nations peoples in relation to land and waters. This includes the rights to fish, to hunt, or to hold ceremonies on Country. As a result of this, native title holders can’t dictate what can or cannot be

Note also that these rights do not encompass the rights to use land or water for commercial purposes. This means Pieces of Australia may

profit off the land, but the same can’t be said for First Nations communities. This becomes problematic as we evolve into a society dependent on trade. ‘In Canada and the US, Indigenous communities that hold native title or its equivalent can make use of that land for commercial purposes, just as any other owner might do,’ explains Professor Paul Babie from The University of Adelaide Law School. So why haven't our laws and policies picked up on this? The Australian Law Reform Commission has called for the inclusion of commercial rights in native title to keep up with the status quo.

Proving one’s entitlement to land rights carries its own set of issues. To claim native title, the claimant must prove that an unbreakable connection with the land or water is still in existence and that they have continuously exercised their customs and practices in relation to the location since settlement. Alarm bells go off as we reflect on Australia’s dark and bloody history with its First Nations peoples. How can Indigenous communities successfully prove an unbreakable connection with the land when colonists actively tried to eradicate said connection and customs?

While it is important, native title is still a weak form of proprietorship. First Nations peoples don’t have actual ownership of the land or

water, so the extinguishment of native title is easy. And once it’s gone, it’s gone; affected Indigenous communities are barred from ever applying for native title of the land again. The process of instituting a native title claim has also been reported to be long, strenuous and resource intensive, with applications taking anywhere between 6.5 to 18 years before a decision is made.

It’s quite unsettling to learn how easy it was for Hollywood stars to own a piece of Australia, when many of the country’s traditional owners and custodians won’t live to see the day they get to call Australia their own again.

I went on a study tour,

Now I know that sounds kind of cliché, but it’s true. Travelling with the University is one of the highlights of my life in the past couple years. It produced some of the best memories that I’ll never forget. I learnt not only a lot about another country and their people, but also a lot about myself and my own culture and heritage. The study tour was an Indigenous Knowledges tour and was open to Indigenous students and non-Indigenous students studying in that field. We travelled overseas to Malaysia to learn about their Indigenous people and culture. I felt like this opportunity would not come around often so I just went for it. I was nervous going to another country with people I didn’t really know, but I am so glad that I did!

On the tour a group of 10 of us flew over to Malaysia, which included two Wirltu Yarlu staff members. One of them was Uncle Rod, an Aboriginal elder and the other was our awesome lecturer, Kam. It was great having Uncle come along as it felt like he brought a bit of home with him, which made me feel at ease. I met most of the people in the group at the airport, and they instantly made me feel welcome and made the trip one to remember. I guess there’s something about travelling to a foreign country with a bunch of strangers that kind of makes you bond with each other. The University also employed a Student Support Officer to meet up with us over there. She had travelling experience and was fresh out of Uni, so she helped us with all our travel queries and could relate to being a student.

and it changed my life.

Some of the highlights from the trip was meeting Welyne, who is an Indigenous Malaysian (knows as Orang Asli- original people) lecturer. She had an immense amount of knowledge of her people and culture, and I learnt so much from having conversations with her. She had so many connections, which helped us experience the arts and culture of the Orang Asli. One example of this was a weaving workshop. Welyne even opened her home to us in Kuching, where we met the village mayor and a couple of her family members helped guide us on a trip in the Borneo jungle to find food. We also visited The University of Malay and learnt a lot about the Orang Asli by a team of amazing lecturers. I must say it wasn’t all learning either, we had a perfect amount of down time to go explore Malaysia on our own.

So, if anyone is considering going on a study tour with the Uni, I highly recommend it. It was filled with such great experiences, and it challenged me in the best way possible. There was endless amounts of support and it’s a trip that I will be forever grateful to have been on.

How I accidentally ended up in the Dark Emu debate:

When I first picked up Dark Emu: Black Seeds: Agriculture or Accident?, I was captivated by the ideas it put forward around the suggestion that many First Nations Australians engaged in agricultural practices. Like any good reader, I couldn’t wait to share it with my fellow students & On Dit audience.

I started writing this article after reading Dark Emu, taking the book at face value. Poor form by a science student, I know! The next few paragraphs I wrote before doing my background research…

It’s pretty well known that our education institutions don’t do the best job of teaching First Nations Australian perspectives, let alone their lives before invasion by the Western world.

Knowing this, I suppose I shouldn’t have been surprised when I picked up a book on Aboriginal Australian agricultural practices. This book of diary extracts from explorers and papers from researchers details that many First Nations communities were resourceful agriculturalists, suggesting that they were involved in selecting productive seeds, sowing, and irrigating for reliable food production as opposed to hunting & gathering with minimal intervention of the land.

Does that come as a surprise to you too? It makes sense that our oldest surviving culture developed agricultural practices well before colonisation. They had to keep themselves fed and surely had time to try out different systems, from gathering to more sedentary agriculture. What doesn’t make sense is that, despite being in my final year of a Bachelor of Science in Plant Biology (basically an agricultural science degree by proxy) and attending almost every class over the past two years, I had never encountered this information before.

At this point, my research branched out:

When a Sky News YouTube clip denounced my original source, I was prepared to blow it off but gave it a listen in the background whilst I skimmed over the Wikipedia page. When I came across the lengthy ‘Debate and Criticism’ section, plus the fact that this book had spawned a counter-book analysing each fact and source, I knew that I had to reconsider.

Written by Bruce Pascoe, an Aboriginal Australian writer & historian, Dark Emu won Book of the Year and the Indigenous Writers’ Prize at the NSW Premier’s Literary Awards and was diligent in its citations.

However, many critics and even researchers whose work was used by Pascoe in forming the basis of his argument for Dark Emu claim that the book exaggerates and ‘sometimes romanticises pre-contact Indigenous society’, with some critics labelling the book ‘misleading and offensive to Aboriginal people and culture’. There was even an attempt by MP Mark Latham with Pauline Hanson’s One Nation Party to have the book banned from use as a source of discussion by teachers in NSW schools (although it could be suggested that any book that angers the One Nation Party & its supporters is considered a success).

Writer and historian James Boyce highlights that Pascoe uses predominantly white explorers’ journals, lacks First Nations Australian sources, and generalises from local examples.

Image:WesternAustraliaMuseum

agriculture or hunter-gathering?

After reading more articles than I originally anticipated, it appears that most First Nations Australians were hunter-gatherers at the time of invasion.

This isn’t to say that they weren’t impacting the landscape. They were intelligent users of fire, using it to create mosaics of burnt and unburnt areas to attract game and encourage new growth in a manner that we now call ‘firestick farming’.

Burning was undertaken at specific times of the year once annual plants had finished their life cycle and set seed, so that the future population existed in the seed bank. Recently burnt areas promoted the growth of annual grasses and tubers such as yams, drawing kangaroos and emus which could be hunted. These tubers and grasses were also harvested and eaten by First Nations Australians. Sometimes this resulted in a surplus harvest which was preserved and stored.

First Nations Australians also altered the Australian landscapes by constructing wells, dams, and housing. Just because they may not have managed large-scale agricultural systems doesn’t mean that First Nations Australians were less advanced than their invaders. In many senses, their sustainable maintenance of our Australian ecosystems implies that they were much more advanced than Europeans.

SustainabiliDIT

I didn’t get to discuss the agricultural breeding concepts that I’d originally hoped for, but I hope you learnt something about firestick farming and the importance of validating your sources.

That being said, I strongly encourage you to read and engage in discussions around First Nations Australian history. Make sure you always seek both sides of the story (or in the more realistic case, two opposing sides plus a lot of in-between arguments), scrutinise the validity of your sources, and keep an open mind. Both novels discussed are available through the university library and our public library systems, Libraries SA.

Although I’m not likely to be diving into the in-depth breakdown of Dark Emu by reading Farmers or Hunter-Gatherers? The Dark Emu Debate anytime soon (no hate, but I’m only just emerging from my steadfast fiction reading phase), I’ll be keeping an open ear to the discussion in the future.

Boyce, J (2021), Transforming the national imagination: The ‘Dark Emu’ debate, The Monthly. Hughes-d’Aeth, T. (2018). Friday essay: Dark Emu and the blindness of Australian agriculture. The Conversation. Pascoe, B (2014) Dark Emu: Black Seeds: Agriculture or Accident?, Magabala Books, Broome. Sky News Australia (2021). ‘No evidence’ to support Bruce Pascoe’s ‘Dark Emu’: Warren Mundine. YouTube.

Wikipedia (2023). Farmers or Hunter-Gatherers?

The Adelaide Sustainability Association (ASA) at the University of Ade laide are a social group interested in learning more about sustainability and getting to know like-minded students. You can learn more about the ASA & chat about our Sustainabili-dit articles via our social media channels: @Adelaide Sustainability Association on Facebook @instainable on Instagram.

Arantza - [Dear First-Generation U Ariana Haghighi & Marlow Hurst_

“Cha-Ching! Cash is King: How a Potential Wage Increase Could be on the Horizon and finally help you Afford Avocado Toast”

As university students, you might be wondering how this wage dispute affects you. Allow me to catch you up! The Australian Retailers Association (ARA) recently called for a 3.8% increase in minimum and award wages for retail and fast-food workers, due to real wages being set to fall to levels similar to those in Dec 2008 as displayed in Figure 1. The wage increase would affect 2.6 million award workers as well as hundreds of thousands under retail and fastfood agreements, which tie their annual wage rises to the minimum wage decision. However, this proposed increase has caused some controversy, as it is the highest of all employer groups.

The ARA’s submission argues that a 3.8% increase would account for a forecast drop in inflation by June next year, and a 0.5% rise in superannuation. This means that workers would be able to keep up with the rising cost of living.

However, the Shop Distributive and Allied Employees Association (SDA) disagrees with the ARA’s proposal. The SDA is supporting Australian Council of Trade Union’s (ACTU) call for a 7% increase, stating that its members are experiencing hardship that has surpassed the Global Financial Crisis. The SDA argues that retail profits mean that employers can afford to pay workers a real wage rise.

Other groups have also weighed in on the wage dispute; such as the Australian Chamber of Commerce and Industry, who have called for a 3.5% increase.

So, what do these numbers mean for the average worker? Well, the consumer price index (CPI) (Figure 2) for the December quarter was 7.8%, with underlying inflation at 6.9%. But monthly CPI indicators suggest headline inflation fell to 6.8% in February. The ARA argues that the Fair Work Commission should not base its decision solely on past inflation rates, but also on the year ahead. It cited Reserve Bank forecasts that underlying inflation would fall to 4.3% by the end of the year and 3.3% by June next year.

On the other hand, the SDA points to a study by the University of Wollongong Associate Professor Martin O’Brien. O’Brien found that the proportion of retail employee households assessing themselves as ‘‘just getting along’’ and ‘‘poor’’ had increased from 26% to 30% last year. This suggests that workers are struggling to make ends meet.

One female assistant department manager described herself to the union as ‘‘working poor’’ and that mortgage, car, and phone bills took up her entire pay. Another fiftyfive-year-old female retail worker quoted in the submission revealed that she was now paying bills in installments, and her situation was ‘‘desperate’’.

The SDA argues that the top ten retailers’ earnings before interest and taxes increased by 51% since 2019, and that eight saw sales rise last year. This suggests that employers have the means to pay their workers more.

However, the ARA warns that anything higher than 3.8% should be offset by productivity gains, to reduce inflation risks and to avoid “overstretching smaller retailers who have limited reserves to incur higher labour costs, in addition to higher costs of doing business”. The retail association has raised concerns of “early indications that economic growth was slowing”, pointing to the retail sector reporting its first monthon-month declines in trade for more than a year last December. Analysts report that retail sales volumes are flat and that growth in retail trade is driven by price increases, not volume. Overall, a potential wage increase is evidently required and has the potential to positively impact both employees and businesses, but careful consideration and planning is necessary to ensure long-term sustainability.

Figure2.InflationmonthlyCPIindicator(RBA,2023)

Joining a club is one of the best ways to find friendship and fulfillment on campus.

Head to youx.org.au/clubs to find the complete list of our YouX Clubs and their preferred contact.

youx.org.au/clubs