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At last! A book showcasing the Aboriginal rock art of Western Australia's Burrup Peninsula. Western Australia contains some of the oldest, most prolific, and most spectacular rock art in the world. Some of the art probably dates from about 40,000 years ago, and much dates from around the last ice age which peaked 20,000 years ago. On the Australian Heritage-listed Burrup Peninsula and surrounding islands there are an estimated one million motifs carved into the rocks. This lavishly illustrated 516-page book has more than 600 images of this amazing art.
Spending time in the Pilbara region of Western Australia as part of the Aboriginal Deaths in Custody Royal Commission, Sydney lawyer Noel Olive began listening to, and then recording, the stories and experiences of the local Indigenous people. That material forms the basis of a history from an Aboriginal perspective of Aboriginal-European relations in the region, from colonial times to present day. The author previously edited a book of Aboriginal histories from the same region (Karijini Mirlimirli FACP 1997), which was well received by reviewers and is a recommended text in both the legal profession and Aboriginal Studies courses.
A paradigm-shifting book in the vein of Sapiens that brings a crucial Indigenous perspective to historical and cultural issues of history, education, money, power, and sustainability—and offers a new template for living. As an indigenous person, Tyson Yunkaporta looks at global systems from a unique perspective, one tied to the natural and spiritual world. In considering how contemporary life diverges from the pattern of creation, he raises important questions. How does this affect us? How can we do things differently? In this thoughtful, culturally rich, mind-expanding book, he provides answers. Yunkaporta’s writing process begins with images. Honoring indigenous traditions, he makes carvings of what he wants to say, channeling his thoughts through symbols and diagrams rather than words. He yarns with people, looking for ways to connect images and stories with place and relationship to create a coherent world view, and he uses sand talk, the Aboriginal custom of drawing images on the ground to convey knowledge. In Sand Talk, he provides a new model for our everyday lives. Rich in ideas and inspiration, it explains how lines and symbols and shapes can help us make sense of the world. It’s about how we learn and how we remember. It’s about talking to everyone and listening carefully. It’s about finding different ways to look at things. Most of all it’s about a very special way of thinking, of learning to see from a native perspective, one that is spiritually and physically tied to the earth around us, and how it can save our world. Sand Talk include 22 black-and-white illustrations that add depth to the text.
"This monograph presents a model of the artistic traditions and associated petroglyph production, suggesting five major phases for the Dampier Archipelago, and providing insights into a world that existed for Indigenous Australians over many thousands of years.".
Living Knowledge: The Plants of Murujuga was produced based on three field surveys in 2009 and a followup survey in 2011 to fill in data gaps. For each field survey, representatives from the five Traditional Custodian language groups at that time - the Yaburara, Ngarluma, Yindjibarndi, Mardudhunera and Wong-Goo-Tt-Oo - were nominated to attend, along with the project botanist, linguist and a Woodside representative.The group visited numerous sites across the Burrup Peninsula, collecting plant samples and recording stories of their traditional uses. The plants collected were taken back to Roebourne following each survey to be discussed with a wider audience, including any Elders who were unable to visit the field sites.Local botanist Vicki Long recorded all knowledge collated, identified plant species and lodged them with the WA Herbarium. Linguist Eleanor Deake (Wanka Maya) provided interpretation of language for the 2009 surveys and Kerry Churnside (Ngarluma Aboriginal Corporation) assisted with language for the 2011 survey. Information was written as it was given and in each case the informants name was recorded. Since the time of the surveys, Murujuga National Park has been recognised and is jointly managed by Murujuga Aboriginal Corporation (MAC) and the Department of Biodiversity, Conservation and Attractions (DBCA). This book will be used by MAC and the DBCA to assist with the management of the National Park and to share the wealth of traditional knowledge from those who have custody over it.
Through stories of diverse landscapes from around the world, this book captures human cultures and their land use practices in the environments they inhabit. The chapters cover topics from heritage in the 21st Century, appreciating and safeguarding values while facing challenges wrought by change. This title will lead readers through fascinating stories of landscapes and people. We learn of the physical and spiritual structure of rice terraces of the Honghe Mountains in China maintained by following a 1300 year sustainable practice of water allocation, while the colonial tea plantations of the Sri Lankan highlands are managed by Indian Tamils who now seek tourism as a means of additional income. Sustainable agricultural methods in the USA are being introduced to prevent landscape loss while in Australia a challenge confronting family farms is progressing to rural industrialisation. Challenges are further outlined in the mythical story of Finland's Saint Henrik pilgrimage and in the intangible Ui-won gardens of Korea. The huge challenge for Japan's landscapes is the legacy from fierce natural 21st Century disasters while in Australia's Dampier Archipelago, an avoidable yet brutal development on a unique Aboriginal rock sculptured landscape highlights serious concerns about heritage governance. These remarkable stories of landscapes and their management are inseparable from the communities that inhabit them. This book was originally published as a special issue of Landscape Research.
The objective of this project is to encourage new ways of thinking about the meaning and significance of space. It follows a desire that has been expressed and theorized by Henri Lefebvre - and by extension Edward W. Soja - to remove Spatiality from the margin of the "Trialectics of Being" and to bring it into the "Trialectics' fold" alongside with - and of at least equal significance to - Historicality and Sociality. The thesis focuses on how space of the Pilbara region in Western Australia is produced in contemporary Australian writing, film, art and through "lived experience". The thesis argues for an understanding of space as essentially dynamic.
Global Perspectives for the Conservation and Management of Open-Air Rock Art Sites responds to the growth in known rock art sites across the globe and addresses the need to investigate natural and human-originated threats to them as well as propose solutions to mitigate resulting deterioration. Bringing together perspectives of international research teams from across five continents, the chapters in this book are divided into four discrete parts that best reflect the worldwide scenarios where conservation and management of open-air rock art sites unfolds: 1) ethics, community and collaborative approaches; 2) methodological tools to support assessment and monitoring; 3) scientific examination and interventions; and 4) global community and collaborative case studies innovating methodologies for ongoing monitoring and management. The diverse origin of contributions results in a holistic and interdisciplinary approach that conciliates perceived intervention necessity, community and stakeholders’ interests, and rigorous scientific analysis regarding open-air rock art conservation and management. The book unites the voices of the global community in tackling a significant challenge: to ensure a better future for open-air rock art. Moving conservation and management of open-air rock art sites in from the periphery of conservation science, this volume is an indispensable guide for archaeologists, conservators and heritage professionals involved in rock art and its preservation.
A fascinating case study of the archaeological site at Murujuga, Australia Located in the Dampier Archipelago of Western Australia, Murujuga is the single largest archaeological site in the world. It contains an estimated one million petroglyphs, or rock art motifs, produced by the Indigenous Australians who have historically inhabited the archipelago. To date, there has been no comprehensive survey of the site's petroglyphs or those who created them. Since the 1960s, regional mining interests have caused significant damage to this site, destroying an estimated 5 to 25 percent of the petroglyphs in Murujuga. Today, Murujuga holds the unenviable status of being one of the most endangered archaeological sites in the world. José Antonio González Zarandona provides a full postcolonial analysis of Murujuga as well as a geographic and archaeological overview of the site, its ethnohistory, and its considerable significance to Indigenous groups, before examining the colonial mistreatment of Murujuga from the seventeenth century to the present. Drawing on a range of postcolonial perspectives, Zarandona reads the assaults on the rock art of Murujuga as instances of what he terms "landscape iconoclasm": the destruction of art and landscapes central to group identity in pursuit of ideological, political, and economic dominance. Viewed through the lens of landscape iconoclasm, the destruction of Murujuga can be understood as not only the result of economic pressures but also as a means of reinforcing—through neglect, abandonment, fragmentation, and even certain practices of heritage preservation—the colonial legacy in Western Australia. Murujuga provides a case study through which to examine, and begin to reject, archaeology's global entanglement with colonial intervention and the politics of heritage preservation.