The Blood In My Veins Analysis

The Australian Indigenous community hold extremely significant corrections to the land of Australia, of which they refer to as ‘Country.’ Indigenous people acquire deep meaning from the land, sea and the countless resources derived from them. This special relationship has formed for many centuries. To them ‘Country’ is paramount for overall wellbeing; the strong, significant, spiritual bonds embody their entire existence. Knowledge is continually passed down to create an unbroken connection of past,

This work examines the past and also imagines the future by using references of past racial murders and the way they coincide with the present context and explore Australian Indigenous and non-Indigenous culture in the present-day. Ah Kee created this series of artworks in response to the apparent police cover up of the death of a young man in their custody, for protection of

Contemporary artist, Ah Kee, has created a work, “Unwritten #9”, references past racial murders and the way they resonate in the present context and explore Australian Indigenous and non-Indigenous culture in the contemporary society. Ah Kee created this series of artworks in response to the apparent police cover up of the death of a young man in their custody and protection of their own lead to accusations of racism, riots by the Islanders and their further oppression by the police. The faces are also non-specific and have no identity, this refers to the devastating history of racism and violence against indigenous peoples in Australia. This symbolism also suggests the often unspoken motivations for actions and interactions between Australians

The piece is classified as Aboriginal Australian literature. It was published in the 1960’s. The purpose of the text is to give hope in a new beginning after the events involving the racial tension between the Aboriginals and the white settlers. The poem is directed to the Aboriginal people of Australia who suffered from these events

The notion of the contemporary indigenous identity and the impact of these notions are both explored in texts that have been studied. Ivan Sen’s 2002 film ‘Beneath Clouds’ focuses on the stereotypical behaviours of Indigenous Australians highlighting Lina and Vaughn’s journey. This also signifies the status and place of the Australian identity today. Through the use of visual techniques and stereotypes the ideas that the Indigenous are uneducated, involved in crime and the stereotypical portrayal of white people are all explored. Similarly the notion of urban and rural life is represented in Kennith Slessor’s ‘William Street’ and ‘Country Towns’.

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

The fourth lesson will be analyse the content of the picture book “Why I love Australia” by Bronwyn Bancroft. The lesson involves: discovering the visual art element and principals of the illustration (VAES1.3); introduce the artist Bronwyn Bancroft (VAES1.3); explore the traditional Indigenous feature and art technique used in the illustration (VAES1.3); reading the book to class, and guiding student to discover the relation between the words and pictures (ENe-1A).

Australia is a young, modern country made up of a diverse and multicultural population, therefore, it’s difficult to say that it has a single national identity. This essay will examine what Australia’s identity may look like, specifically, through art.

Terra Nullius was once apparent in Australian society, but has now been nullified with the turn of the century. With the political changes in our society, and the apology to Indigenous Australians, society is now witnessing an increase in aboriginals gaining a voice in today’s society. Described by Pat Dodson (2006) as a seminal moment in Australia’s history, Rudd’s apology was expressed in the true spirit of reconciliation opening a new chapter in the history of Australia. Considerable debate has arisen within society as to whether aboriginals have a right to land that is of cultural significance and whether current land owners will be able to keep their land.

Aboriginal art has many inspiring aspects such as the link that it has to the past of Aboriginal people, kinship the dreaming, land and reconciliation. Charlie Colbung is the artist behind a large beautiful acrylic painting exhibited in the Plantagenet community resource centre, in Mount Barker Western Australia. Colbung’s painting is called ‘Past to Present’ and represents the journey to reconciliation of both Indigenous and non-Indigenous people. Full of depth, texture, colour and numerous artistic elements to entice audiences to engage and analyse his lovely art work as well as critically reflect on the art and the meaning behind the painting. Charlie Colbungs painting Past to Present is a beautiful example of Aboriginal art work.

The ‘colonisation' of Australia by Europeans has caused a lot of problem for the local Aborigines. It drastically reduced their population, damaged ancient family ties, and removed thousands of Aboriginal people from the land they had lived on for centuries. In many cases, the loss of land can mean more than just physical displacement. Because land is so much connected to history and spirituality, the loss of it can lead to a loss of identity. This paper will examine the works of Tim Rowse and Jeremy Beckett as well as other symbols of identity that are available to modern Aborigines in post colonial Australia.

An example of this “revolutionary conceptualism” (Ferell, 2012) is observed in Figure 2, a piece of artwork called “The Elders of the Tribe”, by Elizabeth Durack (1953). Overall, the image depicts the elders of a Warlpiri kinship group sitting around a distinctive ground pattern, representing their ancestral origin in Central Australia (Durack, 2015). The wavy and distinctive insignia convey the elders being “swept away by the wind” (Durack, 2015), in addition to the concentric circles, connoting to various spiritual events that occurred at various campsites within the Warlpiri community. Moreover, Durack (2015) further explains that the artwork represented a “conversion from red and white ochre to acrylic medium”, supporting the artistic transition from traditional Aboriginal ground art to Western-inspired acrylic paintings.

The Indigenous Australian imagination perceives the way of the world and all that exists as not the result of a singular force or mind, but, rather, the result of powerful totemic ancestral beings who once roamed the land. This ontological tradition, known as “The Dreaming”, serves as an infinite link between past and present, people and place, and both the natural and spiritual world. “The Dreaming,” then, asserts that all of humanity and nature in its entirety is alive and connected. In his ethnographic account titled, Pintupi Country, Pintupi Self, Fred Myers examines the importance of The Dreaming to Pintupi society and its centrality in the constitution of their lived world. Descriptions of what happened in The Dreaming underlie Pintupi social relationships and constructions of “country.” It is through this mythological construct that the Pintupi Aboriginal people mediate their relationships with the land and negotiate aspects of personhood and identity.

Australia has always been centered around diversity and change, specifically with the vast multiculturalism and migrant culture throughout the nation. The specifics of Identity hold an important role in shaping our identity as students and as a nation. Australians pride themselves on being a land of the free and full of diverse culture. This is specifically referred to in our national Anthem; “For those who've come across the seas, We've boundless plains to share; With courage let us all combine,”(McCormick, 1984). Displaying Australia’s open attitude towards immigrants and contributes to the diversity present within our society today. Even before this, much of Australia’s Identity was associated with caucasian culture (Originating from British Settlers). Which is the dominant perception of Australia through the media with australian representation being present through the stereotypes of Bogans, which was made popular through shows like Kath and Kim (ABC, 2007). Also, represented through the popular depiction of Australian people - the bushman made popular by movies like Crocodile Dundee (Faiman, 1986) and through famous real life bushman; Steve Irwin. An important aspect of Australian identity which is consistently neglected is the culture and representation of the initial owners of the land; the aboriginal people. Throughout history the constant mistreatment and neglect of the indigenous, has lead to a massive gap in privilege between the aboriginal people and our

This method is used to identify the WBC, RBC and platelet count in the body.