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The Land is the Source of Law brings an inter-jurisdictional dimension to the field of indigenous jurisprudence: comparing Indigenous legal regimes in New Zealand, the USA and Australia, it offers a ‘dialogical encounter with an Indigenous jurisprudence’ in which individuals are characterised by their rights and responsibilities into the Land. Though a relatively "new" field, indigenous jurisprudence is the product of the oldest continuous legal system in the world. Utilising a range of texts – films, novels, poetry, as well as "law stories" CF Black blends legality and narrative in order to redefine jurisprudentia in indigenous terms. This re-definition gives shape to the jurisprudential framework of the book: a shape that is not just abstract, but physical and metaphysical; a shape that is circular and concentric at the same time. The outer circle is the cosmology, so that the human never forgets that they are inside a universe – a universe that has a law. This law is found in the second circle which, whilst resembling the ancient Greek law of physis is a law based on relationship. This is a relationship that orders the placing of the individual in the innermost circle, and which structures their rights and responsibilities into the land. The jurisprudential texts which inform the theoretical framework of this book bring to our attention the urgent message that the Djang (primordial energy) is out of balance, and that the rebalancing of that Djang is up to the individual through their lawful behaviour, a behaviour which patterns them back into land. Thus, The Land is the Source of the Law concludes not only with a diagnosis of the cause of climate change, but a prescription which offers an alternative legal approach to global health.

Utilising a range of source material and a variety of theoretical and methodological approaches, this ground-breaking collection offers the reader new ways of assessing the uneven paths of mission endeavours, and examines the ways in which Indigenous peoples responded to -- and took ownership of -- aspects of Christian and Western culture and spirituality.

“The patterns and designs were laid down on the country and in the minds of Yolŋu by the ancestral beings at the time of creation. They have been passed on through the generations from our great grandparents, to our grandparents, to our parents, to us. They are the reality of this country. They tell us all who we are.” — Djambawa Marawili AM Djalkiri are “footprints" – ancestral imprints on the landscape that provide the Yolŋu people of eastern Arnhem Land with their philosophical foundations. This book describes how Yolŋu artists and communities keep these foundations strong, and how they have worked with museums to develop a collaborative, community-led approach to the collection and display of their artwork. It includes contributions from Yolŋu elders and artists as well as Indigenous and non-Indigenous historians and curators. Together they explore how the relationship between communities and museums has changed over time. From the early 20th century, anthropologists and other collectors acquired artworks and objects and took photographs in Arnhem Land that became part of collections at the University of Sydney. Later generations of Yolŋu have sought out these materials and, with museum curators, proposed a new type of relationship, based on a deeper respect for Yolŋu intellectual frameworks and a commitment to their central role in curation. This book tells some of their stories. Featuring over 300 colour images, Djalkiri is published in conjunction with a largescale exhibition of Yolŋu art and culture at the University of Sydney’s new Chau Chak Wing Museum, opening in November 2020. Spanning almost 100 years of our shared history, these collections can expand our understanding of the past and help us to shape the future.

The Aboriginal Australians first arrived on the continent at least 60,000 years ago, occupying and adapting to a range of environmental conditions—from tropical estuarine habitats, densely forested regions, open plains, and arid desert country to cold, mountainous, and often wet and snowy high country. Cultures adapted according to the different conditions and adapted again to environmental changes brought about by rising sea levels at the end of the last ice age. European colonization of the island continent in 1788 not only introduced diseases to which Aborigines had no immunity but also began an enduring and at times violent conflict over land and resources. Reconciliation between Aborigines and the settler population remains unresolved. This second edition of the Historical Dictionary of Australian Aborigines contains a chronology, an introduction, an extensive bibliography, and more than 300 cross-referenced entries on the politics, economy, foreign relations, religion, and culture of the Aborigines. This book is an excellent resource for students, researchers, and anyone wanting to know more about the indigenous people of Australia.

"A history of Indigenous filmmakers from 1968-1993 including non Indigenous films for and about Indigenous people". Annotation pending.

This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.