#quandamooka

[thingsihavedoneandenjoyed]

So many shells. There used to be a lot of oyster harvesting back in the day. It's nice to see them back, though i dislike seafood I do like history.

[ur-mag]

How Quandamooka artist Megan Cope is recognising history | In Trend Today

How Quandamooka artist Megan Cope is recognising history Read Full Text or Full Article on MAG NEWS

[alpha-mag-media]

How Quandamooka artist Megan Cope is recognising history | In Trend Today

How Quandamooka artist Megan Cope is recognising history Read Full Text or Full Article on MAG NEWS

[celticcrossanon]

Australian Tour

Monday the 21st of October

The King and Queen travelled to Canberra today.

Under a cut as this is long

The King and Queen arrived in Canberra at 11.45am.

There was a Welcome to Country ceremony and a Smoking Ceremony at Defence Establishment Fairbairn upon their arrival in Canberra. The King and Queen were greeted by Ngunnawal Elder Aunty Serena Williams.

The King and Queen went to the War Memorial, where they laid a wreath at the War Memorial and toured the separate For Our Country memorial for indigenous soldiers (I can't find any pictures of this last event). They were shown through the For Our Country memorial alongside Aunty Lorraine Hatton OAM, an Australian Army veteran and Quandamooka Elder of the Noonuccal and Ngughi tribes in Southeast Queensland.

They then greeted the public outside the War Memorial.

The next stop was Parliament House, where The King reviewed members of the ADF on his arrival and The King and Queen attended a reception which included another Welcome to Country ceremony by Ngunnawal elder Aunty Violet Sheridan. The King and Queen signed the visitor's book at Parliament House (and also at the War Memorial earlier). At the reception, the King and Queen met two Australians of the Year, Professor Georgina Long and Professor Richard Scolyer. At some time during their time at Government House they met members of the public in the forecourt.

The Queen left to change her outfit and attend a solo engagement, a round table discussion with domestic violence advocates at Government House, hosted by the Governor-General Ms Sam Moyston.

King Charles received the Prime Minister and Leader of the Opposition at Government House. During this time he signed the royal warrant for the use of The Great Deal of Australia by the Governor-General.

Later in the afternoon, The King and Queen planted a pair of snow gums at Government House in Canberra

The King then visited the CSIRO's National Bushfire Research Laboratory. The King watched a "Pyrotron" demonstration which replicates a bushfire in a 29-metre long combustion wind tunnel, and then saw a 'burn over drill' outside, where five volunteer firefighters of the ACT Rural Fire Service demonstrated how firefighters stuck in the truck in the middle of a firestorm would survive 

The Queen visited the charity GIVIT in a room at the Australian Botanic Gardens.

The King and Queen then visited the National Botanic Gardens. The King undertook a special tour of the Banksia Garden by Beverly and Kain Ardler from the Wreck Bay Aboriginal Community. while The Queen met with schoolchildren learning about seed pods before re-joining the King. The King planted a tree and they both walked through the Rainforest Gully before returning to Sydney.

It was a full day of events for both of them.

I am not mentioned the protestors, especially one very rude and disrespectful protestor (described as a "one-off idiot" by the indigenous elder who did the Welcome to Country ceremony at the reception at Government House, and her act was described as 'political exhibitionism' by a former Prime Minister), as they are not worth my time or attention.

[faithfromanewperspective]

aussies, heads up. imagine our entire indigenous population is trapped on minjerrbah (stradbroke island) and seriously I’m sorry to be doing this to you guys after the shitshow of the other month and mainlanders (Tassie included for once) were like ‘be your own country we ain’t giving you shit we just stealing your land bc it’s Ours Now’ and switch povs you’re one of the people from many peoples all mashed together on quandamooka land and not even all of it, taking care of our healthiest koala population while you’re there, and you’re gonna elect your own govt you have to and it’s gonna be the people who give you hope for freedom you elect!! obviously!!!!

then fast forward to 2023 and oh no! your govt got pissed off or frustrated idk you don’t know what goes on in their heads and oh no! They bombed Sydney!!! you were sure they were joking and you weren’t keen on them killing people but they actually did it now, sad but who cares really after what those people did to you. maybe this is justice jeez man you’re tired. you’ll risk anything just to be able to exist on an actual landmass that isn’t overcrowded sand again. and then THE WHOLE FUCKING PLANET TURNS ON YOU AND YOUR EVIL EVIL GOVERNMENT HOW COULD THEY BOMB SYDNEY AND KILL PEOPLE NOW YOU GET TO BE BOMBED AND STARVED AND NO WIFI TO CALL FOR HELP AND NO HEALTHCARE BC THEY BOMBED THE HOSPITAL and kiddos are running around getting gangrene or BURIED UNDER RUBBLE when they were MEANT TO GRADUATE SCHOOL and dying of fucking cholera like it’s 1720 and Very Much Not Australia then (you miss 1720 in Actual Australia) and you can’t even. get antibiotics

the koalas are dying, the country’s national Cute Animal. they say ‘the innocent women and children’ but tbh all of you are guilty of nothing more than being born in a place that some guys decided to take over FOR CENTURIES AND IT JUST GOT WORSE and like 5 of you finally snapped and got a bit of revenge???? But what they did to you was way worse. you don’t even like those five guys but if you knew what would happen you would’ve told them to nuke the whole place not just drop a few bombs on Sydney. maybe you’re a pacifist still. It’s hard to care though if anyone else suffers when you’re already suffering so much. you try to remind yourself most civilians don’t support this. then why can’t they stop it?

[snakebusters]

By request - new to science.... 2024.

Nomenclatural Acts (51)

Genus Group

       Matherus Hoser, 2024

Species Group

       Ctenotus abba Hoser, 2024

       Ctenotus absconditus Hoser, 2024

       Ctenotus adelynhoserae Hoser, 2024

       Ctenotus anthonyjacksoni Hoser, 2024

       Ctenotus ap Hoser, 2024

       Ctenotus arabanoo Hoser, 2024

       Ctenotus binghami Hoser, 2024

       Ctenotus birriwirri Hoser, 2024

       Ctenotus cab Hoser, 2024

       Ctenotus celerrimus Hoser, 2024

       Ctenotus dakotabarnettae Hoser, 2024

       Ctenotus eyreensis Hoser, 2024

       Ctenotus fukdat Hoser, 2024

       Ctenotus gurindji Hoser, 2024

       Ctenotus ieiuniummovens Hoser, 2024

       Ctenotus inveneruntusquam Hoser, 2024

       Ctenotus jackyhoserae Hoser, 2024

       Ctenotus merciecai Hoser, 2024

       Ctenotus quandamooka Hoser, 2024

       Ctenotus taxi Hoser, 2024

       Ctenotus timhudsoni Hoser, 2024

       Ctenotus vultharenae Hoser, 2024

       Ctenotus whatdafuk Hoser, 2024

       Kommosagogus alexanderdudleyi Hoser, 2024

       Kommosagogus goreng Hoser, 2024

       Kommosagogus grantturneri Hoser, 2024

       Kommosagogus graysonoconnori Hoser, 2024

       Kommosagogus menang Hoser, 2024

       Kommosagogus pailsei Hoser, 2024

       Kommosagogus rosswellingtoni Hoser, 2024

       Kommosagogus trevorhawkeswoodi Hoser, 2024

       Kommosagogus wellsei Hoser, 2024

       Kommosagogus whadjuk Hoser, 2024

       Magnuscincus brianbarnetti Hoser, 2024

       Magnuscincus eromanga Hoser, 2024

       Magnuscincus hoserae Hoser, 2024

       Magnuscincus maxinehoserae Hoser, 2024

       Matherus divergans Hoser, 2024

       Matherus matheri Hoser, 2024

       Tantaloscincus confusaidem Hoser, 2024

       Tantaloscincus crottyi Hoser, 2024

       Tantaloscincus hattoni Hoser, 2024

       Tantaloscincus julianassangei Hoser, 2024

       Tantaloscincus katteri Hoser, 2024

       Tantaloscincus martu Hoser, 2024

       Tantaloscincus muski Hoser, 2024

       Tantaloscincus oxyi Hoser, 2024

       Tantaloscincus sloppi Hoser, 2024

       Tantaloscincus xorum Hoser, 2024

       Tantaloscincus yinggarda Hoser, 2024 More at http://www.herp.net

[bumblebeeappletree]

Jerry has lots of dollar-stretching ideas for saving money in the garden.

1. Free plants:

Saving seed can be a life-changing experience. You can easily save lots of seed, giving you lots of opportunity to experiment without fear of failure, as well as the option of giving some away. Store in airtight containers such as old jars; save silica gel to go with the seeds to keep the seeds dry in storage.

To collect seed, use old panty hose to slip over the ends of plants with pods that explode - as some pea plants and brassicas.

You can also propagate by cuttings. Jerry prunes plants at a good time to take cuttings - usually after they’ve finished flowering. Jerry also uses recycled pots and potting mix, making it even cheaper.

2. Free fuel:

Animal manure is great and often freely available - Jerry managed to source some camel and buffalo dung when a circus recently came to town!

Always compost manure first, to remove any weed seed or residual chemicals they may be carrying.

Jerry also recycles any dead cane toads he finds as roadkill, by burying them under his fruit trees.

Mulch is essential in any garden - Jerry uses several types - but it can be expensive. Check with your local council to see if wood chippings from pruned street trees are available, or make your own leaf mold from raked up leaves; simply pile up the leaves, keep them moist, and wait for them to decompose.

The result is low in nutrients and high in carbon so it’s perfect as a surface mulch or for growing ferns and palms.

Potting mix - Jerry makes his own, using equal parts of garden soil, horticultural sand and old potting mix.

3. Upcycling:

Repurpose material that would otherwise end up in landfill, such as polystyrene foam boxes, which are great for growing plants as they are lightweight and they insulate the plants’ roots from heat and cold.

Other uses include as part of a worm farm or as a self-watering container.

Jerry grows strawberries in these boxes – the extra height helps keep the fruit from pests on the ground.

He also uses them to store pots with cuttings in as it keeps the plants at an even temperature, plus it’s easy to cover the boxes to create a mini greenhouse or shadehouse if needed. For shade he uses old net curtains found at op shops.

4. Trading:

Some plants give you more than you’d ever need, especially citrus. Jerry makes loads of different marmalade, which he trades for eggs or avocadoes that he doesn’t have.

5. Buy once, cry once:

By this Jerry means pay more for quality equipment that will last. Cheap equipment is often not meant to be serviced or repaired, but good-quality items will be designed to take replacement parts and are worth fixing. Jerry still uses his grandfather’s hand mower and mattock, and has other equipment that is many decades old.

Filmed on Quandamooka, Turrbal & Yuggera Country in Brisbane, Qld

[seamus-abts2030-uq]

Megan Cope.

Kinyingarra Guwinyanba, 2022

Cope's project to re-establish oyster reefs on the Quandamooka Sea Country.

url:https://www.megancope.com.au/works/kinyingarra-guwinyanba

[floorandwillemijn]

Sonja and Elisa Jane Carmichael

Sonja Carmichael is a Ngugi woman from the Quandamooka people from Nort Stradbroke Island. She is a fibre artist and active member of her commmunity by sharing her weaving skills to ensure the continuation of Quandamooka artistic practices. She works with fibre basketry and woven sculptures and her works reflect her family's deep cultural connections with the land and seas of Minjerribah.

She draws inspiration from the stories connected to traditional Quandamooka weaving and additionally explores contemporary materials and techniques, in particular discarded nets and fishing lines. By using these materials she expresses her concers about the preservation of the natural envrionment.

Sonja Carmichael is a leader in the regeneration of Quandamooka weaving, passing on cultural knowledge and skills trough workshops, exhibitions and field research. In here practice and trough her research she revived the Quandamooka loop and diagonal knot weave, a technique she reflects on as 'symbolic of the female spirit'.

Elisa Jane (Leecee) Carmichael, de daughter of Sonja is a Ngugi woman from the Quandamooka people of Moorgumpin (Moreton Island) and Minjerribah (North Stradbroke Island). She is a multi-disciplinary artists who works across the mediums of paintings, textiles, and weaving. She works with and honours her salt water heritage by incorporating materials collected from country into her work.

In her work she visually explores the beauty of nature and her surrounding environment, drawing inspiration from her cultural idenitity and heritage. Her works, that are contemporary explorations of Quandamooka weaving, provide a modern and unique twist on the enduring cultural tradition and heritage.

With her work she ensures the continuation of weaving in the next generation. She collects materials following a process of protocol and sustainable respect for country: they carefully pick grasses in abundance in the right seasons and pluck the discarded netting and materials that weave their ways to Minjerribah from the ocean. Using the marine debris in this way protects salt water animal kin and raises awareness of the harmful pollution of their dabiyil.

Alineas are based on:

Moulton, K. (2020). Quandamooka weavers: Sonja and Elisa Jane Carmichael. In Carmichael, F, Et al., Long water: fibre arts (p. 68-69). Institute of Modern Art.

Davidson, K. (2021). Wunjayi (Today): Sonja and Elisa Jane Carmichael. QAGOMA, Brisbane, Australia. Cited at https://collection.qagoma.qld.gov.au/stories/17766 on 22/10/2024

[erius-vidi]

How Quandamooka artist Megan Cope is recognising history

How Quandamooka artist Megan Cope is recognising history Read Full Text

[nisavideoart]

Journal Prompt 3

Samantha Lang 

Brown lake 

Radical nature, stories of water and minerals, portable ecologies, landscape as the protagonist, portrait of a place, Anthropocene dreams, geography, and imagination.

The work's focus on Brown Lake and its importance to the Quandamooka people highlights the cultural and spiritual significance of this location. The use of visual storytelling may help convey the cultural and historical context that surrounds the lake.

"Brown Lake" appears to reject the often-dismal predictions associated with environmental art and the sense of nostalgia for a lost wilderness. Instead, it offers a perspective that challenges the notion that nature and culture are separate, and it encourages viewers to imagine a different relationship with the environment.

[bumblebeeappletree]

Jerry demonstrates a solution for tackling the fungal disease powdery mildew.

After many years of working on his garden, Jerry feels like it’s a well-oiled machine that is in good balance, but like any gardener he occasionally gets a pest problem that he has to deal with.

He makes a lot of organic remedies at home.

One regular problem that affects edibles and ornamentals in the subtropics is the fungal disease powdery mildew. Grapes and cucurbits are particularly vulnerable, especially if the leaves are wet at night, which is why it’s always better to water in the morning.

Jerry’s solution is milk, which has proved to be very effective.

He treats a golden rod plant in his garden, pruning off and binning the worst-affected foliage, as fungicide won’t repair damage already done.

He mixes up a milk solution spray, mixing it with water in a ratio of 1:5 (one part milk to 5 parts water). This is then sprayed all over the plant’s foliage.

Don’t make it stronger, because that can lead to other problems.

Timing is critical; spray in the cool of the morning, saturating the leaves to the point of run-off.

Filmed on Quandamooka, Turrbal & Yuggera Country in Brisbane, Qld

[workersbushtelegraph]

TBR23 for Palestine - Quandamooka loop

[seamus-abts2030-uq]

Assignment 3

Video Link: https://vimeo.com/820212355/654a1e34cf?share=copy

Writing Reflection

In the supplemental video, I discuss my research on Megan Cope’s work and the development of her art to protect and rebuild the symbiosis of people to Country.  In this reflection, I discuss my general position on Indigenous art, how I have been informed on it, and what it means to me.

From this course, there have been many components which has shaped my perception of Aboriginal art. Crucially, through research in Cope’s work and broader interpretation of Indigenous art, I am drawn to how ties to Country are often a catalyst for work. Whether this be through symbolic paintings of landscapes and their cultural importance or simply blatant statements to get off their land, loss and corruption of Country often inspires this expression. In one lecture, we viewed the movie, We Don’t Need a Map, which dove into the relationship of Aboriginal culture to Country. Driven by First Nation People’s connection to the stars, the movie documented the many ways links to Country were severed by colonizers. While interviewing an elder who had seen the exploitation of the ecosystem firsthand, he explained, “at the top is the white man, then the black fella, and then the Country” (Thornton, 2017). While communities cared for the ecosystem and it equally cared for them, colonizers claiming their land and desecrating it, has rendered First Nation’s people unable to utilize or care for the world which they hold sacred. Their perspective isn’t simply caring for themselves, but rather cries for their community and the world at large which contains delicate balances. These perspectives additionally contain great fraternity between their peers. Looking out for one another through art collectives and activism are common to preserve their community.

There has been a growing presence of these art collectives comprised of likeminded First Nation’s people. One which I noticed Megan Cope was a part of, was the QUAMPI Art and Culture project. QUAMPI (The Quandamooka Arts and Culture Centre) is a project based in North Stradbroke aimed to showcase Quandamooka art, culture, and heritage. Today, North Stradbroke has been populated and tourist-ified. Mainly visited to see the beaches and landscapes, the Quandamooka community have been neglected and stampeded in the wake of this modern-day colonization. As Co-Artistic Director for QUAMPI, Cope and this project are highlighting the Indigenous perspective by preserving their culture and looking out for her community. As a result, Indigenous artists and their culture are allowed to be expressed, giving them more recognition and rebuilding what was lost. While First Nation expression has extreme depth and relates to the dark history which was forced upon them, the relationship to Country and kinship was notable to me and gave a positive outlook on the effort to rebuild their culture.

Updated Bibliography:

Thornton, W. (Director). (2017, June 7). We Don’t Need a Map.

This reference corresponds to the movie we watched during class, We Don’t Need a Map. In this movie, they investigate relationships of Indigenous culture to the stars and other parts of Country. This source gives great insight on how communities view the world, how it relates to their culture, and how ecosystems were destroyed by colonizers.

Weule, G. (2022, May 3). Indigenous people sustainably harvested oysters for thousands of years before European colonisation, study finds. ABC News. https://www.abc.net.au/news/science/2022-05-04/oyster-farming-practices-indigenous-people-colonisation/101031990

This reference was used in my research of how Indigenous communities interacted with the ecosystem. This source gave me scientific proof of how First Nation people cared for the environment and why.

QUAMPI, Quandamooka Arts and Cultural Centre. (2020, January 7). Department of Tourism, Innovation and Sport. https://www.dtis.qld.gov.au/tourism/funds/attracting-tourism-fund/quampi

This source is the webpage for the QUAMPI project based in North Stradbroke. This gave me insight on the type of work this project will be completing and how it will influence the Quandamooka community.

[braelyn-abts2030-23]

ANNOTATED BIBLIOGRAPHY 

Higgins, J. (2022, August 13). Indigenous artist Megan Cope has created an oyster reef on Quandamooka country. Retrieved from ABC news: https://www.abc.net.au/news/2022-08-13/megan-cope-quandamooka-artist-minjerribah-oyster-reef/101274752

This article summarises the project of Kinyingarra Guwinyanba, detailing the long process both for the Quandamooka artist Megan Cope and her community. Including interviews with Cope and some artists and community members helping with the enacting of the project, this article provides insight into not only the regenerative project, but also the processes of involving community and kinship systems. The article also dissects the important cultural epistemologies incorporated within the restorative art, like the consultation of Elders for knowledge on the oysters and beds that are so integral to the Quandamooka environment and peoples. It is also discussed by Cope in her interview, on the significance of regenerating the oyster beds, and how this obligation to heal country is for country. However, in doing so Cope speaks on how her community is strengthened by the cultural knowledges and conscious thoughts that this project invokes. 

Cope, M. (2022, april 2). Exhibition Megan Cope . Retrieved from Milani gallery : https://milanigallery.com.au/exhibitions/exhibition-for-megan-cope/

The Milani gallery has been exhibiting some of Cope's more recent works, including that of the Kinyingarra Guwinyanba project. This website includes imagery and videos of Cope's artistry, as well as including background information on the Quandamooka artist and history of collections and collaborations. The webpage also depicts Cope’s works and collaborations with ProppaNow and the radical works that she displayed within the collective. This site provides important context on the practices of Megan Cope and histories of previous works.

Hibberd, L. Andrews,B. (2022). The Blacktown Native Institution as a Living, Embodied Being: Decolonizing Australian First Nations Zones of Trauma Through Creativity. Retrieved from Sage articles : https://journals-sagepub-com.ezproxy.library.uq.edu.au/doi/pdf/10.1177/12063312211073048

This article discusses transforming zones of trauma that have been heavily affected by colonisation, like that of the Blak/Black bodies. Analysing other restorative art forms by the Darug First Nations community as well as First Nations people globally, provides critical insight into the regenerative works of grass roots Mob and artists healing land through anti colonial practices that centre connecting to country. These art projects touched upon documenting the ways that smoking ceremonies have cleansed and rejuvenated ecosystems, as well as Darug peoples returning the landscape of their communities to pre-colonial flora and fauna by enacting creative and botanical actions. Through dissecting the importance of First Nations artistry and actions being driven by the visons of the land itself, the article presents important topics of sovereignty, healing processes for land and people, and the importance of Aboriginal and Torres Strait Islander communities engaging in restorative practices that help us to listen to country and its memories. This article discusses the necessity of conceptual and practical transformations of country to its original pre-colonial zones, and the important works of grassroots mob and artists. Engaging community by healing the lands, helps to also heal the peoples still carrying the legacies of trauma. 

Atkinson, J. (2002). Trauma Trails- recreating song lines . In J. Atkinson, Trauma Trails- recreating song lines(p. 88). Victoria : Spinifex press.

This book dissects the critical involvement of trauma carried in Blak/Black bodies, the land and in our cultural practices. Radical academic, Jiman and Bunjalung woman Judy Atkinson also writes about pathways to begin to heal transgenerational traumas, the critical role that Country plays in this process, as well as the processes of healing Country itself. She discusses the role of rituals, ceremonies and restorative practices that mob enacted to ensure increase and the healing of Country, and how that when fulfilling these obligations to land, the lands would nurture them. This is essentially the restorative practice that Quandamooka artist Megan Cope conducts in her works and in particular, the Kinyingarra Guwinyanba project. 

Yunkaporta, T. (2019). Sand Talk . Melbourne: Swann House.

This book by Apalech man and radical academic Tyson Yunkaporta discusses concepts of sustainability and practices of Aboriginal customs, asking: what happens if we bring an Indigenous perspective to the bigger picture? The book also yarns about Aboriginal scientific knowledges, and how that we as First Nations peoples, possess the cultural knowledges and solutions to healing country- as we’ve been enacting these practices for time immemorial. This book provides relevant knowledges of talking back to Country, and Aboriginal sciences to prove that Indigenous knowledges can save the world. 

Brown, L. Strega, S. (2015). Research as Resistance. Canada: Canadian Scholars press inc.

This book provides insight into how Indigenous practices are political and radical, simply by being who we are. Edited by radical academics Susan Strega and Leslie Brown, their book including fellow contributions from First Nations women. Their studies discuss practical methodologies promoting resistance in the research field and integrating traditional ways into the academic setting. These methodologies can also be seen in Megan Cope’s practices of resistance and anti-colonial approaches that she integrates into her artworks, by centring Blak/Blackness.

Steffensen, V. (2020). Fire Country . melbourne (Wurundjeri Country): Hardie Grant Explore .

This book analyses the critical roles of traditional, cultural and ecological knowledges in relation to Indigenous land management. Written by Tagalaka author, filmmaker and musician Victor Steffensen, his works have been based on the arts and reviving of traditional knowledge values- in particular traditional burnings. The book delves into the concepts of fire as a necessity, and when used and conducted in careful, considerate ways the element ensures proper land care and healing.  Steffensen discusses the practice of healing peoples with country and how activating cultural practice is good for Aboriginal people and the land itself. Steffensen’s also describes that knowing the land, the values and the indicators of each ecosystem allows you to adjust the fire management to improve the conditions of the sick zones. This practice of knowing the individualism of ecosystems can be seen in Cope’s Kinyingarra Guwinyanba project, where poles are placed in different positions in the oyster beds, to ensure that each structure receives the right amounts of tidal changes to survive and grow.

ABC arts. (2022, december 9th). regenerative art with Oyster Poles. Retrieved from youtube : https://www.youtube.com/watch?v=MDLi3CIUJII

This video documents the process of Cope’s Kinyingarra Guwinyanba project, showing community engagement, conscious thoughts of Country, and interviews from the Quandamooka artist herself. Cope describes art through the process of healing Country through regenerative practices, and how the process was integral in the Quandamooka stories of Middens and Oysters. She discusses the destructive nature of colonialism, and how her works centre blakness, shifting away from whiteness and practices that promote the colony. It is evident that as Quandamooka Mob participate in Cope’s artistry, a strengthening in their connections to country are established, demonstrating traditional obligations of caring for our Lands. 

Redland libraries . (2020 ). Quandamooka . local history as recorded since european settlement , 1-5.

This article describes the importance of Midden heaps to the Quandamooka Nation in highlighting the importance of Shell foods in diets, past economies and land uses. Midden heaps also allow for the documentation of Clan movements and communities. This information is distributed by the Redland council, based in the Quandamooka Nation, providing further insights into Quandamooka peoples, our cultural ways, and the importance of shell foods, and sites of Midden heaps. 

Briggs, S. M. (2011). unsettling the settler state . sydney : the federation press .

This book analyses the creative resistances that are being exercised by First Nations peoples in response to settler colonialism. Edited by academics Sarah Maddison and Morgan Briggs, the text dissects environmental management by the Ngarrindjeri Nation enacting strategies for survival and positive transformation, with governance and caring for Country. 

[doomerlicious]

Quandamooka this morning.