This stunning book is a biography and a generous sharing of Yorna's Culture and traditional beliefs. Explore the meaning of Country, Lalai ('Creation'), Wandjina, Woongudd (the 'Snake'), in the author's Country in the Kimberley region of Western Australia. Full of extraordinary images of the landscape, rock art, stone arrangements and the artist's paintings, Yornadaiyn Woolagoodja is a feast for anyone interested in this rich Cultural heritage. Special feature boxes on Joonba ('Corroborree'), Native Title, Permisson and Respect, Sugarbag, Ancestors' Bones, Collecting Turtle and many more.

Of all avian groups, birds of prey in particular have long been a prominent subject of fascination in many human societies. This book demonstrates that the art and materiality of human engagements with raptors has been significant through deep time and across the world, from earliest prehistory to Indigenous thinking in the present day. Drawing on a wide range of global case studies and a plurality of complementary perspectives, it explores the varied and fluid dynamics between humans and birds of prey as evidenced in this diverse art-historical and archaeological record. From their depictions as powerful beings in visual art and their important roles in Indigenous mythologies, to the significance of their body parts as active agents in religious rituals, the intentional deposition of their faunal remains and the display of their preserved bodies in museums, there is no doubt that birds of prey have been figures of great import for the shaping of human society and culture. However, several of the chapters in this volume are particularly concerned with looking beyond the culture–nature dichotomy and human-centred accounts to explore perspectival and other post-humanist thinking on human–raptor ontologies and epistemologies. The contributors recognize that human–raptor relationships are not driven exclusively by human intentionality, and that when these species meet they relate-to and become-with one another. This 'raptor-with-human'-focused approach allows for a productive re-framing of questions about human–raptor interstices, enables fresh thinking about established evidence and offers signposts for present and future intra-actions with birds of prey.

Australia has one of the largest inventories of rock art in the world with pictographs and petroglyphs found almost anywhere that has suitable rock surfaces – in rock shelters and caves, on boulders and rock platforms. First Nations people have been marking these places with figurative imagery, abstract designs, stencils and prints for tens of thousands of years, often engaging with earlier rock markings. The art reflects and expresses changing experiences within landscapes over time, spirituality, history, law and lore, as well as relationships between individuals and groups of people, plants, animals, land and Ancestral Beings that are said to have created the world, including some rock art. Since the late 1700s, people arriving in Australia have been fascinated with the rock art they encountered, with detailed studies commencing in the late 1800s. Through the 1900s an impressive body of research on Australian rock art was undertaken, with dedicated academic study using archaeological methods employed since the late 1940s. Since then, Australian rock art has been researched from various perspectives, including that of Traditional Owners, custodians and other community members. Through the 1900s, there was also growing interest in Australian rock art from researchers across the globe, leading many to visit or migrate to Australia to undertake rock art research. In this volume, the varied histories of Australian rock art research from different parts of the country are explored not only in terms of key researchers, developments and changes over time, but also the crucial role of First Nations people themselves in investigations of this key component of their living heritage.

This innovative collection of essays draws together and compares the teachings of world and regional religions on the subject of economic morality.

- This publication sets out to acquaint a European audience with the Yidaki, commonly known as the didgeridoo, a captivating musical instrument, and with the unique culture who produced it and with the land where it originated- Published to accompany an exhibition at the Fondation Opale, Lens, Switzerland (June 2021 - April 2022)"The sound of the yidaki calls everyone together in unity." - Djalu Gurruwiwi Yidaki, more commonly known as didgeridoo, is the iconic Aboriginal instrument. Yidaki found its way to the streets of Europe and gained tremendous popularity to the point that this music instrument is almost synonymous with Aboriginal Australia. Despite this widespread attention, very little is known about yidaki. The exhibition at the Fondation Opales, and this accompanying publication sets out to acquaint a European audience with this captivating musical instrument, with the people and the unique culture who produced it and with the land where it originated. More than just an emblematic wooden instrument, yidaki is a cultural and spiritual marker. It is the whole story of a region and a people; it is also about healing. Through the work of three prominent Yolngu artists that all share the remote community of Gangan as homeland - Gunybi Ganambarr, Malaluba Gumana and Bulthirrirri Wunungmurra - several ancestrally significant places are visited and stories linked to these, such as that of the Mokuy spirits or Wititj, the Rainbow Serpent, are told. Anchored in deep cultural knowledge, their vivid and innovative work connects past and present.

Tjala Arts, home to many of Australia's highest profile visual artists, is at the forefront of the western desert painting movement. It is widely recognised as an art centre with an unwavering commitment to the traditional values of holding and celebrating Tjukurpa. This drives Tjala Arts' pursuit of artistic excellence.

This stunning companion to the National Museum of Australia's blockbuster Indigenous-led exhibition, Songlines: Tracking the Seven Sisters, explores the history and meaning of songlines, the Dreaming or creation tracks that crisscross the Australian continent, of which the Seven Sisters songline is one of the most extensive. Through stunning artworks (many created especially for the exhibition), story, and in-depth analysis, the book will provide the definitive resource for those interested in finding out more about these complex pathways of spiritual, ecological, economic, cultural, and ontological knowledge - the stories `written in the land'.

"Keeping the Wanjinas Fresh: Sam Woolagoodja and the Enduring Power of Lalai is the story of the people of the Wanjinas and their unbroken living cosmology of Lalai - the Dreaming - manifest most memorably in the dazzling giant Wanjina designed by Donny Woolagoodja for the opening ceremony of the Sydney Olympics." "It is also the story of Sam Woolagoodja, who was responsible for repainting the sacred Wanjinas in many of the rock shelters that dot the Kimberley landscape, and was among the first to paint the sacred stories on bark and board for Worrorra children living far from their homelands. Keeping the Wanjinas Fresh traces the journey that brought Donny to rekindling the tradition of freshening the Wanjinas. Thirty-two full colour plates feature Sam's and Donny's paintings and the work of other major Mowanjum artists."--BOOK JACKET.

**Winner, 2019 Western Australian Premier's Book Awards, Daisy Utemorrah Award** **Winner, 2021 Australia Books Industry Awards, Small Publishers' Children's Book of the Year** **Winner, 2021 Queensland Literary Awards, Children's Book Award** **Winner, 2021 Speech Pathology, Australia Books of the Year Awards, Eight to ten Years** **Shortlisted, 2022 NSW Premier's Literary Awards, Patricia Wrightson Prize for Children's Literature** **Shortlisted, 2022 Adelaide Festival Awards for Literature, Children's Literature Awards** **Shortlisted, 2022 Ena Noel Award, The IBBY Australia Encouragement Award for a Young Emerging Writer or Illustrator** **Shortlisted, 2021 Children's Book Council of Australia, Book of the Year Awards, Younger Readers** **Shortlisted, 2021 Australian Book Design Awards, Best Designed Children's Fiction Book** **Shortlisted, 2021 Readings Children's Book Prize** **Longlisted, 2021 Colin Roderick Literary Award** Age range 8 to 12 Meet 11-year-old Bindi. She's not really into maths but LOVES art class and playing hockey. Her absolute FAVOURITE thing is adventuring outside with friends or her horse, Nell. A new year starts like normal -- school, family, hockey, dancing. But this year hasn't gone to plan! There's a big art assignment, a drought, a broken wrist AND the biggest bushfires her town has ever seen! Bindi is a verse novel for mid-upper primary students. Written 'for those who plant trees', Bindi explores climate, bush fires, and healing. Written from the point of view of 11-year-old, Bindi and her friends on Gundungurra Country.

Two artists, two completely different approaches, but one abiding passion - to celebrate the natural bounty to be found in the floodplains, swamps, savannas and woodlands of northern Australia. Mulkun Wirrpanda and John Wolseley, her adopted wawa (brother), have created a powerful body of works depicting many of the edible plants of north-east Arnhem Land.