Vendor: 色界吧
Type: Paperback / softback
Price: 120.00

Tiwi Textiles: Design, Making, Process tells the story of the innovative Tiwi Design centre on Bathurst Island in northern Australia, dedicated to the production of hand-printed fabrics featuring Indigenous designs, from the 1970s to today. Written by early art coordinator Diana Wood Conroy with oral testimony from senior Tiwi artist Bede Tungutalum, who established Tiwi Design in 1969 with fellow designer Giovanni Tipungwuti, the book traces the beginnings of the centre, and its subsequent place in the Tiwi community and Australian Indigenous culture more broadly.

Bringing together many voices and images, especially those of little-known older artists of Paru and Wurrumiyanga (formerly Nguiu) on the Tiwi Islands and from the Indigenous literature, Tiwi Textiles features profiles of Tiwi artists, accounts of the development of new design processes, insights into Tiwi culture and language, and personal reflections on the significance of Tiwi Design, which is still proudly operating today.

'Tiwi Textiles is a unique historical document, a formidable vindication of the accomplishments of great Indigenous artists, and an account of a missing chapter in world art history. The book is a wonderful chronicle of a vital and fertile period for Tiwi practice in the emergence of contemporary Indigenous art. But it is also a charter for the future.'
鈥� Nicholas Thomas FBA FAHA Director, Museum of Archaeology and Anthropology, University of Cambridge

'Wood Conroy not only writes, intricately and sensitively, a vital history of Tiwi art: she also firms up the place of fibre and textiles practices in Indigenous art and leaves space for us to consider how art history can shift to become more responsive to the lived realities of Indigenous peoples and our non-Indigenous accomplices.' 鈥� Tristen Harwood, The Saturday Paper

Vendor: 色界吧
Type: Paperback / softback
Price: 50.00

Based on ten years of surveys and excavations in Nyiyaparli country in the eastern Chichester Ranges, north-west Australia, Crafting Country provides a unique synthesis of Holocene archaeology in the Pilbara region. The analysis of about 1000 sites, including surface artefact scatters and 19 excavated rock shelters, as well as thousands of isolated artefacts, takes a broad view of the landscape, examining the distribution of archaeological remains in time and space. Heritage compliance archaeology commonly focuses on individual sites, but this study reconsiders the evidence at different scales 鈥� at the level of artefact, site, locality, and region 鈥� to show how Aboriginal people interacted with the land and made their mark on it.

Crafting Country shows that the Nyiyaparli 鈥榗rafted鈥� their country, building structures and supplying key sites with grindstones, raw material and flaked stone cores. In so doing, they created a taskscape of interwoven activities linked by paths of movement.

Vendor: 色界吧
Type: Paperback / softback
Price: 30.00

The concept of Community-Led Research has taken off in recent years in a variety of fields, from archaeology and anthropology to social work and everything in between. Drawing on case studies from Australia and the Pacific, this book considers what it means to participate in Community-Led Research, for both communities and researchers. How can researchers and communities work together well, and how can research be reimagined using the knowledge of First Nations peoples and other communities to ensure it remains relevant, sustainable, socially just and inclusive?

Vendor: 色界吧
Type: Paperback / softback
Price: 50.00

WINNER OF THE CHIEF MINISTER鈥橲 NT HISTORY BOOK AWARD 2024 AND THE AUSTRALIAN ARCHAEOLOGICAL ASSOCIATION鈥橲 JOHN MULVANEY BOOK AWARD 2023

鈥溾�gabaya painted all this, you know when we were kids we would come here and look and sometimes the paintings would change, they were always changing.鈥� Annie a-Karrakayny

Fully illustrated, Jakarda Wuka (Too Many Stories) draws on a combined 70+ years of collaborative research involving Yanyuwa Elders, anthropologists, and an archaeologist to tell a unique story about the rock art from Yanyuwa Country in northern Australia鈥檚 southwest Gulf of Carpentaria.

Australia鈥檚 rock art is recognised globally for its antiquity, abundance, distinctive motifs and the deep and abiding knowledge Indigenous people continue to hold for these powerful symbols. However, books about Australian rock art jointly written by Indigenous communities, anthropologists, and archaeologists are extremely rare.

Combining Yanyuwa and western knowledge, the authors embark on a journey to reveal the true meaning of Yanyuwa rock art. At the heart of this book is the understanding that a painting is not just a painting, nor is it an isolated phenomenon or a static representation. What underpins Yanyuwa perceptions of their rock art is kinship, because people are kin to everything and everywhere on Country.

Jakarda Wuka highlights the multidimensional nature of Yanyuwa rock art: it is an active social agent in the landscape, capable of changing according to different circumstances and events, connected to the epic travels and songs of Ancestral Beings (Dreamings), and related to various aspects of Yanyuwa life such as ceremony, health and wellbeing, identity, and narratives concerning past and present-day events.

In a time where Indigenous communities, archaeologists, and anthropologists are seeking new ways to work together and better engage with Indigenous knowledges to interpret the 鈥渁rchaeological record鈥�, Jakarda Wuka delivers a masterful and profound narrative of Yanyuwa Country and its rock art.

This project was supported by the Australian Research Council and the McArthur River Mine Community Benefits Trust.