Relevant bibliographies by topics / Yirrkala

Academic literature on the topic 'Yirrkala'

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Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Yirrkala"

1

Levi, Margaret. "Thirty Years of Yolngu in Yirrkala." Visual Anthropology 16, no. 1 (March 13, 2003): 93–95. http://dx.doi.org/10.1080/08949460309595103.

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Graham, B. "The Implications of Statements by Aboriginal Leaders for Language Teaching in Aboriginal Schools." Aboriginal Child at School 18, no. 3 (July 1990): 3–53. http://dx.doi.org/10.1017/s1326011100600649.

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In the Plenary Address to the Cross Cultural Issues in Educational Linguistics Conference held at Batchelor in 1987, Mandawuy Yunupingu, Principal at Yirrkala Community School, expressed the hope that a school using ‘both-ways’ curriculum would help Aboriginal people regain control of their lives. Among other things he states, If you have control of both languages you have double power.(Yunupingu, 1987, p.4)
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CHIU, YUNG-CHIEH, HONG-MING CHEN, and KWANG-TSAO SHAO. "Additional description on morphology of the Misol snake eel from Taiwan, with four verified barcodes of life sequences." Zootaxa 5189, no. 1 (September 23, 2022): 114–21. http://dx.doi.org/10.11646/zootaxa.5189.1.13.

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An additional description of the Misol snake eel Yirrkala misolensis (Günther, 1872) is reported on the basis of 9 specimens collected from Dong-gang and Ke-tzu-liao, southwestern Taiwan. The species was previously reported from Indonesia and Australia and then extends northward to Taiwan and Japan, and was lacking adequate characterization on morphology. A detail description, fine condition of fresh photographs and 4 partial CO1 sequences are provided for the first time.
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Darvall, K. "An Outsider's View of Aboriginal Education in Arnhem Land." Aboriginal Child at School 15, no. 1 (March 1987): 43–47. http://dx.doi.org/10.1017/s0310582200014760.

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In 1986 I was successful in my application for an award under the Schools Exchange and Travel Scheme (a Commonwealth Schools Commission project). As I had expressed interest in visiting small schools with predominantly Aboriginal enrolments, arrangements were made to visit four schools in the East Arnhem Region. During the two weeks of my visit to Arnhem Land I was able to visit Numbulwar, Umbakumba, Yirrkala, Ramingining and Gapuwiyak schools, as well as two outstation schools, Raymangirr and Dhamiyaka.
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Carter, Nanette. "A Site Every Design Professional Should See: The Marika-Alderton House, Yirrkala." Design and Culture 3, no. 3 (November 2011): 375–78. http://dx.doi.org/10.2752/175470811x13071166525414.

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Deveson, Philippa. "The agency of the subject: Yolngu involvement in the Yirrkala Film Project." Journal of Australian Studies 35, no. 2 (June 2011): 153–64. http://dx.doi.org/10.1080/14443058.2011.553839.

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Stubington, Jill, and Peter Dunbar-Hall. "Yothu Yindi's ‘Treaty’: ganma in music." Popular Music 13, no. 3 (October 1994): 243–59. http://dx.doi.org/10.1017/s0261143000007182.

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In north-east Arnhem Land languages, ganma is a word used to describe the place where the fresh water from a river meets the salt water of the sea. For the Yolngu, fresh water and salt water are significant opposites, and the turbulence and fertile potency of their meeting place is a powerful metaphor. The term is used in the Yirrkala community, especially in the school, to refer to the modern attempts to educate Yolngu children in ‘both ways’, that is the Yolngu way and the Balanda way. In this article, it refers to a musical text, the song ‘Treaty’ which, like ganma, represents a mixing of opposites.
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McCosker, John E., David Boseto, and Aaron Jenkins. "Redescription of Yirrkala gjellerupi, a Poorly Known Freshwater Indo-Pacific Snake Eel (Anguilliformes: Ophichthidae)." Pacific Science 61, no. 1 (2007): 141–44. http://dx.doi.org/10.1353/psc.2007.0009.

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Cawte, J. E. "Kava : A Challenge to Alcohol?" Aboriginal Child at School 15, no. 2 (May 1987): 41–53. http://dx.doi.org/10.1017/s0310582200014851.

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Kava has been introduced into Aboriginal communities in Northern Australia. Persons from Yirrkala in North East Arnhem Land visiting the South Pacific region on study tours have been impressed by their welcome in Kava bowl ceremonies, and some of them hoped that the Aborigines might use Kava instead of alcohol.In 1983 many Aboriginal people in Arnhem Land used Kava, and much more was used in 1984. By 1985 it became a social epidemic or ‘craze’ in many communities. Rings of people of both sexes and of all ages often sit together under trees around Kava bowls for many hours. They may drink up to a hundred times the amount normally drunk in the Pacific Islands by the same number of people in the same time.
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Harvey, MS. "The Schizomida (Chelicerata) of Australia." Invertebrate Systematics 6, no. 1 (1992): 77. http://dx.doi.org/10.1071/it9920077.

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A revision of the Schizomida known to occur in Australia reveals five new genera (Draculoides, Apozomus, Bamazomus, Notozomus and Julattenius) and 25 species, 24 of which are newly described: Draculoides (type and only species, Schizomus vinei Harvey); Apozomus (type species A. watsoni, and A. alligator, A. cactus, A. gunn, A. mainae, A. nob, A. pellew, A. radon, A. rupina, A. spec, A. weipa, A. weiri, A. woodwardi and A. yirrkala); Bamazomus (type species B. bamaga); Notozomus (type species N. aterpes, and N. daviesae, N. ingham, N. ker, N. monteithi, N. raveni and N. rentzi); and Julattenius (type species J. lawrencei, and J. cooloola). Three new combinations are proposed for non-Australian taxa: Apozomus daitoensis (Shimojana), A. yamasakii (Cokendolpher) and Bamazomus siamensis (Hansen). A new notation for identifying homologous setae of the flagellum is introduced.
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Dissertations / Theses on the topic "Yirrkala"

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Clarke, J. A. "Yirrkala : the continuing process of colonization /." Title page, contents and introduction only, 1985. http://web4.library.adelaide.edu.au/theses/09AR/09arc598.pdf.

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Amery, Rob. "A new diglossia : contemporary speech varieties at Yirrkala in North East Arnhem land." Thesis, Canberra, ACT : The Australian National University, 1985. http://hdl.handle.net/1885/132957.

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This subthesis is concerned with one aspect of the sociolinguistic situation at Yirrkala in N.E. Arnhem Land. In particular I shall be looking at the role and structure of a contemporary dialect of Yolngu Matha, Dhuwaya or so called "Baby Gumatj" in relation to other clan dialects. The main purpose of choosing this thesis topic is to lay some linguistic groundwork for the making of an informed decision in regard to the use of Dhuwaya within the bilingual program at Yirrkala Community School. If it is decided to employ Dhuwaya in the earlier grades (which appears to be the case), then guidelines are needed to determine which Dhuwaya forms should be employed. Adult language should be employed to serve as a model. Thus criteria are presented for choosing adult forms in preference to developmental forms. By undertaking research into Dhuwaya, I am not trying to encourage the use of Dhuwaya in any way. On the contrary, by establishing the ways in which Dhuwaya differs from clan languages and by making these differences explicit, any formal language programs undertaken in the school or in the community in the future may utilize these findings. This then would facilitate clan language acquisition by the younger generation. I use the title R New Diglossio in two senses : a) Yirrkala is a diglossic situation not previously described and is a departure from the diglossia originally defined by Ferguson (1959). b) The diglossic situation at Yirrkala appears to have been a recent development and is in fact s till in the making. In this sense it is a new diglossia chronologically. See Section 4.4 for explication. This study is by necessity a somewhat cursory overview. As a Balanda (white Australian) without having previous exposure to Top End Northern Territory communities or to Aboriginal languages of N.E. Arnhem Land3, data collection and transcription proved extremely difficult. This was especially the case because Dhuwaya is a highly stigmatized language variety at Yirrkala. This preliminary study points to the need for an in-depth longitudinal sociolinguistic study. Such a study should prove valuable in understanding issues of language maintenance within the bilingual program at Yirrkala Community School and for educational policies in the isolated homeland centres. Brief chapter summaries are as follows: CHAPTER 1 provides background material including: a) historical, b) sociological and c) linguistic, relevant to the study of Dhuwaya and its sociolinguistic context. Methodology and approach is outlined in 1.6. There are three varieties, Baby Dhuwaya, Deuelopmental Dhuwaya and Rdult Dhuwaya, all subsumed by the labels Dhuwaya or “Baby Gumatj" in common usage. These three varieties have separate identifiable phonological and morphological features. CHAPTER 2 outlines and discusses phonological features of Dhuwaya and makes comparisons between Baby Dhuwaya, Developmental Dhuwaya and Adult Dhuwaya phonology. CHAPTER 3 discusses morphological features of Adult Dhuwaya relative to a) clan dialects and b) Developmental Dhuwaya. Dhuwaya is characterized by specific morphological rules applying to dialect sensitive morphemes; rules which take into account the dialect differences between Dhuwal and Dhuwala dialects. CHAPTER 4 discusses the differences between the three varieties of Dhuwaya and the rationale for differentiating between them. Baby Dhuwaya is a restricted register demonstrating universal characteristics of Baby Talk registers whilst Developmental Dhuwaya is a maturational or child language variety illustrating features typical of developmental varieties universally. Although Developmental Dhuwaya as spoken by very young children shares many features in common with Baby Dhuwaya, there are s till important differences remaining. Adult Dhuwaya functions as a communilect or common language for the younger generation, but belongs specifically to Yirrkala and its homelands. The Yirrkala situation is quite different to other Yolngu communities in N.E. Arnhem Land (e.g. Galiwin’ku where a clan language Djambarrpuyngu has become the communilect.) At Yirrkala Dhuwaya functions as the L (Low) variety in a diglossic situation, where multilingualism is the norm. CHAPTER 5 summarizes the linguistic findings and in the light of these and other sociolinguistic evidence discusses various theories on the origin of Dhuwaya. It differs from other Yolngu Matha dialects in much the same way linguistically as these dialects differ from each other. I conclude that the most likely theory is that Dhuwaya has developed by means of koineization of Eastern Dhuwala/Dhuwal Baby Talk or ‘motherese' and developmental varieties. Dhuwaya is structurally and functionally an almost prototypical koine language variety. The implications for sociolinguistic theory, of this unique diglossic situation in North East Arnhem Land, are discussed briefly. CHAPTER 6 discusses the implications of these findings for the future in terms of a) language maintenance and b) the Yirrkala Community School bilingual education program. I conclude that the linguistic differences between Dhuwaya and other Dhuwala/Dhuwal dialects are really quite minimal. Should the community agree to the use of Dhuwaya in the earlier grades in the school, I am suggesting specific recommendations as to the variety of Dhuwaya to be employed. Adult Dhuwaya forms are better employed and I present criteria for differentiating adult forms from developmental and Baby Talk forms. Several sample texts, chosen for their exemplification of different varieties of Dhuwaya, are included in an appendix.
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Schwarz, Janien (Nien), and n. schwarz@ecu edu au. "Beyond Familiar Territory: Dissertation: De-centering the Centre (An analysis of visual strategies in the art of Robert Smithson, Alfredo Jaar and the Bark Petitions of Yirrkala); and Studio Report: A Sculptural Response to Mapping, Mining, and Consumption." The Australian National University. Sculpture and Art Theory, 1999. http://thesis.anu.edu.au./public/adt-ANU20010703.110608.

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Dissertation: "Beyond Familiar Territory" researches various visual and conceptual strategies that facilitate connection between urban-based audiences and peripheral areas of ground where the extraction of mineral resources occurs. The Dissertation is a comparative analysis of selected works by Robert Smithson, Alfredo Jaar, and the Bark Petitions of the Yirrkala people in North East Arnhem Land. The focus is on how these artists have endeavoured to challenge urban audiences, disrupt the perceived hierarchy between centre and periphery, and bridge gaps between urban sites of mineral consumption and overlooked sites of mineral extraction. ¶"Beyond Familiar Territory" takes the form of this Dissertation (33%), and an exhibition of works at the Canberra Museum and Gallery (CMAG) from 6 February to 21 March, 1999, which, together with the Studio report, documents the outcome of the Studio Practice Component (67%). ¶ Report: "Beyond Familiar Territory" researches various visual and conceptual strategies that facilitate connection between urban-based audiences and peripheral areas of ground where the extraction of mineral resources occurs. To decentre the self-importance and perceived inclusiveness of urban centres by bridging gaps or facilitating insight between a centre of mineral extraction and production and a centre of mineral consumption. The Dissertation entails a comparative analysis of strategies used by Robert Smithson, Alfredo Jaar, and the Yirrkala Bark Petition painters, and analyses how these artists have perceived their relationships as mediators or facilitators between mining sites (and associated activities) and urban centres of consumption. ¶ "Beyond Familiar Territory" takes the form of an exhibition of works at the Canberra Museum and Gallery (CMAG) from 6 February to 21 March, 1999, which comprises the outcome of the Studio Practice Component (67%), together with a Dissertation (33%), and the Report which documents the nature of the course of study.
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Burn, Geoffrey Livingston. "Land and reconciliation in Australia : a theological approach." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/117230.

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This thesis is a work of Christian theology. Its purpose is twofold: firstly to develop an adequate understanding of reconciliation at the level of peoples and nations; and secondly to make a practical contribution to resolving the problems in Australia for the welfare of all the peoples, and of the land itself. The history of the relationships between the Indigenous and non-Indigenous peoples in Australia has left many problems, and no matter what the non-Indigenous people try to do, the Indigenous peoples of Australia continue to experience themselves as being in a state of siege. Trying to understand what is happening, and what can be done to resolve the problems for the peoples of Australia and the land, have been the implicit drivers for the theological development in this thesis. This thesis argues that the present generation in any trans-generational dispute is likely to continue to sin in ways that are shaped by the sins of the past, which explains why Indigenous peoples in Australia find themselves in a stage of siege, even when the non-Indigenous peoples are trying to pursue policies which they believe are for the welfare of all. The only way to resolve this is for the peoples of Australia to seek reconciliation. In particular, the non-Indigenous peoples need to repent, both of their own sins, and the sins of their forebears. Reconciliation processes have become part of the international political landscape. However, there are real concerns about the justice of pursuing reconciliation. An important part of the theological development of this thesis is therefore to show that pursuing reconciliation establishes justice. It is shown that the nature of justice, and of repentance, can only be established by pursuing reconciliation. Reconciliation is possible because God has made it possible, and is working in the world to bring reconciliation. Because land is an essential part of Indigenous identity in Australia, the history of land in court cases and legislation in Australia over the past half century forms an important case study in this work. It is shown that, although there was significant repentance within the non-Indigenous legal system in Australia, the degree of repentance available through that legal system is inherently limited, and so a more radical approach is needed in order to seek reconciliation in Australia. A final chapter considers what the non-Indigenous people of Australia need to do in order to repent.
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Glikson, Michal. "Towards a Peripatetic Practice: negotiating journey through painting." Phd thesis, https://datacommons.anu.edu.au/DataCommons/item/anudc:5523, 2017. http://hdl.handle.net/1885/128513.

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Towards a peripatetic practice: negotiating journey through painting investigates painting as a way of comprehending lived experience of travel. The project develops from curiosity about journeys and their potential for bringing the artist into encounters with the world, and proximate to its issues and concerns. Aims of the project focused on peripatetic practice as a means of redirecting a personal experience of rootlessness towards connecting with others, and considering and communicating the complexity of cross-cultural experience through painting. Objectives as such were to investigate through practice the function and form of peripatetic painting, and to document this through film and writing. The study acknowledges travel as an ancient way of knowing the world and takes inspiration from the paradigm of the nomadic storyteller as exemplified in the Bengali tradition of Patuya Sangit (scroll performance). With a sense of the capacity for painting to provide spaces of connection and empathy, the study draws on the writing of John Berger and Suzi Gablik, exploring a confluence of ideas about the evolving social role of the artist. Key influences are historic and contemporary peripatetic creative practices, which include the writer Freya Stark, the colonial painter William Simpson, and the artists Phil Smith and John Wolseley. The project also incorporates methodological approaches which borrow from anthropology, situating the artist as observer, participant, and ultimately, agent. Practice in this context is immersive, and takes on social, interactive dimensions for which making paintings becomes a means of knowing and questioning the nature of cross-cultural experience. Explorations took the form of increasingly immersive journeys in Australia, India and Pakistan and a series of paintings utilising extended scroll formats with additional outcomes of documentary films. As the key research spaces for practice-led research, the scroll paintings employ pencil, collage, watercolour and oil, and a metaphoric fusion of styles and techniques of painting and drawing, notably Persian miniature and life portraiture as a means of accounting for and sharing the abiding experiences and encounters yielded through travel.
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McKenzie, Robyn Elizabeth. "One continuous loop: making and meaning in the string figures of Yirrkala." Phd thesis, 2016. http://hdl.handle.net/1885/111068.

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At some point in their history most cultures probably made string figures (otherwise known as cat’s cradles): patterns or designs constructed on the hands with a single continuous loop of string. First noted by European travellers in Australia and New Zealand, in the later nineteenth century anthropologists began to collect string figure repertoire from various indigenous peoples around the world. In the Australian Museum in Sydney there are 192 string figures mounted on card collected in Yirrkala in north-east Arnhem Land by Frederick D. McCarthy in 1948: the largest museum collection of its kind (i.e. of mounted string figures collected from one place at one time), and one of the last such collections made. It is accompanied by photographic documentation of Ngarrawu Mununggur—McCarthy’s principal collaborator—making the figures, and a record of the instructions for making them. As objects—both strange and beautiful—the mounted figures declare their status as hybrid artefacts of cross-cultural encounter and exchange. The result of a collaboration between McCarthy and his Yolngu informants, they would not exist without the contribution of both parties—the ‘science’ of Western anthropology on the one hand and Indigenous culture on the other. ‘Why’ was this collection made? and ‘What’ is it a collection of? are the central questions addressed by this study. What could be its significance now and into the future, for the Yirrkala community and a wider Australian public? To answer these questions I investigate the dual strands of the collection’s lineage—the place of string figures in the history of anthropology and their place in Yolngu culture, past and present. The particulars of this story provide new insight into the foundations of anthropology as a discipline. They also provide new understandings of Yolngu cosmology and aesthetics. Combining an analysis of the historical record with findings from my contemporary fieldwork, I explore the relationship between making and meaning in the repertoire, and describe and document Yirrkala string figure style. Of primary importance in this research was the reconnection of the museum collection with its source community in Yirrkala. This project demonstrates the potential activated through this process. The regeneration of the practice of string figure making in the Yirrkala community through reconnection with the collection, as mediated by the research process, has in a reciprocal dialogic fashion, generated new layers of significance for the collection.
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Creighton, Sophie. "The Yolngu way : an ethnographic account of recent transformations in indigenous education at Yirrkala, Northeast Arnhem Land." Phd thesis, 2003. http://hdl.handle.net/1885/148435.

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Schwarz, Janien (Nien). "Beyond Familiar Territory: Dissertation: De-centering the Centre (An analysis of visual strategies in the art of Robert Smithson, Alfredo Jaar and the Bark Petitions of Yirrkala); and Studio Report: A Sculptural Response to Mapping, Mining, and Consumption." Phd thesis, 1999. http://hdl.handle.net/1885/49354.

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Dissertation: "Beyond Familiar Territory" researches various visual and conceptual strategies that facilitate connection between urban-based audiences and peripheral areas of ground where the extraction of mineral resources occurs. The Dissertation is a comparative analysis of selected works by Robert Smithson, Alfredo Jaar, and the Bark Petitions of the Yirrkala people in North East Arnhem Land. The focus is on how these artists have endeavoured to challenge urban audiences, disrupt the perceived hierarchy between centre and periphery, and bridge gaps between urban sites of mineral consumption and overlooked sites of mineral extraction. ¶ "Beyond Familiar Territory" takes the form of this Dissertation (33%), and an exhibition of works at the Canberra Museum and Gallery (CMAG) from 6 February to 21 March, 1999, which, together with the Studio report, documents the outcome of the Studio Practice Component (67%).¶ ...
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Salvestro, Denise Yvonne. "Printmaking by Yolngu artists of Northeast Arnhem Land: 'Another way of telling our stories'." Phd thesis, 2016. http://hdl.handle.net/1885/110680.

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Art plays a fundamental role in the lives of the Yolngu—the Indigenous people of Northeast Arnhem Land in the Northern Territory of Australia. Knowledge of their culture, laws, history and relationship to country has historically been passed on to successive generations orally and through their clan specific patterns and designs (miny’tji). Since first known contact with the outside world Yolngu artists have demonstrated innovation in adapting their art, and adopting introduced materials and techniques, to create art for the purpose of passing on knowledge and enlightening others about their ontology, culture and title to land. This thesis provides the first comprehensive history of the introduction to, and use of the print medium by the artists of Northeast Arnhem Land with a focus on those artists working at the Print Space at the Buku Larrnggay Mulka Art Centre at Yirrkala. The Print Space is unique amongst Indigenous owned and run print facilities in that since its inception in 1995, locally trained artists and printmakers have been employed in the continuous production of limited edition prints. The research undertaken has revealed that the successful incorporation of printmaking into Yolngu art production resulted from a combination of factors, with the Yolngu themselves being proactive agents in influencing the development of the Print Space and promoting the use of the print medium for political, social, educational and economic purposes. Women in particular enthusiastically advocated the acceptance of this introduced medium as printmaking played an important part in liberating female artists from their historically restricted role in art production. The adoption of print technology was controversial. The issue arose as to whether the mechanical reproduction of sacred clan designs moved the creative away from the hand of the artists and their direct connection with the creator ancestors. A further concern was that printmaking had the potential to encourage the inappropriate use of miny’tji and the abuse of intellectual property. This dissertation considers the changing attitudes and various approaches taken by the Yolngu in addressing these sensitive issues and the manner in which some of the artists are adapting traditional practices to reproduce the intricacy of the clan patterns and designs in print, while protecting the restricted or sacred, deeper meanings within the miny’tji. This thesis establishes that printmaking is a prime exemplar of cross-cultural collaborative exchange, facilitating innovation and individual creativity within Yolngu art practice. The collaborative nature of printmaking fostered significant reciprocal or ‘both ways’ learning exchanges through cross-cultural interactions between Yolngu artists and non-Yolngu schoolteachers, artists, art centre administrators, printmakers and gallerists. Considered by the Yolngu artists as ‘another way of telling our stories’, printmaking has provided an alternative artistic avenue for affirming Yolngu identity and connection to country and passing on knowledge to the younger generation. This thesis argues that the successful incorporation of this introduced art form into their art production is testimony to the willingness of the Yolngu to accept change in order to ensure the sustainability of their art and culture.
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Books on the topic "Yirrkala"

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Art Gallery of New South Wales, Queensland Art Gallery, and Gallery of Modern Art (Brisbane, Qld.), eds. Yirrkala drawings. Sydney: Art Gallery of NSW in association with Buku-Larrnggay Mulka and the University of Western Australia, 2013.

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2

Hutcherson, Gillian. Gong-wapitja: Women and art from Yirrkala, northeast Arnhem Land. Canberra: Aboriginal Studies Press, 1998.

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Hutcherson, Gillian. Djalkiri Wänga, the land is my foundation: 50 years of Aboriginal art from Yirrkala, Northeast Arnhem Land. [Western Australia]: University of Western Australia, Berndt Museum of Anthropology, 1995.

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Yirrkala Drawings. Prestel, 2014.

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Divola, Paul. Yirrkala Community School - Case Study. Hyperion Books, 1985.

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Wa?ambi, Wakun. Madayin: 8 Decades of Aboriginal Bark Painting from Yirrkala. D.A.P./Distributed Art Publishers, 2022.

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Wanambi, Wukun, Kade McDonald, and Henry Skerritt. Madayin : : Eight Decades of Aboriginal Australian Art from Yirrkala. Kluge-Ruhe Aboriginal Art Collection, University of Virginia, 2022.

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Chad, Creighton, and Art Gallery of Western Australia., eds. Yirrkala artists everywhen: Bark paintings from the State Art collection. Perth, W.A: Art Gallery of Western Australia, 2009.

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Saltwater: Yirrkala bark paintings of sea country : recognising indigenous sea rights. Neutral Bay, N.S.W: Buku-Larrngay Mulka Centre in association with Jennifer Isaacs Pub., 1999.

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Book chapters on the topic "Yirrkala"

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Stockley, Trevor, Banbapuy Ganambarr, Dhuŋgala Munuŋgurr, M. Munuŋgurr, Greg Wearne, W. W. Wunuŋmurra, Leon White, and Yalmay Yunupiŋu. "The Quest for Community Control at Yirrkala School." In Language Policy, 141–48. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-2078-0_12.

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Morales, Gemma, Jill Vaughan, and Merrkiyawuy Ganambarr-Stubbs. "From Home to School in Multilingual Arnhem Land: The Development of Yirrkala School’s Bilingual Curriculum." In Language Practices of Indigenous Children and Youth, 69–98. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-60120-9_4.

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"Reaching Yirrkala." In Diary of a Detour, 226–44. Duke University Press, 2020. http://dx.doi.org/10.2307/j.ctv153k6rm.63.

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"Reaching Yirrkala." In Diary of a Detour, 226–44. Duke University Press, 2020. http://dx.doi.org/10.1215/9781478012290-060.

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"Art from Yirrkala." In Djalkiri, 228–49. Sydney University Press, 2021. http://dx.doi.org/10.2307/j.ctv1m8d6pb.20.

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"60 Reaching Yirrkala." In Diary of a Detour, 226–44. Duke University Press, 2020. http://dx.doi.org/10.1515/9781478012290-061.

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McKenzie, Robyn. "The String Figures of Yirrkala: Examination of a legacy." In Exploring the Legacy of the 1948 Arnhem Land Expedition. ANU Press, 2011. http://dx.doi.org/10.22459/elale.06.2011.10.

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"The Yirrkala proposals for the control of law and order." In Aboriginal Autonomy, 118–30. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511552212.013.

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