firstnation

Hunting Spears: Hunting spears are usually made from Tecoma vine. These vines are not straight but in fact curly. To straighten them the maker dries out the moisture by heating the branch over a small fire while it is still green. While doing this he shapes it into the form that he wants. A wooden barb is attached to the spearhead by using kangaroo (sometimes emu) sinew. the opposite end is then tapered to fit onto a spear thrower. On completion, the spear is usually around 270 centimeters (9 feet) long. Spear Thrower/Woomera A spear-thrower is also commonly known as a Woomera or Miru. The spear-thrower is usually made from mulga wood and has a multi-function purpose. It is however primarily designed to launch a spear. The thrower grips the end covered with spinifex resin and places the end of the spear into the small peg on the end of the woomera. The spear can then be launched with substantial power at an enemy or prey. Inserted in the spinifex resin of the handle of many spear throwers is a very sharp piece of quartz rock. This is used for cutting, shaping, or sharpening. The spear-thrower was also used as a fire-making saw, as a receptacle of mixing ochre, in ceremonies, and also to deflect spears in battle. Source: mbantua.com.au/weapons/

Fashion is reversible. Ones Europeans tried to dress Aboriginal people, today Aboriginal traditional elements are wining the fashion look of Europeans.

Indigenous Australians have influenced modern Australian dress since first contact. From possum skin cloaks and booka kangaroo capes to shell necklaces in Tasmania, Europeans have been fascinated with Indigenous materials, skills and aesthetics. They have stolen, purchased, borrowed and worn them for more than 200 years. In turn, Indigenous Australians have at times enjoyed wearing soldiers’ red jackets as battle spoils and possibly mocked the Europeans by wearing their top hats cockily in the early streets of Sydney. Later, as First Australians were dispossessed from their lands and herded into reserves and missions, clothing was imposed on them, ranging from shapeless “mother Hubbard” dresses for women to shabby but respectable woolen two-piece suits for men. Traditional dress practices, along with the ceremony, language and music-making, were often banned by the colonisers. Missionaries often taught western-style leatherwork to men and needlecraft to women – yet powerful hybrids of the self-determined dress also emerged, expressing subversive gestures and quiet resistance. In the mid 20th century, missionary nuns in Far North Australia began to allow Indigenous women to craft their own textiles. Brightly coloured fabrics were the result, with unusual combinations of motifs. For some time, Indigenous Australian art was often seen as the future of a distinctively Australian design, as evident in the 1970s energy of Jenny Kee and Linda Jackson, but on the whole, Indigenous design was not recognised in its own right. This is now changing - Indigenous fashion design today is being shaped by First Nations people at every level. Source: theconversation.com/how-indigenous-fashion-designers-are-...

Cockatoos are an important animal in the Australian Indigenous people’s mythology, acknowledged for their important part in the cycle of birth, death and rebirth of plants in the landscape. For the Indigenous people and more broadly, Cockatoos represent illumination – the sentinel guard and guide through darkness; they speak of commitment to partnerships and to the importance of the safety of one’s group; and they represent comedic relief with the spark that mischief and curiosity bring to life! Source: worldbirds.com/cockatoo-symbolism/

The 'nose bone ceremony' marks an Aboriginal boy's transition to manhood. The ritual begins with the painting of sacred symbols on the body, followed by piercing the septum. The nose is pierced with the bone of an animal or bird associated with a tribe's Dreaming and the ancestral creator of their sacred site. These nose bones were originally worn by both men and woman, today they are usually only worn by the older generation on ceremonial occasions. Source: www.aboriginalartuk.com/post/sacred-places-marrapinti#:~:....

Pearl shells were in use from at least 1818. In 1818 Freycinet records the following in Shark Bay, Western Australia. “An old man painted with stripes of various colors and distinguished from the rest by a shell hanging from his girdle”. They are an original and unique form of Aboriginal Art. Source: www.aboriginal-bark-paintings.com/aboriginal-pearl-shell/