The Marble Bar - Explore Baltimore Heritage
Video created by Sean Walsh for the UMBC Practices in Public History course with Dr. Denise Meringolo. Images courtesy Accelerated Decrepitude, Josh Flynn and the Library of Congress.
Discover more stories of local historic places at
Guitar Gable 1 Marble Bar
Guitar Gable 1 Marble Bar
Portable 2 at the Marble Bar
A montage of Portable 2 on the job!
Two geological processes of Marble bar
Immersive Interactive Virtual field trips - vft.asu.edu
Spike Mason @ the Marble Bar
The Jazz Organism plays the original 'rhythm changes' tune Bopside Mince (Sawkins) at the Marble Bar in Sydney. With Jeremy Sawkins(guitar), Darren Heinrich(organ), and Toby Hall(drums).
Puntukurnu Parna, A Short Film by Curtis Taylor
Puntukurnu Parna
We came from the Jukurrpa (Dreaming), we will obey the rules and laws of Jukurrpa for thousands of generations. No man or woman can change Jukurrpa because it's Yulubyidi (how it is and how it will always be, until the end). We still practice and follow the Jukurrpa today.
Puntukurnu Parna is one of three videos about Martu History, created by Curtis Taylor for the Yiwarra Kuju (Canning Stock Route) exhibition housed at the National Museum of Australia in 2010. The exhibition bought to the fore the stories of contact, conflict and survival, exodus and return to traditional country and was created by Aboriginal artists and communities in collaboration with FORM. The exhibition is will be opening in Perth in October of 2011.
These three short videos give an insight into Martu history and culture. The Martu traditionally live in the Pilbara in Western Desert, and are a collective of different dialect speakers that identify as a single group for social, political and cultural reasons.
With a history spanning more than 25,000 years, the Martu were one of the last indigenous populations to come into contact with Europeans until 1905 when the Canning Stock Route wells were being established. From this time onwards Martu were forcibly removed from their land onto missions or settlements like Jigalong. Some Martu did not make contact until the 1960s, most notably the small group of women and children who were tracked and cleared out in 1964 to make way for the Blue Streak missile tests fired from Woomera in SA.
The end of the 1970's saw the missionaries leave Jigalong mission, and the Martu began resettling in their desert lands, establishing the self-autonomous communities of Jigalong, Punmu, Parnngurr, and Kunawarritji. It was not until 2002 that they were granted native title over their land. Today Martu continue to live in their desert communities as well as the surrounding regional towns of Marble Bar, Nullagine, Newman, and Port Hedland.
Although not unchanged, cultural practice remains strong with annual ceremonies involving participation from surrounding Indigenous groups from Western Australia, Northern Territory and South Australia. Martu continue to care for their country through recently established programs of Land Management involving Martu Rangers in each community and a collaboration with government and non-government organisations addressing a range of ecological and cultural issues including pest species management and cultural site preservation.
Warning: viewers should be aware that these videos includes names and images of deceased people that may cause sadness or distress to Aboriginal people.
Curtis Taylor, 21yrs, hails from Parnngurr Community, located 400 kms east of Newman. Curtis is an actor and emerging film writer/director, and a young Martu leader. He is currently an undergrad at Murdoch University, completing a Bachelor of Culture, Communications and Media. After finishing school in 2008, Curtis worked as a Community Coordinator and Youth Development Officer at Martu Media (a division of Kanyirninpa Jukurrpa), where he also spent 18 months working on the Yiwarra Kuju Project as a filmmaker and youth Ambassador. Curtis was the recipient of 2011 Western Australian Youth Art Award and Westfarmers Youth Scholarship.
Yiwarra Kuju: The Canning Stock Route exhibition is a joint initiative between The National Museum Canberra of Australia and FORM.
gem fields Part 2: twogirls4wd
We are at the gem fields 11.5kms north of Norseman. $5/car for 48hrs and take all the gems you can find! Lots of moss opal (green stuff) opal, opalite and lots of 'other' pretty ones! We camped the night and woke to a beautiful sunrise. We will definately come here again!
Cunderdin WA. other things you can see
Cunderdin is on the Great Western
Highway in Western Australia, about 150ks East of Perth
25/4/09
PORT HEDLAND AN OVERVIEW WESTERN AUSTRALIA PART 2
CARAVAN TRIP 2007 Port Hedland is the highest tonnage port in Australia and largest town in the Pilbara region of Western Australia, with a population of approximately 14,000 (this includes its satellite suburb South Hedland, 18 km away). Port Hedland is a natural deep anchorage port that as well as being the main fuel and container receival point for the region was seen as perfect for shipment of the iron ore being mined in the ranges located inland from the town. The ore is moved by railway lines from four major iron ore deposits to the east and south of Port Hedland. Other major resource activities supported include the offshore Natural gas fields , salt, manganese, and livestock. Grazing of cattle and sheep was formerly a major revenue earner for the region but this has slowly declined. Port Hedland was formerly the terminus for the WAGR Marble Bar Railway which serviced the Gold mining area of Marble Bar. WIKIPEDIA
Radiocitycats sydney event band
Nyiru, A Short Film by Curtis Taylor
Nyiru
Wati Nyiru is the man who chased the seven sisters across Australia from the west, across the country to the east. This short movie only tells the story of the Warnman (a Martu dialect) part of the Minyipurru (seven sisters) story. It explains the creation of parts of Martu country around Parnngurr Community.
Nyiru is one of three videos about Martu History, created by Curtis Taylor for the Yiwarra Kuju (Canning Stock Route) exhibition housed at the National Museum of Australia in 2010. The exhibition bought to the fore the stories of contact, conflict and survival, exodus and return to traditional country and was created by Aboriginal artists and communities in collaboration with FORM. The exhibition is will be opening in Perth in October of 2011.
These three short videos give an insight into Martu history and culture. The Martu traditionally live in the Pilbara in Western Desert, and are a collective of different dialect speakers that identify as a single group for social, political and cultural reasons.
With a history spanning more than 25,000 years, the Martu were one of the last indigenous populations to come into contact with Europeans until 1905 when the Canning Stock Route wells were being established. From this time onwards Martu were forcibly removed from their land onto missions or settlements like Jigalong. Some Martu did not make contact until the 1960s, most notably the small group of women and children who were tracked and cleared out in 1964 to make way for the Blue Streak missile tests fired from Woomera in SA.
The end of the 1970's saw the missionaries leave Jigalong mission, and the Martu began resettling in their desert lands, establishing the self-autonomous communities of Jigalong, Punmu, Parnngurr, and Kunawarritji. It was not until 2002 that they were granted native title over their land. Today Martu continue to live in their desert communities as well as the surrounding regional towns of Marble Bar, Nullagine, Newman, and Port Hedland.
Although not unchanged, cultural practice remains strong with annual ceremonies involving participation from surrounding Indigenous groups from Western Australia, Northern Territory and South Australia. Martu continue to care for their country through recently established programs of Land Management involving Martu Rangers in each community and a collaboration with government and non-government organisations addressing a range of ecological and cultural issues including pest species management and cultural site preservation.
Warning: viewers should be aware that these videos includes names and images of deceased people that may cause sadness or distress to Aboriginal people.
Curtis Taylor, 21yrs, hails from Parnngurr Community, located 400 kms east of Newman. Curtis is an actor and emerging film writer/director, and a young Martu leader. He is currently an undergrad at Murdoch University, completing a Bachelor of Culture, Communications and Media. After finishing school in 2008, Curtis worked as a Community Coordinator and Youth Development Officer at Martu Media (a division of Kanyirninpa Jukurrpa), where he also spent 18 months working on the Yiwarra Kuju Project as a filmmaker and youth Ambassador. Curtis was the recipient of 2011 Western Australian Youth Art Award and Westfarmers Youth Scholarship.
Yiwarra Kuju: The Canning Stock Route exhibition is a joint initiative between The National Museum Canberra of Australia and FORM.
Seeing the song
This is Part 2 of 3 videos, find links below to the others.
Songs like the train song are everyday or japi songs created by one person and sung solo without dancers. They are not considered sacred or secret and are a bit different to what people often call songlines.
The Spinifex Express train song follows the waterholes on the track from Port Hedland to Marble Bar and creates something like a song line across the country.
Japi songs connect with traditional songlines in many ways. They are not talked about as having been dreamed like some songlines. They are talked about as being created by one person, the composer. The composer 'thinks' and then sings.
For dreamed songs, the composer is connecting with creation spirits and the spirit of the country who give the singer a dream.
That dreamed song then gets handed on for generations and will make sure the country stays alive and well. For japi songs like the Spinifex Express train song, the composer creates a song to share an experience like the train ride, and in the case of the train song, to journey through country from waterhole to waterhole, and named places.
Many songlines that are dreamed work this way too, to pass on knowledge of places and journeying through country.
This train song is creating its own new songline or storyline, having been recorded in 1964, preserved by the Australian Institute of Aboriginal and Torres Strait Islander Studies (IATSIS) for 50 years and then in 2014 returned and re-circulated in an exhibition in Perth at the Transport Museum and back at home with community.
Mary Anne Jebb, Historian with AIATSIS
The Spinifex Express Train Song is displayed at the Revolutions Train Museum in Whitman Park, Perth.
It was developed in conjunction with Wangka Maya Pilbara Aboriginal Language Centre and AIATSIS.
Manager: Julie Walker
ABC Open Producer: Susan Standen
Part 1
Part 3
This video was originally contributed to the ABC Open Mother Tongue project, which invited Aboriginal and Torres Strait Islander communities to share a story about their mother tongue.
Top 5 London Wine Bars
Who am i to say which are the top 5 London wine bars but these are 5 of my favourite wine bars in London in no particular order. Some bars wouldn't let me film (I'm not sure why!) so those ones are no longer my favourites!
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I run into some friends and even my mum sings some rude songs!
1. The Crusting Pipe in Covent Garden
2. Winemakers' Club in Farringdon
3. Le Beaujolais in Litchfield Street
4. Gordon's Wine Bar in Embankment
5. El Vino in Fleet Street
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Kuul, A Short Film by Curtis Taylor
The first buildings in each community were the schools. Martu wanted their children to learn English but also their own language. The schools in the western desert are remote independent schools; not state, not public. This gave the community more input on what their children should be taught. They created the schools to be bilingual schools teaching English and Martu Wangka together.
Kuul is one of three videos about Martu History, created by Curtis Taylor for the Yiwarra Kuju (Canning Stock Route) exhibition housed at the National Museum of Australia in 2010. The exhibition bought to the fore the stories of contact, conflict and survival, exodus and return to traditional country and was created by Aboriginal artists and communities in collaboration with FORM. The exhibition is will be opening in Perth in October of 2011.
These three short videos give an insight into Martu history and culture. The Martu traditionally live in the Pilbara in Western Desert, and are a collective of different dialect speakers that identify as a single group for social, political and cultural reasons.
With a history spanning more than 25,000 years, the Martu were one of the last indigenous populations to come into contact with Europeans until 1905 when the Canning Stock Route wells were being established. From this time onwards Martu were forcibly removed from their land onto missions or settlements like Jigalong. Some Martu did not make contact until the 1960s, most notably the small group of women and children who were tracked and cleared out in 1964 to make way for the Blue Streak missile tests fired from Woomera in SA.
The end of the 1970's saw the missionaries leave Jigalong mission, and the Martu began resettling in their desert lands, establishing the self-autonomous communities of Jigalong, Punmu, Parnngurr, and Kunawarritji. It was not until 2002 that they were granted native title over their land. Today Martu continue to live in their desert communities as well as the surrounding regional towns of Marble Bar, Nullagine, Newman, and Port Hedland.
Although not unchanged, cultural practice remains strong with annual ceremonies involving participation from surrounding Indigenous groups from Western Australia, Northern Territory and South Australia. Martu continue to care for their country through recently established programs of Land Management involving Martu Rangers in each community and a collaboration with government and non-government organisations addressing a range of ecological and cultural issues including pest species management and cultural site preservation.
Warning: viewers should be aware that these videos includes names and images of deceased people that may cause sadness or distress to Aboriginal people.
Curtis Taylor, 21yrs, hails from Parnngurr Community, located 400 kms east of Newman. Curtis is an actor and emerging film writer/director, and a young Martu leader. He is currently an undergrad at Murdoch University, completing a Bachelor of Culture, Communications and Media. After finishing school in 2008, Curtis worked as a Community Coordinator and Youth Development Officer at Martu Media (a division of Kanyirninpa Jukurrpa), where he also spent 18 months working on the Yiwarra Kuju Project as a filmmaker and youth Ambassador. Curtis was the recipient of 2011 Western Australian Youth Art Award and Westfarmers Youth Scholarship.
Yiwarra Kuju: The Canning Stock Route exhibition is a joint initiative between The National Museum Canberra of Australia and FORM.
Singing the train
This is Part 1 of 3 videos, find links below to the others.
Songs like the train song are everyday or japi songs created by one person and sung solo without dancers. They are not considered sacred or secret and are a bit different to what people often call songlines.
The Spinifex Express train song follows the waterholes on the track from Port Hedland to Marble Bar and creates something like a song line across the country.
Japi songs connect with traditional songlines in many ways. They are not talked about as having been dreamed like some songlines. They are talked about as being created by one person, the composer. The composer 'thinks' and then sings.
For dreamed songs, the composer is connecting with creation spirits and the spirit of the country who give the singer a dream.
That dreamed song then gets handed on for generations and will make sure the country stays alive and well. For japi songs like the Spinifex Express train song, the composer creates a song to share an experience like the train ride, and in the case of the train song, to journey through country from waterhole to waterhole, and named places.
Many songlines that are dreamed work this way too, to pass on knowledge of places and journeying through country.
This train song is creating its own new songline or storyline, having been recorded in 1964, preserved by the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) for 50 years and then in 2014 returned and re-circulated in an exhibition in Perth at the Transport Museum and back at home with community.
Mary Anne Jebb, Historian with AIATSIS
The Spinifex Express Train Song is displayed at the Revolutions Train Museum in Whitman Park, Perth.
It was developed in conjunction with Wangka Maya Pilbara Aboriginal Language Centre and AIATSIS.
Part 2
Part 3
Manager: Julie Walker
ABC Open Producer: Susan Standen
This video was originally contributed to the ABC Open Mother Tongue project, which invited Aboriginal and Torres Strait Islander communities to share a story about their mother tongue.
WA gold trip part 4
This movie covers the final clean out of the patch which threw in a few surprises.
Hope you enjoy, see you again in 2016!
Vibraphone Bar Holders - Marble Machine X #93
The Marble Machine X Project is crowdfunded, thanks to everyone for making this possible:
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During an intensive week Alex, Marius and Hannes joined me and alot of progress was done on the vibraphone. In this episode you get to see Alex assemble the Vibraphone Bar Holders. The machine is slowly starting to look like the CAD drawings! A big thanks to the entire MMX team and a special shout out to Alex and Richard
Alex Füßl
Richard Southall
Marius Hirn
Take care and see you next week! /Martin
Video edited by Hannes Knutsson
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►Alex Füßl | Alex CNC | Munich, Germany
►Carlos Montoro | Anjuda Guitars | Madrid, Spain
►Chris Nadon | Aix-en-Provence France
►Dwayne Myers | Safety | Phoenixville, PA, USA
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►Jacob LaRocca | Rocket Props | Somerville, Massachusetts
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projects
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Piperlain Live at The Valve Bar & Venue, Sydney, Australia
Piperlain performing their song Time live at The Valve Bar & Venue, Sydney Australia, 2015
Locomotives with 700 iron ore cars
Locomotives with 700 iron ore cars
Port Hedland is the highest tonnage port in Australia and largest town in the Pilbara region of Western Australia, with a population of approximately 14,000 (this includes its satellite suburb South Hedland, 18 km away).
Port Hedland is a natural deep anchorage port which, as well as being the main fuel and container receival point for the region, was seen as perfect for shipment of the iron ore being mined in the ranges located inland from the town. The ore is moved by railway lines from four major iron ore deposits to the east and south of Port Hedland area in August 2010, the port exported 13.6 million tonnes of iron ore.
Other major resource activities supported include the offshore natural gas fields, salt, manganese, and livestock. Grazing of cattle and sheep was formerly a major revenue earner for the region but this has slowly declined. Port Hedland was formerly the terminus for the WAGR Marble Bar Railway which serviced the gold mining area of Marble Bar.
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Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation
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Sorry Australian music (Excerpt)
Electronic Orchestral Relaxation Music, suitable for meditation, health clinics, reiki, spa, massage, hospitals, healing, chillout, ambient.
Music composed by Frank Bajsar & produced by Wayne Monger.
Music available from iTunes, cdbaby & frankbajsar.com
Australian pictures and the copyright of them is owned by the authorities below;
Pictures from the book Burnum Burnum's Aboriginal Australia
Songs in full length available from iTunes, cdbaby, amazon & at frankbajsar.com
Two Aborigines in from the desert at Marble Bar.
Their heights were recorded at 6'7 (2.0 metres) and 6'5 (1.95
metres ) Courtesy Battye Library of Western Australia.
Turtles were a favourite delicacy of the peoples of the north.
Photo by Donald Thomson, courtesy of Mrs Thomson.
A northern Australian Aborigine. Photo by Henry King, courtesy
the Australian Museum.
A member of the international family of Kingfishers,
Kookaburras are among the most distinctive and best known
of Australia's unique bird life. Of several quite distinct species,
the blue-winged variety is found only in the warmer climates of
the north. Photo by Philip Green.
A Henry King portrait of a young girl from northern Australia.
Courtesy The Australian Museum.
King William. Courtesy Museum of Victoria.