AILR Volume 16 Number 1 Out Now



Outcomes for All? Overlapping Claims and Intra-Indigenous Conflict under the Native Title Act by Sarah Burnside

Sentencing and Punishment in the Indigenous Justices of the Peace Courts by Fiona Allison, Chris Cunneen, Heron Loban, Garth Luke and Kate Munro

The Relevance of Aboriginality in Sentencing: ‘Sentencing a Person for Who They Are’ by Anthony Hopkins

Setting Non-parole Periods in the New South Wales Local Court: Comparing Outcomes for Indigenous and Non-Indigenous Offenders by Samantha Jeffries and Christine E W Bond

Favourable Awards to Trans-boundary Indigenous Peoples by Simon M Weldehaimanot and Daniel R Mekonnen

NARRM Oration 2012 - Aboriginal Women: The Right to Self-Determination Megan Davis

Artist Note:

Alick Tipoti is a Torres Strait Islander who is guided by the traditional cultural practices of his people. He believes in the Zugubal who were spoken about for many years by his ancestors. He is most diligent about what he sees as his responsibility to document the stories, genealogies, songs and other aspects of his culture so that it is available for future generations to learn, understand and practice. ‘Ngay’, the linocut featured in the cover of this volume of the AILR, is his first self-portrait.

Tipoti speaks his native language, Kala Lagaw Ya of the Maluilgal nation of Zenadh Kes. He believes that language is the vital ingredient that binds all cultures in the world today. 'Without your language you become a foreigner, lost in another persons culture. One of my favourite English words is analyse. In my language we call it ses tham or thapul. Singing and dancing are forms of art that branch out from the centrepiece called language. Everything you do, traditionally or culturally, evolves from a language. When you know the language, you know your culture.’

Tipoti has researched the genealogy of Zenadh Kes. He says that when you practice something about your culture, it is important to know your roots and your identity as this will help you choose your path in life. 

He has been given the traditional name of ‘Zugub’, which enables him to relate to the spirits of his ancestors, the Zugubal. This provides him the insight and ability to translate the words of these ancestors into the beautifully delicate and complex imagery of his linocuts. ‘When I work late at night carving traditional designs, I can sense the presence of the spirits who I verbally acknowledge and thank in language for their guidance and help in visualising the words they have given me. I vividly remember an unusual event late one evening where I was guided to re-sketch and change the interpretation of a block I was about to carve. This was just one of the many occasions when I have connected with the Zugubal who have instructed me on the proper ways of our cultural traditions.’

Tipoti holds an Advance Diploma in Arts, Thursday Island TAFE College and a Bachelor of Visual Arts, Australian National University, Canberra.

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