Search

AIM: To inform counselling with African male refugees in Tasmania, Australia, through the elaboration of African-derived approaches to problems. A secondary aim was to critique and re-inform Western counselling approaches and cultural assumptions. DESIGN: Phenomenology was selected to facilitate close engagement with participants’ life-worlds, and African interpretive frameworks were investigated to assist with data analysis. Reliability was enhanced through triangulation techniques such as sequencing the literature review after the Tasmanian data collection phase, followed by field work in South Africa. The study spanned over ten years which provided opportunity for personal transformation and trust-building with participants. METHOD: Phenomenological interviewing was the primary method, with the orienting question enquiring about “Approaches to Problems”. Participants (N=46) comprised 27 male and three female refugee entrants to Tasmania, Australia; and eight female and eight male residents of South Africa. Participants were selected through purposive sampling by place, augmented by trust-balling. Participant-observation in community activities emerged as a secondary method, and researcher experience was analysed heuristically. After publishing the results of interviews and two consensus groups in Tasmania, the researcher conducted three field trips to South Africa and recorded participant perceptions, behaviours, social exchange, and spirit resources. RESULTS: Thematic analysis yielded family-focussed communities of interconnectedness with a vibrant, social universe, inclusive of animal, plant, physical and spirit entities. Complex, layered cultural norms centred around this theme of connectedness supported life-long development and education, and informed African approaches to problems. CONCLUSIONS: Western research and therapeutic approaches informed by experimental science, and Western assumptions of individualised human existence, present multiple barriers to

Moya Dyring (1909–1967) was born in Melbourne where she studied at the National Art School. After a successful solo show of her early experimental cubist paintings, she travelled to France where she remained for most of her life. From 1949 Dyring lived in an apartment/studio on the Ile Saint-Louis, a small island on the Seine behind Notre Dame. The apartment became widely known as Chez Moya - an Australian salon in the heart of Paris. Over the next two decades Dyring hosted a transient coterie of Australian artists at Chez Moya. Margaret Olley was one of the young artists who found her way to Chez Moya and the two women became close friends. With artist friends they often set off on short excursions throughout France, Italy or Spain to draw and paint en plein air. During the 1950s and 60s Dyring travelled back to Australia every few years with crates full of her 'Paintings from Paris' for exhibitions in most capital cities. During these visits Dyring spent time with Olley and they continued their en plein air painting excursions in Queensland and northern New South Wales. This exhibition showcases a selection of Dyring’s works, rarely exhibited since her death, alongside works by Olley. Travels with my Art Catalogue (8.59mB PDF) Curator Dr Melissa Boyde Senior Research Fellow School of the Arts, English and Media University of Wollongong

Moya Dyring (1909–1967) was born in Melbourne where she studied at the National Art School. After a successful solo show of her early experimental cubist paintings, she travelled to France where she remained for most of her life. From 1949 Dyring lived in an apartment/studio on the Ile Saint-Louis, a small island on the Seine behind Notre Dame. The apartment became widely known as Chez Moya - an Australian salon in the heart of Paris. Over the next two decades Dyring hosted a transient coterie of Australian artists at Chez Moya. Margaret Olley was one of the young artists who found her way to Chez Moya and the two women became close friends. With artist friends they often set off on short excursions throughout France, Italy or Spain to draw and paint en plein air. During the 1950s and 60s Dyring travelled back to Australia every few years with crates full of her 'Paintings from Paris' for exhibitions in most capital cities. During these visits Dyring spent time with Olley and they continued their en plein air painting excursions in Queensland and northern New South Wales. This exhibition showcases a selection of Dyring’s works, rarely exhibited since her death, alongside works by Olley. Travels with my Art Catalogue (8.59mB PDF) Curator Dr Melissa Boyde Senior Research Fellow School of the Arts, English and Media University of Wollongong

Part of the early Heide circle, Moya Dyring left Melbourne for Europe in the late 1930s and lived much of her life in Paris, in an apartment on the Ile St Louis which became known as Chez Moya. This exhibition follows Dyring’s transition from art student at the National Gallery School in Melbourne (1929-1932), where she met her future husband Sam Atyeo, to Parisian resident and charismatic salonnière – from Heide to the Left Bank. As a young artist, Dyring was among the first painters in Melbourne to respond to the influence of Cubism, evident in her painting Melanctha (1937), which John and Sunday Reed purchased from her first solo exhibition. Arriving in Paris in 1937, she immersed herself in the Parisian art world, meeting artists and attending studios and exhibitions. Later, on numerous excursions into the French countryside with artist friends she painted en plein air. Throughout the war years and up until her death in 1967, Dyring remained in close correspondence with John and Sunday Reed and extracts from their letters, as well as photographs and other archival materials, are displayed in the exhibition.

Part of the early Heide circle, Moya Dyring left Melbourne for Europe in the late 1930s and lived much of her life in Paris, in an apartment on the Ile St Louis which became known as Chez Moya. This exhibition follows Dyring’s transition from art student at the National Gallery School in Melbourne (1929-1932), where she met her future husband Sam Atyeo, to Parisian resident and charismatic salonnière – from Heide to the Left Bank. As a young artist, Dyring was among the first painters in Melbourne to respond to the influence of Cubism, evident in her painting Melanctha (1937), which John and Sunday Reed purchased from her first solo exhibition. Arriving in Paris in 1937, she immersed herself in the Parisian art world, meeting artists and attending studios and exhibitions. Later, on numerous excursions into the French countryside with artist friends she painted en plein air. Throughout the war years and up until her death in 1967, Dyring remained in close correspondence with John and Sunday Reed and extracts from their letters, as well as photographs and other archival materials, are displayed in the exhibition.

"Macho copulando con hembra", "Jardín del Inca" quiere decir Moya, según el actual saber popular. De alguna manera estas definiciones se complementan con las consignadas por los diccionarios quechuas. Hemos encontrado dos voces: Muya: s. Jardín, huerto (González Holguín, Jesús Lara). Mulla: parecer ser un término en de dirección. También es utilizado por los tíos cuando estos se dirigen a un sobrino menor de hermana y de hermano (González Holguín, p. 248). Un sustantivo derivado del anterior pareciera describir la estructura social y religiosa básica de Moya: Mullaypa: s. Soga de esparto de a tres ramales, o trenza tejida de tres (González Holguín, p. 248).

"Macho copulando con hembra", "Jardín del Inca" quiere decir Moya, según el actual saber popular. De alguna manera estas definiciones se complementan con las consignadas por los diccionarios quechuas. Hemos encontrado dos voces: Muya: s. Jardín, huerto (González Holguín, Jesús Lara). Mulla: parecer ser un término en de dirección. También es utilizado por los tíos cuando estos se dirigen a un sobrino menor de hermana y de hermano (González Holguín, p. 248). Un sustantivo derivado del anterior pareciera describir la estructura social y religiosa básica de Moya: Mullaypa: s. Soga de esparto de a tres ramales, o trenza tejida de tres (González Holguín, p. 248).

PANORÁMICA DE LA COSTA NORTE DE GRAN CANARIA EN LA ZONA DE SAN FELIPE, Copia digital. Madrid : Ministerio de Educación, Cultura y Deporte. Subdirección General de Coordinación Bibliotecaria, 2015

Comprende parte de los partidos judiciales de Granollers y Manresa en la provincia de Barcelona, pasando, entre otras, por las poblaciones de Caldas de Montbuy, San Feliú de Codinas y Castelltersol, Título y mención de rsponsabilidad tomados de la carpetilla que agrupa a las hojas que conforman este itinerario, Firmadas y rubricadas por Antonio Coll, en Palma, a 30 de junio de 1871, Orientadas al norte geográfico y magnético, Orografía por curvas de configuración croquisadas sin costas, Longitud total del itinerario: 37 Km, Mención del número de vecinos de los núcleos de población más significativos, Se corresponde con la memoria de sign. C-39 No. 13

Comprende parte del partido judicial de Vich y el término municipal de Moyá, en la provincia de Barcelona, Manuscrito firmado por el autor, Fecha tomada del catálogo del SGE: "Cataluña. Provincia de Barcelona. Siglos XVI a XIX". 1970, p. 237, Orientado con flecha en cuadrante, Relieve representado por sombreado, Manuscrito a plumilla en tinta negra y coloreado a la acuarela en gris y carmín