None Essay Example | Topics and Well Written Essays - 1500 words - 5

None - Essay Example In china, looking back historically, women underwent much degradation and prolonged oppression from the society as they were viewed as being lesser than their male counterpart. They never had equal rights as men, both in the social, political and economic spheres of the society. In this regard, the women become economically dependent and were never accorded any property or inheritance rights with no possession of an independent income source. Socially, the women were forced to subordinate to their fathers, husbands and sons, obey their fathers before marriage, and after marriage, their husbands and their sons in case they became widows. They had no rights in marriage and were forced to do odd and less important jobs. These marriages in the ancient times were arranged and were not in any manner dependent on the couple’s decisions. Once the females had moved into the marriage, they would then be denied any marital freedom with their task restricted to carrying out the household chores such as cleaning, preparing meals and looking after their children (Wang and Theodore, 19). Theirs was the manual labor in their homes. They never had too the right to education and to participate actively to social activities. The ancient Chinese never considered it serious to educate the females, and this had made their illiteracy levels very high. They underwent the retrogressive culture of polygamy and prostitution that tortured them mentally. For a growing young girl, one’s foot had to be bound on something too that affected their social lives, in order for them not to run or practice other customs. Males, on the other hand, were treated differently and with respect in the society. The male children were treated accordingly by their families as they were regarded as a gift from their gods. In the whole society setup, bearing of sons was much-preferred than the

Blue Velvet Essay Example | Topics and Well Written Essays - 500 words

Blue Velvet - Essay Example The premise of the film being a horror fits into the niche of film noir. Acceding to Dancynger film noir "highlights the world of the nightmare, it tends to rely less on movement and pace.' (Technique of film and Video Editing (p 175) I chose to use the word intellectual as part of the theme because film noir has an abstract side to it which encompasses my intellectual basis regarding the film. and considering the theme to be one of intellectual horror. The foundation of the movie revolves around the dark side of human nature, which combines both horror and intellect. To be more specific regarding the film and its theme if the theme is an intellectual horror which theme certainly includes the dark side of human nature and that is the main reason I have identified the theme of Blue Velvet to be an intellectual horror. The thematic montage is one of angst and the dark side of human nature that it stems from. The recurring image of the home is Lynch's way of introducing the theme each t ime the image of the home appears. Many objects are discovered out of sequence during the film. Here is a list of images Used by Lynch to emphasize the theme.

Written Assignment #5 Essay Example | Topics and Well Written Essays - 500 words

Written Assignment #5 - Essay Example because of their association with big organization, and their capability to purchase and stock high volume commodities, act as a distributor of the product. Traditionally, wholesalers were believed to be just an intermediary in the channel with no value addition to the customers, because of the common perception that value addition is done by the retailers only, who sell the final goods. But in the context of ever changing marketing scenario, this has been modified. Customers demand more and have higher expectations from their suppliers, especially distributors. Out of stock for a long time after placing order increases the lead time which is not desirable and it may result in customer penalizing both the wholesaler and the retailer for the incomplete order. Today, customer loyalty is based on supplier performance. Performance is both in terms of quality and timely delivery of the specified products. Customers’ ever increasing expectation of the value added services provided w ith the requirement without any additional cost has been responsible for exerting enormous pressure to the retailers. Thus, in order to handle the requirements, wholesalers must step forward and take proactive actions in terms of close integration with the customers by simplification of the distribution process in a timely and cost effective way and must ensure that the customers are perceiving value added services as unique (udel.edu, n.d.). Potential of the Internet as an efficient and effective communication channel appeared obvious due to the ease of global reach; ease of access; enhanced interactivity; speedy and flexible transaction of large amounts of information in a cost effective way and maintenance easiness (Pyle, 1996; Jones & Visayasarthy, 1998). Modern wholesalers and retailers are dependent on internet in the following

Cultural Diversity-Race and Ethnicity 4 Essay Example for Free

Cultural Diversity-Race and Ethnicity 4 Essay †¢ What information about race and ethnicity in the United States has helped you better understand or relate to specific minority groups? I would have to say that I have learned a lot of information by taking this cultural diversity class. I know that there are minorities in the United States, but I was unaware of many of the discriminations that have happened over the years. I have always thought that we were all equal and that is how I have raised my children. We may come from different backgrounds, have different colors of skin and speak other languages, but we are all people living our lives and trying to become successful. I can now see the challenges that many minority groups have to face in the United States and understand why there are so many different programs available to the minority. o Have you learned something new about your own cultural history? I am about ? Native American and I learned many things about the Native American gaming laws and how that all works. It is interesting to see how the government has stepped up and showed the Native Americans that we want them to be successful and allowed them to produce these successful casino and resorts. I did not realize that many of the casinos are on Native land and there to help the Natives and there reservations. I have never researched much about where I come from or anything about my background, but it was nice to see that there are things that are offered for the wrongs that have been done in the past. I found that the Natives do not hold a grudge and are using what is offered to them to earn money and employee there Natives. Many of them still live on the reservation and are able to work right there on the reservation. †¢ Trends in immigration will continue to shape the face of the United States. What will this face look like in the year 2050? In 2050 I see that there will still be a small amount of discrimitnation in the United States, but there will be many minority groups that have multiplied and will continue to go to college become doctors, teachers, lawyers and so on. There will be no difference in our society as to who is going to help us when we need a doctor or even who is going to teach our childrens children. I feel that if they are taking the time to learn out language and go to school and earn a degree then they should be considered a part of our country and not have to live with discrimination. I know that we cannot change the way people feel and act, but we can start by accepting others ourself and respecting all of the people no matter the race. †¢ How might the country best prepare for the changing race and ethnicity of its current and future citizens? I feel that we need to accept all race and ethnicity into our country. I see that we can learn many things from other people that we may not have thought of ourselves. I feel that we need to educate our citizens so they can see what they are going to expect in the future of the United States. We cannot change who we are or where we come from, but we as citizens can show you why there is no reason to treat any race or ethnicity different from our own. There needs to be education to our children and our future to teach them that we accept all races and ethnicities and they are what form us as a community and society.

Ivan Petrovich Pavlov Essay -- Psychologists

Profile of Ivan Pavlov was born on September 14, 1849 in the village of Ryazan, Russia, the son of Peter Dmitrievich Pavlov, who was the village priest. Because he was the son of a priest he went to church school and enrolled in a theology seminar. As the son of a preacher Ivan Petrovich Pavlov was going to follow in his father’s footsteps, that was until he read a book by Charles Darwin called â€Å"The Origin of Species† After reading this book Ivan Pavlov dropped out of his theological studies and enrolled in a Natural Science program in the University of St-Petersburg. After enrolling in the University of St-Petersburg Ivan Petrovich Pavlov discovered his passion, physiology. Physiology is the branch of biology dealing with the functions and activities of living organisms and their body parts, including all physical and chemical processes. It was here that Ivan Pavlov in collaboration with a fellow classmate wrote his first paper on â€Å"The Physiology of the Pancreatic Nerves† Ivan Pavlov received his first gold medal for this paper. This however is not the only gold medal that Ivan received; he went on to winning the Nobel Prize in Medicine/ Physiology in 1904 â€Å"in recognition of his work on the physiology of digestion, through which knowledge on vital aspects of the subject have been transformed and enlarged† Nobelprize.org. During his 1904 Nobel Prize address he presented his theory on Classic Conditioning. Ivan Pavlov was also elected as the Academician of the Russian Academy of Sciences in 1907, given an honorary doctor ate at Cambridge University in 1912, and awarded the Order of the Legion of Honour in 1915. But these were not the studies that made him famous in the psychology world; it was his study of the canine digest... ...dwich. But I did eat the food from Johnny Rockets right before I started throwing up. So I paired the food from Johnny Rockets with throwing up and the feeling of nausea, and because food is a primary reinforce it only took one time for me to pair nausea and food poisoning with Johnny Rockets. My conditioned response to Johnny Rockets is nauseated feeling. Works Cited †¢ "Ivan Pavlov - Biography". Nobelprize.org. 10 Dec 2011 http://www.nobelprize.org/nobel_prizes/medicine/laureates/1904/pavlov-bio.html †¢ "Pavlov's Dog". Nobelprize.org. 10 Dec 2011 http://www.nobelprize.org/educational/medicine/pavlov/readmore.html †¢ â€Å"Ivan Pavlov†. http://www.muskingum.edu. Mindy Lautenheiser. May 1999 http://www.muskingum.edu/~psych/psycweb/history/pavlov.htm †¢ Saundra K. Ciccarelli, J. Noland White. â€Å"Psychology†. Upper Saddle River, New Jersey: Prentice Hall, 2006

Abington Hill Toys

ABINGTON-HILL TOYS, INC. 1. INTRODUCTION Abington-Hill Toys’ new president, Vernon Albright, hires a new company comptroller, David Hartly. Hartly’s first task was to complete an analysis of the firm’s condition and generate financial planning for the company. 2. METHODOLOGY A. Current ratio B. Acid-test ratio C. Inventory Turnover Ratio D. Debt-Equity ratio E. Gross Margin F. Net Profit Margin G. Z Score 3. SOLUTION A. 280,000/290,000=. 97 B. 130,000/290,000=. 45 C. 900,000/150,000=6 D. 490,000/710,000=. 69 E. 300,000/1,200,000=. 25 F. 60,480/1,200,000=. 05 G. 1. (-10,000/1,200,000)+1. 4(60,480/1,200,000)+3. 3(126,000/1,200,000)+ 1. 05(1,200,000/1,200,000)=1. 46 4. CONCLUSION The current ratio of . 97 means for every $. 97 of current assets, Abington Hill Toys has $1 of current liabilities. Since the current ratio is less than the standard of 3. 5, Abington Hill Toys implies a high risk and a probable incapability to generate sufficient working capital to meet i ts short-term needs. The acid-test ratio of . 45 is less than half of its current ratio which means Abington Hill Toys’ inventory comprises of more than half of its current assets.The inventory turnover ratio of 6 is higher than 5 which is the standard for companies in this industry. Since this ratio is higher than average, Abington Hill Toys is showing strong sales. The higher than standard inventory ratio could also mean ineffective buying of inventory. The debt-equity ratio of . 69 means Abington Hill Toys has $. 69 of debt to every dollar of equity. This would put them in at a lower risk to enhance financial leverage. The gross margin is at 25%. This means Abington Hill Toys is only profiting 25% above their direct costs. This is equivalent to the standard of other companies in this industry.The net profit margin of 5% is less than the standard of 8%. Abington Hill Toys’ net profit margin means equity holders will only receive 5% from every dollar after all expense s, interest, and taxes are paid. The low Z score of 1. 46 would sway me to not lend the money. By Altman’s scale, Abington Hill Toys has a 95% chance of going into bankruptcy in 12 months. Along with the high probability of going into bankruptcy within 12 months, the net profit margin of 5% doesn’t seem worthwhile. I would rather invest in something safer for that low of a return.

Australian Aboriginal Dot Art Essay

Aboriginal art has been overshadowed by the idea that it is primarily presented in dots. It has got to the point where people believe that certain Aboriginal people own the dot and artists both Aboriginal and non-Aboriginal are hesitant to use consecutive dots within artwork. Explain how the above has evolved and where dot art has come from Dot paintings today are recognised globally as unique and integral to Australian Aboriginal art. On the surface the dot is simply a style of Aboriginal painting, like the use of cross-hatching or stencil art. Exploring deeper into the history of the Aboriginal dot painting a world of camouflage, secrecy and ritual is discovered. The term ‘dot painting’ stems from what the Western eye sees when faced with contemporary Aboriginal acrylic paintings. This painting style arose from the Papunya art movement in the 1970s. Papunya Tula artists used a process which originally mirrored traditional spiritual ceremonies. In such rituals the soil would be cleared and smoothed over as a canvas (much like the dark, earthy boards used by the Papunya Tala) for the inscription of sacred designs, replicating movements of ancestral beings upon earth. These Dreaming designs were outlined with dancing circles and often surrounded with a mass of dots. Afterward the imprinted earth would be smoothed over, painted bodies rubbed away, masking the sacred-secrets which had taken place. This ritual was shifted from ground to canvas by the Papunya Tula who eventually added an array of naturally produced colours to the restricted palette of red, yellow, black and white produced from ochre, charcoal and pipe clay. Such pieces reveal a map of circles, spirals, lines, dashes and dots, the traditional visual language of the Western Desert Aboriginal People. However these marks were permanent and due to arising interest made public, creating internal political uproar. Consequently representations of sacred objects were forbidden or concealed through the dotting technique. Now that the collecting of pieces of Aboriginal art has become so popular world-wide, a common, mistaken belief is that the Dot Painting Style of Central Australia is a recent development. This belief arises because it was in the 1960s that a Central Australian school teacher encouraged the old men of the tribe to record their art on European sheets of board, using acrylic paints. This use of acrylic paints on flat board dates from that time. However, the art style itself, with geometric designs, is seen in the petroglyphs (rock engravings) dating back thousands of years. Ancient petroglyphs showing concentric circles (non-naturalistic art style), inland South Australia The use of dots was once Australia-wide, particularly seen on body decoration when people are painted for ceremonies, and paintings in the remote Kimberley region where dots are clearly seen on the body decoration of some of the earliest human figures, likely to be older than 20,000 years. See accompanying photo. ) Dot decoration on the body of an ancient human figure, Kimberley Aboriginal Art: Traditional to Contemporary The resurgence of Australian Indigenous art has become one of the ‘most brilliant and exciting new eras of modern art. ‘ It has grown with such amazing diversity and enthusiasm that art critic, Robert Hughes, has described it as ‘the last great art movement. ‘ For indigenous Australians art has been a part of their culture and tradition for thousands of years and is recognised as one of the oldest living art traditions. Though, over the past 30 years it has progressed from being confined primarily to the tourist industry, to become a richly, evolving international art movement. Since the Renaissance of Aboriginal art during the early 1970’s, Aboriginal artists have been encouraged to find new, innovative ways of incorporating cultural traditions into their imagery. This encouragement first began through an art teacher, Geoffrey Bardon, who became the catalyst for contemporary Aboriginal art. Fascinated by the traditional sand designs created by Indigenous children in Papunya, Bardon encouraged the Aboriginal community to re-create their Dreamtime stories through paintings. He introduced them to acrylic paint and from there Aboriginal art gained a more permanent form and the style, popularly known as ‘dot art’, emerged as the most recognisable form of Aboriginal art. It was a new form of art which also allowed Aborigines to, for the first time, express to the rest of Australia and the world, the ancient traditions of their culture. Many Aboriginal artists have chosen to continue practicing traditional art as a means of conserving the conventional method of creating, inherited from their tribal ancestors. Their content, which is explicitly aboriginal, is usually derived from their history and culture, as a continuation of the spiritual link they possess with their country. Research When The emergence of ‘dot’ paintings by Indigenous men from the western deserts of Central Australia in the early 1970s has been called the greatest art movement of the twentieth century. Prior to this, most cultural material by Indigenous Australians was collected by anthropologists. Consequently, collections were found in university departments or natural history museums worldwide, not art galleries. Where That all changed at a place called Papunya. Papunya was a ‘sit-down’ place established in the early 1960s, 240 kilometres northwest of Alice Springs in the Northern Territory (NT). The settlement brought together people from several western desert language groups: the Pintupi, Warlpiri, Arrernte (Aranda), Luritja, and the Anmatyerr, who were unaccustomed to living in close proximity to each other. Dot Painting or Aboriginal Dot Art originated in the desert using natural substances on the ground in the sand. Those pictures in the sand are not unlike the paintings we see today produced using acrylic paints. The acrylic paintings are usually done using acrylic paint and it is applied to canvas or art board with various diameter sticks dipped into paint and then applied one dot at a time. The Australian Aborigine of the western desert constructed their stories using ochre, sand, blood, coal from their fires and plant material placed together on the ground clump by clump for various ceremonial occasions. If you look at the desert landscape from the height of any small bluff or hill what you see looking down are clumps of growth scattered about a red landscape. The spinifix grass, desert hardwood bush and occasional rocks or rock outcrops make up the myriad of dots that seem to cover the landscape. Because everything in the desert has meaning to the Australian Aborigine these seemingly unimportant arrays of pattern in the desert have special meaning to the Dot painters of the western desert. If you were to ever fly over the desert low enough to see what was on the ground you would see what he dot painting has replicated for you to see. These dots are a myriad of clumps of natural splendour which might go unnoticed had you not seen a dot painting and looked to see what it was about. The arrangement of the plants, rocks and water are all part of the spirit of creation and it is because of this placement that Aboriginal people have traversed the deserts safely without printed maps for th ousands of years. The placement and arrangement of all of these natural things are in songs and these songs are often sung while the painting is being created. Nearly every painting has a song and the songs often disclose important ceremonial facts about a particular region or area. These important ceremonial places are often in the paintings but because they are sacred to Aboriginal people they are camouflaged in some way, visible to the initiated person but invisible to others who do not know what to look for. Many paintings contain these special hidden meanings and the new owners of these paintings will never know what the whole story of their purchased painting is about. Only over time may some insight be gained from looking at the painting. This is a point of pride among the Australian Aboriginal artists because they see the purchase of their art or for them the sale of their art, as a validation of their race and culture by others. This is because a value has been placed on the art. Since the Australian Aboriginal culture is depicted in all traditional paintings they are passing down their knowledge in the only way they are able, to those who have yet to understand it. The Aboriginal people do not have a written language so these painting of their stories and ceremonies are all they have to save this culture for future generations. The colour and the placement of the dots are important to depicting the visible message and camouflaging the hidden message in Aboriginal dot art. Even the over painting of an area of the work has special significance and may convey different messages. Some people gifted with a since of tactile feeling are able to feel a special vibrancy emanating from their painting. Who Many of the significant early artists at Papunya were senior men who had vivid memories of their first contact with white people. Typically, they came out of the desert as adults during the 1950s drought and their connection to ritual law was strong. The first artists’ collective, Papunya Tula Artists, was set up in 1972 by men from this settlement. Papunya Tula Artists was the inspiration and model for many other Indigenous artists’ collectives. In 2009 there are 42 desert Indigenous art communities represented by Desert. The artwork was seen as a way to keep the culture alive, and carry Indigenous stories to the world. The movement was seen as being about recollection and cultural memories linked to Dreaming’s’ or story types. Why the modern aboriginal â€Å"dot art† movement started? Geoffrey Bardon AM (1940–2003) Geoffrey Bardon began working as an art teacher at Papunya Special School in 1971. Concerned that the school’s curriculum, appearance and ethos seemed out of step with Aboriginal culture, Bardon attempted unsuccessfully to involve his class in painting a series of murals on the school walls. Thereupon Kaapa Tjampitjinpa, Long Jack Phillipus Tjakamarra, Billy Stockman Tjapaltjarri and others created the Honey Ant Mural, which inspired many senior men to ask Bardon for painting materials and eventually begin painting in the Men’s Painting Room. The Men’s Painting Room, Papunya – Johnny Warangkula Tjupurrula can be seen in the middle ground painting a Kalinypa Water Dreaming. His two boomerangs are placed in front of the board as percussion instruments, ready to be used to accompany the verses of the Water Dreaming, sung at intervals during the painting process, June-August 1971 Photo: Michael Jensen Convinced of the groundbreaking importance of what he was witnessing, Bardon made comprehensive photographic, moving film and written records of the artists and the paintings that they produced while he was at Papunya. From his primary research, Bardon wrote three books and made three films that initiated public interest in Western Desert art. In 1988 Bardon was awarded the Order of Australia Medal for his unique contribution to the Western Desert art movement. The Honey Ant Mural, July 1971 Geoffrey Bardon and his Arerrnte assistant, Obed Raggett, had noticed people drawing designs in the sand at Papunya. Following this precedent, they drew circles and spirals on the blackboard in an unsuccessful attempt to encourage their class of adolescent boys to paint a series of murals on a whitewashed, cement-rendered wall of the Papunya Special School. In late July 1971, after painting a series of smaller practice murals, seven painters collaborated in the painting of a monumental mural representing the Honey Ant Dreaming specific to the site of Papunya. Working under the direction of custodians Mick Wallangkarri Tjakamarra and Tom Onion Tjapangati, the artists included Kaapa Tjampitjinpa, Billy Stockman Tjapaltjarri, Long Jack Phillipus Tjakamarra, Johnny Warangkula Tjupurrula and Don Ellis Tjapanangka. The Honey Ant Mural, a bold expression of Aboriginal culture in a government settlement, occasioned great rejoicing at Papunya and inspired immense pride in the community. Geoffrey Bardon in front of the Honey Ant Mural, Papunya, August 1971 Photo: Robert Bardon  © artists and their estates 2011, licensed by Aboriginal Artists Agency Limited and Papunya Tula Artists Pty Ltd Pintupi people from the Western Desert Pintupi is the name of a Western Desert language spoken by Aboriginal people who belong to a large stretch of country in the Gibson Desert of Western Australia and the western edge of the Northern Territory. When the Pintupi arrived in the government settlements east of their traditional lands between the 1930s and the 1950s, they adopted the term ‘Pintupi’ to distinguish themselves from the surrounding Aboriginal inhabitants as the ‘people from the west’. They were among the last Aboriginal people in Australia to abandon their nomadic lifestyle, the last family arriving into the newly established community of Kiwirrkura in 1984. In Papunya, the Pintupi, bound to each other by their dominant loyalties of relatedness and kinship, were ostracised due to their lack of conversance with kartiya (non-Aboriginal) customs and their perceived lack of sophistication. Diversity within â€Å"dot art† – showing two different artists works. Uta Uta Tjangala – Traditional Artist Uta Uta Tjangala, who is an exemplar of the historical cultural tradition, Uta Uta’s painting career and reputation is closely aligned to the artistic renaissance that began at Papunya in 1971. He was a founding member of the men’s painting group, inspired other Pintupi tribesmen, and becoming one of the most senior and influential painters amongst the group. Born in Western Australia in Drovers Hills, he made the epic journey to Haasts Bluff with his family during the severe drought of the mid to late 1950’s in the company of Charlie Tarawa. Two years later, after returning to his homelands, he made the journey once more with Timmy Payungka, Pinta Pinta and their families. Uta Uta Tjangala (early years) Employed as a gardener at the Papunya school Uta Uta, then in his 40’s, became one of the original group drawing and painting on composition board with encouragement from art teacher Geoff Bardon. When supplying paints to Uta Uta and his gathering group of enthusiastic friends, Bardon suggested the men use their existing cultural symbols to depict their Dreamings and links to the land. The Pintupi men, having been pushed from their traditional homelands by government policy and European development, painted under a bough shelter behind the camp ‘pouring into their work their acute longing for the places depicted †¦ and chanting the song cycles that told the stories of the designs as they worked’ . These early works aroused strong protest within Aboriginal communities when first exhibited in Alice Springs in 1974 because of the disclosure of secret and sacred knowledge. A period of experimentation followed, resulting in the development of a symbolic language of classic ideograms and the characteristic dot covered areas that veil sacred elements from the uninitiated. The large, tribally mixed population of Papunya intensified the interaction, but under the influence of artists like Uta Uta, the painting group was able to break through the political and cultural constraints toward a safer stylistic conformity, and prepare the way for personal and distinctive styles to emerge. Uta Uta in particular, with his exciting and charismatic personality as well as his bold and dynamic style, played a vital role in these developments. Bardon recalled many years later, ‘everything that came from him was genuine’ . Uta Uta’s 1971 and 1972 paintings generally featured major story elements with only the barest dotted in-fill within the iconography and small sections of the background. The aesthetic balance and harmony of these works is derived through colour and weight rather than by a geometric division of the painted surface. The rather crude dotting and line work of these early paintings on board embues them with an energy and power that is less apparent in his later more technically proficient works. His paintings are far stronger and more powerful when the clean unadorned background remains, unlike paintings by his contemporary Kaapa, whose early works became more aesthetically appealing as he began to in-fill the background. In developing a style that censored the more secret and sacred content in his painting, Uta Uta added more dot-work as the years went by. He painted more Tingari sites completely surrounded by neat dots that became less and less detailed. Despite his advancing age during the late 1970’s he continued to paint as he spent increasing time at outstations west of Papunya and, at the beginning of the 1980’s, he completed what was to become one of the most important and revered works of the entire Western Desert art movement. Yumari 1981, possibly his largest and most significant painting, reveals the mythical Tingari ancestors traveling across vast stretches of country as they create sites and institute rituals. Yumari is a rocky outcrop in his home country and the key ceremonial site of the area. Story elements and natural features blend seamlessly into a beautifully balanced geometry of concentric circles and connecting lines that enclose a central, abstracted figure. This body continues rather than interrupts the intense, minutely dotted background configurations, yet still holds the central focus. The work is characterised by the sinuous movement of converging regular and irregular shapes, accentuated by outlining white dots. The predominant use of an earthy red alongside vivid yellow ochre, further emphasizes the assertive quality in this cohesive and powerful statement of Aboriginal tradition. The work was exhibited at the XVIII Bienal de Sao Paulo in 1983 and is now in the collection of the National Museum of Australia. While painting Yumari, important discussions were taking place at Papunya concerning the move back to the Pintupi homelands at Kintore. Land rights legislation during the 1970’s returned ownership of the land to its traditional owners and Uta Uta was a strong advocate for resettlement.