Postcolonial discourse is incredibly diverse and postcolonial art in Australia has numerous critical modes. This paper describes an approach in Contemporary Indigenous art that attempts a critique of the law from within the law rather than outside of it. It takes a radical form of over-proximity, rather than avant-garde distance, and finds the gap and failure in law’s attempt at creating legal subjects of us all. In the work of Gordon Bennett, Danie Mellor and the duo Adam Geczy and (...) Adam Hill, there is a working through the political and legal ramifications of the Indigenous subject in contemporary Australia. The focus on processes of initiation and subjectivization, or what Althusser called “interpellation” and show the effects of this interpellation in the Indigenous subject and offer modes of resistance. The artists are informed by Lacanian notions of subjectivization and utilise this approach to semiotics and power as the starting point for their critique. (shrink)

The last 20 years have seen the development of a new form of therapy, compassion focused therapy. Although CFT has a growing evidence base, there have been few studies of CFT outside of an Anglo-European cultural context. In this paper, we ask: Might a CFT-based approach be of value for Indigenous Australians? If so, what kind of cultural adaptations might be needed? We report the findings from a pilot study of an arts-based compassion skills training group, in which usual (...) CFT group processes were significantly adapted to meet the needs of Indigenous Australians. At face value, CFT appeared to be a promising approach to enhancing the social and emotional wellbeing of Australia’s Indigenous peoples. However, despite initial consultations with Indigenous health professionals, the first attempts to offer a more conventional group-based CFT to Indigenous clients were largely unsuccessful. Following a review and advice from two Indigenous clients, we combined elements of CFT with visual arts to develop a new approach, “arts-based compassion skills training”. This paper reports an evaluation of this pilot ABCST group. The group had 6 × 4 h sessions of ABCST, facilitated by two psychologists and two artists. There were 10 participants, who attended between 2 and 6 sessions: five were clients, five were health professionals. Between 1 and 3 months later, six of the participants were interviewed. Qualitative analysis of interview data identified that two key processes—creating a positive group atmosphere and channeling compassion skills training through the medium of visual arts—led to four positive outcomes for participants: planting the seeds of new understandings, embodying the skills of compassion, strengthening relationships with others, and evolving a more self-compassionate relationship. We suggest that the preliminary results are sufficiently encouraging to warrant further development of ABCST in Indigenous communities. (shrink)

Since all theories of knowing deal with the being of subjects, objects, instruments and environments, they can be viewed as onto-epistemological. This chapter examines key ideas that emerge from the work of Julia Kristeva – 'the speaking subject', 'materiality of language' and 'heterogeneity' – to demonstrate how ontology and epistemology are inextricably entwined in knowledge production. Kristeva also affirms both the agency of matter and the dimension of human/subjective agency implicated in cultural production. This is contrasted with Gilles Deleuze and (...) Felix Guattari’s account creative practice. The article also draws on the artistic work of researcher-practitioner Brian Martin, and his account of the relationship between Indigenous Australian art and culture to demonstrate that in an Indigenous world view, the real, the immaterial, the imaginary and the representational occur concurrently. (shrink)

Image-making is a nearly universal human behavior, yet the visual strategies and conventions to represent things in pictures vary greatly over time and space. In particular, pictorial styles can differ in their degree of figurativeness, varying from intersubjectively recognizable representations of things to very stylized and abstract forms. Are there any patterns to this variability, and what might its ecological causes be? Experimental studies have shown that demography and the structure of interaction of cultural groups can play a key role: (...) the greater the degree of contact with other groups, the more recognizable and less abstract are the representations. Here we test this hypothesis on a real-world dataset for the first time. We constructed a balanced database of Indigenous Australian rock art motifs from both isolated and contact Aboriginal groups (those often in contact with other groups). We then ran a survey asking participants to judge the recognizability of the motifs and to provide interpretations. Results show that motifs from contact Aboriginal groups were more likely to be judged as inter-subjectively recognizable and also elicited more convergent descriptions than motifs from isolated groups. This is consistent with the idea that intergroup contact is likely to be an important factor in the cultural evolution of pictorial representation. We discuss the implications of these findings for the archaeology and anthropology of art, and the parallels with language evolution. (shrink)

The belief held by Aboriginal people that their art is ultimately related to their identity, and to the continued existence of their culture, has made the protection of indigenous peoples' art a pressing matter in many postcolonial countries. The issue has prompted calls for stronger copyright legislation to protect Aboriginal art. Although this claim is not particular to Australian Aboriginal people, the Australian experience clearly illustrates this debate. In this work, Elizabeth Burns Coleman analyses art from an (...) Australian Aboriginal community to interpret Aboriginal claims about the relationship between their art, identity and culture, and how the art should be protected in law. Through her study of Yolngu art, Coleman finds Aboriginal claims to be substantially true. This is an issue equally relevant to North American debates about the appropriation of indigenous art, and the book additionally engages with this literature. (shrink)

This special issue is the outcome of a collaborative venture – a three-day workshop between La Trobe University and Ateneo de Manila University, held in Manila. It brought together indigenous and non-indigenous researchers from both the Philippines and Australia and included aboriginal researchers in business studies, history, literature and anthropology, and non-indigenous researchers working on themes of indigenous history, material culture, film studies, literature, the visual arts, law and linguistics. The ‘indigenous’ peoples of the Philippines (...) are very different to Australian Aborigines or Torres Strait Islanders. Nevertheless, they have common quests for political autonomy, protection of indigenous customary laws, traditions and knowledge, biodiversity, and development of independent self-governance structures for health, education and community development. These concerns involve analogous and overlapping political struggles with nation-states and in the forums of the UN, regional associations, global consortia, and the international courts. The papers in this issue are based on a roundtable in which the participants showcased their own research projects and interests on indigenous pathways, cultural pluralism and national identities; socio-economic development; and representation of indigenous identities in creative and visual arts. (shrink)

I do not understand painting very well, and especially not Australian Indigenous painting, the dot painting of Western and Central Desert artists such as Kathleen Petyarre. I grew up without art on the wall, among gum trees, red dirt, dying wattle, and ‘two thirds sky’. While this might suggest that I inhabit the same landscape as Petyarre, I also grew up without ‘the Dreaming’, the meaning that this dot painting is said to be about. How and why then (...) can this painting have the impact on me that it does? And, given the history of colonisation in Australia, including the colonisation of Indigenous meanings, what is the politics of the impact of that painting? (shrink)

In 2008, renowned Australian composer Peter Sculthorpe remarked that almost everything he has written since the early 1960s has been influenced by Indigenous music “because that was a music … shaped by the landscape over 50,000 years.” 3 His preference for accumulating “an effect of relentless prolongation” through the use of long drones has seen his music fail, until recently, to appeal to an Australian ear attuned to Bach and Mozart. 4 His aim, however, has not been (...) to satisfy the European-trained ear, but to “mirror the Australian outback”; to capture a sense of time and space that many Australians have repeatedly failed to access. 5 Sculthorpe‟s efforts to form connections with the landscape are by no means singular; representations of the bush have dominated the arts from early settlement, albeit in a largely negative fashion. The contradiction between an accepted Australian vision of the landscape as empty, unwelcoming bush or desert, and the social reality of a nation living mainly in coastal communities has not gone unnoticed. 6 Nevertheless, contemplating this “accepted vision” alongside the lukewarm reception of Sculthorpe‟s work gives rise to the following question: what conclusions, if any, may be drawn from insistently negative representations of the landscape? In consideration of this question, I propose an analysis of two texts in which the representations of landscape have been overlooked in favour of feminist or classical readings: Barbara Baynton‟s Bush Studies and Joan Lindsay‟s Picnic at Hanging Rock. If “landscape is personal and tribal history made visible,” what is one to make of Bush Studies? 7 The parallels between Baynton‟s narratives of isolation and her own experiences cannot fully account for her portrayals of the bush as “a lonely, hostile place, antagonistic to its inhabitants,” where time recedes into the vast distances of the plains, and the past and future are uncertain. 8 Baynton‟s settlers, cut adrift from cultural and religious traditions, fail to form communities and conform to the notion that “where si gnificant tradition counts for little, places may be virtually without time,” leading to “no awareness of history.” 9 In short, Baynton‟s settlers are plagued with a sense of timelessness that appears to originate from perception, rather than the environment. (shrink)

This paper, based on a talk given at the Art Gallery of New South Wales, is presented as an example of philosophy done in an art gallery. Its subject is Tom Roberts’ painting Holiday Sketch at Coogee (1888), and as well as responding directly to the painting in the environment of the gallery, it draws on the author's memories of seeing that painting in other times and places. It draws on these personal experiences to relate Roberts’ painting to a controversial (...) idea laid out by art historian Heinrich Wölfflin, and to more recent conventionalist and resemblance theories of pictorial representation. It finishes by affirming one of Roberts’ important achievements: his discarding of inherited European ways of picture‐making, and his place among the first generation of non‐indigenous artists to represent the real colours of the Australian landscape. (shrink)

Numinous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to. This volume is multi-disciplinary in scope. It examines perceptions of place, space, nature, and art as well as perceptions of place, space, and nature in (...) art. It includes chapters written by art curators, and historians and scholars in the fields of landscape, architecture, cultural geography, religious studies, philosophy, and art. Its chapters examine ideas, objects, and practices from the ancient time of Aboriginal Australians' Dreaming through to the present. The volume is also multi-cultural in scope and includes chapters focussed on manifestations of the sacred in indigenous culture, in cultures influenced by each of the world's major religions, and in the secular, contemporary world. Contributors: Samer Akkach, James Bennett, Veronica della Dora, Alasdair Forbes, Virginia Hooker, Philip Jones, Russell Kelty, Muchammadun,Tracey Lock, Ellen Philpott-Teo, John Powell, Rebekah Pryor, Wendy Shaw. (shrink)

This essay details the manifestation of the artwork Home Ground, including its subsequent iterations, to explore how an artwork might function as both an expression and extension of narratives associated with its author, Steven Rhall. This exploration begins with a consideration of the ways in which various contextual frameworks inform ‘subjective decisions’, for example, coloniality, and process-led making. I identify as a Taungurung man (First Nations Australian) but I live in a colonised society, experiencing cultures tied to each positionality (...) in the contradictory, complex overlapping contexts of everyday life. The essay takes interest in how these frameworks also shift as the iterative work unfolds in new temporal and geographical locations, ultimately emphasising the interrelationship between author, narrative, and wider contextual frameworks. The essay then moves to consider how the narratives spurred in the art-making process continue to evolve in the author’s absence and in relationship to subsequent audiences. The essay posits itself as a metanarrative in that it acts as an extension of the artwork it is discussing. As such, the essay employs the same photographic images that form the material nexus of Home Ground (as originally exhibited), thereby further extending the narratives contained in them via the medium of this written text itself. (shrink)

Visual cultures are being increasingly discussed in the history of science literature, although relatively very little of that work concerns the nuclear age. In addition, within the discrete yet bourgeoning literature on global nuclear art and culture, Oceania is often overlooked despite its central role in the development of the American, British, and French nuclear weapon capabilities, as well as their associated colonial legacies. This article serves to redress both concerns by examining the visual politics of Maralinga in relation to (...) settler-colonial and Aboriginal experiences, vulnerabilities and presentations. I do so by surveying artworks with a connection to the Australian experience of nuclear colonialism and find that the figure of biological life has been conspicuously left absent from contemporary non-Indigenous Australian depictions of British nuclear testing in Australia. (shrink)

Over the last few years, I have attended several political meetings concerned with the refugee crisis, multiculturalism or Indigenous rights in Australia, meetings at which liberal democratic–minded ‘left-wing’ people came together to discuss, or agitate for change in, governmental policies. At these meetings, I always found it difficult to accept the slogans on their placards and in their speeches: ‘Shame Australia! Reconciliation for a united Australia’, ‘Wake up Australia! We welcome refugees!’ or ‘True Australians are tolerant! Let’s celebrate multicultural (...) Australia!’ My uncomfortable feeling came not only from the fact that I was left out because of my Japanese nationality but also because I had never seen or heard words like ‘shame Japan’, ‘wake up Japan’ or ‘true Japanese are...’ at Japanese ‘left-wing’ political gatherings. In Japan, these are words used only by right-wing nationalists. Indeed it is difficult to even imagine liberal-left intellectuals in postwar Japan calling for a ‘true Japanese’ political response, such is the extent to which the idea of ‘good nationalism’ is now regarded as an oxymoron. This is my starting point for an essay in which I want to be attentive to the different roles played by national in the Japanese and Australian political environments. (shrink)

As part of a (bio)colonial project, the biological information of Indigenous Peoples has historically been under scientific scrutiny, with very limited benefits for communities and donors. Negative past experiences have contributed to further exclude Indigenous communities from novel developments in the field of omics research. Over the past decade, new guidelines, reflections, and projects of genetic research with Indigenous Peoples have flourished in Australia, providing opportunities to move the field into a place of respect and ethical relationships. (...) This review explores the ethical and cultural implications of the use of biological samples from Indigenous communities in biomedical research. A structured framework outlining emerging topics of interest for the development of respectful omics research partnerships with Indigenous Australians is presented. This paper highlights aspects related to Indigenous governance, community and individual consent, respectful handling of biological samples, data management, and communication in order to protect Indigenous interests and rights and to promote communities’ autonomy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Indigenous Australian Women’s Music and DanceSarah H. WattsElizabeth Mackinlay. Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Indigenous Australian Women’s Music and Dance (Bern: Peter Lang, 2007).Elizabeth Mackinlay, a lecturer in the Aboriginal and Torres Strait Islander Studies Unit at the University of Queensland, documents her unique pedagogical approaches and ways of thinking about (...) the teaching and learning of music and dance in her book, Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Indigenous Australian Women’s Music and Dance. A university-level anthropology course dealing with the music and dance traditions of Australia’s Yanyuwa women was the setting for this “ethnographic case study” (p. 17). Through this course, Mackinlay sought to help students connect Indigenous Australian performance practices to social and political issues while fostering awareness of gender issues and learning processes within Indigenous Australian music and dance performance contexts. These objectives were met through a distinctive approach—by disposing of the strict lecture class format and bringing the field into the classroom. Disturbances and Dislocations documents the experiences of Mackinlay, her students, and several Yanyuwa women who come together as part of the course to engage in hands-on, authentic music and dance exchanges that bring the Yanyuwa women’s voices to the fore. [End Page 90]From the very beginning of the book, Mackinlay highlights her unique point of view as author of this work. She is a “white, middle class, educated woman” (p. 15) researching the experiences of and teaching university-level courses relating to Indigenous Australian and Torres Strait Islander peoples, a cultural background that is not her own. She is a political, educational, and ethnic outsider to the groups of peoples she studies. The wife of an Aboriginal man and mother to Aboriginal children, she is afforded links to the Yanyuwa people that provide her with a measure of status as a family member within the community. The dichotomy of being at once an insider and an outsider in the Yanyuwa community lends a fascinating level of complexity to Mackinlay’s exploration and analysis of the presence and impact of Yanyuwa culture-bearers in her classroom. The warmth, honesty, and openness with which she addresses her unique role in this learning exchange is engaging to the reader, and allows her personal situation to add humanity and life to the words on the page.The eight-chapter book commences with an introductory section that reflects upon her personal experiences in engaging in scholarship relating to Indigenous Australian issues. Additionally, the reader is introduced to the site of the ethnography, her classroom, in which her personal and professional lives intertwine. The next chapter further establishes the context of the ethnography by discussing a pilot project that laid foundations for the main study presented in the book. In this 1999 pilot project, a group of Mackinlay’s students, largely white women, participated in hands-on music and dance workshops under the guidance of Mackinlay and several Yanyuwa women. Student responses from this pilot project indicated that they felt awkward at times, but valued the time spent with the Yanyuwa guests and wished for more of these types of class sessions. Mackinlay determined that this cultural exchange could be even richer if more class time could be dedicated to it, an important observation for her own work, and also for others who seek to furnish cultural encounters for students.The fourth chapter delves into a theoretical discussion of the meanings of the inclusion of the study of Aboriginal and Torres Strait Islander peoples in contemporary classroom settings. Issues of political positioning, representation of Indigenous voices, identity, and “speaking from and of in-between spaces” (p. 64) as one with a foothold in both white and Indigenous worlds are all addressed, engaging the reader in Mackinaly’s own complex journey of coming to terms with her own teaching and scholarly pursuits. It is refreshing to the reader that Mackinlay acknowledges her unique viewpoint as facilitator of this course and this research study. While she is an authority in this realm, she highlights her own backgrounds and biases, her individual lens... (shrink)

The right of Australian Indigenous groups to own traditional lands has been a contentious issue in the recent history of Australia. Indeed, Aborigines and Torres Strait Islanders did not consider themselves as full citizens in the country they had inhabited for millennia until the late 1960s, and then only after a long campaign and a national referendum (1967) in favour of changes to the Australian Constitution to remove restrictions on the services available to Indigenous Australians. The (...) concept of terra nullius, misapplied to Australia, was strong in the popular imagination among the descendants of settlers or recent migrants and was not definitively put to rest until the Mabo decision (1992), which also established a firm precedent for the recognition of native title.This path to equality was fraught and made lengthy by the fact that the worldviews of the Indigenous Australians (i.e. Aborigines and Torres Strait Islanders) and the European (mainly British and Irish) settlers were so different, at least at a superficial level, this being the level at which prejudice is typically manifested. One area where this fact is particularly evident is in the area of the conceptualisation of property and especially the notion of land “ownership” and “use”.In this paper, we will focus on these terms, examining the linguistic evidence of some of the Australian languages spoken traditionally by Indigenous Australians as one means (the only one in many cases) of gaining an insight into their worldview, comparing it with that underlying the English language.We will show that the conceptualisations manifested in the two languages are contrasting but not irreconcilable, and indeed the ability of both groups of speakers (or their descendants in the case of many endangered Australian languages) to reach agreement and come to develop an understanding of the other’s perspective is reason for celebration for all Australians. (shrink)

Despite government policy and initiatives for remote areas, indigenous people are amongst the most disadvantaged and do exhibit higher levels of unemployment in the Australian community. A number of commentators have suggested that better educational opportunities for this minority group will considerably improve their socio-economic status and employment opportunities. This myth is exposed in this article, which reports evidence from an educational–vocational programme for Yolngu who are the indigenous people of East Arnhem Land in the Northern Territory (...) of Australia. The Arnhem Learning Education and Regional Training (ALERT) programme is conducted, mainly at Nhunlunbuy, in partnership with Rio Tinto Alcan and the Charles Darwin University, with the primary objective of preparing indigenous people for mainstream sustainable jobs. The presented content suggests that while higher educational status is important, this sole strategy is unlikely to comprehensively address outstanding issues that are confronting indigenous people and their labour market concerns. (shrink)

This paper focuses on a water management project in the remote Aboriginal community of Milingimbi, Northern Australia. Drawing on materials and experiences from two distinct stages of this project, we revisit a policy report and engage in ethnographic storytelling in order to highlight a series of sensing practices associated with water management. In the former, a working symmetry between Yolngu and Western water knowledges is actively sought through the practices of the project. However, in the latter, recurrent asymmetries in the (...) research work continue to appear: a bilingual diagram of water usage is displayed but produces confusion; measuring a water hole for salinity, a member of the scientific team throws in a water meter, while a Yolngu elder prefers the telling of an ancestral story; a collaborative 3-D mapping exercise invites participation from community members but struggles to develop an outcome that differs from existing maps used by scientists and government staff. Focusing on these moments as subtle points of rupture, we suggest that attending to “seeing,” “telling,” and “mapping” in both stages of this water management project offers a way to explore the political work of crafting climate futures and beginning to interrogate differing means for “doing difference” within them. (shrink)

In this article I take a poem by Lisa Bellear as a starting point for theorizing the possibility of a renovated feminism. I argue that the rhetorical questioning of the poem performs a mode of intersubjectivity in which the addressee/reader reflects upon their whiteness. The poem drives directly into the dense affect that saturates the troubled zone of cross-racial relations in contemporary Australia. If this zone is characterized by white anger and anxiety, it is also a zone of intense `feeling' (...) for the indigenous poet. Jean-Luc Nancy defines literature as the act of the `opening [of] community to itself', that is, of communicating our being-in-common. The cross-racial encounter that Bellear brokers between an indigenous and a white woman through the performance of address in this poem is not entirely comfortable or governable. I discuss how my students find this poem so confronting, and the fact that this discomfort underlines the necessity for a pedagogy that accommodates what Spivak refers to as `moments of bafflement'. (shrink)

I thank Michael Symons and Dr Paul Rule for comments on this paper; and Channel 10’s Chris Kenny and Grant Heading for access to the uncut tape of Mr Kenny’s interview with Mr Milera.

As the international art market globalizes the indigenous image, it changes its identity, status, value, and purpose in local and larger contexts. Focusing on a school of Australian Aboriginal painting that has become popular in the contemporary art world, Robyn Ferrell traces the influence of cultural exchanges on art, the self, and attitudes toward the other. Aboriginal acrylic painting, produced by indigenous women artists of the Australian Desert, bears a superficial resemblance to abstract expressionism and is (...) often read as such by viewers. Yet to see this art only through a Western lens is to miss its unique ontology, logics of sensation, and rich politics and religion. Ferrell explores the culture that produces these paintings and connects its aesthetic to the brutal environmental and economic realities of its people. From here, she travels to urban locales, observing museums and department stores as they traffic interchangeably in art and commodities. Ferrell ties the history of these desert works to global acts of genocide and dispossession. Rethinking the value of the artistic image in the global market and different interpretations of the sacred, she considers photojournalism, ecotourism, and other sacred sites of the western subject, investigating the intersection of modern art and postmodern culture. She ultimately challenges the primacy of the "European gaze" and its fascination with sacred cultures, constructing a more balanced intercultural dialogue that deemphasizes the aesthetic of the real championed by western philosophy. (shrink)

_A Communion of Subjects_ is the first comparative and interdisciplinary study of the conceptualization of animals in world religions. Scholars from a wide range of disciplines, including Thomas Berry (cultural history), Wendy Doniger (study of myth), Elizabeth Lawrence (veterinary medicine, ritual studies), Marc Bekoff (cognitive ethology), Marc Hauser (behavioral science), Steven Wise (animals and law), Peter Singer (animals and ethics), and Jane Goodall (primatology) consider how major religious traditions have incorporated animals into their belief systems, myths, rituals, and art. Their (...) findings offer profound insights into humans' relationships with animals and a deeper understanding of the social and ecological web in which we all live. Contributors examine Judaism, Christianity, Islam, Hinduism, Buddhism, Jainism, Daoism, Confucianism, African religions, traditions from ancient Egypt and early China, and Native American, indigenous Tibetan, and Australian Aboriginal traditions, among others. They explore issues such as animal consciousness, suffering, sacrifice, and stewardship in innovative methodological ways. They also address contemporary challenges relating to law, biotechnology, social justice, and the environment. By grappling with the nature and ideological features of various religious views, the contributors cast religious teachings and practices in a new light. They reveal how we either intentionally or inadvertently marginalize "others," whether they are human or otherwise, reflecting on the ways in which we assign value to living beings. Though it is an ancient concern, the topic of "Religion and Animals" has yet to be systematically studied by modern scholars. This groundbreaking collection takes the first steps toward a meaningful analysis. (shrink)

This collection of essays charts the intellectual trajectory of Barbara Glowczewski, an anthropologist who has worked with the Warlpiri people of Australia since 1979. She shows that the ways Aboriginal people actualise virtualities of their Dreaming space-time into collective networks of ritualised places resonate with Guattarian and Deleuzian concepts. Inspired by the art and struggles of different Indigenous people and other discriminated groups, especially women, Glowczewski draws on her own conversations with Guattari, and her debates with various scholars to (...) deliver an innovative agenda for radical anthropology. (shrink)

Confronted by contemporary neoliberal crisis, apparently rooted in economistic, or even nihilistic worldviews, the task for the [sociologist] is not simply to impose … critique from without, but to...

Increasingly, the role of health research in improving the discrepancies in health outcomes between Indigenous and non-Indigenous populations in developed countries is being recognised. Along with this comes the recognition that health research must be conducted in a manner that is culturally appropriate and ethically sound. Two key documents have been produced in Australia, known as The Road Map and The Guidelines, to provide theoretical and philosophical direction to the ethics of Indigenous health research. These documents identify (...) research themes considered critical to improving the health of the nation’s Indigenous peoples. They also provide values that, from an Indigenous perspective, are foundational to an ethical research process. This paper examines these research themes and values within the context of a current longitudinal birth cohort study of Indigenous infants and children in south-west Sydney: the Gudaga Study. Considerable time and effort have been invested in being true to the values stated in these documents: reciprocity; respect; equality; responsibility; survival and protection; and spirit and integrity. We have learnt that it is vital to be true to these values when conducting Indigenous health research—to quite literally “walk the talk”. (shrink)

Aboriginal Australians have traditionally enjoyed little protection from the law. The matter of land has been at the heart of white settler/Aboriginal relations since the nation was first founded. It is only recently that recognition has been given to the land rights of Australian indigenous people. This recognition was finally made at the property law level in 1992 through the High Court decision in Mabo v. Queensland (n. 2) ([1992] 175 CLR 1). The 1993 High Court decision in (...) The Wik Peoples v. Queensland ([1996] 71 ALJR 173) reinforced that recognition. It did so through the principle that pastoral lessees' and native title holders' rights might co‐exist except that, in the event of any inconsistency, the pastoralists' rights were to prevail, provided pastoral activity was being pursued. The most recent legal change is the parliamentary revision of the Native Title Act so that the Wik co‐existence principle was put to rest, mainly through permitting the State governments to upgrade pastoral holdings to a form of freehold, thus immunising them from native title claims, and minimising the payment of compensation. In this paper we argue that the country must consider what has been lost in this about‐turn from the recognition of native title to land in Mabo. We argue that the nation must consider the emphases in the Mabo judgments upon the significance of international law and the need for the common law not to be locked into a racist past. From that point, we contend for the need to recognise not only native title to land but what lies beyond that: indigenous political and human rights. (shrink)

Bourdieu’s concept of habitus clivé illuminates Indigenous Australians’ experiences in tertiary environments for both Aboriginal students and Aboriginal staff. Habitus formed through family, schooling and social class is also shaped by urban, regional or rural upbringing, creating a durable sense of self. Aboriginal people in Australia live in all of these places, often in marginalised circumstances. Bourdieu’s more specific concept of habitus clivé, or divided self, is less well known than habitus, but offers value in giving expression to (...) class='Hi'>Indigenous people’s experiences within a dominant White society. The complexity of participation and educational change is explored here through the experiences of three authors’ intersecting positionalities within the Australian academy. Developing more nuanced scholarly language reduces the imposition of perspectives that see Indigenous people as objects within western frameworks. Scholarly understanding and respect for Australia’s first peoples’ concepts and cultural practices would engage more appropriately and fairly with Aboriginal knowledge and society. Habitus clivé chronicles one version of habitus that can be changed or be reconfirmed but not easily or by fiat. Understanding the concept can be learned, however. Educational opportunity, glorified in today’s higher education, means little for Aboriginal people without long-term strategies addressing existentially and culturally split habitus. (shrink)

In 1991, the Australian Commonwealth Parliament unanimously passed the Council for Aboriginal Reconciliation Act 1991. This Act implemented a 10-year process that aimed to reconcile Indigenous and non-Indigenous people by the end of 2000. One of the highest priorities of the reconciliation process was to address Indigenous socio-economic disadvantage, including health, education and housing. However, despite this prioritising, both the Keating Government (1991–1996) and the Howard Government (1996–2000) failed to substantially improve socio-economic outcomes for Indigenous (...) people over the reconciliation decade. In this paper, I examine one of the most prominent socio-economic areas, that of Indigenous health. First, I discuss the appalling levels of Indigenous health throughout the reconciliation decade by analysing a number of health indicators, including life expectancy, infant mortality rate, standard mortality ratios, hospital rates and health Infrastructure. This analysis reveals significant and often worsening disadvantage in these health indicators. Second, I analyse a number of policies and programs concerning Indigenous socio-economic disadvantage that were developed by Commonwealth Governments in the 1990s. I argue that these policies and programs largely failed to address Indigenous socio-economic disadvantage. I also discuss alternative policies and programs that could reduce the significant levels of socio-economic disadvantage suffered by Indigenous people. (shrink)

‘The Debauched Commons: A Dark Parable’ summarizes issues regarding intellectual property rights and immaterial culture through a nuanced reading of how First Nations Peoples worldwide have been forced by forms of neoliberal-capitalist exploitation of the knowledge commons to ring-fence and/or commodify their lived traditions, in many cases dating back 100,000 years and clearly predating any and all Western (First World) concepts of ownership. The intention of the structuralist-inspired reading of this enforced defensive position is to emphasize and clarify issues concerning (...) prior art and moral rights, two of the most ambiguous and gamed elements of copyright and patent law. Drawing upon the international context of the _Declaration on the Rights of Indigenous Peoples_ (2007) and the _Convention for Safeguarding Intangible Heritage_ (2003), this essay will focus, in part, on the travails of Aboriginals in Australia as representative of First Peoples worldwide and their long-exploited and long-expropriated traditions, inclusive of land, but foremost _lived knowledge_, but also their often compromised position _vis-à-vis_ various Australian state and Commonwealth legislation concerning recognition of their copyright, moral rights, and intellectual property rights. In this complex dance between tradition, heritage, and law, the so-called public domain often also becomes a de facto warehouse for the eventual conversion of intangible rights to collectively held and stored cultural property, which is then leveraged and/or converted to cultural capital by both public institutions and private companies. The primary premise of the analytic to be applied is that commodification of knowledge is more or less co-equal to the digitization of culture and the regimes of expropriation and/or outright theft associated with platform cultures. Platform culture, in turn, implicates otherwise benign, or apparently benign institutions (for example, academia and the art world) claiming to advance understanding and resolution of the twin nemeses of post-contemporary cultural politics—diversity and justice. The subtle machinations of what has come to be called the art-academic industrial complex will thus be analyzed for implicit and explicit practices that are reducible to the appropriation of native rites and rights, and laws and lores, for self-serving reasons inclusive of radical-chic posturing and politically correct tokenism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface The essays in this special issue on Indigenous Feminisms in Settler Contexts engage feminist politics from multiple Indigenous geographies, histories, and standpoints. What emerges is a panoramic view of Indigenous feminist scholarship’s conceptual, linguistic, and artistic activism at this moment in time. We learn of praxis aimed at reclaiming Indigenous languages and ecological perspectives and the varied modes of resistance, survivance, and persistence. We (...) also unpack the complex racial/gender politics of colonial encounters in contexts where white women cared intimately for Indigenous children, or where they helped to recover Indigenous oral traditions, and we note how modes of help can also reproduce imperial power relations. Some essays, art works, and poems extend the geographic ambit of critiques of settler colonialism beyond American contexts: they deploy feminist rubrics to critique the continuing violent settlement of Palestine and Kashmir to demonstrate that the occupation of “marginal” places is constitutive of state-​ society relations; others describe how Australian Aboriginal and Sámi artists engage the question of Indigenous visibility. In different ways, they each show how staying in place, against all odds, can be radical. Our first two articles examine the politics of praxis. Michelle M. Jacob, Virginia R. Beavert, Regan Anderson, Leilani Sabzalian, and Joana Jansen analyze Indigenous feminist praxis surrounding Ichishkíin Indigenous language education. The “artivism” of Sámi artists Maxida 284Preface and Timimie Märak, which expresses concern for land and water rights, gender and sexuality, and Indigenous rights in Northern Europe takes center stage in Kyle Bladow’s essay. The next three articles interrogate historical records shaping Indigenous lives in northern Canada, southwest Pacific, and southwestern United States and Mexico. Val Marie Johnson examines how white women staff members’ intimate care relations at residential schools for Inuvialuit, Inuinnait, and Iñupiat peoples in Canada were bound up with the latter’s dispossession. Carolyn J. Eichner recounts the encounter between the Indigenous Kanak people and Louise Michel, a feminist and participant in the revolutionary Paris Commune of 1871 who was banished to New Caledonia for seven years; Eichner argues that although Michel was staunchly anti-imperialist, her liberatory political project bore the temporal logics of colonization. Drawing on examples of Nahua reconfigurations of Christian scripture, Kenna Neitch proposes the language of “persistence” as a heuristic for avoiding the reactive, relational connotations that can pervade scholarly usages of “resistance” rhetoric. Next, our review essay by Jennifer McLerran describes recent Indigenous feminist scholarship that recasts the concept of sovereignty. Our News and Views piece focuses on modalities of occupation in the context of Kashmir: Nosheen Ali, Mona Bhan, Sahana Ghosh, Hafsa Kanjwal, Zunaira Komal, Deepti Misri, Shruti Mukherjee, Nishant Upadhyay, Saiba Varma, and Ather Zia argue that occupation is foundational to the making and reproduction of nationstates, and not exceptional to state power. The varied forms of resistance to occupation are examined by Sara Ihmoud in her article about how a group of Palestinian women, the Murabitat al-Haram, agitate for religious freedom simply by “staying in place.” Rabab Abdulhadi comments on shifts in contemporary settler colonial discourse in Israel, noting the increasingly overt and unapologetic deployment of highly sexualized and gendered images. Marina Tyquiengco examines the art of Australian Aboriginal artist Fiona Foley, specifically her Black Velvet series. Art and myth are also fused in Shantell Powell’s textual and visual rendering of Inuit memory. This issue features a range of poetry on topics such as language loss, human-land relationships, and sexual violence, written by Katherine Agyemaa Agard, Kei Kaimana, and Kai Minosh Pyle, and curated by our creative writing editor, Alexis Pauline Gumbs. In “Átaw Iwá Ichishkíin Sínwit: The Importance of Ichishkíin Language in Advancing Indigenous Feminist Education,” Michelle M. Jacob, Preface 285 Virginia R. Beavert, Regan Anderson, Leilani Sabzalian, and Joana Jansen examine Indigenous feminist praxis surrounding Ichishkíin-language education. They critique how Western education systems inflict pernicious forms of violence within Native communities, engaging in practices of linguistic genocide and alienating Indigenous peoples from their homelands. In response, Native peoples, along with non-Native allies, are engaging in educational and political activism to reclaim and revitalize Indigenous languages and ecological perspectives. In examining the foundational teaching of Ichishk... (shrink)

The use of the capability approach as an evaluative tool for Information and Communication Technology (ICT) policy and programs in developing countries, in particular at a grass-roots community level, is an emerging field of application. However, one of the difficulties with ICT for development (ICT4D) evaluations is in linking what is often no more than a resource, for example basic access, to actual outcomes, or means to end. This article argues that the capability approach provides a framework for evaluating the (...) strength of this linkage and that the latter is a key determinant of whether or not communities sustain ICT4D programs beyond the initial start-up phase. The argument is made by describing an evaluative application of the capabilities approach to community ICT4D programs using two Indigenous community case studies conducted in Cape York, in the far north-east of Australia. Key to the evaluative approach is the identification of community defined, context specific concepts of well-being and constitutive valued functionings and the derivation from this of required capabilities. This move away from normative definitions of capabilities or capability types to a definition that reflects the Indigenous culture, history, circumstances, and well-being aspirations of each community is intended to give a voice to the people and at the same time provide a deeper informational base—through narrative—for policy and program design than has previously been available. The article concludes that by operationalising the capability approach in a context and purpose specific way, policy and program design can be improved so as to include more communities on the margin and thereby achieve more socially inclusive ICT based development. A process is also outlined for using the evaluative application of the capability approach for community ICT4D within a policy feedback loop. (shrink)

In this paper, we present a review of research on the role of traditional and indigenous forms of visual artistic practice in promoting physical health and psychosocial well-being, particularly as it relates to the discipline of art therapy. Using extant literature we present an overview of how art making has historically had a therapeutic role in human lives and how it can inform the modern interpretation and profession of art therapy. Thereafter, we provide a critical review of specific studies (...) that reference traditional and indigenous art forms in art therapy in order to invite discussion, dialogue, and awareness of the role of the arts in human development and the therapeutic role of the arts. Gaps in research areas for further study are proposed. Implications for clinical practice including expanding the scope of traditional forms of creative self-expression and promoting an informed and respectful understanding of the role of these artforms in the profession of art therapy worldwide, are also discussed. (shrink)

The intent of this book focuses on Australia’s First Nations truth, voice, recognition, diversity, and respect. Hope O’Chin explains that knowledge about Australian First Nations culture and learning can be seen through new conceptual lens, which she refers to as an Ontology of Dreaming Hope for Australians. The book proposes to move from ontological propositions embedded in pedagogies and methodologies that center on the relevance of Indigenous epistemes and ways of doing. O’Chin offers a conceptual framing for engaging (...) with Indigenous peoples, and forming communities of belongingness and relationality. She offers suggestions for ways in which art and education can act as ‘healing’ and a way forward towards a more inclusive civil society. Reflexive practice, ethnographic principles, and action research is described in a way that methodologies provide an understanding of a sense of Belonging. O'Chin argues that theoretical research, art, and educational practice can add to the value of determining a strategy of Indigenous art investment within Australia, and to address how art and education can be used to validate contemporary expression of Aboriginality within contemporary Australian society. Ultimately, the book is about Indigenous strengths and what Indigenous ways of being, knowing and doing can offer, and how one might go about honouring and working in this way respectfully. (shrink)

This article seeks to advance connecting the two societal priorities of environmental protection and what has been called ‘Indigenous reconciliation’ through arts-based communication (and particularly arts-based research), to help engage and inspire people towards sustaining a healthy planet and a just society. Through lenses of social justice, decolonizing critique and holistic environmental ideologies, this work explores theoretical and practical, real-world intersections of environmentalist, Indigenous and arts-based imperatives and ways of knowing. The goal is twofold: first, to seek to (...) engage readers in viewing the colonization of the planet and its First Peoples as intimately related, and ultimately, to bring together diverse literatures to suggest ideas, language and a model to foster communication aimed at redressing both of those colonialist evils. To acknowledge this intersection of environmental and Indigenous approaches in arts-based settings, the term ‘environmental conciliation’ is proposed and defined as ‘environmental protection in ways that acknowledge, address, and aim to redress imbalances in power among Indigenous people and non-Indigenous settlers honestly, respectfully, openly, creatively and positively. (shrink)

Mining companies in Australia are increasingly required to interact with Indigenous groups as stakeholders following Native Title legislation in the early 1990s. A study of five mining companies in Australia reveals that they now undertake a range of programs involving Indigenous communities, to assist with access to land, and to enhance their public profile. However, most of these initiatives emanate from carefully quarantined sections of mining companies. Drawing upon cross-cultural and diversity research in particular, this paper contends that (...) only initiatives that strive towards power sharing with Indigenous groups and strategies for broadening the organizational interface with Indigenous groups, will contribute to more ethical practices in mining and other companies. (shrink)

The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on (...) issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a Florentine clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into juxtaposition with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall), and cinema (Rohmer, Haneke, Tarantino), this volume enlarges our understanding of global postmodernism for the twenty-first century. (shrink)