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Journal articles on the topic 'Art, Aboriginal Australian – History'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Mason, Matthew J. "Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization." ARTMargins 11, no. 3 (2022): 67–88. http://dx.doi.org/10.1162/artm_a_00326.

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Abstract In recent decades, the popularity of Australian Aboriginal dot painting overseas has exploded, with works by some of Australia's leading artists selling for millions of dollars at auction, as well as featuring in major international exhibitions like the Venice Biennale and documenta. While this carries with it the risk of Aboriginal art and culture becoming diluted or commodified, this essay explores the origins and use of the ‘dotting’ typical of much Australian Aboriginal art of the Western and Central Deserts of Australia, as well as Aboriginal dot painting's circulation internatio

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2

Tran, Ngoc Cao Boi. "RESEARCH ON THE ORIGINAL IDENTITIES OF SOME TRADITIONAL PAINTINGS AND ROCK ENGRAVINGS OF AUSTRALIAN ABORIGINAL COMMUNITIES." Science and Technology Development Journal 13, no. 3 (2010): 43–57. http://dx.doi.org/10.32508/stdj.v13i3.2160.

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Different from many other communities, Australian aboriginal communities had lived separately from the rest of the world without any contact with great civilizations for tens of thousands of years before English men’s invasion of Australian continent. Hence, their socio-economic development standards was backward, which can be clearly seen in their economic activities, material culture, mental culture, social institutions, mode of life, etc. However, in the course of history, Australian aborigines created a grandiose cultural heritage of originality with unique identities of their own in parti

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3

Jordan, Caroline, Helen McDonald, and Sarah Scott. "Australian Art and its Aboriginal Histories." Australian Historical Studies 54, no. 4 (2023): 597–605. http://dx.doi.org/10.1080/1031461x.2023.2261166.

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4

Black, Jane. "Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives." Art Libraries Journal 44, no. 3 (2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.

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The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contem

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5

Curran, Georgia. "Amanda Harris. Representing Australian Aboriginal Music and Dance, 1930–1970." Context, no. 47 (January 31, 2022): 85–87. http://dx.doi.org/10.46580/cx80760.

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In Representing Australian Aboriginal Music and Dance 1930–1970, Amanda Harris sets out a history of Aboriginal music and dance performances in south-east Australia during the four-decade-long period defined as the Australian assimilation era. During this era, and pushing its boundaries, harsh government policies under the guise of ‘protection’ and ‘welfare’ were designed forcibly to assimilate Aboriginal people into the mainstream population. It is striking while reading this book how few of these stories are widely known, particularly given the heavy influence that Harris uncovers it having

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6

Gregory, Jenny. "Stand Up for the Burrup: Saving the Largest Aboriginal Rock Art Precinct in Australia." Public History Review 16 (December 27, 2009): 92–116. http://dx.doi.org/10.5130/phrj.v16i0.1234.

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The Dampier Rock Art Precinct contains the largest and most ancient collection of Aboriginal rock art in Australia. The cultural landscape created by generations of Aboriginal people includes images of long-extinct fauna and demonstrates the response of peoples to a changing climate over thousands of years as well as the continuity of lived experience.   Despite Australian national heritage listing in 2007, this cultural landscape continues to be threatened by industrial development. Rock art on the eastern side of the archipelago, on the Burrup Peninsula, was relocated following t

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7

Robertson, Carmen. "Utilising PEARL to Teach Indigenous Art History: A Canadian Example." Australian Journal of Indigenous Education 41, no. 1 (2012): 60–66. http://dx.doi.org/10.1017/jie.2012.9.

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This article explores the concepts advanced from the Australian Learning and Teaching Council (ALTC)-funded project, ‘Exploring Problem-Based Learning pedagogy as transformative education in Indigenous Australian Studies’. As an Indigenous art historian teaching at a mainstream university in Canada, I am constantly reflecting on how to better engage students in transformative learning. PEARL offers significant interdisciplinary theory and methodology for implementing content related to both Canadian colonial history and Indigenous cultural knowledge implicit in teaching contemporary Aboriginal

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8

Green, Charles. "No Country for Old Men: Australian Art History’s Difficulty with Aboriginal Art." Australian Historical Studies 54, no. 4 (2023): 606–24. http://dx.doi.org/10.1080/1031461x.2023.2220712.

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9

Alexander, Isabella. "White Law, Black Art." International Journal of Cultural Property 10, no. 2 (2001): 185–216. http://dx.doi.org/10.1017/s0940739101771305.

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This article examines the issues surrounding the appropriation of indigenous culture, in particular art. It discusses the nature and context of Aboriginal and Torres Strait Islander art in Australia in order to establish why appropriation and reproduction are important issues. The article outlines some of the ways in which the Australian legal system has attempted to address the problem and looks at the recent introduction of the Label of Authenticity. At the same time, the article places these issues in the context of indigenous self-determination and examines the problematic use of such conc

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10

Cataldi, Maddalena. "Les elevés des Wandjina de George Grey. De L’art Aborigène à L'art primitif (1838–1906)." ORGANON 55 (December 12, 2023): 105–30. http://dx.doi.org/10.4467/00786500.org.23.005.18782.

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George Grey’s Wandjina Copies. From Aboriginal Art to Primitive Art (1838–1906) The history of the recognition of Palaeolithic art has been written from the perspective of European discoveries in the last third of the 19th century. Through this case study of the publication of the Wandjina paintings (Australian Kimberley) by George Grey between 1838 and 1841 and through the contextualisation of the interpretations attributed to them the article investigates the intellectual and political space in which conceptions relating to the ability of Aborigines to produce this art emerged within the deb

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11

Rosenfeld, A., and M. A. Smith. "Rock-Art and the History of Puritjarra Rock Shelter, Cleland Hills, Central Australia." Proceedings of the Prehistoric Society 68 (2002): 103–24. http://dx.doi.org/10.1017/s0079497x00001468.

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Elaborate, religiously sanctioned relationships between people and place are one of the most distinctive features of Aboriginal Australia. In the Australian desert, rock paintings and engravings provide a tangible link to the totemic geography and allow us to examine both changes in the role of individual places and also the development of this system of relationships to land. In this paper we use rock-art to examine the changing history of Puritjarra rock shelter in western central Australia. The production of pigment art and engravings at the shelter appears to have begun by c. 13,000 BP and

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Wilczyńska, Elżbieta. "Transculturation and counter-narratives: The life and art of the Wurundjeri artist William Barak." Journal of New Zealand & Pacific Studies 10, no. 1 (2022): 51–67. http://dx.doi.org/10.1386/nzps_00092_1.

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A few decades ago the culture of Aboriginal Australians was believed to have been removed or assigned to the margins. It was considered static and primitive, produced by uncivilized and barbaric peoples. Since the 1980s the view has been successfully challenged and recent art histories produced in settler colonial countries emphasize that Indigenous cultures were neither stuck in the past nor resistant to change. Its development was due to contact between the Indigenous and settler societies and the cross-cultural interactions the contact engendered in political, social and artistic life. This

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13

Cruickshank, Joanna. "Race, History, and the Australian Faith Missions." Itinerario 34, no. 3 (2010): 39–52. http://dx.doi.org/10.1017/s0165115310000677.

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In 1901, the parliament of the new Commonwealth of Australia passed a series of laws designed, in the words of the Prime Minister Edmund Barton, “to make a legislative declaration of our racial identity”. An Act to expel the large Pacific Islander community in North Queensland was followed by a law restricting further immigration to applicants who could pass a literacy test in a European language. In 1902, under the Commonwealth Franchise Act, “all natives of Asia and Africa” as well as Aboriginal people were explicitly denied the right to vote in federal elections. The “White Australia policy

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Ouzman, Sven, Paul S. C. Taçon, Ken Mulvaney, and Richard Fullager. "Extraordinary Engraved Bird Track from North Australia: Extinct Fauna, Dreaming Being and/or Aesthetic Masterpiece?" Cambridge Archaeological Journal 12, no. 1 (2002): 103–12. http://dx.doi.org/10.1017/s0959774302000057.

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An extraordinary engraved bird track was located in the Weaber Range of the Keep River region of Northern Territory, Australia, in July 2000. This engraved track is dissimilar to most other examples in Australian rock-art, differing in shape, size and detail from the thousands of engraved, painted or beeswax depictions of bird tracks known from sites across the continent. Importantly, it also differs in technique from other engraved tracks in the Keep River region, having been rubbed and abraded to a smooth finish. We explore three approaches to the engraved track's significance, that it: a) d

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Harrower, Natalie. "“Cosmopolitanizing” Australia: Asian and Aboriginal Performance in Context." Canadian Theatre Review 140 (September 2009): 83–84. http://dx.doi.org/10.3138/ctr.140.014.

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The central aim of this excellent, timely and theoretically precise book is to deploy the concept of “cosmopolitanism” as a critical tool for investigating a range of cross-cultural performances in Australia. To set the stage for the main focus of their study, which examines the ways in which indigenization and Asianization have been “instrumental in forging Australian theatre’s current cosmopolitan credentials” (18) over the last two decades, the authors survey the history of racially inflected performance in Australia from the 1830s through to the late 1960s.

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16

Tavendale, Olwyn. "Painting Country: Spatial, Somatic and Linguistic Experience in Central Australian Aboriginal Art." Oceania 89, no. 1 (2019): 104–23. http://dx.doi.org/10.1002/ocea.5212.

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17

May, Tom W., and Thomas A. Darragh. "The significance of mycological contributions by Lothar Becker." Historical Records of Australian Science 30, no. 2 (2019): 130. http://dx.doi.org/10.1071/hr19005.

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Warning Readers of this article are warned that it may contain terms, descriptions and opinions that are culturally sensitive and/or offensive to Aboriginal and Torres Strait Islanders. Silesian-born Lothar Becker spent two periods in Australia, during which he made observations on a range of natural history topics, including fungi—a group of organisms rarely noticed by contemporary naturalists. Becker compiled notes, sketches and collections of Australian fungi that he sent to Elias Fries in Sweden for identification. Unfortunately, this material has not survived, but Becker’s accounts of his

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18

Byrne, Paula Jane. "Tracing a Female Mind in Late Nineteenth Century Australia: Rose Selwyn." Genealogy 7, no. 2 (2023): 30. http://dx.doi.org/10.3390/genealogy7020030.

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Rose Selwyn (1824–1905) was a first wave Australian feminist and public speaker. The poetry, art, and scraps of writing Rose left in her archive allow the reader to piece together an intellectual history, a genealogy of the making of self. Rose attained her way of being through several contemporary influences—the mysticism of Tractarianism, a concern with death and its meanings, an interest in the literary edges of the world, a concern with the suffering body, and a passion for women and a woman-centred world. From these tangled contemporary concerns, she made a feminism for all non-Aboriginal

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19

van Damme, Wilfried. "Not What You Expect: The Nineteenth-Century European Reception of Australian Aboriginal Art." Konsthistorisk Tidskrift/Journal of Art History 81, no. 3 (2012): 133–49. http://dx.doi.org/10.1080/00233609.2012.702682.

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20

Tyquiengco, Marina. "Source to Subject: Fiona Foley’s Evolving Use of Archives." Genealogy 4, no. 3 (2020): 76. http://dx.doi.org/10.3390/genealogy4030076.

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Since the 1980s, multidisciplinary artist Fiona Foley has created compelling art referencing her history, Aboriginal art, and her Badtjala heritage. In this brief essay, the author discusses an early series of Foley’s work in relation to ethnographic photography. This series connects to the wider trend of Indigenous artists creating art out of 19th century photographs intended for distribution to non-Indigenous audiences. By considering this earlier series of her work, this text considers Foley’s growth as a truly contemporary artist who uses the past as inspiration, invoking complicated momen

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21

Behrendt, Larissa. "At the Back of the Class. At the Front of the Class: Experiences as Aboriginal Student and Aboriginal Teacher." Feminist Review 52, no. 1 (1996): 27–35. http://dx.doi.org/10.1057/fr.1996.4.

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This is a persona] account of an Aboriginal woman who went through the education system in Australia to obtain finally her law degree. Aboriginal people experience many hurdles in the education system. Many Aboriginal children feel alienated within the legal system which until recently focused on a colonial history of Australia, ignoring the experiences, indeed the presence, of indigenous people in Australia. The Australian government had a policy of not educating Aboriginal people past the age of 14. The author was one of the first generation that could go straight from high school to univers

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22

Layton, Robert, and Tony Swain. "A Place for Strangers: Towards a History of Australian Aboriginal Being." Journal of the Royal Anthropological Institute 1, no. 2 (1995): 428. http://dx.doi.org/10.2307/3034723.

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23

Ganjtalab Shad, Parvaneh. "Indigenous Identity through Hybridity and Humor: A Postcolonial Reading of Robert Merritt’s The Cake Man." International Journal of Applied Linguistics and English Literature 7, no. 7 (2018): 9. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.7p.9.

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The major thrust in this research has been in the area of postcolonial studies. As one their primary missions, post-colonial works of art relate stories as seen by the oppressed and the colonized. Beginning with Edward Said’s Orientalism, postcolonial figures as diverse as Franz Fanon, Gayatri Spivak, and Homi Bhabha emerged and each targeted an aspect of postcolonial conditions. The present article was undertaken to trace postcolonial elements of “colonial negotiations,” and “hybridity” in an Aboriginal play by Robert Merritt entitled The Cake Man. The central argument of this article is that

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24

Murdolo, Adele. "Warmth and Unity with all Women?" Feminist Review 52, no. 1 (1996): 69–86. http://dx.doi.org/10.1057/fr.1996.8.

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In this paper I discuss the four Women and Labour conferences which were held in Australian capital cities over the seven years between 1978 and 1984. I explore the ways in which the history of Australian feminist activism during this period could be written, questioning in particular the claim that the Women and Labour conferences have been central to the history of Australian feminism. I discuss the ways in which a historical sense could be established, using writings about the conferences as historical ‘evidence’, that race and ethnic divisions between women had not been important to the ‘w

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Harper, Sam, Ian Waina, Ambrose Chalarimeri, et al. "Metal burial: Understanding caching behaviour and contact material culture in Australia's NE Kimberley." Journal of Social Archaeology 21, no. 1 (2021): 28–52. http://dx.doi.org/10.1177/1469605321993277.

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This paper explores identity and the recursive impacts of cross-cultural colonial encounters on individuals, cultural materials, and cultural practices in 20th-century northern Australia. We focus on an assemblage of cached metal objects and associated cultural materials that embody both Aboriginal tradition and innovation. These cultural materials were wrapped in paperbark and placed within a ring of stones, a bundling practice also seen in human burials in this region. This ‘cache' is located in close proximity to rockshelters with rich, superimposed Aboriginal rock art compositions. However

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McDonald, Gay. "Aboriginal art and cultural diplomacy: Australia, the United States, and theCulture Warriorsexhibition." Journal of Australian Studies 38, no. 1 (2013): 18–31. http://dx.doi.org/10.1080/14443058.2013.859168.

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27

Martínez, Julia, and Claire Lowrie. "Colonial Constructions of Masculinity: Transforming Aboriginal Australian Men into ‘Houseboys’." Gender & History 21, no. 2 (2009): 305–23. http://dx.doi.org/10.1111/j.1468-0424.2009.01550.x.

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28

Kuklick, Henrika. "The Civilised Surveyor: Thomas Mitchell and the Australian Aborigines, and: Imagined Destinies: Aboriginal Australians and the Doomed Race Theory, 1880-1939 (review)." Victorian Studies 42, no. 3 (2000): 571–74. http://dx.doi.org/10.1353/vic.2000.0070.

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Conor, Liz. "The ‘Lubra' Type in Australian Imaginings of the Aboriginal Woman from 1836-1973." Gender & History 25, no. 2 (2013): 230–51. http://dx.doi.org/10.1111/1468-0424.12016.

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30

Joselit, David. "THE PROPERTY OF KNOWLEDGE." Nordic Journal of Aesthetics 28, no. 57-58 (2019): 158–65. http://dx.doi.org/10.7146/nja.v28i57-58.114854.

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   We can note three phases in the tradition of the readymade and appropriation since Duchamp’s Bicycle Wheel of 1913. First, they include early enactments in which the readymade posed an onto- logical challenge to artworks through the equation of commodity and art object. Second, practices in which readymades were de- ployed semantically as lexical elements within a sculpture, paint- ing, installation or projection. In a third phase, which most directly encompasses the global, the appropriation of objects, images, and other forms of content challenges sovereignty over the cu

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31

Povinelli, Elizabeth. "Cultural Encounters and Emergent Cultures in Australia: Warlpiri Dreamings and Histories: Newly Recorded Stories from the Aboriginal Elders of Central Australia . Kerry Brown, Sima Sharma. ; Fighting Women: Anger and Aggression in Aboriginal Australia . Victoria Katherine Burbank. ; A Place for Strangers: Towards a History of Australian Aboriginal Being . Tony Swain." American Anthropologist 97, no. 1 (1995): 141–44. http://dx.doi.org/10.1525/aa.1995.97.1.02a00220.

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32

Barber, Marcus, and Sue Jackson. "Autonomy and the intercultural: interpreting the history of Australian Aboriginal water management in the Roper River catchment, Northern Territory." Journal of the Royal Anthropological Institute 20, no. 4 (2014): 670–93. http://dx.doi.org/10.1111/1467-9655.12129.

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33

Evans, Michael Robert. "Bringing to Light: A History of Ethnographic Filmmaking at the Australian Institute of Aboriginal and Torres Strait Islander Studies." Journal of American Folklore 117, no. 466 (2004): 475–76. http://dx.doi.org/10.2307/4137733.

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34

Glowczewski, Barbara, and Anita Lundberg (Trans.). "Black Seed Dreaming: A Material Analysis of Bruce Pascoe’s “Dark Emu”." eTropic: electronic journal of studies in the Tropics 21, no. 2 (2022): 77–94. http://dx.doi.org/10.25120/etropic.21.2.2022.3925.

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Indigenous Australians are outstanding for the way their ontologies and practices do not rely on a Western dichotomy that opposes material and spiritual realms. Their multiple totemic visions of the Dreaming space-time always state a material actualisation in landscape and the reproduction of all forms of life based on the pluriversal agency of animals, plants, minerals, rain, wind, fire and stars. Such cosmovisions resonate with current debates in the fields of critical posthumanism and new materialism through an Animist materialism. Indeed, Indigenous Australian’s complex social practices of

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Evans, Michael Robert. "Bringing to Light: A History of Ethnographic Filmmaking at the Australian Institute of Aboriginal and Torres Strait Islander Studies (review)." Journal of American Folklore 117, no. 466 (2004): 475–76. http://dx.doi.org/10.1353/jaf.2004.0087.

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36

Devine, Kit. "On country: Identity, place and digital place." Virtual Creativity 11, no. 1 (2021): 111–23. http://dx.doi.org/10.1386/vcr_00045_1.

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Place is central to the identity of Aboriginal and Torres Strait Islander peoples. The Narrabeen Camp Project explores the use of immersive technologies to offer opportunities to engage with Indigenous histories, Storytelling and cultural heritage in ways that privilege place. While nothing can replace being ‘on Country’, the XR technologies of AR and VR support different modalities of engagement with real, and virtual, place. The project documents the Stories, Language and Lore associated with the Gai-mariagal clan and, in particular, with the Aboriginal Camp that existed on the north-western

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37

Taçon, Paul S. C. "Rainbow Colour and Power among the Waanyi of Northwest Queensland." Cambridge Archaeological Journal 18, no. 2 (2008): 163–76. http://dx.doi.org/10.1017/s0959774308000231.

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In 2002, an investigation into the rock art of Waanyi country was undertaken in conjunction with ongoing archaeological excavation. Various subjects, styles and techniques were documented, associated oral history from Waanyi elders was recorded and the relationship to archaeological deposits was assessed. A large number of rainbow-like designs, in red or red-and-yellow, were recorded, along with a magnificent and very large red-and-yellow Rainbow Serpent. These and other images are discussed in relation to the travels of Ancestral Beings, stories and uses of coloured pigment and the use of loc

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Darragh, Thomas A. "Lothar Becker: a German naturalist in Victoria, 1849–52, 1855–65." Historical Records of Australian Science 30, no. 2 (2019): 119. http://dx.doi.org/10.1071/hr18020.

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Warning Readers of this article are warned that it may contain terms, descriptions and opinions that are culturally sensitive and/or offensive to Aboriginal and Torres Strait Islanders. Lothar Becker (1825–1901?), an unpretentious Silesian naturalist, twice visited the colony of Victoria and published rich and original observations on its natural history and Indigenous people on his return to Germany. On his first visit, 1849 to 1852, Becker recorded his encounter with Black Thursday, a devastating bushfire, its aftermath, and the, by then, still relatively uncleared landscape. He also related

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Pillans, Brad, and L. Keith Fifield. "Erosion rates and weathering history of rock surfaces associated with Aboriginal rock art engravings (petroglyphs) on Burrup Peninsula, Western Australia, from cosmogenic nuclide measurements." Quaternary Science Reviews 69 (June 2013): 98–106. http://dx.doi.org/10.1016/j.quascirev.2013.03.001.

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40

Babaev, Kirill V. "From the Stone Age to Post-Vanguard: On the Transformation of Aboriginal Australian Painting in the Late 20th and Early 21st Century." Actual Problems of Theory and History of Art 12 (2022): 554–62. http://dx.doi.org/10.18688/aa2212-05-43.

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41

Antor, Heinz. "Post-Mabo White Settler Fables and the Negotiation of Native Title Legislation in Andrew McGahan’s The White Earth (2004)." Pólemos 10, no. 1 (2016): 197–224. http://dx.doi.org/10.1515/pol-2016-0011.

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Abstract In his novel The White Earth, Andrew McGahan engages with an important chapter in the history of his country, namely the period of the famous Mabo case of 1992, which overturned the doctrine of terra nullius, and the subsequent Native Title Act of 1993. This novel of initiation with gothic features draws attention to both the woeful history of the dispossession, maltreatment and partial elimination of Australian Aborigines and to the issue of how white Australians cope with this past as well as the guilt, anxieties, and loss of orientation this may create. The novel thus turns into a

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42

Kuklick, Henrika. "BOOK REVIEW: D. W. A. Baker.THE CIVILISED SURVEYOR: THOMAS MITCHELL AND THE AUSTRALIAN ABORIGINES.and Russell McGregor.IMAGINED DESTINIES: ABORIGINAL AUSTRALIANS AND THE DOOMED RACE THEORY, 1880-1939." Victorian Studies 42, no. 3 (1999): 571–74. http://dx.doi.org/10.2979/vic.1999.42.3.571.

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43

Paul, David. "It's not as Easy as just Walking in the Door': Interpretations of Indigenous People's Access to Health Care." Australian Journal of Primary Health 4, no. 1 (1998): 66. http://dx.doi.org/10.1071/py98007.

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Discussion about the on-going poor health status of Aboriginal and Torres Strait Island peoples in Australia needs to be better informed about both history, and the nature of health determining factors. Access is only one of many factors of importance in health seeking behaviour. This paper explores how the cultural appropriateness of health care services is a determinant of whether they are accessed or not. Contemporary attitudes, and their historical roots, are key issues which need to be addressed by health care providers and services. The onus is on health care providers to be informed and

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Wilczyńska, Elżbieta. "The Return of the Silenced: Aboriginal Art as a Flagship of New Australian Identity." Australia, no. 28/3 (January 15, 2019): 71–84. http://dx.doi.org/10.7311/0860-5734.28.3.07.

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The paper examines the presence of Aboriginal art, its contact with colonial and federation Australian art to prove that silencing of this art from the official identity narrative and art histories also served elimination of Aboriginal people from national and identity discourse. It posits then that the recently observed acceptance and popularity as well as incorporation of Aboriginal art into the national Australian art and art histories of Australian art may be interpreted as a sign of indigenizing state nationalism and multicultural national identity of Australia in compliance with the defi

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45

Berlo, Janet Catherine. "Australian Art Exhibition Catalog:Dreamings; The Art of Aboriginal Australia." Museum Anthropology 14, no. 2 (1990): 31. http://dx.doi.org/10.1525/mua.1990.14.2.31.

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46

HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.

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AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between th

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47

Ravenscroft, Marion. "METHODS AND MATERIALS USED IN AUSTRALIAN ABORIGINAL ART." AICCM Bulletin 11, no. 3 (1985): 93–109. http://dx.doi.org/10.1080/10344233.1985.11783621.

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48

Attwood, Bain. "The Paradox of Australian Aboriginal History." Thesis Eleven 38, no. 1 (1994): 118–37. http://dx.doi.org/10.1177/072551369403800110.

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Skorobogatykh, Natalia. "Noel Pearson: “A Friend Among Strangers, A Stranger Among His Own”?" ISTORIYA 13, no. 5 (115) (2022): 0. http://dx.doi.org/10.18254/s207987840021550-4.

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Abstract:

The article analyzes the activities of one of the most famous human rights defenders in the Commonwealth of Australia, Noel Pearson, whose ideas and practical steps in the field of aboriginal politics attract the closest public attention. Coming from an Aboriginal family from Queensland, he established himself as the lawyer who successfully defended the land rights of indigenous peoples of Australia, and as the founder and head of the Cape York Institute for Politics and Leadership, where a number of reforms are being carried out in the Aboriginal communities under his care. However, his activ

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Russ, Dr Vanessa. "A New Art History of Australian Aboriginal Art." INTERNATIONAL JOURNAL OF ART AND ART HISTORY 8, no. 1 (2020). http://dx.doi.org/10.15640/ijaah.v8n1a4.

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