At the 1988 Conference in Broome the author spoke of the growing unlawful use of Aboriginal art by T shirt companies and the fashion industry generally.
"How many people still think that up north or in the centre is the only place for real Aboriginal art. You know when you work with it, selling it, buying it, you hear it all the time."
Two people suspended in a soundscape - a space punctuated by a stark and corrosive sound. The wail of a dingo, an owl, the grating beat of an iron lung, a gasp, a cry for breath and above all a cacophony of memory.
The Aboriginal National Theatre Trust Limited arose out of Forums of Aboriginal Performing Artists, Playwrights and Technicians attending the first National Black Playwrights Conference held at the Australian National University in Canberra 1987.
"From the time that whites arrived in Tasmania and up until 1983 Aboriginal performing arts especially theatre arts, had become almost as extinct as whites would have people believe Tasmanian Aborigines were. Not so!"
"I joined the Jabiru Cabaret in Cairns as one of the ten founding cast members in November 1988. The excitement for me as a performer, is to bridge the gap of understanding between various races, colours, cultures and countries. To witness the audience reaction to us as a group performing in three distinct areas makes us all feel very close to achieving the message of a minority through our art."
Two alternative opinions on Australia's most obvious cultural exchange - Aboriginal and non-Aboriginal- was the original conception of Balance 1990 Views, Visions, Influences - a collaborative exhibition originally titled Balance 1988: Two views One Vision. Beginning by artists sitting and talking it became obvious that there were more than just two perspectives.
"In January 1989, I attended the second national Black Playwrights conference. I arrived at this conference feeling very unsure and insecure with nine small scenes which I had hoped would turn in to a play."