Published 01 March 2019
Published 01 September 2018
The artist talks about his art practice.
"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!"
Published June 1990
If the 70s is remembered as a period of nurture for Aboriginal art, the 1980s will certainly be remembered as the decade of its dramatic development...there has been an eflorescence of community based enterprises in the remote areas of Australia.
Looks at the Santa Teresa Community 80 kilometres south of Alice Spring and home of the Arrernte people where the Keringke Arts Centre was established in 1987.
The Power Institute at the University of Sydney ran a 10 week program devised by Susan Simons and Bronwyn Bancroft of panel discussions, presentations, films/videos and seminars exploring many of the issues of Aboriginal art in Australian society.
In 1989, Jon Altman, Chris McGuigan and Peter Yu were asked by the Minister for Aboriginal Affairs to look into the viability of the Aboriginal Arts and Crafts industry, to point to ways to improve its efficiency and effectiveness and to advise which government programs could give cost effective support to the industry and to recommend managing and marketing strategies.
Looks at a family history project beginning with the Koonibba Mission in South Australia.
Until recently, Pitjantjatjara communities had very limited acces to or influence from mainstream media, communications, technology and information systems. English is still a foreign language to most of the population and functional levels of literacy are very low.
Looks at the art practice of Donna Leslie.
Interview with Djon Mundine and Howard Morphy at Ramingining in Arnhem Land, Northern Territory (with assistance from Luke Taylor).
The artist writes about her art practice.
"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."
Looks at the art practice of Wanjidari.
