Published 01 September 2018
Published 01 December 2016
Looks at the art practice of Victorian artist Gayle Maddigan.
The period of 1986 - 1989 has been epoch making for Aboriginal printmaking, not necessarily because of an improvement in the quality of the prints produced during that time but because Aboriginal prints in forums broadly motivated by the centenary has allowed them to receive the recognition they deserve.
Published June 1990
The broad aims of the Aboriginal Community College in Port Adelaide, South Australia, are to provide time, space, and resources to Aboriginal people that will allow them to make discoveries about themselves, their heritage and their environment, and to move in directions that they establish as relevant to themselves and/or their community.
Looks at a family history project beginning with the Koonibba Mission in South Australia.
Looks at the art practice of Maree Clarke.
Describes the vital and valuable Aboriginal artists in residence program at the Flinders University of South Australia.
Painting movement at Papunya 1971-75 one of the few positive offshoots of the Government's Assimilation Policy. Senior men began to paint on boards and made murals for the school, initially showing sacred secret material, later self-censored. Paintings use complex patterning and dotting to describe formation of land by Ancestors, natural features and travel.
"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!"
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 Association of Northern and Central Australian Aboriginal Artists.
"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."
Howard Morphy interviews Djon Mundine about the Aboriginal Memorial - a collection of hollow log coffins made by artists of the community of Ramingining in the Northern Territory, to commemorate Aboriginal people who had died since the invasion of Australia in 1788
"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."