Financial accounting reforms in the Australian public sector: an episode in institutional thinking

In recent years in Australia, accounting regulations have been developed that require the adoption of commercial accounting and reporting practices by public-sector organisations, including the recognition of cultural, heritage and scientific collections as assets by non-profit cultural organisations. The regulations inappropriately apply traditional accounting concepts of accountability and performance, notwithstanding that the primary objectives of many of the organisations affected are not financial. This study examines how this was able to occur within the ideas outlined in Douglas’s (1986) How Institutions Think. The study provides evidence to demonstrate that the development; promotion, and defense of the detailed accounting regulations were each constrained by institutional thinking and, as a result, only certain questions were asked and many problems and issues associated with the regulations were not addressed. Thus, it seeks to further our understanding of the nature and limits of change in accounting and the role of institutions in promoting and defending changes to accounting practice.

Reflexive modernity and the art of public communication

In 2000, Victoria’s largest regional council, the City of Greater Geelong, allocated $200,000 to fund a community art and place-making project in inner Geelong West. The Walk West project was conceptualised and lobbied by a community group for six years. The project addressed the impact of a large section of freeway installed in the seventies and its consequences for quality of life in the locality.

This article reports on an example of highly developed community relations. It examines public art and placemaking as public communication tools and their relationship to political and social activity in post-amalgamation Victoria. In particular it applies the theories of Ulrich Beck and the notion of reflexive modernity in risk society where citizens’ initiative groups will play an increasingly important role in reclaiming the biological and cultural heritage lost as a result of ‘progress’.

Capturing the intangible: holocaust survivor testimonies held in the Jewish holocaust museum and research centre, Melbourne

This paper provides an analysis of aspects of a significant videotestimony project that raises and discusses challenging issues about the factors influencing the telling of Holocaust testimonies and about the messages conveyed through those testimonies. It sets research questions which specifically look at the nature and role of video testimonies, including comparisons to non-video forms of oral history, and argues for what is 'new, different and significant about video testimonies' of Holocaust survivors. The analysis focuses on the nature, structure, messages and experiences shared (and those silenced) through the testimonies. In particular, it argues for the significance of video testimonies as a new means of capturing intangible cultural heritage.

Contested terrain: Point Nepean, Victoria

It is within the power of place to encompass many meanings, stories, and memories. Point Nepean has always been a contested landscape. But over recent years this 'land' has been the subject of intense debate as its future status is renegotiated. Evidence overwhelmingly suggests that Point Nepean should be recognised again as a unique and inviolable whole, in spite of the Commonwealth Government's division of the land into three parcels. It has always been my contention that all decisions relating to Point Nepean should be made with a clear understanding and appreciation of the natural and cultural significance of the whole area, in the broader context of 'place', such that place governs the approach and decision-making process. It is therefore necessary to not only establish that natural and cultural heritage is inextricably linked, but that it must be approached in an integrated manner.

China's Burra Charter: the formation and implementation of the China principles

In 2000, the China Principles were promulgated by the China ICOMOS as professional guidelines for the conservation of historic sites. In writing the China Principles, China ICOMOS worked in collaboration with heritage experts from the USA and Australia and adopted ideas from Western conservation codes, particularly Australia's Burra Charter. While acknowledging the influence of international trends on the heritage profession in China, the paper identifies the Chinese characteristics of the China Principles by comparing them with the Burra Charter, and raises issues about the application of the China Principles to conservation practice.

Sharing and speaking about African music : professional development with Swaziland primary school teachers

The teaching and learning of Indigenous African music is characterised as a holistic integrated experience where music, dance and theatre are inseparable, seen as an integral part of culture. The transmission of this experience is absorbed through participation in cultural activities from childhood in the community. In African societies, both traditional and contemporary, musical arts education and the understanding of culture are fundamental to life, community and society. It is through musical arts, that Africans embrace spiritual, emotional, material and intellectual aspects and knowledge of both the individual and the community. This paper reports on an in-service program (August 2006) offered at the Centre for Indigenous African Instrumental Music and Dance Practices (CIIMDA), Pretoria, South Africa. For the purpose of this paper, the one week professional development course undertaken by generalist primary school teachers from Swaziland is highlighted and proves worthy for these teachers to implement what they learnt in the classroom. As a position paper, I contend that the understanding and participation in indigenous cultural musical arts practices, enlightens learners about their cultural heritage and further enriches their understanding of African music and dance that can be adopted, adapted and applied to primary schools in Swaziland. This paper summaries some key findings of interview data from ten participants in relation to the intensive program. By offering such in-service professional development programs, teachers are able to reach their wider communities where they will continue to share and speak about African music, dance and culture.

Guest editorial

An examination of Australian media reports over the last twelve months on the subject of Indigenous arts suggests a number of significant contradictions. Indigenous affairs Minister Amanda Vanstone called Aboriginal arts ‘Australia’s greatest cultural gift to the world’ (Australian, 24 January 2006), while the always-controversial expatriate Germaine Greer argued that much Indigenous art was in fact poor quality and ‘a big con’ (West Australian, 13 December 2005). Curators at France’s Musee du Quai Branly dedicated a wing of the new gallery to Aboriginal art. Yet many Indigenous leaders – including David Ross from the Central Land Council and Hetti Perkins, curator of Indigenous Arts at the Art Gallery of NSW – continue to publicise the widespread exploitation of Aboriginal artists in Central Australia by unscrupulous art dealers (Northern Territory News, 22 December 2005). Former head of the Northern Land Council and former Australian of the Year, Galarrwuy Yunupingu, who twenty years ago presented Bob Hawke with the painting Barunga Statement in celebration of the government’s commitment to a treaty, recently threatened to take the painting back from Parliament House in protest against ‘successive governments’’ neglect of Indigenous policy (Sydney Morning Herald, 21 January 2006). And in the performing arts, Richard Walley drew attention to the lack of professional recognition of Indigenous performing artists (Australian, 24 January 2006).

Such contradictions within the management and marketing of Indigenous arts have persisted for several years, and it was in response that this special issue of the Asia Pacific Journal of Arts and Cultural Management was initiated. As guest editors, we sought to present research that examines, more deeply and constructively, the marketing of Indigenous arts in Australia both historically and in the present. What emerges from this collection of five papers is a familiar scholarly theme: a tension between the ‘periphery’ and the ‘centre’, between outback and city, between larger and smaller Australian states and between Australia and other nations.

Jonathan Sweet’s ‘UNESCO and cultural heritage practice in Australia in the 1950s’ looks at the evolving relationship between Australia and the United Nations through an analysis of a significant touring exhibition: Australian Aboriginal Culture. Sweet pinpoints the 1950s as a period in which Australian museology’s approach to Indigenous cultures gradually changed, and in which Australian participation in UNESCO through the exhibition helped shape the ideological position UNESCO advocated. His article provides a useful historical contrast against which the following four articles may be read.

Chapman, Cardamone, Manahan and Rentschler look at local and contemporary issues in Indigenous arts marketing. Katrina Chapman’s ‘Positioning urban Aboriginal art in the Australian Indigenous art market’ investigates perceptions about contemporary urban Aboriginal art, concluding that the estrangement – and indeed stereotyping – of urban and traditional art creates a false set of values that urban artists are challenging. Similarly, Megan Cardamone, Esmai Manahan and Ruth Rentschler contrast perceptions of Aboriginal arts from the northern and south-eastern states, identifying crucial misconceptions that contribute to the value system applied to these arts. As Ruth Rentschler is a joint editor of this issue, the review process for this article has been managed by Katya Johanson as co-editor.

Two case studies of marketing the arts – which look at different artforms and in opposite sides of the country – then follow. Jennifer Radbourne, Janet Campbell and Vera Ding’s ‘Building audiences for Indigenous theatre’ analyses research on audiences and potential audiences for Kooemba Jdarra – Brisbane’s Indigenous performing arts company – to identify the ways in which audience attendance may be encouraged.

Finally, Jacqui Healy’s ‘Balgo 4-04’ provides a close examination of a unique art exhibition: a major commercial exhibition of the kind usually seen in Sydney and Melbourne, held in an arts centre in the middle of the Tanami Desert and retailing directly to collectors.

The editors are grateful to Warlayirti Artists Art Centre for permission to use the photographs that accompany Jacqui Healy’s article. We would also like to thank the contributors, Jo Caust for the opportunity to present this special issue, and Pearl Field for her assistance in putting it all together.

Critically interrogating classroom constructions of 'community' and 'difference' : a case study

Within educational literature, the concept of 'community' has been problematised over the last decade, particularly as regards how constructs of 'community' that aim to provide 'a sense of belonging… of collective concern for each individual' (Nodding 1996: 258) can also operate to exclude, devalue or homogenise diverse groups of students.

The tensions that exist between desirable features of a learning community that provides a sense of belonging and at the same time recognises and celebrates difference and diversity are suggested by Fines, et al (1997: 252) who argue that '(t)he process of sustaining a community must include a critical interrogation of difference as the rich substance of community life…'

This paper reports on an aspect of an empirical research project that examined relations of power between teachers and students as these operate through explicit processes used to create classroom communities. Through a case study of one composite grade primary classroom with children of diverse cultural heritage, we critically analyse constructs of 'community' in light of current literature on difference and diversity. Specifically we address the question: what pedagogical processes create a learning community where acceptance of difference is reworked to better address unequal relations of power?

Diasporic Greek-Australian writing deconstructed : challenging Europe with new voices, new perspectives

Contemporary Europe, culturally, historically and linguistically is filled with contradiction, silences and paradox.

Diasporic creative writers in Australia who are associated, either by virtue of their cultural heritage or through an intellectual engagement with Europe, can in fact provide a radical potential in contemporary European cultural analysis.

Deconstructing and interpreting narratives, prose and poetry of bilingual writers can open up unexplored areas which, up till now, have been either repressed or marginalised. This critical endeavour, drawing on recent post-colonial criticism, is a new way to interpret fiction, stories and even modern fairytales. It appears less threatening and confronting to venture into those cultural, psychological and subliminal areas which contemporary Europe perhaps wishes to forget or renounce. It is however an alternate method which can be used to compel criticism to puzzle over such areas and so open up new perspectives as well as allow for new voices.

Towards solutions for a liveable future: progress, practice, performance, people: Proceedings of the 41st Annual Conference of the Architectural Science Association ANZAScA

There is hope! Since Al Gore disclosed the inconvenient truth, the climate has changed. The time of denial is over; the era of well-informed action and sound development is with us. Sustainability has now moved from the fringe, into the mainstream of politics, society, architecture and building practice. In this new context architectural science will contribute to two main tasks: prevent further damage to our environment, and respond to challenges invoked by climate change.
The built environment and human activity within it account for a large part of the problem. Architectural science and architectural practice are part of the solution. The ANZAScA 2007 conference focuses on the solutions architectural science has to offer toward a liveable future through the following generic themes:
progress – the evaluation and improvement of built facilities, new and existing, in terms of energy intensity, financial reward and environmental impact.
practice – the relationship between our cultural heritage, new facility design, retrofit design and its realisation
through construction.
performance – the connection between building operation targets, validation of performance, and user comfort and interaction in new and existing environments.
people – the effect of space on user behaviour, user responsibility and social wealth.
In response to this challenge, architectural science researchers including students, educators, and practitioners at ANZAScA 2007, present a broad range of research activity and concern within the built environment from global issues down to the specific actions of individuals.

What`s in a game?

Computer games are among the most visible texts of the new information and communication technologies. For many parents, teachers and other adults, computer games have become a focus for their fears about social and technological change, including the changing nature of childhood and the threats to Australia's national and cultural heritage and identity posed by the multinational (and predominantly American) products that saturate the market. However, there are several alternative ways of 'reading' computer games and interpreting their possible effects. These lesson ideas invite students to explore some of these alternatives by examining the storylines and other characteristics of selected games. Through these activities students will:
• experiment with alternative ways of 'reading' selected computer games
• explore issues of gender, violence and cultural values in selected computer games
• discuss and debate the fears held by many adults about the possible effects of computer games on young people
• cooperate with others in justifying a position.

Relating practice to theory in indigenous entrepreneurship : a pilot investigation of the Kitsaki partnership portfolio

In Canada and elsewhere around the world, Indigenous Peoples are struggling to rebuild their "nations" and improve the socioeconomic circumstances of their people. Many see economic development as the key to success. This is certainly true for Indigenous people in Canada (the First Nations, Metis, and Inuit, collectively called Aboriginal or Indigenous people). Among them, participation in the global economy through entrepreneurship and business development is widely accepted as the key to economy building and nation "re-building." As elaborated in the next section, the demand is that this participation must be on their own terms for their own purposes, and traditional lands, history, culture, and values play a critical role. There is an intriguing symmetry between the modernity of the desire for global business competence and competitiveness and the insistence upon the distinctive importance of cultural heritage in developing new enterprise. The way that the two superficially contrasting concepts of innovation and heritage are combined in the field of Indigenous entrepreneurship has been expounded by Hindle and Lansdowne.1

Recognizing the challenges they face in attempting to compete in the global economy on their own terms, Indigenous people are increasingly developing enterprises in the form of partnerships of all types among themselves and with non-Indigenous enterprises. As both a form and a context of business organization, the partnership or alliance model is particularly fraught with the need to blend the old with the new, heritage with innovation. This study is a preliminary investigation of the Kitsaki initiative of the Lac La Ronge Indian band. In it we:

* explore several ventures involved in the partnership, asking key operatives for their opinions about the factors that explain success and failure;

* distill the explanations into as few, all-embracing factors as possible;

* relate the findings to the emerging theory of Indigenous entrepreneurship, with particular reference to the suggested paradigm of Indigenous entrepreneurship developed by Hindle and Lansdowne (2002);

* project the results of the investigation into suggestions for a more structured program of future research.

Tracks

The artwork is intended to celebrate the rich cultural heritage of North Terrace and by extension, the many layered cultural facets of South Australia. It is called ‘Tracks’ because the stories are presented as moving tracks of electronic text in vertical columns, in an LED(lighting omitting diode) medium. It is also called ‘Tracks’ because the siting of the LED pillars is determined by a ‘variable grid’ ground pattern which forms a significant feature of the new landscape design. It celebrates the cultural heritage of North Terrace through the composition of four text gathering histories, anecdotes, facts and aspirations under the four headings of air, water, fire and earth. These stories are presented to the public as four colour differentiated continuous streams or tracks of electronic text in four columns placed on the northern side of North Terrace.

L. Bernard Hall and the feminine in Australian painting 1885-1935

This thesis draws on images to explore the processes by which an individual - Lindsay Bernard Hall - and a categorical concept - the feminine - became devalued in Australia's national tradition. It celebrates Hall's contribution to Australia's cultural heritage and the significance of his art in the visual record of modernising womanhood.