Indigenous cultural studies: intersections between cultural studies and Indigenous studies

History, Power, Text collects together selected contributions on Indigenous themes published between 1996 and 2013 in the journal first known as UTS Review and now known as Cultural Studies Review. Since the journal’s inception, successive editors have sought to open up a space for new kinds of politics, new styles of writing and new modes of interdisciplinary engagement. Like the journal it draws its material from, this collection has been conceived and assembled as an exercise in institution building beyond ‘the Institution’. We call this institution, tentatively, ‘Indigenous cultural studies’ and see it as a disciplinary space that is built iteratively through events, single articles and books. We do not seek to prescribe or delimit this project but rather to give it density and energise those working in the overlapping fields represented here.

Asian studies in "crisis" : is cultural studies the answer?

This article explores some of the benefits and limitations of Cultural Studies in Asian studies with particular reference to the expression of Asian-Australian identity in diaspora. It has been suggested that the influence of Cultural Studies – a discipline that is viewed as more globally relevant – may be an answer to the Asian studies “crisis”. In relation to the Cultural Studies approach to Asian-Australian identity, I argue that the discourse and rhetoric of Cultural Studies is highly beneficial in breaking down stereotypes and rebuilding the national narrative of identity. However, as a methodology it is not without limitations.

Cultural studies and matters of faith: the case of dhammawheel.com

 This article begins with the premise that cultural studies has neglected questions about religion and faith. Through an analysis of a discussion in an online Buddhist forum whereby the participants debate the issue of faith vis-a-vis knowledge, the paper explicates how Buddhism negotiates dominant cultural formations and evolves against various contexts of social struggles. The analysis also reveals how the participants articulate a vernacular theory of faith to rethink the relationships between reason, religion, faith, knowledge, and ethics. The article demonstrates how an engagement with a religious discourse elucidates themes that are of interest to cultural studies’ critical project, and argues that cultural studies has an ethical responsibility to engage with religion and address matters of faith.

Buddhism, cultural studies, a profession of faith

 The thesis examines the reciprocity between Buddhist teachings and ethical understandings in cultural theory and continental philosophy. It establishes channels of hospitable exchange between sacred and scholarly commitments, and demonstrates that faith is a necessary affective response of trust that supports the aspirations of ‘believers’ and ‘non-believers’ alike.

Floating lives : cultural citizenship and the limits of diaspora

Cultural citizenship may, in the simplest terms, be taken to mean a certain 'fit' or compatibility between the cultural attributes of an individual or group and those of the society in which they live. It is a complex concept, taking in rights, responsibilities and competencies as well as the more intangible issues of identity and belonging which have been the subject of intense debates within cultural studies in the last decade. In the case of diasporic or transnational peoples, it is further complicated by the fact of their multiple and unstable cultural and/or civic allegiances (to home and host nations in the first instance, but frequently also to the cultural space of diaspora itself).

This essay examines recent life stories by Chinese Australians: Clara Law's film Floating Life (1996) and two novellas by Liu Guande and Huangfu Jun, published together in English under the title Bitter Peaches and Plums (1995). Focusing on the diversity of experience evoked by notions of cultural belonging, it argues against the prevalent tendency within diaspora studies to engage in a rhetoric of cultural essentialism. The literatures of diaspora deserve to be read as documents of unique and complex cultural experiences rather than mere illustrations of archetypes

Melbourne 2006: marketing south-eastern Australian aboriginal art

The Aboriginal cultural sector is dynamic and highly valuable to the Australian economy, returning an estimated $100 million dollars annually. The majority of Aboriginal artists and art works have been perceived to be in northern Australia— eighty per cent of them are in fact in this region—but Aboriginal artists in south-eastern Australia are emerging as a strong force as they struggle for recognition from commercial and national galleries, curators, art dealers, newspaper critics, and buyers. If marketing is to be effectual, the Aboriginality of the art must be presented in a form that is understood and accepted by the audience. Thus changing public perceptions is crucial to marketing south-eastern Aboriginal art. The primary task of this article is to discuss this marketing priority for Aboriginal art and artists in south-eastern Australia, previously neglected in marketing literature. Specifically, the upcoming Melbourne Commonwealth Games are proposed as an opportunity for intensive marketing of the region’s Aboriginal arts.

The effects of cultural barriers on market entry strategies

The increasing interests worldwide urge researchers to examine the strategies used specifically for tackling the Chinese market. This urgency is brought forward by the fact of a low success rate of international businesses operating in China in the past twenty years. This paper identifies the fundamental barrier - cultural difference and its impact on Australia China business practices. It identifies the differences which impinge on basic decision making processes. It raises the issue of where cultural factors should be placed in organizations. It stresses that consideration of cultural differences plays an important role in the success of entering the Chinese market. Through a single case study of an Australian organisations operation in China, it is demonstrated that cultural differences should be considered at a strategic level rather than an operational level. This will allow appropriate strategies to be implemented rather than constant acijustments to strategies.

Changing perceptions : marketing south eastern Australian aboriginal art

The Aboriginal cultural sector is dynamic and highly valuable to the Australian economy, returning an estimated $100 million dollars annually. The majority of Aboriginal artists and art works have been perceived to be in northern Australia-eighty percent of them are in fact in this region-but Aboriginal artists in South Eastern Australia are emerging as a strong force as they struggle for recognition from commercial and national galleries, curators, art dealers, newspaper critics, and buyers. If marketing is to be effectual, the Aboriginality of the art must be presented in a form that is understood and accepted by the audience. 1 Thus changing public perceptions is crucial to marketing South Eastern Aboriginal art. The primary task of this paper is to discuss this marketing priority for Aboriginal art and artists in South Eastern Australia, previously neglected in marketing literature. Specifically, the upcoming Melbourne Commonwealth Games are proposed as an opportunity for intensive marketing of the region's Aboriginal arts.

Mapping the Australian archaic: reflections on black medea

Wesley Enoch’s Black Medea is explicit about what is, and what is not, its project: the chorus implores the audience not to read the narrative of its infanticidal heroine as one that demonises black women. Instead, the play affirms that its narrative can be understood differently and in a way that has a wider social significance. Taking my cue from the claim that the story is somehow ‘about everyone,’ I would like to begin unravelling the play’s relevance to contemporary contentions of Australian and indeed ‘Unaustralian’ subjectivity, particularly in relation to the discourses that seek to construct ‘Australian’ identity through an appeal to antiquity and what I describe as ‘the archaic.’ It seems to me that Black Medea presents an opportunity for thinking about the ways in which the discourses of aboriginal and classical antiquity operate to inform contemporary, contesting definitions of Australian identity. Regardless of whether these discourses of antiquity are claimed as ‘Australian’ or abjected as Other or ‘Unaustralian’ – and they have been used in both ways – they remain, I argue, formative to current conceptions of Australian identity and are positioned in the economy of discourses that comprise that arena. As will be seen, the mixed reception or ambivalence with which these complementary discourses of antiquity are treated in Australian culture gives Black Medea the potential to be situated among them in subversive and questioning ways, and in ways that may highlight the reasons for their ambivalent status.