Retention and graduation of Australian Aboriginal and Torres Strait Islander students in initial teacher education

This paper reports on an Australian national project to address retention, success and graduation of Aboriginal and Torres Strait Islander teacher education students. The project, led by the Australian Council of Deans of Education and managed by Queensland University of Technology, forms a sub-set of the More Aboriginal and Torres Strait Islander Teachers Initiative (MATSITI) directed by the David Unaipon College of Indigenous Education and Research and funded by the Department of Education, Employment and Workplace Relations. MATSITI will develop Action Plans within participating universities (n=33) to improve the retention/graduation rates of Aboriginal and Torres Strait Islander teachers. The paper provides an overview of the teacher education component of the MATSITI project and presents preliminary research from 33 Australian universities.

The Australian aboriginal and the Christian church

http://www.archive.org/details/australianaborig00pittuoft

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.

UNESCO and cultural heritage practice in Australia in the 1950s: The international touring exhibition Australian Aboriginal Culture, 1948-55

This article investigates aspects of the production, dissemination and consumption of UNESCO’s first international touring exhibition, Australian Aboriginal Culture, in order to explore the relationship between UNESCO and Australia in the development of a key cultural heritage program. It argues that the exhibition indicates a national and international spirit of universalism that attempted to address crosscultural ignorance in a period of post-war optimism.

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.

Authorship, authenticity and intellectual property in Australian Aboriginal art

This article analyzes research and legal cases about authorship, authenticity, and intellectual property in Aboriginal art. The concepts of Aboriginality, authenticity, and ownership are used to show the complexities of Aboriginal law, legal copyright, and the moral rights framework. The clan ownership of Dreaming makes Aboriginal artists’ relationship different to other artists’ individual ownership of their work. Research on this topic by members of the Faculty of Business and Law unit of the Centre for Leisure Management Research at Deakin University was undertaken for the Australian Institute of Aboriginal and Torres Strait Islander Studies. This article provides significant contextual analyses of major issues leading to Commonwealth Government inquiries and legislation in Australia during 2006–8.

Patterns and correlates of self-reported racial discrimination among Australian Aboriginal and Torres Strait Islander adults, 2008–09: analysis of national survey data

Background
There is now considerable evidence that racism is a pernicious and enduring social problem with a wide range of detrimental outcomes for individuals, communities and societies. Although indigenous people worldwide are subjected to high levels of racism, there is a paucity of population-based, quantitative data about the factors associated with their reporting of racial discrimination, about the settings in which such discrimination takes place, and about the frequency with which it is experienced. Such information is essential in efforts to reduce both exposure to racism among indigenous people and the harms associated with such exposure.

Methods
Weighted data on self-reported racial discrimination from over 7,000 Indigenous Australian adults participating in the 2008–09 National Aboriginal and Torres Strait Islander Survey, a nationally representative survey conducted by the Australian Bureau of Statistics, were analysed by socioeconomic, demographic and cultural factors.

Results
More than one in four respondents (27%) reported experiencing racial discrimination in the past year. Racial discrimination was most commonly reported in public (41% of those reporting any racial discrimination), legal (40%) and work (30%) settings. Among those reporting any racial discrimination, about 40% experienced this discrimination most or all of the time (as opposed to a little or some of the time) in at least one setting. Reporting of racial discrimination peaked in the 35–44 year age group and then declined. Higher reporting of racial discrimination was associated with removal from family, low trust, unemployment, having a university degree, and indicators of cultural identity and participation. Lower reporting of racial discrimination was associated with home ownership, remote residence and having relatively few Indigenous friends.

Conclusions
These data indicate that racial discrimination is commonly experienced across a wide variety of settings, with public, legal and work settings identified as particularly salient. The observed relationships, while not necessarily causal, help to build a detailed picture of self-reported racial discrimination experienced by Indigenous people in contemporary Australia, providing important evidence to inform anti-racism policy.

Developing an exploratory framework linking Australian Aboriginal peoples' connection to country and concepts of wellbeing

Aboriginal people across Australia suffer significant health inequalities compared with the non-Indigenous population. Evidence indicates that inroads can be made to reduce these inequalities by better understanding social and cultural determinants of health, applying holistic notions of health and developing less rigid definitions of wellbeing. The following article draws on qualitative research on Victorian Aboriginal peoples' relationship to their traditional land (known as Country) and its link to wellbeing, in an attempt to tackle this. Concepts of wellbeing, Country and nature have also been reviewed to gain an understanding of this relationship. An exploratory framework has been developed to understand this phenomenon focusing on positive (e.g., ancestry and partnerships) and negative (e.g., destruction of Country and racism) factors contributing to Aboriginal peoples' health. The outcome is an explanation of how Country is a fundamental component of Aboriginal Victorian peoples' wellbeing and the framework articulates the forces that impact positively and negatively on this duality. This review is critical to improving not only Aboriginal peoples' health but also the capacity of all humanity to deal with environmental issues like disconnection from nature and urbanisation.

Is it art or knowledge? Deconstructing Australian Aboriginal creative making

Abstract Australian Aboriginal symbols are visual forms of knowledge that express cultural intellect. Being classified by a Western interpretation of “art” devalues thousands of years of generational knowledge systems, where visual information has been respected, appreciated and valued. This article highlights how Aboriginal creativity has little concept of aesthetical value, but is a cultural display of meaning relating to Creational periods, often labelled as The Dreamings. With over 350 different Aboriginal Nations in Australia, this article focuses of the Dharug Nation, located around the northern Sydney area of New South Wales. The Dharug term for the Creational period is Gunyalungalung—traditional ritualized customary lores (laws). These symbols are permanently located within the environment on open rock surfaces, caves and markings on trees. Whilst some symbols are manmade, others are made by Creational ancestral beings and contain deep story lines of information in sacredness. Therefore, creative imagery engraved or painted on rock surfaces are forms of conscious narratives that emphasise deep insight.Keywords: Aboriginal Art; Australia; visual knowledge; culture; traditional; symbols