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In this thesis a platform of knowledge is provided for the development of enhanced Indigenous cultural heritage legislation by examining the specific nature of the cultural heritage of a Queensland Aboriginal group, the Dajarra Aboriginal community of Northwest Queensland for whom the Georgina River is a heartland in their cultural geography. The thesis was conducted during a period when the Queensland Government began to recognize demands for more effective Indigenous cultural heritage legislation. Queensland's latest Aboriginal cultural heritage legislation, introduced in 2004, emerged from a history of legislation dominated by an archaeological model of cultural heritage. However, despite some improvements this new legislation has maintained a physically orientated model of cultural heritage. Therefore Queensland's Indigenous societies, their places, place knowledge and certain types of place-specific behaviours continue to be exposed to imposed change. The thesis examines the 'lifeworld', the 'everyday' experiences of place of the Dajarra community. A broad definition of culture and an interactive model of place, coupled with a phenomenological approach provide a theoretical framework to engage with and describe cultural heritage as Dajarra people themselves experience it. The cultural heritage of Dajarra people involves interactions with a diversity of places and various combinations of behavioural, knowledge and physical properties. All of the places examined were interrelated with other places to form both small and large-scale place complexes. This dissertation reveals that the cultural heritage of an Aboriginal community lies not just in the physical environment but also in the diverse everyday people-environment interactions of that community. Effective cultural heritage legislation must be capable of encompassing this diversity. Cultural heritage is essentially dynamic, it is found in processes of change, it is found in ongoing people-environment interactions as well as those of the past. It is argued that Aboriginal people hold 'active cultural heritage rights'; these are rights to interact with places and rights to control action in places. Ideal cultural heritage legislation would recognize these active rights and provide for Aboriginal control of them, that is, Aboriginal defined and controlled change. This study reveals that it is difficult to separate places in time and space from other places with which they are co-dependent or inextricably intertwined. Studies of Aboriginal people-environment interactions and legislative measures must respond to the broader place complexes within which individual places are embedded and within which the everyday experiences of place are had. It is shown that there is a range of ways that an Aboriginal cultural heritage community can be defined and a range of Aboriginal people that might have interests in the cultural heritage of an area. Lastly, the thesis calls for the adoption of an interactive model of place as a foundation to cultural heritage studies and legislation in order to respond to the cultural heritage of Aboriginal people as they themselves experience it and wish to experience it.

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Thesis (M.A.) (Honours) -- University of Western Sydney, Nepean, 2000. / A thesis presented in fulfilment of the requirements for the degree of Master of Arts (Honours) - (Performance), School of Applied Social and Human Sciences, University of Western Sydney, Nepean, 2000. Bibliography : Vol. 1, leaves 202-209.

"November 2003". / Thesis (PhD)--Macquarie University, Australian Centre for Educational Studies, School of Education, 2004. / Bibliography: leaves 243-267. / Introduction -- Literature review -- Meanings and perspectives of Reconciliation in the Australian socio-political context -- An explanation of the research method -- Meanings of Reconciliation in the school context -- Survey results -- The role of education in the Reconciliation process -- Obstacles and barriers to Reconciliation -- Teaching for Reconciliation: best practice in teaching resources -- Conclusion. / The research detailed in this thesis investigated how schools in NSW responded to the social and political project of Reconciliation at the end of the 1990s. -- The research used a multi-method research approach which included a survey instrument, focus group interviews and key informants interviews with Aboriginal and non Aboriginal teachers, elders and educators, to gather qualitative as well as quantitative data. Differing research methodologies, including Indigenous research paradigms, are presented and discussed within the context of this research. From the initial research questions a number of sub-questions emerged which included: -The exploration of meanings and perspectives of Reconciliation evident in both the school and wider communities contexts and the extent to which these meanings and perspectives were transposed from the community to the school sector. -The perceived level of support for Reconciliation in school communities and what factors impacted on this level of support. -Responses of school communities to Reconciliation in terms of school programs and teaching strategies including factors which enhanced the teaching of Reconciliation issues in the classroom and factors which acted as barriers. -- Firstly in order to provide the context for the research study, the thesis provides a brief historical overview of the creation of the Council for Aboriginal Reconciliation. It then builds a framework through which the discourses of Reconciliation are presented and deconstructed. These various meanings and perspectives of Reconciliation are placed within a linear spectrum of typologies, from 'hard', 'genuine' or 'substantive' Reconciliation advocated by the Left, comprising a strong social justice agenda, first nation rights and compensation for past injustices, to the assimiliationist typologies desired by members of the Right which suggest that Reconciliation is best achieved through the total integration of Aboriginal people into the mainstream community, with Aboriginal people accepting the reality of their dispossession. -- In between these two extremes lie degrees of interpretations of what constitutes Reconciliation, including John Howard's current Federal Government interpretation of 'practical' Reconciliation. In this context "Left" and "Right" are defined less by political ideological lines of the Labor and Liberal parties than by attitudes to human rights and social justice. Secondly, and within the socio-political context presented above, the thesis reports on research conducted with Indigenous and non Indigenous educators, students and elders in the context of the NSW school system to decipher meanings and perspectives on Reconciliation as reflected in that sector. It then makes comparisons with research conducted on behalf of the Council for Aboriginal Reconciliation during the 1990s on attitudes to Reconciliation in the community. Perceived differences are analysed and discussed. / The research further explores how schools approached the teaching of Reconciliation through a series of survey questions designed to document the types of activities undertaken by the schools with Reconciliation as the main aim. -- Research findings indicated that while both the community at large and the education community are overwhelmingly supportive of Reconciliation, both as a concept and as a government policy, when questioned further as to the depth and details of this commitment to Reconciliation and the extent to which they may be supportive of the 'hard' issues of Reconciliation, their views and level of support were more wide ranging and deflective. -- Findings indicated that, in general, educators have a more multi-layered understanding of the issues related to Reconciliation than the general community, and a proportion of them do articulate more clearly those harder, more controversial aspects of the Reconciliation process (eg just compensation, land and sea rights, customary laws). However, they are in the main, unsure of its meaning beyond the 'soft' symbolic acts and gatherings which occur in schools. In the late 1990s, when Reconciliation was at the forefront of the national agenda, research findings indicate that while schools were organising cultural and curriculum activities in their teaching of Indigenous history or Aboriginal studies - they did not specifically focus on Reconciliation in their teaching programs as an issue in the community. Teachers did not have a clearly defined view of what Reconciliation entailed and schools were not teaching about Reconciliation directly within their curriculum programs. -- The research also sought to identify facotrs which acted as enhancers of a Reconciliation program in schools and factors which were seen as barriers. Research findings clearly pointed to community and parental attitudes as important barriers with time and an overcrowded curriculum as further barriers to the implementation of teaching programs. Factors which promoted Reconciliation in schools often related to human agency and human relationships such as supportive executive leadership, the work of committed teachers and a responsive staff and community. / Mode of access: World Wide Web. / xvi, 286 leaves ill

The Countried experience of Aboriginal and Torres Strait Islander Peoples of (Australia), ground a resilience and strength in sovereign thinking through the Stories we share laterally with family and inter-ancestrally through our connections to the Dreaming. The stories we share develop a sense of inalienability we have that is connected to the Countries of origin we share and identify with across the continental scape of Land, Water and Sky Country. As a formative philosophical assumption, the Countried existence that this dissertation develops, illuminates the significance of this research thinking to contribute to the continued development of Indigenous education for Aboriginal and Torres Strait Islander students attending secondary high schools across (Australia). By attending to the ways Elders as significant Indigenous leaders describe and develop their storied lives through lived experience, this Countried philosophy emerges through the Storied knowing of Country. By examining the approaches to learning Aboriginal and Torres Strait Islander students adopt, further evidence can be contributed to the research surrounding Indigenous thinking and cognitive approaches to thinking through education learning tasks. By examining the perceptions and beliefs of non-indigenous teachers, this dissertation aims to contribute evidence to Indigenous pedagogies that teachers can deploy in the delivery of meaningful Indigenous Knowledge curricula content. Summatively, this thesis found that when deep engagements are made into the notion of inalienability of Countried experience, salient avenues of thinking and learning and teaching emerge surrounding the ways education can continue to elaborate and relate meaningfully to the First Peoples of Australia.

Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a “playlet” by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers’ backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous women’s experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers.

No description available.

No description available.

Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a “playlet” by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers’ backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous women’s experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers.