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.

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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.

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.

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.

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.

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.

Thesis (Ph.D.) -- University of Western Sydney, 2004. / Title from electronic document (viewed 15/6/10) Presented for the degree of Doctor of Philosophy, University of Western Sydney, 2004. Includes bibliography.

<p dir="ltr">In higher education environments, instructional design plays a pivotal role in creating user experiences and fostering learner-centeredness. The purpose of this three-manuscript dissertation is to explore the intersection of learner-centered instruction and instructional design through a theory to practice approach within higher education.</p><p dir="ltr">The first study in this dissertation establishes how learner-centered pedagogy, using geospatial tools, can be effectively translated into practice in higher education. Findings reveal that higher education instructors are confident in their technological knowledge (TK) and can adapt geospatial tools across various disciplines, enabling self-directed, project-based, and problem-solving oriented learning experiences. This approach is supported by strategies such as adaptation and flexibility, integration and use of culturally relevant examples, and cultivating a comprehensive understanding of GIS. The findings emphasize the importance of culturally relevant pedagogy, scaffolding, and fostering learner autonomy, which are crucial for preparing industry-ready learners across diverse disciplines and cultural contexts.</p><p dir="ltr">The second paper in this dissertation makes a conceptual contribution by focusing on culturally relevant pedagogy (CRP) within learner-centered pedagogy. The research highlights the salient literature in CRP as it pertains to instructional design and provides a working definition of CRP from an instructional designer's perspective. To mobilize CRP in practice, we offer the intersection of two approaches; Merrill’s First Principles of Instruction (Merrill, 2002; 2012). The study explores potential connections between CRP and instructional design, suggesting the adoption of a learner-centered approach that integrates CRP with Merrill’s First Principles of Instruction. This integration aims to guide higher education instructors in creating instructional materials that promote academic success, cultural competence, and sociopolitical consciousness.</p><p dir="ltr">The third study, a systematic review of literature, examines cases where instructors implemented learner-centered pedagogies that are culturally relevant, responsive, and sustaining. The results indicated that instructors in these studies place focus on embodying the purpose of these asset-based pedagogies and emphasize the unique needs of learners and instructional goals. The complexity of CRP instruction necessitates ongoing reflection and adjustment by the instructor, with curricular enactments aiming to challenge established norms while promoting student agency and relevance. Various spaces were identified for implementing these pedagogies, including community engagement, connecting concepts to students' lives, creating safe and caring spaces, and fostering critical discussion. Examples illustrating the conceptualization and implementation of these pedagogies in higher education offer instructors practical insights into bridging the gap between theory and practice within learner-centered instruction.</p>