Journal articles: 'Art – Cross-cultural studies – Australia'

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Petelin, George. "Visual Art Doctorates: Practice-Led Research or Research Per Se?" Media International Australia 118, no. 1 (February 2006): 25–33. http://dx.doi.org/10.1177/1329878x0611800105.

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As part of a benchmarking project commissioned in 2002 by ACUADS, the Australian Council of University Art and Design Schools, I conducted a series of focus groups with candidates for higher degrees in Visual Art in Australia in order to gain some insight into how the terminology of research was understood and used by visual art higher degree students. The present paper makes use of that data and examines to what extent practice-led research can engage in a general research debate.

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Charlton, Thomas H. "Art on the rocks: Contemporary and prehistoric indigenous rock art in Australia." Reviews in Anthropology 27, no. 2 (January 1998): 123–39. http://dx.doi.org/10.1080/00988157.1998.9978194.

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Rowe, David, Greg Noble, Tony Bennett, and Michelle Kelly. "Transforming cultures? From Creative Nation to Creative Australia." Media International Australia 158, no. 1 (February 2016): 6–16. http://dx.doi.org/10.1177/1329878x16629544.

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This article introduces the Special Issue, ‘Transforming Cultures? From Creative Nation to Creative Australia’. Taking its historical reference point from the 1994 national cultural policy Creative Nation, it outlines the issue’s theoretical foundation in the field theory of Pierre Bourdieu, while also signalling field theory’s limitations in relation to transnationalism, ethnic heterogeneity and Indigeneity. This introduction addresses the specific conditions that require an approach that takes full account of the endogenous and exogenous factors influencing the constitution of culture in Australia from Creative Nation to its 2013 successor national cultural policy, Creative Australia, to the present day and beyond. Finally, the issue’s articles, which cover the broadcast media, sport, music, literature, heritage, and Indigenous art fields, are outlined, as are their contributions to advancing understanding of the key social and policy issues shaping the present conditions and future possibilities of Australian cultural fields in the process of transformation.

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Alexander, Isabella. "White Law, Black Art." International Journal of Cultural Property 10, no. 2 (January 2001): 185–216. http://dx.doi.org/10.1017/s0940739101771305.

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This article examines the issues surrounding the appropriation of indigenous culture, in particular art. It discusses the nature and context of Aboriginal and Torres Strait Islander art in Australia in order to establish why appropriation and reproduction are important issues. The article outlines some of the ways in which the Australian legal system has attempted to address the problem and looks at the recent introduction of the Label of Authenticity. At the same time, the article places these issues in the context of indigenous self-determination and examines the problematic use of such concepts as “authenticity.” Finally, the article looks beyond the Label of Authenticity and existing law of intellectual and cultural property, to sketch another possible solution to the problem.

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González Zarandona, José Antonio. "Between destruction and protection: the case of the Australian rock art sites." ZARCH, no. 16 (September 13, 2021): 148–53. http://dx.doi.org/10.26754/ojs_zarch/zarch.2021165087.

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Can heritage be practiced and thought outside the binary of exaltation vs. denigration? To answer this question posed by the editors, this paper will analyse the destruction and protection of Indigenous heritage sites in Australia, where the destruction of significant cultural heritage sites, mainly Indigenous heritage sites, is the result of biased and outdated practice of cultural heritage that divides Indigenous heritage (prior 1788) from Australian heritage (after 1788). This rift has caused an immense damage to Indigenous heritage around the country as it shows how in Australia heritage is practiced and thought outside the dualism of celebration versus destruction. In this paper, I will show how the destruction of Indigenous rock art sites has been a constant in the 20th and 21st century and how this destruction has been framed in media as a result of vandalism. By arguing that this framing is perpetuating the dualism of celebration versus destruction, I suggest that we can move out of this binary by considering the concept of iconoclasm to go beyond this dualism.

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Layton, Robert. "Shamanism, Totemism and Rock Art: Les Chamanes de la Préhistoire in the Context of Rock Art Research." Cambridge Archaeological Journal 10, no. 1 (April 2000): 169–86. http://dx.doi.org/10.1017/s0959774300000068.

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Les Chamanes de la Préhistoire: Transe et Magie dans les Grottes Ornées, by Jean Clottes & David Lewis-Williams, 1996. Paris: Éditions Seuil; ISBN 2-02-028902-4 hardback 249FF, 110 pp., 114 colour ills.The Shamans of Prehistory: Trance and Magic in the Painted Caves, by Jean Clottes & David Lewis-Williams, 1996. New York (NY): Harry N. Abrams; ISBN 0-8109-4182-1 hardback, US$49.50, 120 pp., 116 colour ills.Jean Clottes and David Lewis-Williams' recent book Les Chamanes de la Préhistoire builds on a body of rock art research which has come to dominate the field, marginalizing interest in other cultural themes such as totemism and records of everyday foraging. Shamanism and totemism are, however, two of the most pervasive indigenous theories of being to have been discussed in the anthropological literature. The word totem comes from the Ojibwa, a native North American people, while the word shaman comes from the Tungus of central Siberia. Their use cross-culturally to refer to types of religion (i.e. shamanism and totemism), is an artefact of anthropology. Shamanism can be applied to customs that are inferred to have arisen independently in different parts of the world; customs in a single circum-arctic culture area; or scattered survivals from an allegedly original human condition. The cross-cultural validity of shamanism has been considered by Eliade, Lewis, Hultkrantz and Vitebsky. Shamanism refers to the use of spirits as guardians and helpers of individuals, contacted through trance. The validity of totemism as a cross-culturally-valid category has been vigorously debated in anthropology. It is generally agreed to refer to the use of animals or plants as emblems or guardians of social groups celebrated in ritual. The rationale of totemism is that each group is identified with a different species; the significance of each species derives from its place in the cognitive structure. Group A is kangaroo because it is not emu or python. While Durkheim interpreted totemism as the original human religion, Lévi-Strauss persuasively argued that totemism is a product of human cognition, which has developed independently in North America, Australia and Africa.

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Fisher, Laura, and Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas." Media International Australia 158, no. 1 (January 11, 2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.

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In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine art status – something that, while no longer questioned in Australia, continues to be precarious overseas. By considering how both political and aesthetic concerns were addressed by Indigenous curators Hetti Perkins and Brenda L. Croft, this discussion sheds light on the ways in which emergent political meanings associated with Indigeneity have driven new kinds of institutional practice and international cultural brokerage.

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Zurbrugg, Nicholas. "Sound art, radio art, and post‐radio performance in Australia." Continuum 2, no. 2 (January 1989): 26–49. http://dx.doi.org/10.1080/10304318909359363.

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Cooper, Jayson, and Jennifer A. Sandlin. "Intra-active pedagogies of publicness: exploring street art in Melbourne, Australia." Pedagogy, Culture & Society 28, no. 3 (July 31, 2019): 421–43. http://dx.doi.org/10.1080/14681366.2019.1650099.

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Shah, Dhara, and Michelle Barker. "Cracking the cultural code." International Journal of Cross Cultural Management 17, no. 2 (May 17, 2017): 215–36. http://dx.doi.org/10.1177/1470595817706383.

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The growth of Indian Information Technology (IT) sector has resulted in many Indian IT expatriates conducting projects at international client sites. Yet little is known about the sociocultural communication challenges these expatriates encounter. Adopting a qualitative, interpretive approach, semi-structured interviews were conducted with 47 Indian IT expatriates at client sites in Australia. The cultural validation and sociocultural competencies framework of the Excellence in Cultural Experiential Learning and Leadership Intercultural Skills Program was used to analyse expatriates’ workplace interactions. Respondents reported a lack of understanding of the ‘unwritten’ sociocultural communication rules in Australia. Communication differences contributed to their frustrations and dissatisfaction during expatriation. Insights into Indian IT expatriates’ experiences of negotiating communication competencies abroad can inform cross-cultural management scholarship and cross-cultural training. Making cultural norms explicit by embedding a cultural learning framework in cross-cultural training programs can contribute to productive, culturally diverse workplaces. The findings may provide fresh perspectives for organizations who prepare or receive expatriates, especially Indian professionals on assignment in Australia or other western countries.

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Smith, Bernard. "On Writing Art History in Australia." Thesis Eleven 82, no. 1 (August 2005): 5–15. http://dx.doi.org/10.1177/0725513605054354.

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Hayward, John A., Iain G. Johnston, Sally K. May, and Paul S. C. Taçon. "Memorialization and the Stencilled Rock Art of Mirarr Country, Northern Australia." Cambridge Archaeological Journal 28, no. 3 (March 15, 2018): 361–78. http://dx.doi.org/10.1017/s095977431800015x.

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This paper addresses the motivations for producing the rare object stencils found in the rock art of western Arnhem Land. We present evidence for 84 stencils recorded as part of the Mirarr Gunwarddebim project in western Arnhem Land, northern Australia. Ranging from boomerangs to dilly bags, armlets and spearthrowers, this assemblage suggests something other than a common or ongoing culture practice of stencilling objects used in everyday life. Instead, we suggest that these stencils represent an entirely different function in rock art through a process of memorialization that was rare, opportunistic and highly selective.

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Healy, Chris. "When we look at pictures: Travel television and the intimacy of companion memory." Memory Studies 6, no. 3 (June 28, 2013): 262–72. http://dx.doi.org/10.1177/1750698013482645.

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Remembering in ‘modern’ Australia arises first and foremost through the transcultural processes of settler colonialism. This article explores some questions of memory’s cultures through a discussion of ‘travel television’. It argues that this kind of television is an example of a hybrid or non-human form of remembering that I call companion memory. I consider two examples: the 1950s television series, Australian Walkabout, and a recent television series on Australian indigenous art, Art + Soul. I conclude by considering how memory and travel might help us think about the kinds of intimacy and proximity implied by the notion of ‘memory up close’.

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Lennon, Jane L. "Lisanne Gibson and Joanna Besley, Monumental Queensland: Signposts on a Cultural Landscape." International Journal of Cultural Property 13, no. 1 (February 2006): 121–23. http://dx.doi.org/10.1017/s0940739106000051.

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Lisanne Gibson and Joanna Besley, Monumental Queensland: Signposts on a Cultural Landscape. Pp. 268. $49.95. St Lucia, Queensland: University of Queensland Press, 2004.By surveying and documenting outdoor cultural objects, the authors of this book seek to inform communities about the significance of their public art objects and to provide a starting point for people to value such artworks as expressing what is unique about their experience and understanding of Queensland, Australia (p. 7). However, this begs the question of public value. People in colonial times (nineteenth century) gave private subscriptions to have public monuments and memorials erected, and currently, Queensland has a Public Art Agency whose enabling legislation makes it mandatory for all public works projects to fund public art works associated with and integral to new construction, as part of the “Art Built-In” program. Queenslanders clearly like monuments!

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Wright, Nancy E., and A. R. Buck. "Cross-cultural Conflict about Property Rights in Wild Animals in Australia: Law and Cinema." Law, Culture and the Humanities 16, no. 1 (January 11, 2016): 70–81. http://dx.doi.org/10.1177/1743872115625625.

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Pierson v. Post is widely known to both jurists and law students in relation to the question of property rights in wild animals. This article builds on Pierson v. Post and its literature by analyzing the question of ferae naturae in the context of settler and indigenous conflict on the Australian frontier in the nineteenth century. By examining both case law and the cinematic representation of the conflict over property rights on the frontier, it is argued that an understanding of the legal issues relating to ferae naturae is enhanced by an appreciation of the complexity of cross-cultural communication.

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Stoner, Joyce Hill. "Connecting to the World's Collections: Making the Case for the Conservation and Preservation of Our Cultural Heritage." International Journal of Cultural Property 17, no. 4 (November 2010): 653–54. http://dx.doi.org/10.1017/s0940739110000378.

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Sixty cultural heritage leaders from 32 countries, including representatives from Africa, Asia, the Middle East, South America, Australia, Europe, and North America, gathered in October 2009 in Salzburg, Austria, to develop a series of practical recommendations to ensure optimal collections conservation worldwide. Convened at Schloss Leopoldskron, the gathering was conducted in partnership by the Salzburg Global Seminar (SGS) and the Institute for Museum and Library Services (IMLS). The participants were conservation specialists from libraries and museums, as well as leaders of major conservation centers and cultural heritage programs from around the world. As cochair Vinod Daniel noted, no previous meeting of conservation professionals has been “as diverse as this, with people from as many parts of the world, as cross-disciplinary as this.” The group addressed central issues in the care and preservation of the world's cultural heritage, including moveable objects (library materials, books, archives, paintings, sculpture, decorative arts, photographic collections, art on paper, and archaeological and ethnographic objects) and immoveable heritage (buildings and archaeological sites).

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McDonald, Gay. "Aboriginal art and cultural diplomacy: Australia, the United States, and theCulture Warriorsexhibition." Journal of Australian Studies 38, no. 1 (December 18, 2013): 18–31. http://dx.doi.org/10.1080/14443058.2013.859168.

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May, Sally K., Luke Taylor, Catherine Frieman, Paul S. C. Taçon, Daryl Wesley, Tristen Jones, Joakim Goldhahn, and Charlie Mungulda. "Survival, Social Cohesion and Rock Art: The Painted Hands of Western Arnhem Land, Australia." Cambridge Archaeological Journal 30, no. 3 (May 1, 2020): 491–510. http://dx.doi.org/10.1017/s0959774320000104.

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This paper explores the complex story of a particular style of rock art in western Arnhem Land known as ‘Painted Hands’. Using new evidence from recent fieldwork, we present a definition for their style, distribution and place in the stylistic chronologies of this region. We argue these motifs played an important cultural role in Aboriginal society during the period of European settlement in the region. We explore the complex messages embedded in the design features of the Painted Hands, arguing that they are more than simply hand stencils or markers of individuality. We suggest that these figures represent stylized and intensely encoded motifs with the power to communicate a high level of personal, clan and ceremonial identity at a time when all aspects of Aboriginal cultural identity were under threat.

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Rowe, David. "‘Great markers of culture’: The Australian sport field." Media International Australia 158, no. 1 (February 2016): 26–36. http://dx.doi.org/10.1177/1329878x15616515.

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In Creative Nation, sport is distinguished by its almost complete absence, except as a competitor for sponsorship with ‘cultural organisations’, and in brief mentions as content for SBS Radio and Aboriginal community radio stations. Sport is not mentioned at all in the 2011 National Cultural Policy Discussion Paper, but in the ensuing policy, Creative Australia, is treated, with art and religion, as one of the ‘great markers of culture’ in which, distinctively, elite professionalism, amateurism and fandom/appreciation happily co-exist. This article reflects on developments in the Australian sport field over the last two decades, highlighting the management of elite-grass roots and public–private funding tensions, and relevant parallels in the arts field. It addresses the pivotal relationship between the sport and broadcast media fields, arguing that sport, as a Bourdieusian ‘field of struggles’, is an under-appreciated domain of national cultural policy in which different forms of capital collide and converge.

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Porr, Martin. "Country and Relational Ontology in the Kimberley, Northwest Australia: Implications for Understanding and Representing Archaeological Evidence." Cambridge Archaeological Journal 28, no. 3 (April 10, 2018): 395–409. http://dx.doi.org/10.1017/s0959774318000185.

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The Aboriginal cultural traditions of Australia, their histories, philosophies and characteristics, have fascinated and intrigued European observers and scholars for a very long time. This paper explores some implications of recent ethnographic information and engagements related to the themes of Indigenous rock art, knowledge and the understanding of Country in the Kimberley region, Western Australia, for the interpretation of archaeological evidence. It is argued that the Aboriginal understanding of cultural features and practices, rock art and the natural environment is best described within a framework of relational ontology. This orientation has important consequences for the conceptualization of a range of interrelated key themes, most importantly ‘space and place’, ‘story and narrative’ and ‘knowledge and representation’. Thus, the paper calls for the development of opportunities of intellectual engagement and exchange as well as collaborative and creative responses, which should also include new forms of expression in academic contexts that themselves reflexively engage with the limitations of writing and representation.

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Chippindale, Christopher, Benjamin Smith, and Paul S. C. Taçon. "Visions of Dynamic Power: Archaic Rock-paintings, Altered States of Consciousness and ‘Clever Men’ in Western Arnhem Lane (NT), Australia." Cambridge Archaeological Journal 10, no. 1 (April 2000): 63–101. http://dx.doi.org/10.1017/s0959774300000032.

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The Dynamic figures are a distinctive component in the earlier rock-art of western Arnhem Land, north Australia. They include therianthropic (hybrid human–animal) images. Recent vision experience ethnographically known in the region, and the wider pattern of Altered States of Consciousness (ASC) in hunter-gatherer societies, are consistent with elements of the Dynamics. One key feature is the use of dots and dashes in the Dynamic images, explicable as a depiction of some intangible power, of a character comparable with that in the ‘clever men's knowledge’ of modern Arnhem Land. Tropical Australia thereby is added to the number of regions where a visionary element is identified in rock-art; the specific circumstances in Arnhem Land, permitting the use together of formal and of informed methods, provide unusually strong evidence.

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Glowczewski, Barbara. "Lines and Criss-Crossings: Hyperlinks in Australian Indigenous Narratives." Media International Australia 116, no. 1 (August 2005): 24–35. http://dx.doi.org/10.1177/1329878x0511600105.

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The issue of an ethical approach to pleasure does not imply a religious or moral order, but a constant re-evaluation of how each image or representation of any contemporary culture (Indigenous, musical, professional, digital, etc.) impacts on social justice, equity, tolerance and freedom. Two attempts of anthropological restitution developed with Aboriginal peoples for a mixed audience are presented here. The first is a CD-ROM ( Dream Trackers: Yapa Art and Knowledge of the Australian Desert), focused on one Central Australian community (Lajamanu in the Northern Territory), while the second is an interactive DVD ( Quest in Aboriginal Land) based on films by Indigenous filmmaker Wayne Barker, juxtaposing four regions of Australia. Both projects aim to explore and enhance the cultural foundations of the reticular way in which many Indigenous people in Australia map their knowledge and experience of the world in a geographical virtual web of narratives, images and performances. The relevance of games for anthropological insights is also discussed in the paper. Nonlinear or reticular thinking mostly stresses the fact that there is no centrality to the whole but a multipolar view from each recomposed network within each singularity, a person, a place (a Dreaming in the case of Aboriginal cultures), allowing the emergence of meanings and performances, encounters, creations as new original autonomous flows. Reticular or network thinking, I argue, is a very ancient Indigenous practice but it gains today a striking actuality thanks to the fact that our so called scientific perception of cognition, virtuality and social performance has changed through the use of new technologies.

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Oakley, Kate. "The Art of Education: New Competencies for the Creative Workforce." Media International Australia 128, no. 1 (August 2008): 137–43. http://dx.doi.org/10.1177/1329878x0812800117.

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This article is a summary of a longer study entitled Educating for the Creative Workforce: Rethinking Arts and Education, commissioned by the Australia Council as part of its research partnership with the Institute for Creative Industries and Innovation. That study analyses the claims for the role of the arts in education, concentrating on empirical research studies that looked at arts education programs and sought to explore whether, and how, they can contribute to contemporary approaches to education for the ‘creative workforce’. In line with the focus of this special issue, this paper seeks to draw parallels between this debate and that on digital literacy. In both cases, we look at how these areas are said to contribute to the skills and competencies required for the contemporary workforce, the differences between formal and informal approaches to skill acquisition, and the degree to which both areas are often surrounded by notions of empowerment.

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Kaino, Lorna. "The ‘Problem of Culture’: A Case Study of Some Arts Industries in Southwest Western Australia." Media International Australia 101, no. 1 (November 2001): 127–39. http://dx.doi.org/10.1177/1329878x0110100114.

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This paper presents a case study of three glass art studios situated in the southwest of Western Australia. The study is designed to provide a model for a larger study of the arts industries that will contribute to a strategic analysis of cultural policies for arts industry development. Its purpose is to offer insights into why arts policy frameworks and arts development strategies in the southwest of Western Australia appear to have had limited outcomes consistent with their arts industry objectives. It proposes that one of the reasons — difficult to formalise in policy documents but a persistent theme in informal discussions I have had with arts practitioners all over the southwest region — is a conceptual problem related to instrumentalities charged with the responsibility of implementing arts policy and development. I propose that this is a ‘problem of culture ‘. I explore this proposition in relation to cultural policy planning and development at the regional level within a wider framework at the state and federal levels in Australia and internationally.

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Maravillas, Francis. "Constellations of the contemporary: Art / Asia / Australia." Journal of Australian Studies 32, no. 4 (December 2008): 433–44. http://dx.doi.org/10.1080/14443050802471335.

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Caprara, Gian Vittorio, Michele Vecchione, Shalom H. Schwartz, Harald Schoen, Paul G. Bain, Jo Silvester, Jan Cieciuch, et al. "Basic Values, Ideological Self-Placement, and Voting: A Cross-Cultural Study." Cross-Cultural Research 51, no. 4 (June 2, 2017): 388–411. http://dx.doi.org/10.1177/1069397117712194.

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The current study examines the contribution of left–right (or liberal–conservative) ideology to voting, as well as the extent to which basic values account for ideological orientation. Analyses were conducted in 16 countries from five continents (Europe, North America, South America, Asia, and Oceania), most of which have been neglected by previous studies. Results showed that left–right (or liberal–conservative) ideology predicted voting in all countries except Ukraine. Basic values exerted a considerable effect in predicting ideology in most countries, especially in established democracies such as Australia, Finland, Italy, United Kingdom, and Germany. Pattern of relations with the whole set of 10 values revealed that the critical trade-off underlying ideology is between values concerned with tolerance and protection for the welfare of all people (universalism) versus values concerned with preserving the social order and status quo (security). A noteworthy exception was found in European postcommunist countries, where relations of values with ideology were small (Poland) or near to zero (Ukraine, Slovakia).

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Smith, Bernard. "The Preference for the Primitiveand on writing art history in Australia." Third Text 18, no. 5 (September 2004): 513–16. http://dx.doi.org/10.1080/0952882042000251697.

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Smith, Terry. "Public Art between Cultures: The "Aboriginal Memorial," Aboriginality, and Nationality in Australia." Critical Inquiry 27, no. 4 (July 2001): 629–61. http://dx.doi.org/10.1086/449025.

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Motta, Ana Paula. "From Top Down Under: New Insights into the Social Significance of Superimpositions in the Rock Art of Northern Kimberley, Australia." Cambridge Archaeological Journal 29, no. 3 (February 18, 2019): 479–95. http://dx.doi.org/10.1017/s0959774319000052.

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Rock-art researchers have long acknowledged the importance of discerning superimposition sequences as a means for exploring chronology. Despite their potential for reconstructing painting events and thus informing on a site's production sequences, the social significance of superimpositions and their associated meanings have been little explored. In the Kimberley Region of northwestern Australia, interpretations of superimpositions as an analytical lens have often lingered on the ‘negative’ connotations of this practice (e.g. to destroy supernatural power embedded in previous paintings and/or to show cultural dominance). As a result, it has been proposed that the overpainting of previous images was tantamount to defacing, leading to the proposition that new images constituted a form of vandalism of older art. In this paper, a sample of rock-art sites from the northwestern and northeastern Kimberley is analysed with the aim of grounding the study of superimpositions in more nuanced practices, leading researchers to contemplate the role they played among populations within the same area. It is argued here that superimpositions brought together past and present experiences that served to reinforce the links between contemporary art production and the inherited landscape.

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Tafler, David. "Does the outback represent the centre? Tracing electronic art tracks across Australia." Continuum 8, no. 1 (January 1994): 406–17. http://dx.doi.org/10.1080/10304319409365659.

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Hamilton, Judy. "Influencing the Modern in Brisbane: Gertrude Langer and the Role of Newspaper Art Criticism." Queensland Review 20, no. 2 (October 30, 2013): 203–14. http://dx.doi.org/10.1017/qre.2013.21.

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Dr Gertrude Langer arrived quite by chance in Brisbane in 1939 as a refugee from Hitler's Europe. She was a young, elegant Austrian refugee with a PhD in art history from the University of Vienna. After arriving in Australia, Gertrude and her husband, Dr Karl Langer, had hoped to settle in Sydney, but Karl's work as an architect moved them on to Brisbane. Gertrude Langer would become an important figure in Brisbane's post-war art scene through her salon-style lectures, art criticism and work with the Australia Council. She strongly believed that the arts were an important part of a community, and for this reason became a champion for the cause of contemporary art in Brisbane.

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Antoinette, Michelle. "A space for ‘Asian-Australian’ art: Gallery 4A at The Asia-Australia Arts Centre." Journal of Australian Studies 32, no. 4 (December 2008): 531–42. http://dx.doi.org/10.1080/14443050802471434.

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Angermeyer, M. C., and G. Schomerus. "State of the art of population-based attitude research on mental health: a systematic review." Epidemiology and Psychiatric Sciences 26, no. 3 (August 30, 2016): 252–64. http://dx.doi.org/10.1017/s2045796016000627.

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Aims.Population surveys have become a frequently used method to explore stigma, help-seeking and illness beliefs related to mental illness. Methodological quality however differs greatly between studies, and our current knowledge seems heavily biased towards high-income countries. A critical appraisal of advances and shortcomings of psychiatric attitude research is missing. This review summarises and appraises the state of the art in population-based attitude research on mental health.Methods.Systematic review of all peer-reviewed papers reporting representative population studies on beliefs and attitudes about mental disorders published between January 2005 and December 2014 (n = 478).Results.Over the decade covered by this review considerably more papers on psychiatric attitude research have been published than over the whole time period before. Most papers originated in Europe (36.3%), North America (23.2%) and Australia (22.6%), only 14.6% of all papers included data from low- or middle income countries. The vast majority of papers (80.1%) used correlational cross-sectional analyses, only 4% used experimental or quasi-experimental designs. Data in 45.9% of all papers were obtained with face-to-face interviews, followed by telephone (34.5%), mail (7.3%) and online surveys (4.0%). In almost half of papers (44.6%) case-vignettes served as stimulus for eliciting responses from interviewees. In 20.7% instruments meeting established psychometric criteria were used. The most frequently studied disorder was depression (44.6% of all paper), followed by schizophrenia (33%). 11.7% of papers reported time trend analyses of attitudes and beliefs, 7.5% cross-cultural comparisons. The most common focus of research was on mental health literacy (in total 63.4% of all papers, followed by various forms of stigma (48.3%).There was a scarcity of papers (12.1%) based on established theoretical frameworks.Conclusions.In the current boom of attitude research, an avant-garde of studies uses profound and innovative methodology, but there are still blind spots and a large proportion of conventional studies. We discuss current and future methodological challenges that psychiatric attitude research needs to embrace. More innovative and methodologically sound studies are needed to provide an empirical basis for evidence-based interventions aimed at reducing misconceptions about mental disorders and improve attitudes towards those afflicted.

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Nugent, Maria. "Sites of segregation/sites of memory: Remembrance and ‘race’ in Australia." Memory Studies 6, no. 3 (June 28, 2013): 299–309. http://dx.doi.org/10.1177/1750698013482863.

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This article considers the interplay between Aboriginal people’s remembrances about race relations in rural mid-twentieth-century Australia and the frames of remembrance provided by the American Civil rights movement. It takes as its focus two key Australian sites of racial segregation – country town cinemas and public swimming pools – to explore the ways in which since, and in no small part due to, the desegregationist politics of the 1960s they have become prominent sites of public memory. Drawing on three examples from a range of media – art, film and published memoirs – the article traces the ways in which different ways of narrating and remembering these ‘twisted spaces’ contributes to and makes possible alternative and at times unsettling interpretations of experiences and histories of relations between Aboriginal and non-Aboriginal people during what is commonly referred to as the ‘assimilation era’.

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Jankowsky, Kristin, Gabriel Olaru, and Ulrich Schroeders. "Compiling Measurement Invariant Short Scales in Cross–Cultural Personality Assessment Using Ant Colony Optimization." European Journal of Personality 34, no. 3 (May 2020): 470–85. http://dx.doi.org/10.1002/per.2260.

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Examining the influence of culture on personality and its unbiased assessment is the main subject of cross–cultural personality research. Recent large–scale studies exploring personality differences across cultures share substantial methodological and psychometric shortcomings that render it difficult to differentiate between method and trait variance. One prominent example is the implicit assumption of cross–cultural measurement invariance in personality questionnaires. In the rare instances where measurement invariance across cultures was tested, scalar measurement invariance—which is required for unbiased mean–level comparisons of personality traits—did not hold. In this article, we present an item sampling procedure, ant colony optimization, which can be used to select item sets that satisfy multiple psychometric requirements including model fit, reliability, and measurement invariance. We constructed short scales of the IPIP–NEO–300 for a group of countries that are culturally similar (USA, Australia, Canada, and UK) as well as a group of countries with distinct cultures (USA, India, Singapore, and Sweden). In addition to examining factor mean differences across countries, we provide recommendations for cross–cultural research in general. From a methodological perspective, we demonstrate ant colony optimization's versatility and flexibility as an item sampling procedure to derive measurement invariant scales for cross–cultural research. © 2020 The Authors. European Journal of Personality published by John Wiley & Sons Ltd on behalf of European Association of Personality Psychology

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Johnson, Virgil C. "Visual Ephemera: Theatrical Art in Nineteenth Century Australia (review)." Victorian Studies 44, no. 4 (2002): 704–6. http://dx.doi.org/10.1353/vic.2003.0025.

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Wright, Duncan, Birgitta Stephenson, Paul S. C. Taçon, Robert N. Williams, Aaron Fogel, Shannon Sutton, and Sean Ulm. "Exploring Ceremony: The Archaeology of a Men's Meeting House (‘Kod’) on Mabuyag, Western Torres Strait." Cambridge Archaeological Journal 26, no. 4 (October 25, 2016): 721–40. http://dx.doi.org/10.1017/s0959774316000445.

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The materiality of ritual performance is a growing focus for archaeologists. In Europe, collective ritual performance is expected to be highly structured and to leave behind a loud archaeological signature. In Australia and Papua New Guinea, ritual is highly structured; however, material signatures for performance are not always apparent, with ritual frequently bound up in the surrounding natural and cultural landscape. One way of assessing long-term ritual in this context is by using archaeology to historicize ethno-historical and ethnographic accounts. Examples of this in the Torres Strait region, islands between Papua New Guinea and mainland Australia, suggest that ritual activities were materially inscribed at kod sites (ceremonial men's meeting places) through distribution of clan fireplaces, mounds of stone/bone and shell. This paper examines the structure of Torres Strait ritual for a site ethnographically reputed to be the ancestral kod of the Mabuyag Islanders. Intra-site partitioning of ritual performance is interpreted using ethnography, rock art and the divergent distribution of surface and sub-surface materials (including microscopic analysis of dugong bone and lithic material) across the site. Finally, it discusses the materiality of ritual at a boundary zone between mainland Australia and Papua New Guinea and the extent to which archaeology provides evidence for Islander negotiation through ceremony of external incursions.

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Callus, Ron, and Mark Cole. "Live for Art — Just Don't Expect to Make a Living from it: The Worklife of Australian Visual Artists." Media International Australia 102, no. 1 (February 2002): 77–87. http://dx.doi.org/10.1177/1329878x0210200109.

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Visual artists make up one of the few occupational groups in Australia where the majority of those working in the field are not regulated by awards or agreements that set minimum rates of pay and conditions. This is because most artists are self-employed and therefore lie outside the industrial relations regulatory framework. This article builds on the results of a survey of members of the National Association of Visual Artists (NA VA). The survey was designed to provide a picture of the income sources and activities of persons who work in the arts industry. For the majority of artists, the paid work undertaken as an artist was not their main source of income. These artists supplemented their art-producing income with other art and non-related income-producing work. A significant proportion of NAVA members work for a living in the visual arts industry as teachers, arts administrators, curators or in other art-related work; many of these also produce art in their spare time. The data collected were then used to develop a typology based on the combination of artists' time-use and income-generating activities. The typology was generated through the use of a cluster analysis that revealed three major groups of artists and a number of subgroups within these three major groupings. Given the complexities of the artist's labour market experiences, a number of options are canvassed as to how the precarious nature of artists' work could better be managed. One approach to regulation is to accept the realities of the artists' labour market and build around this through a system of accruing entitlements that come from working in the industry rather than for any one individual or organisation. It is suggested that governments could also take a different approach by recognising the special nature of artists' work, specifically the fact that artists move in and out of the labour market over their lifetimes. A whole-of-life approach to the problem is therefore necessary.

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Ryan, John Charles. "Natural Heritage Conservation and Eco-Digital Poiesis: A Western Australian Example." Media International Australia 153, no. 1 (November 2014): 88–97. http://dx.doi.org/10.1177/1329878x1415300111.

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A city of biodiversity, Perth in Western Australia faces significant environmental challenges. As species and habitats vanish, so too can their biocultural heritage. To address biological and cultural decline, FloraCultures is a digital conservation initiative that uses archival, ethnographic and design approaches to conserve and promote Perth's ‘botanical heritage’. This article examines the project's conceptual foundations in terms of nature/culture, tangible/intangible and thinking/making dualisms, as well as some of the practical strategies used to address these dualisms. To articulate biocultural heritage, I have had to rethink categorical oppositions through ecopoiesis – the making of interactive digital objects as informed by ecological discourses. The repository being developed will incorporate cultural materials (texts, visual art, interview recordings, music and video) not conventionally associated with environmental conservation. Key community-building approaches, such as focus groups and crowdsourcing, discussed later in the article, provide digitally based interventions into biocultural heritage loss that reflect the ecopoietic basis of FloraCultures.

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Braginsky, Vladimir I. "Rediscovering the ‘Oriental’ in the Orient and Europe: new books on the East-West cultural interface: a review article." Bulletin of the School of Oriental and African Studies 60, no. 3 (October 1997): 511–32. http://dx.doi.org/10.1017/s0041977x00032523.

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The literature on the cultural interrelations of East and West published up to the present time is enormous. Even so, every new scholarly study in this field cannot but provoke interest, so important is the topic, particularly today in the era of so-called globalization. The books under review here, edited and introduced by Andrew Gerstle (SOAS) and Anthony Milner (ANU),1 are based on papers presented at conferences held by the Humanities Research Centre of the Australian National University. The theme of the conferences—‘Europe and the Orient‘—attracted a great number of specialists in art history, musicology, anthropology and history, Asianists and Europeanists, from Europe, the United States and Australia. It is worth noting that the most of the papers are based on published works in which their authors have discussed the same or closely related topics. In presenting the principal ideas of those publications, these collections of papers form a ‘miniature library’ of works on East-West comparative cultural studies. The interdisciplinarity of the articles—their extraordinary ‘polyphony’, the diversity of their often mutually contradictory and polemical approaches, judgements and evaluations—reveals the complexity, multifacetedness and theoretical difficulties which are only too characteristic of the study of comparative culture. The reader is here provided with quite a complete picture of the contemporary state of the field, as well as of the strong and weak sides of its investigations. This breadth of coverage is one of the main strengths of the volumes.

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Geissler, Marie. "Contemporary Indigenous Australian Art and Native Title Land Claim." Arts 10, no. 2 (May 11, 2021): 32. http://dx.doi.org/10.3390/arts10020032.

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This paper investigates a select number of examples in which largely non-literate First Nation peoples of Australia, like some First Nations peoples around the world, when faced with a judicial challenge to present evidence in court to support their land title claim, have drawn on their cultural materials as supporting evidence. Specifically, the text highlights the effective agency of indigenous visual expression as a communication tool within the Australian legal system. Further, it evaluates this history within an indigenous Australian art context, instancing where of visual art, including drawings and paintings, has been successfully used to support the main evidence in native title land claims. The focus is on three case studies, each differentiated by its distinct medium, commonly used in indigenous contemporary art—namely, ink/watercolours on paper, (Case study 1—the Mabo drawings of 1992), acrylics on canvas (Case study 2—the Ngurrara 11 canvas 1997) and ochre on bark, (Case study 3—The Saltwater Bark Collection 1997 (onwards)). The differentiation in the stylistic character of these visual presentations is evaluated within the context of being either a non-indigenous tradition (e.g., represented as European-like diagrams or sketches to detail areas and boundaries of the claim sites in question) or by an indigenous expressive context (e.g., the evidence of the claim is presented using traditionally inspired indigenous symbols relating to the claimant’s lands. These latter images are adaptations of the secret sacred symbols used in ceremonies and painting, but expressed in a form that complies with traditional protocols protecting secret, sacred knowledge). The following text details how such visual presentations in the aforementioned cases were used and accepted as legitimate legal instruments, on which Australian courts based their legal determinations of the native land title.

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Hunt, Jane E. "‘Victors’ and ‘victims'?: Men, women, modernism and art in Australia." Journal of Australian Studies 27, no. 80 (January 2003): 65–75. http://dx.doi.org/10.1080/14443050309387913.

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Taçon, Paul, and Christopher Chippindale. "Australia's Ancient Warriors: Changing Depictions of Fighting in the Rock Art of Arnhem Land, N.T." Cambridge Archaeological Journal 4, no. 2 (October 1994): 211–48. http://dx.doi.org/10.1017/s0959774300001086.

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Depictions of battle scenes, skirmishes and hand-to-hand combat are rare in hunter-gatherer art and when they do occur most often result from contact with agriculturalist or industrialized invaders. In the Arnhem Land region of the Northern Territory of Australia we have been documenting rare depictions of fighting and are able to show that there has been a long tradition of warrior art. At least three phases have been identified and in each of them groups of hunter-gatherers are shown in combat. The oldest are at least 10,000 years old, and constitute the most ancient depictions of fighting from anywhere in the world, while the newest were produced as recently as early this century. Significantly, a pronounced change in the arrangement of figures began with the second, middle phase — beginning perhaps about 6000 years ago. This appears to be associated with increased social complexity and the development of the highly complicated kinship relationships that persist in Arnhem Land today. Evidence from physical anthropological, archaeological and linguistic studies supports the idea of the early development of a highly organized society of the type more commonly associated with agriculturalists or horticulturalists.

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Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.

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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).

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Cebula, Katie R., Ai Keow Lim, Joanne M. Williams, and Dagmara Annaz. "Cross-Cultural Variations in Naïve Psychology among 2-year-olds: A Comparison of Children in the United Kingdom and Singapore." Journal of Cognition and Culture 10, no. 3-4 (2010): 221–51. http://dx.doi.org/10.1163/156853710x531177.

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AbstractChildren’s understanding of naïve psychology is the main focus of this study. Research evidence suggests that 2- and 3-year-olds understand some aspects of naïve psychology. By 4 years, they develop internal representations of mental states. Previous studies have also reported cross-cultural variations in naïve psychology development. The majority of this research has focused on Western individualistic societies such as Australia, Europe and North America, and Eastern collectivism societies such as China and Japan. Singapore with its blend of Eastern and Western values represents a unique case for comparison with Western societies. This paper reports a cross-cultural study of young children’s developing understanding of naïve psychology in Edinburgh, UK and Singapore. It addresses three main questions: (a) Are there cross-cultural differences in the development of naïve psychology?; (b) What are children’s performance sequences on naïve psychology tasks?; and (c) Are naïve psychology concepts coherent? The participants were 87 children from the UK (n=43, mean age 2 years 4 months) and Singapore (n=44, mean age 2 years 5 months). This study incorporated several established tasks of pretence, desires, emotions, perceptions, appearance-reality and false-beliefs to investigate children’s understanding of non-representational and representational mental states. The results showed no gross cross-cultural differences. However, significant cultural differences in performance on two tasks and differences in the coherence of naïve psychology concepts were identified. The results highlight the importance of considering subtle cultural influences on children’s developing understanding of various aspects of naïve psychology.

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Moeller, Miriam, Michael Harvey, and Jane F. Maley. "Interactions among culturally diverse personnel: an analysis of individual difference variables." Equality, Diversity and Inclusion: An International Journal 34, no. 8 (November 16, 2015): 705–25. http://dx.doi.org/10.1108/edi-05-2014-0036.

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Purpose – The purpose of this paper is to investigate attitudes toward interacting with foreign nationals from emerging and developed markets. Differences in attitudes are assessed using liability-of-foreignness factors. Design/methodology/approach – Purposive sample collected at a private university in Australia; hierarchical linear modeling approach examines differences across regions of Australia, Asia, Middle East, Europe, and North America; Type 2 moderated mediation procedures. Findings – Findings argue for variations across individual difference variables relative to the inclination to interact with emerging markets foreign nationals. Europeans’ willingness to interact with emerging market foreign nationals is diminished with high levels of tendency to stereotype, whereas North Americans’ willingness to interact with developed market foreign nationals is enhanced with high levels of tendency to stereotype. Research limitations/implications – Use of self-reported measures may limit validity and generalizability; cross-sectional data; common method variance. Practical implications – A greater consideration of cultural diversity inherent in the workforce allows for diminished adjustment difficulties. Acknowledgment and contextualization of diversity is not an option but a necessity upon which organizations must act to reach their fullest potential in respective foreign locations. Social implications – Supports greater respect for social and cultural beliefs, norms, and values. Respect has implications for relationships and performance. Originality/value – Content presents diversity issues within global organizations on their quest to employ global talent.

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Small, Rhonda, Judith Lumley, and Jane Yelland. "Cross-cultural experiences of maternal depression: associations and contributing factors for Vietnamese, Turkish and Filipino immigrant women in Victoria, Australia." Ethnicity & Health 8, no. 3 (August 2003): 189–206. http://dx.doi.org/10.1080/1355785032000136416.

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Stratton, Jon. "The Birthday Party and The Scientists." Thesis Eleven 144, no. 1 (February 2018): 100–116. http://dx.doi.org/10.1177/0725513618755776.

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This article compares two of the groups generally regarded by critics as the most important in Australia in the post-punk period, The Birthday Party and The Scientists. While they had much in common – each was governed by the vision of one man, Nick Cave for The Birthday Party and Kim Salmon for The Scientists, both had record deals in Australia and both went to London – The Birthday Party became a cult success while The Scientists are only now, 30 years after their heyday, receiving the popular credit due them as a foundational noise group. There were important differences between the groups. The Birthday Party came from Melbourne and their members were middle-class. The Scientists came from Perth, at that time a small city remote from the cultural centres of Australia, and Salmon and his associates were working-class. The Birthday Party was self-consciously in a High Art tradition of nihilism going back to Dada while The Scientists’ music was an existential critique of the values of the middle-class suburbia that dominated Perth.

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Logie, Lea. "Developing a Physical Vocabulary for the Contemporary Actor." New Theatre Quarterly 11, no. 43 (August 1995): 230–40. http://dx.doi.org/10.1017/s0266464x00009118.

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One of the distinguishing qualities of live theatre is its built-in ephemerality: yet all too often this involves the loss not only of the fruits of theatrical experience but of ‘experience’ itself, understood as the learning of craft – and this puts experimental companies and practitioners alike in danger of constantly reinventing the wheel. Connecting this to the needs of serious performers to acquire a wide range of expressive movements, and to explore the process of relating these movements to thoughts and feelings, Lea Logie discusses both common elements and contrasting approaches in the work of some of the great European practitioners, whose insights are too valuable to be forgotten or consigned to scholarly archives. Lea Logie is a tutor in Theatre and Drama Studies at Murdoch University, Western Australia, where she specializes in cross-cultural studies of Asian and western theatre.

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Berryman, Jim. "Art and national interest: the diplomatic origins of the “blockbuster exhibition” in Australia." Journal of Australian Studies 37, no. 2 (June 2013): 159–73. http://dx.doi.org/10.1080/14443058.2013.781052.

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Journal articles on the topic 'Art – Cross-cultural studies – Australia'

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