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1
Pardy, John. "Remembering and forgetting the arts of technical education." History of Education Review 49, no. 2 (November 12, 2020): 181–93. http://dx.doi.org/10.1108/her-02-2020-0009.
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PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Broinowski, Alison. "Australia, Asia and the arts." Asian Studies Association of Australia. Review 12, no. 1 (July 1988): 18–23. http://dx.doi.org/10.1080/03147538808712535.
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Trinh, Huong Thu. "The Heildelberg School in forming Australianness." Science and Technology Development Journal 17, no. 4 (December 31, 2014): 62–73. http://dx.doi.org/10.32508/stdj.v17i4.1575.
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In 1788, English people settled down in Australia, cleared and cultivated the land, making a big turning point to this old continent. Australianness was still vague in these initial years of the white settlement. Heildelberg School, the first school in Australian art, which emerged in 1887, laid the foundation for Australia's visual arts history as well as forming the Autralianness with three mains characters: “strong, masculine labour”, “national myth” and “harsh land of unique nature diversity”. In this paper, the writer would like to introduce 7 masterpieces by three prominent Australian artists of the Heidelberg school: Tom Roberts, Frederic Mc.Cubbin, and Arthur Streeton.
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Hadok, John. "Performing Arts Healthcare in Australia—A Personal View." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 82–84. http://dx.doi.org/10.21091/mppa.2008.2016.
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In 2006, as part of a national regional-arts conference, I attempted to bring together health care workers with an interest in caring for performing artists. The plan was to gather in symposium, to share ideas and expertise, and inaugurate a network of practitioners across Australia. It was a good idea—at least I thought so at the time, and the generous experts who agreed to participate for free also seemed to think so. However, the exigencies of mounting a symposium in a regional city, in a field hitherto never organised in this country, with no finance, and only one assistant (albeit very capable!—Marilyn Bliss—to whom I am forever grateful) proved too much. After much lost money and sleep, and with a feeling of crushing defeat, I cancelled the project. As sometimes happens, the momentum has continued. From that quixotic project has grown a new organization, the Australian Society for Performing Arts Healthcare (ASPAH).
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Lummis, Geoffrey William, Julia Elizabeth Morris, and Graeme Lock. "The Western Australian Art and Crafts Superintendents’ advocacy for years k-12 Visual Arts in education." History of Education Review 45, no. 1 (June 6, 2016): 115–30. http://dx.doi.org/10.1108/her-12-2014-0045.
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Purpose – The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development. Design/methodology/approach – A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period. Findings – This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987). Originality/value – The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.
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Wagner, Robin. "What Munn Missed: The Queensland Schools of Arts." Queensland Review 20, no. 2 (October 30, 2013): 187–202. http://dx.doi.org/10.1017/qre.2013.20.
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American Librarian Ralph Munn's historic tour of Australian libraries in 1934 is well documented. Along with Ernest Pitt, Chief Librarian of the State Library of Victoria, he spent nearly ten weeks travelling from Sydney and back again, visiting libraries in all the state capitals and many regional towns throughout the country. Munn's trip was funded by the Carnegie Corporation of New York, which was then, through its Dominions fund, turning attention to philanthropic opportunities in the Antipodes. The resulting report, Australian Libraries: A Survey of Conditions and Suggestions for their Improvement (commonly referred to as the Munn–Pitt Report) is often credited with initiating the public library movement in Australia.
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Mulcock, Jane, and Natalie Lloyd. "Human-Animal Studies in Australia: Current Directions." Society & Animals 15, no. 1 (2007): 1–5. http://dx.doi.org/10.1163/156853007x169306.
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AbstractIn 2004, Natalie Lloyd and Jane Mulcock initiated the Australian Animals & Society Study Group, a network of social science, humanities and arts scholars that quickly grew to include more than 100 participants. In July 2005, about 50 participants attended the group's 4-day inaugural conference at the University of Western Australia, Perth. Papers in this issue emerged from the conference. They exemplify the Australian academy's work in the fields of History, Population Health, Sociology, Geography, and English and address strong themes: human-equine relationships; management of native and introduced animals; and relationships with other domestic, nonhuman animals—from cats and dogs to cattle. Human-Animal Studies is an expanding field in Australia. However, many scholars, due to funding and teaching concerns, focus their primary research in different domains. All authors in this issue—excepting one—are new scholars in their respective fields. The papers represent the diversity and innovation of recent Australian research on human-animal interactions. The authors look at both past and present, then anticipate future challenges in building an effective network to expand this field of study in Australia.
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Pollock, Benjin. "Beyond the Burden of History in Indigenous Australian Cinema." Film Studies 20, no. 1 (May 2019): 36–53. http://dx.doi.org/10.7227/fs.20.0003.
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How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews such experimentation. It instead celebrates Indigenous socio-political links with African American culture, ‘Black is beautiful’, and the American Civil Rights movements of the 1960s. Crucially, both these films challenge notions of a singular and tragic history for Indigenous Australia. Placing the films within their wider cultural contexts, this article highlights the diversity of Indigenous Australian cinematic expression and the varied ways in which history can be reclaimed on film. However, it also shows that the content, form and accessibility of both works are inextricably linked to the industry concerns and material circumstances of the day. This is a crucial and overlooked aspect of film analysis and has implications for a more nuanced appreciation of Indigenous film as a cultural archive.
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Jones, Stephen. "Synthetics: A History of the Electronically Generated Image in Australia." Leonardo 36, no. 3 (June 2003): 187–95. http://dx.doi.org/10.1162/002409403321921389.
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This paper takes a brief look at the early years of computer-graphic and video-synthesizer–driven image production in Australia. It begins with the first (known) Australian data visualization, in 1957, and proceeds through the compositing of computer graphics and video effects in the music videos of the late 1980s. The author surveys the types of work produced by workers on the computer graphics and video synthesis systems of the early period and draws out some indications of the influences and interactions among artists and engineers and the technical systems they had available, which guided the evolution of the field for artistic production.
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FIELKE, SIMON J., and DOUGLAS K. BARDSLEY. "A Brief Political History of South Australian Agriculture." Rural History 26, no. 1 (March 9, 2015): 101–25. http://dx.doi.org/10.1017/s095679331400017x.
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Abstract:This paper aims to explain why South Australian agricultural land use is focused on continually increasing productivity, when the majority of produce is exported, at the long-term expense of agriculturally-based communities and the environment. A historical analysis of literature relevant to the agricultural development of South Australia is used chronologically to report aspects of the industry that continue to cause concerns in the present day. The historically dominant capitalist socio-economic system and ‘anthropocentric’ world views of farmers, politicians, and key stakeholders have resulted in detrimental social, environmental and political outcomes. Although recognition of the environmental impacts of agricultural land use has increased dramatically since the 1980s, conventional productivist, export oriented farming still dominates the South Australian landscape. A combination of market oriented initiatives and concerned producers are, however, contributing to increasing the recognition of the environmental and social outcomes of agricultural practice and it is argued here that South Australia has the opportunity to value multifunctional land use more explicitly via innovative policy.
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Herkes, Ellen, and Guy Redden. "Misterchef? Cooks, Chefs and Gender in MasterChef Australia." Open Cultural Studies 1, no. 1 (September 26, 2017): 125–39. http://dx.doi.org/10.1515/culture-2017-0012.
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Abstract MasterChef Australia is the most popular television series in Australian history. It gives a wide range of ordinary people the chance to show they can master culinary arts to a professional standard. Through content and textual analysis of seven seasons of the show this article examines gendered patterns in its representation of participants and culinary professionals. Women are often depicted as home cooks by inclination while the figure of the professional chef remains almost exclusively male. Despite its rhetoric of inclusivity, MCA does little to challenge norms of the professional gastronomic field that have devalued women’s cooking while valorising “hard” masculinized culinary cultures led by men.
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Maras, Steven. "Screenwriting research in Australia: A truncated (pre)history." Journal of Screenwriting 12, no. 2 (June 1, 2021): 179–202. http://dx.doi.org/10.1386/josc_00059_1.
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Recent years have seen a growing interest in the history of fields of study and academic disciplines. While recognizing a number of limitations, this article explores the emergence of screenwriting research in Australia. It addresses the question of what were the cultural conditions that gave rise to contemporary screenwriting research in Australia. The article discusses three key factors: firstly, long-standing policy settings around cultural identity and content in film and television; secondly, active debates around ‘screen culture’ that have given discussions of the place of culture and story special prominence and contributed to awareness of questions of cultural ‘value’, and conventional separations of production and consumption; thirdly, the rise of film studies in the 1970s, which gave ferment to research into narrative and story forms. My goal is to capture some of the contextual features that are important to an understanding of screenwriting research in this period and geography, and to suggest that screenwriting research emerged as intellectual attitude and area of interest that eventually crystallized as part of a more formalized arena of study in the later 2000s.
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Leach, Andrew. "Review: Australia: Modern Architectures in History, by Harry Margalit." Journal of the Society of Architectural Historians 80, no. 1 (March 1, 2021): 118–19. http://dx.doi.org/10.1525/jsah.2021.80.1.118.
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Pennell, Richard. "Making the Foreign Past Real: Teaching and Assessing Middle Eastern History in Australia." Review of Middle East Studies 51, no. 1 (February 2017): 40–44. http://dx.doi.org/10.1017/rms.2017.51.
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Teaching modern Middle East history at the University of Melbourne raises problems of culture. Students are not generally acquainted with the Middle East and North Africa—even those whose families originate there—news coverage is patchy, and Australia is far away. Not all students are even arts students let alone history majors: our degree structure requires interdisciplinary study. The University is liberal about how to assess students, only requiring that during a twelve-week semester subject a student must write 4000 words. Within broad bounds, how teachers do this is up to them, although the Arts Faculty has a culture of avoiding unseen examinations. History major students are very accustomed to the “traditional” researched essay format, but it does not provide much variety of intellectual training; it is unfamiliar to non-Arts students; in classes that regularly number over 100 students, it is tiring and boring to assess; and large numbers of essays are freely available online. So I have introduced an assessment task to replace the standard researched essay. The purpose here is to describe an alternative approach to assessment and learning by using a simulation: in that sense the actual topic of the simulation is secondary. It concerns refugees, which is of course, a matter of vital current concern, but it is the reasoning behind the task that I hope is instructive.
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Cohen, Graeme L. "A bibliography of Australian mathematics to 1960 with observations relating to the history of Australian mathematics." Historical Records of Australian Science 31, no. 1 (2020): 17. http://dx.doi.org/10.1071/hr19008.
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In the Supplementary Material of this issue, I give a bibliography of books and pamphlets in, or related to, mathematics in Australia, to 1960. It is as complete as possible, except for those omissions (notably, school books after 1900) that are described fully in the text. In particular, all higher degree theses in mathematics awarded by an Australian university (to 1960) are listed. This article describes the background to the compilation of the bibliography and observations drawn from it (and expanded upon) which relate to the history of Australian mathematics. In some respects, this article and its Supplementary Material may be considered to be an addendum to my book Counting Australia In: the People, Organisations and Institutions of Australian Mathematics (2006) published by Halstead Press, Sydney, for the Australian Mathematical Society.
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Walters, Ian. "Intensified fishery production at Moreton Bay, southeast Queensland, in the late Holocene." Antiquity 63, no. 239 (June 1989): 215–24. http://dx.doi.org/10.1017/s0003598x00075943.
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As the great antiquity of human settlement in Australia becomes clear, so does the distinctive character of human adaptation in the continent. In particular, the Holocene transformation of the Australian climate led to patterns of human ecology with some characteristics of their own, and some common to regions where the Holocene changes led on to agricultural societies. Here is a case-study in that Australian history.
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Jacka, Liz. "Doing the history of television in Australia: problems and challenges." Continuum 18, no. 1 (March 2004): 27–41. http://dx.doi.org/10.1080/1030431032000180987.
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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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Wolff, Helen A., Terence J. Healy, and Thomas H. Spurling. "Corrigendum to: An introduction to the CSIRO Oral History Collection." Historical Records of Australian Science 30, no. 2 (2019): 198. http://dx.doi.org/10.1071/hr18026_co.
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This paper describes a project to record specialised oral histories of key individuals involved with Australia's principal scientific research organisation, the Commonwealth Scientific and Industrial Research Organisation (CSIRO). The oral histories are intended to complement official governance documents in a larger project to write a history of CSIRO. Oral histories typically include perspectives on family backgrounds and childhood, professional training and career histories. Of particular interest in these interviews is the involvement of interviewees in the management of CSIRO and their reflections on the place of CSIRO in the Australian and international scientific environments. The interviews were conducted mainly by two of the authors (Spurling and Healy), both of whom were well known to the interviewees because they were themselves senior managers in CSIRO and familiar with the topics discussed. These histories are intended to illuminate important personal factors that have influenced decision-making in CSIRO. Also covered are plans to use other collections of interview materials in the CSIRO History Project (CHP), including those conducted by CSIRO historian Boris Schedvin, the Australian Academy of Science and the National Library of Australia. Details are provided of preparations for interviews, recording and transcription and preparation of materials for public access through CSIROpedia.
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Bell, Diane. "In the Age of Mabo : History, Aborigines and Australia." American Anthropologist 99, no. 2 (June 1997): 450–51. http://dx.doi.org/10.1525/aa.1997.99.2.450.
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Brantlinger, Patrick. "?Black Armband? versus ?White Blindfold? History in Australia." Victorian Studies 46, no. 4 (July 2004): 655–74. http://dx.doi.org/10.2979/vic.2004.46.4.655.
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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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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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Denton, Derek. "Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 1 (2007): 97. http://dx.doi.org/10.1071/hr07005.
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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.
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Denton, Derek. "Erratum to: Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 2 (2007): 305. http://dx.doi.org/10.1071/hr07005_er.
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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.
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Maroske, Sara, Libby Robin, and Gavan McCarthy. "Building the History of Australian Science: Five Projects of Professor R.W. Home (1980–present)." Historical Records of Australian Science 28, no. 1 (2017): 1. http://dx.doi.org/10.1071/hr16018.
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R. W. Home was appointed the first and, up to 2016, the only Professor of History and Philosophy of Science (HPS) at the University of Melbourne. A pioneering researcher in the history of Australian science, Rod believes in both the importance and universality of scientific knowledge, which has led him to focus on the international dimensions of Australian science, and on a widespread dissemination of its history. This background has shaped five major projects Rod has overseen or fostered: the Australasian Studies in History and Philosophy of Science (a monograph series), Historical Records of Australian Science (a journal), the Australian Science Archives Project (now a cultural informatics research centre), the Australian Encyclopedia of Science (a web resource), and the Correspondence of Ferdinand von Mueller Project (an archive, series of publications and a forthcoming web resource). In this review, we outline the development of these projects (all still active), and reflect on their success in collecting, producing and communicating the history of science in Australia.
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Tuffin, Richard, Martin Gibbs, David Roberts, Hamish Maxwell-Stewart, David Roe, Jody Steele, Susan Hood, and Barry Godfrey. "Landscapes of Production and Punishment: Convict labour in the Australian context." Journal of Social Archaeology 18, no. 1 (February 2018): 50–76. http://dx.doi.org/10.1177/1469605317748387.
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This paper presents an interdisciplinary project that uses archaeological and historical sources to explore the formation of a penal landscape in the Australian colonial context. The project focuses on the convict-period legacy of the Tasman Peninsula (Tasmania, Australia), in particular the former penal station of Port Arthur (1830–1877). The research utilises three exceptional data series to examine the impact of convict labour on landscape and the convict body: the archaeological record of the Tasman Peninsula, the life course data of the convicts and the administrative record generated by decades of convict labour management. Through these, the research seeks to demonstrate how changing ideologies affected the processes and outcomes of convict labour and its products, as well as how the landscapes we see today were formed and developed in response to a complex interplay of multi-scalar penological and economic influences. Areas of inquiry: Australian convict archaeology and history. The archaeology and history of Australian convict labour management. The archaeology and history of the Tasman Peninsula.
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Meyrick, Julian, Tully Barnett, and Robert Phiddian. "The conferral of value: the role of reporting processes in the assessment of culture." Media International Australia 171, no. 1 (September 24, 2018): 80–94. http://dx.doi.org/10.1177/1329878x18798704.
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This article considers the role of reporting processes in the assessment of arts and culture and argues that a determination of an organisation’s or event’s value is the result of a chain of administrative and political interactions. The ‘conferral of value’ on a particular cultural activity may be seen as the outcome of a multi-stakeholder dialogue involving governments, funding agencies, cultural organisations and individual artists. The article emerges from a mixed-methods research project, Laboratory Adelaide: The Value of Culture, underway at Flinders University. The project works with three industry partners: the State Library of South Australia, the State Theatre Company of South Australia and the Adelaide Festival. A sketch of the history of the problem of culture’s value is given, together with the historical background of the arts in South Australia. The article concludes with a brief overview of two innovative reporting frameworks – sustainability reporting (GRI) and Integrated Reporting (IR) – and the potential gains for the cultural sector in the reporting reforms now happening in South Australia across all public bodies at a state government level.
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Curthoys, Patricia, P. C. Candy, and J. Laurent. "Pioneering Culture: Mechanics' Institutes and Schools of Arts in Australia." Labour History, no. 67 (1994): 178. http://dx.doi.org/10.2307/27509295.
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Jiménez-Morales, Manel. "Networking commercial television in Australia." Historical Journal of Film, Radio and Television 36, no. 1 (January 2, 2016): 108–10. http://dx.doi.org/10.1080/01439685.2015.1131387.
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Loreck, Janice, Sian Mitchell, Whitney Monaghan, and Kirsten Stevens. "Looking Back, Moving Forward." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 159–69. http://dx.doi.org/10.1215/02705346-8359640.
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The Melbourne Women in Film Festival (MWFF) is a four-day event in Melbourne, Australia, that supports and celebrates the work of Australian women filmmakers. Launched in 2017, the festival emerged from our desire as screen academics to increase the visibility of both professional and amateur women filmmakers and their work. Despite a strong history of grassroots and state-supported women’s creative cultures in Australia, women have remained marginal within the domestic screen industry. Women filmmakers are also underrepresented within the global festival circuit. This article traces the curatorial practices underpinning MWFF since its inception. We describe our approach to running a locally based, women-centered film festival; how we define “women” and “women’s filmmaking”; and how our programing choices support our festival ethos. We also contextualize our event as one that both continues and is in dialogue with women’s screen culture in Australia, particularly the one-off Women’s International Film Festival held in 1975. Locating our festival in this historical context, we argue that retrospective screenings play a particularly vital role at MWFF in achieving our festival aims. We recount our inaugural festival in 2017 and explain the significance of retrospectives in building a legacy for women filmmakers and making their achievements visible to the next generation.
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Duggan, Jo-Anne, and Enza Gandolfo. "Other Spaces: migration, objects and archives." Modern Italy 16, no. 3 (August 2011): 315–28. http://dx.doi.org/10.1080/13532944.2010.507931.
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Other Spaces is a collaborative creative arts exhibition project that explores visual and material expressions of cultural identity with a particular focus on museum collections. This project aims to provide a rich examination – visual, emotional and intellectual – of the multiple cultural narratives that contribute to the social fabric of Australia through a unique marriage of contemporary photomedia and creative writing practice. This project explores the ways that migrants and refugees have found to express their cultural identity through the material objects they have brought with them to Australia. Many of these objects are not only of great personal value but often of cultural, historical and religious significance. Some are very ordinary everyday objects but they can be highly evocative and symbolic of the relationship between culture and identity, and between the places of origin and an individual's present home in Australia. This article, through a combination of photography, creative text and scholarly discussion, will focus specifically on Italo-Australian migrants and on some of the material objects that they have donated to museum collections, and use these objects to explore notions of cultural belonging and identity.
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Hogan, Trevor, and Priti Singh. "Modes of indigenous modernity." Thesis Eleven 145, no. 1 (March 26, 2018): 3–9. http://dx.doi.org/10.1177/0725513618763836.
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This special issue is the outcome of a collaborative venture – a three-day workshop between La Trobe University and Ateneo de Manila University, held in Manila. It brought together indigenous and non-indigenous researchers from both the Philippines and Australia and included aboriginal researchers in business studies, history, literature and anthropology, and non-indigenous researchers working on themes of indigenous history, material culture, film studies, literature, the visual arts, law and linguistics. The ‘indigenous’ peoples of the Philippines are very different to Australian Aborigines or Torres Strait Islanders. Nevertheless, they have common quests for political autonomy, protection of indigenous customary laws, traditions and knowledge, biodiversity, and development of independent self-governance structures for health, education and community development. These concerns involve analogous and overlapping political struggles with nation-states and in the forums of the UN, regional associations, global consortia, and the international courts. The papers in this issue are based on a roundtable in which the participants showcased their own research projects and interests on indigenous pathways, cultural pluralism and national identities; socio-economic development; and representation of indigenous identities in creative and visual arts.
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C-Scott, Marc. "The prelude to television in Australia." Historical Journal of Film, Radio and Television 39, no. 1 (October 31, 2018): 132–46. http://dx.doi.org/10.1080/01439685.2018.1472836.
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Anderson, Sean, and Jennifer Ferng. "The Detention-Industrial Complex in Australia." Journal of the Society of Architectural Historians 73, no. 4 (December 1, 2014): 469–74. http://dx.doi.org/10.1525/jsah.2014.73.4.469.
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Howard, Deborah. "Teaching Architectural History in Great Britain and Australia: Local Conditions and Global Perspectives." Journal of the Society of Architectural Historians 61, no. 3 (September 2002): 346–54. http://dx.doi.org/10.2307/991788.
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Goodman, David. "A transnational history of radio listening groups II: Canada, Australia and the world." Historical Journal of Film, Radio and Television 36, no. 4 (February 19, 2016): 627–48. http://dx.doi.org/10.1080/01439685.2015.1134118.
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Carmichael, Deborah. ""Outlawed" in Oz: A Film & History Associate Editor Visits Australia." Film & History: An Interdisciplinary Journal of Film and Television Studies 34, no. 1 (2004): 16–17. http://dx.doi.org/10.1353/flm.2004.0011.
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Roche, Michael. "David Hutchins in Australia 1914 - 1915: the Penultimate Chapter in the Career of an Imperial Forester." Historical Records of Australian Science 21, no. 2 (2010): 165. http://dx.doi.org/10.1071/hr09023.
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David Hutchins, after a distinguished career in forestry in India and Africa, visited Australia as part of the British Association for the Advancement of Science tour in 1914. This paper reconstructs Hutchins' tour and considers how it prepared him for writing a controversial report published in 1916 as Discussion on Australian Forestry. Reactions to the report are also considered. The place that Hutchins occupies in the Australian forest history literature is reassessed, particularly the interplay between his preconceived ideas and local experiences. Discussion on Australian Forestry is interpreted as the last major, though not unequivocal, success in his long career in forestry.
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MURPHY, KATE. "‘The modern idea is to bring the country into the city’: Australian Urban Reformers and the Ideal of Rurality, 1900–1918*." Rural History 20, no. 1 (April 2009): 119–36. http://dx.doi.org/10.1017/s0956793308002616.
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AbstractIn the early twentieth century, Australians strove to create a rural civilisation through state legislation to encourage rural closer settlement. The fantasy that Australia might one day support a rural population of perhaps hundreds of millions endured despite the overwhelmingly urbanised character of the nation and the harsh realities of its environment. This rural dream was present not merely in the discourse surrounding the rural settlement imperative, but also inflected the language and modes of urban reform, as planners sought to ‘ruralise’ the urban environment to reflect something distinctive about Australian life. Previous scholarship addressing the rural ideal in Australian history, as well as urban history, has failed to interrogate these links. This article illuminates the power and ideological reach of rurality in the Australian nation-building project and pushes the boundaries of ‘rural history’ by considering the ways in which reformers sought to extend a projected Australian ‘rural civilisation’ into the cities.
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May, Tom W., and Thomas A. Darragh. "The significance of mycological contributions by Lothar Becker." Historical Records of Australian Science 30, no. 2 (2019): 130. http://dx.doi.org/10.1071/hr19005.
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Warning Readers of this article are warned that it may contain terms, descriptions and opinions that are culturally sensitive and/or offensive to Aboriginal and Torres Strait Islanders. Silesian-born Lothar Becker spent two periods in Australia, during which he made observations on a range of natural history topics, including fungi—a group of organisms rarely noticed by contemporary naturalists. Becker compiled notes, sketches and collections of Australian fungi that he sent to Elias Fries in Sweden for identification. Unfortunately, this material has not survived, but Becker’s accounts of his time in Australia, especially that published in Das Ausland in 1873, contain remarkable first-hand observations, including some on exotic fungi. Becker’s article is one of the earliest stand-alone analyses of the affinities of the Australian mycota. Remarks on the use of fungi by Aboriginal peoples of south-eastern Australia are particularly significant, due to inclusion of a word presumed to be from Aboriginal language and the suggestion of gendered roles in the collection of edible fungi.
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Behrendt, Larissa. "At the Back of the Class. At the Front of the Class: Experiences as Aboriginal Student and Aboriginal Teacher." Feminist Review 52, no. 1 (March 1996): 27–35. http://dx.doi.org/10.1057/fr.1996.4.
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This is a persona] account of an Aboriginal woman who went through the education system in Australia to obtain finally her law degree. Aboriginal people experience many hurdles in the education system. Many Aboriginal children feel alienated within the legal system which until recently focused on a colonial history of Australia, ignoring the experiences, indeed the presence, of indigenous people in Australia. The Australian government had a policy of not educating Aboriginal people past the age of 14. The author was one of the first generation that could go straight from high school to university. She speaks of the debt she feels towards the generations of her people that fought for her right to access to higher education. The author went on to become the first Aboriginal person to be accepted into Harvard Law School which brought different personal challenges and allowed for reflection on comparisons of the sensitivity towards race in both education systems. When the author returned to Australia, she took a position teaching at the University of New South Wales. She had to come to terms with working within a system that she had felt alienated within as a student. Her position at the front of the class has created a sense of empowerment that she can pass on to her Aboriginal and female students.
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Reeves, Keir. "Introduction." Before/Now: Journal of the collaborative Research Centre in Australian History (CRCAH) 1, no. 1 (May 3, 2019): 3–4. http://dx.doi.org/10.35843/beforenow.173277.
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The start of a new academic journal is always an exciting initiative for all involved and it is with great pleasure I am able to introduce Before/Now. In doing so it is important or me to formally acknowledge the tireless work of the founding editorial collective who have been working on this new scholarly publication for almost two years at Federation University Australia. Can I also acknowledge the support of the School of Arts in enabling this initiative. Before/Now is a welcome addition to the postgraduate journal landscape in Australia where postgraduate history journals have enjoyed something of a recent revival against broader trends in publishing
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McDermid, Jane. "Home and Away: A Schoolmistress in Lowland Scotland and Colonial Australia in the Second Half of the Nineteenth Century." History of Education Quarterly 51, no. 1 (February 2011): 28–48. http://dx.doi.org/10.1111/j.1748-5959.2010.00309.x.
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Writing in this journal in 1993, Marjorie Theobald examined the history of middle-class women's education in late-eighteenth-century Britain and its transference and adaptation to colonial Australia in the nineteenth century. She questioned both the British historical perception that before the middle of the nineteenth century middle-class parents showed little, if any, interest in their daughters' education, and the Australian assumption that the transplantation of the private female academy (or seminary) was simply a reflection of the scramble for respectability by a small middle class scattered among a convict society. Theobald found that, as in Britain by the early 1800s, these schools—all private and run for profit by the wives and daughters of clergy and other professional men—shared a remarkably similar curriculum, generally advertised as “An English education with the usual accomplishments.” This was not, she argued, an elementary education, but rather was rooted in the liberal arts tradition and had been influenced by the search for stability within a rapidly industrializing Britain. The daughters of the British middle classes were to be taught how to deploy their learning discreedy, to ensure that it was at the service of their domestic role and civilizing influence.
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Murdolo, Adele. "Warmth and Unity with all Women?" Feminist Review 52, no. 1 (March 1996): 69–86. http://dx.doi.org/10.1057/fr.1996.8.
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In this paper I discuss the four Women and Labour conferences which were held in Australian capital cities over the seven years between 1978 and 1984. I explore the ways in which the history of Australian feminist activism during this period could be written, questioning in particular the claim that the Women and Labour conferences have been central to the history of Australian feminism. I discuss the ways in which a historical sense could be established, using writings about the conferences as historical ‘evidence’, that race and ethnic divisions between women had not been important to the ‘women's movement’ until 1984. In other words, I challenge the construction of this conference as a turning point – not only in the feminist politicization of immigrant and Aboriginal women, but also in the politicization of all feminists about race and ethnic divisions. More broadly, I am interested in how a history would be written if it aimed to get to the ‘truth’ about racism and about the feminist activism of immigrant women. How would the apparent lack of written ‘evidence’ – at least until 1984 – of immigrant women's feminist activism, and of the awareness of Australian feminists about issues of racism, be written into this history? In addition, I suggest that it is important to the writing of feminist history in Australia that published documentation has been mostly produced by anglo women, and is thus partial and mediated by the lived, embodied experiences of anglo women. Finally, my intention is to interrogate commonly understood narratives about Australian feminist history, to challenge their seamlessness, and to suggest the importance of recognizing the tension within feminist discourses between difference as benign diversity and difference as disruption.
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Wake, Caroline. "Headphone Verbatim Theatre: Methods, Histories, Genres, Theories." New Theatre Quarterly 29, no. 4 (November 2013): 321–35. http://dx.doi.org/10.1017/s0266464x13000651.
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Created in an American rehearsal room, exported to an English workshop, and developed in Australia, among other places, ‘headphone verbatim theatre’ – also called ‘recorded delivery’ – is a truly global genre. In this article Caroline Wake focuses on the work of two pioneering practitioners, Briton Alecky Blythe and Australian Roslyn Oades, in order to trace the form's history as well as its methods, genres, and theories. In doing so, she considers how audio technology has evolved over the past decade and how the display or disguise of headphones has affected both the production and reception of the form. She identifies three dominant genres of headphone verbatim theatre (the social crisis play, the social justice play, and the social portrait play, as well as three main performance modes – the epic, the naturalistic, and the mixed. The epic has been the most successful thus far, but the naturalistic and mixed modes are, in turn, begetting new ones. Finally, she suggests that in the same way that headphones have rejuvenated verbatim theatre, they might also reinvigorate the discourse on it by offering the opportunity to go beyond the politics of voice and visibility and to turn, instead, to listening. Caroline Wake is a Postdoctoral Research Fellow in the Centre for Modernism Studies in Australia at the University of New South Wales. Her research examines cultural responses to and representations of refugees and asylum-seekers as well as the role of testimony in law, performance, and visual culture. Her work has previously appeared in journals such as Text & Performance Quarterly, Modern Drama, and History & Memory. She is the co-editor, with Bryoni Trezise, of Visions and Revisions: Performance, Memory, Trauma (Museum Tusculanum Press, 2013).
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Seneta, E., and J. M. Gani. "Christopher Charles Heyde 1939 - 2008." Historical Records of Australian Science 20, no. 1 (2009): 67. http://dx.doi.org/10.1071/hr09004.
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An account of the Heyde family is followed by a description of Chris's childhood, schooling and university training at Sydney and the ANU. Chris spent most of his academic career at the ANU, CSIRO and Columbia University. He made an outstanding contribution to probability theory and its applications. His theoretical work focused mainly on the laws of large numbers, branching processes, martingale theory, estimation theory and, most recently, financial mathematics. He also had a lasting interest in the history of probability and statistics. Chris received considerable recognition, including Fellowship of the Australian Academy of Science and of the Academy of Social Sciences in Australia, as well as Membership of the Order of Australia.
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Thomas, Emma, Craig McGarty, and Kenneth Mavor. "Social psychology of Making Poverty History: Motivating anti-poverty action in Australia." Australian Psychologist 45, no. 1 (March 2010): 4–15. http://dx.doi.org/10.1080/00050060903447095.
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Mudd, Gavin M. "The Legacy of Early Uranium Efforts in Australia, 1906 - 1945: From Radium Hill to the Atomic Bomb and Today." Historical Records of Australian Science 16, no. 2 (2005): 169. http://dx.doi.org/10.1071/hr05013.
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The existence of uranium minerals has been documented in Australia since the late nineteenth century, and uranium-bearing ores were discovered near Olary ('Radium Hill') and in the Gammon Ranges (Mount Painter) in north-eastern South Australia early in the twentieth century. This occurred shortly after the discovery of radioactivity and the isolation of radium, and a mining rush for radium quickly began. At Radium Hill, ore was mined and concentrated on site before being transported to Woolwich in Sydney, where the radium and uranium were extracted and refined. At Mount Painter, the richness of the ore allowed direct export overseas. The fledgling Australian radium industry encountered many difficulties, with the scale of operations generally much smaller than at overseas counterparts. Remoteness, difficulties in treating the ore, lack of reliable water supplies and labour shortages all characterized the various attempts at exploitation over a period of about 25 years to the early 1930s. Hope in the potential of the industry, however, was eternal. When the British were working with the Americans during the Second World War to develop the atomic bomb, they secretly requested Australia to undertake urgent and extensive studies into the potential supply of uranium. This led to no exports but it did lay the groundwork for Australia's post-war uranium industry that has dominated the nation's nuclear diplomacy ever since. Some three decades later, the modest quantity of radioactive waste remaining at Woolwich was rediscovered, creating a difficult urban radioactive waste dilemma. The history of both the pre-war radium–uranium industry and Australia's involvement in the war-time exploration work is reviewed, as well as the radioactive waste problems resulting from these efforts, which, despite their relatively small scale, persist and present challenges in more modern times.