1,720,973 research outputs found
International Conference of the Australian Association for Research in Education
Get PDFThis paper relates the story of an informed cultural design within Indigenous education, business practice, and creative arts theory as a significant language of sovereignty. The paper is descriptive of and considerate to the theory and praxis enfolded within Indigenous cultural practice and cultural sustainability as reflected through When All the Rivers Run exhibition held at a university gallery in Gippsland. This study is an analysis of praxis from the point of view of the author-researcher who is on this occasion artist, educator and curator. Cultural sustainability, economic viability and art as pedagogy intersect: in this sense, as both place-pedagogy and more generally cultural wisdom. The other juncture that is interpreted through an Indigenous perspective in this research lies within the way a large number of Indigenous artists can come together to create a contiguous story where the art narrative itself is a performative experience. Knowledge holders were from diverse places, including Niue, Tasmania, Aotearoa, Flinders Ranges, Yorta Yorta, Wiradjuri, Taungurung, Gunnai-Kurnai. Within this context, cultural exchange resonates with ancient trade routes to create learning spaces of collaboration. This process is transformative learning for those who participate in cross-cultural exchange (non-Indigenous), and important for Indigenous participants by increasing depth of community learning from cultural practitioners who are Elders and knowledge holders. This paper asserts the importance of cultural exchange and sharing of cultural knowledge through several mediums. It discusses inspirational ways that contemporary visual technologies have facilitated the sharing of traditional knowledge within the shared spaces of exhibition and as a conduit for cultural holding and telling of knowledge. Traditional craft making in practice, is more than just about the artefact of material culture, as objects become vehicles of story and environment. Visual narrative regarding connection to natural history and Country in the public domain through exhibition and gatherings, are part of a methodology incorporating traditional value systems that also embrace contemporary ways of being and doing. These uphold ancient wisdom and disseminate knowledge for the future of our cultural practices
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Holding heart : Aboriginal breathing space in research epistemology
No full textThis paper discusses research within the framework of an Aboriginal way of being and an Aboriginal cultural perception or way of seeing. This particular ontological approach to research arises from a reality that is metaphysical in nature, an Aboriginal phenomenology that possibly challenges western academic models of research methods and guidelines. Respect is at the heart of this research practice and ancestral knowledge and Indigenous law all form part of the way research needs to be enacted. As well as the centrality of ordinary (mundane) knowing, knowledge is deeply spiritual, guiding life-ways and research rationale. Life and nature are sacred, kinship claims link to specific kinds of awareness related to Country and Traditional people belonging to Country. Behaving carefully and appropriately (ethically) are part of the cultural practice of this kind of research and ensure health and well-being for people and Country
Indigenous arts: A cultural sustainability project
No full textThis paper discusses a vital project which functions to advise local government on the relevance of cultural sustainability and the economic aspirations of Aboriginal people engaged in cultural practice and knowledge transmission in their communities. Project findings assert that the significance of emotional and spiritual attachment to place shapes Identity cultural expression. Cultural values and connection to River and Country, and the story-work of art and cultural practice, are also found to be important media for cultural survival. The project clarified the major elements of cultural sustainability in art and cultural practice and provided a framework for ongoing local government support. United Nations covenants, local council policy and Commonwealth initiatives all have key functions in supporting Aboriginal people's right to maintain and protect culture within Country. The paper demonstrates how local government organisations can participate in supporting vital cultural activity. It asserts that decisions on cultural futures should be within the hands of Aboriginal people themselves
Positive Futures : Indigenous Cultural Sustainability Consultation with the Aboriginal Community of the Albury Region
No full textResearch Repor
Practical Indigenous Wisdom: A Track in the Conference "Sustainability Rhetoric Fact and Fictions"
No full textVariations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Learning in Country and Place
No full textThis paper focuses on the importance of connection to Country and the power of Story. It reflects on relationships to nature and the interconnectedness of place based learning and Traditional knowledge. Within these contexts, we look at Sovereignty and Belonging thematically: through Aboriginal art making and creative practice. As a Wiradjuri woman I have strong affiliations to River Country, so this is a river narrative which talks of curated community art projects and gallery showcasing to express place and love of Country
To Tread Lightly: Teaching Aboriginal and Torres Strait Islander art and representation in a regional university
Get PDFMy heritage is Wiradjuri, a Central New South Wales nation with a powerful
connection to Lake Cargelligo and a number of inland rivers. Our old ties with the
river have facilitated strong ties with tribes up and down the rivers which have
extended as far as South Australia. In addition, Wiradjuri has strong familial
associations with Yorta Yorta, Gamillaroi and historically significant ties to
neighbouring nations, such as the Wonnarua with whom we collaborated during the
1826 uprising against the British (Miller, 1995). Our broad associations also included
ceremonial and marriage arrangements with peoples much further afield, such as
Aboriginal people who shared Mount Bogong in the Victorian Alps. Cultural ties and
reciprocity arrangements extended as far as Southern Queensland and during the
Bunya Pine ceremonial cycle, there were huge gatherings of people, including
Wiradjuri, who travelled significant distances to share food. This is the present
location of the College of Indigenous Studies, Education and Research (CISER) at the
University of Southern Queensland (USQ). It is at this university that I now plan and
implement innovative art theory that provides a narrative of Indigenous art in the
contexts of human rights, land rights, intellectual property rights, politics and
international networks. In this way cultural exchange continues between myself as
Wiradjuri and Aboriginal communities in Southern Queensland in an unbroken chain
which honours both past and present associations
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