Post-Colonialism

Art, Whiteness, and Empire

Curator Dr. Kelli Morgan explores the themes of colonialism and whiteness in encyclopedic art museums. Morgan proposes a reinstallation framework that includes showcasing vital works that can anchor a reinstall about colonialism, highlighting portraits of actual colonizers, and using art to illustrate the history of global economy and colonialism.

Center for Experimental Ethnography’s “Settler Colonialism, Slavery, and the Problem of Decolonizing

Resources from the 2021 conference “Settler Colonialism, Slavery, and the Problem of Decolonizing Museums" co-presented by the Center for Experimental Ethnography and the Penn Museum. The event looked at 're-evaluating practices and asking 'what might repair look like?'. Photo gallery and a decolonisation video playlist.

Image shows mural 'Decolonize And Chill/We Are Still Here', by artist and community activist Jaque Fragua.

Collaboration with Greek-Australian communities

The British Museum’s controversial collections include the Parthenon Sculptures, or Marbles, taken in 1804 by Thomas Bruce (also known as Lord Elgin) from the Parthenon with the collusion of the Ottoman colonial rulers of Greece and the museum has refused to repatriate them.

When Canberra’s National Museum of Australia (NMA) planned to exhibit 170 Ancient Greek art works housed at the British Museum, they knew they needed the support of the Greek community in Australia. Here's how the did it.

Combing the traditions of Forest Theatre and Street Theatre

Brazil's Vivarte focuses on research and promotion of Amazonian traditional cultures. It works with the storytelling and mythology threaded through the daily life of indigenous communities and their environment.

“Forest Theatre is alive, because the forest is alive. Like the forest, it is in constant transformation.” - Dani Mirini, Director, Vivarte

Does the Museum Model Work?

Can art museums break away from their original purpose as a 'civilising' influence to be redefined as spaces that actually serve the communities in which they reside? The article includes quotes from former Queens Museum President and Executive Director Laura Raicovich and Chaédria LaBouvier, the first black curator and black woman to organize an exhibition at the Guggenheim Museum, who spoke out about being sidelined in the promotion of the Jean-Michel Basquiat exhibit she curated.

Gari Yala: Centreing the experiences of Aboriginal and/or Torres Strait Islander Australians at work

Gari Yala, which means ‘speak the truth’ in the Wiradjuri language, is based on a survey 1,033 First Nations workers across Australia. The report reveals Indigenous employees continue to experience significant workplace racism and exclusion and that racism is impacting wellbeing and job satisfaction.

The report also provides 'ten truths' for organisations to improve workplace inclusion for Indigenous staff.

Indigenous Governance Toolkit

The Indigenous Governance Toolkit is an online resource developed for Indigenous nations, communities, individuals and organisations searching for information to build their governance. It covers the basics – your rules, values, culture, membership, leadership, and decision making – with case studies, and tools to help you get started and monitor progress.

Informal Networks and Cultural Collaboration

In this short video, Natasha Ginwala emphasises the versatile benefits of reaching out to informal networks, especially for first-time art patrons. As case studies, she outlines two locally run art and culture events held in South Asia in the past.

Intercultural Collaboration and the Responsibilities of Representation: Dalisa Pigram

Yawuru and Bardi woman Dalisa Pigram is the Co-Artistic Director of dance company Marrugeku.

'Working with those Elders and with other artists at a young age, you develop a sense of responsibility. Best practice is to accept that responsibility – where you sit in the group.'

'We did this as a collective – it wasn’t one person at the front telling everybody what to do... it was 'listen to these people who hold that story and everybody brings their strength to work out the best way.'

Malaysia's Gerimis

Gerimis works with Malaysia’s indigenous Orang Asli communities to showcase their histories and traditions through the lens of arts and culture. As a collective of primarily non–Orang Asli members, Gerimis uses five principles as guideposts:
* Building allyship
* Free, prior and informed consent
* Credit
* Compensation
* Accuracy and respect

Perth's Portside Review

Portside Review is an international literary journal publishing essays, short stories, and poetry for and from the regions bordering the Indian Ocean. Its principles include:
* Locating your own centre - to liberate from prize and market culture and emphasise community definitions of 'good' writing and art
* Foregrounding cultural and ethnic identity - beyond national borders
* Artist support & pay parity - no matter where an artist is located or how difficult the times

Self-determination in the creative arts: Ben Graetz

Darwin performing artist Ben Graetz has Iwaidja, Malak Malak and Badu Island heritage, was 2018 LGBTI Person of the Year and a member of Browns Mart Theatre First Nations Advisory Board.

'Sophia [Hall] understood that she had to do the work. We were there to give her advice on best practice and it was up to her to do the homework to make the changes and come back to us and go: Is this what you mean? ... she really understood that it was up to her to do the work, not the other way around.'

The Decolonising of Aboriginal Representation on our Screens

Host Leila Gurruwiwi and panel discuss First Peoples' identity, how First Nations people want to be portrayed, and the Australian film and television industry.

The Story of Race: Dianne Jones and Odette Kelada

Ballardong artist Dianne Jones, anglo and Egyptian writer Dr Odette Kelada and Worimi educator and storyteller Genevieve Grieves on the story of race, intercultural collaboration and race literacy.

Kelada: 'People really want to talk about race, they just need to know how to do it.'

Jones: 'We start with the fact that race is a story, and it’s a story that hasn’t been told in a way that’s clear and visible.'

The Unusual Suspects: damaging for Filipino stories

Gloria Demillo writes about how not all representation is productive, and how damaging the impact of bad representation can be to a vulnerable group. The Unusual Suspects and its portrayal of Filipino domestic workers are harmful to ongoing work against worker abuse and exploitation.

Demillo argues that representation should come from community engagement, imploring creatives to consider: who is their real audience, and who should be telling the story?

What Does It Mean to Decolonize a Museum?

An article looking at different interpretations of what decolonizing a museum means. Challenging white supremacy, reflecting diversity, choice of language and the importance of having conversations about power and authority are discussed. The piece ends with a quote from Olga Viso: museums "must position themselves as learning communities, not impenetrable centers of self-validating authority.”

Why is this racist, sexist show getting an encore?

Critical review of the Opera Australia production of Miss Saigon.

'Today, most people in Vietnam are under 35 and don’t remember the war. For many in the West, Vietnam equals the Vietnam War. The plot of this musical perpetuates many stereotypes: America is the dreamland and Asian women are sexualised objects that need rescuing.'