Creative Equity Toolkit

Best Practice in the Visual Arts from a First Nations Perspective: Clothilde Bullen

Clothilde (Clo) is a Wardandi (Nyoongar) and Badimaya (Yamatji) woman and Senior Curator and Head of First Nations programs and initiatives at the Art Gallery of WA.

'I can’t decide for another mob what their idea of sovereignty is, or of where their cultural material should go or how they wish to be represented. So I too, have to respect those principles of that group being self-determining and autonomous. '

Blind Women’s Orchestra – Al-Nour Wal Al-Amal

Girls with disabilities in Egypt face stigma and discrimination within a conservative society that limits their education, employment, and decision-making opportunities. But Orchestra Al-Nour Wal Al-Amal (‘Light and Hope’), which is composed entirely of blind women, has broken stereotypes and provided a new narrative about Arab women living with disability.

Boundaries in the Arts and Culture Industry: Caleb Nichols-Mansell

Caleb Nichols-Mansell is a palawa graphic designer and founder of Blackspace Creative, Tasmania's only First Nations-owned arts and cultural hub.

'When I’m told the budget or timeline ...it can become really clear that my involvement in the project has been a last minute decision.'

'A lot of companies will approach you and ask for Black artwork so that they can position themselves as Black-supporting or Black allies. But they also use that artwork in a way that builds their capital.'

Change is trickling in, but our arc leans towards self-determination: Tony Briggs

Yorta Yorta/Wurundjeri creative Tony Briggs is the creator and writer of the Helpmann award-winning play, The Sapphires.

Tony reflects on the ubiquitous expectation that First Nations practitioners are ready to double as “First Nations consultants”, beyond the scope of their work, and self-determination’s role in distributing the economic benefits of First Nations content to communities.

'I don’t want to be the answer to every white producer’s cultural problem or the advisor for everything.'

Combining 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

Cultural diversity and the arts

Australia's Race Discrimination Commissioner on representation.

'There is no human right...for people to be reflected in the arts or in media. But we can all appreciate that someone’s dignity can be connected with how they – or, to be more specific, the group they belong to – are depicted in the public sphere. Where a group in society is invisible or demeaned, the message is clear. Those in that group are outsiders, second-class members, or even an ‘other’ against whom society defines itself.'