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This chapter explores the approaches to digital representation of Australian Aboriginal art and visitor engagement in museum exhibition spaces from a digital design perspective. It discusses recent developments in the fields of digital representation of Aboriginal art, immersive exhibition design and visitor engagement. Through a case study of an immersive exhibition on Australian Aboriginal art in the National Museum of Australia, Canberra, this chapter identifies how Aboriginal art can be digitally represented by appropriate immersive technologies ranging from augmented realities [ARs] and virtual realities [VRs] to mixed reality [MRs] and extended reality [XRs] for enhancing visitors’ immersive digital experience. According to the analysis, the digital representation of Aboriginal artworks needs to be conducted practically, cognitively and ontologically based on understanding Australian Aboriginal history and culture. Visitors can engage with Aboriginal art stories meaningfully through immersive exhibitions through this holistic approach.

This chapter explores the Aboriginal artefacts ‘clapsticks’ as a form of cultural data – a means of disseminating cultural knowledge in the galleries, libraries, archives, and museums [GLAM] sector. How might alternative methods of curation animate clapsticks as active objects that deliver effective knowledge transfer? This research aims to explore and extend current industry practices of the curation of clapsticks, within the existing parameters of technology, spatial capacity, financial support, and governance as part of the operation of the GLAM sector. The research problem, therefore, explores the past limitations of colonial framing of cultural institutions that once hindered the revealing, the disseminating, and the ‘awakening’ of the complexities of knowledge intrinsic to Aboriginal cultural artefacts. Informal communication with Aboriginal community members and academics was critical to providing cultural context as well as personal beliefs and aspirations vital to conceptualising the future of cultural representation. This investigation explores how a cultural centre offers a space and an opportunity to facilitate the clapsticks datasets in its capacity as a performance-focussed building rather than solely an exhibition space or keeping place. This potential represents a shift in thinking around the clapsticks being a lens through which the stories of Aboriginal culture can be disseminated.

In this chapter, Jared Thomas, a Nukunu person from the Southern Flinders Ranges and a Research Fellow at the South Australian Museum and University of South Australia, reflects on his efforts to enhance the Fire Exhibit within the Australian Aboriginal Cultures Gallery [AACG], which has not been updated in 20 years. Thomas draws from an international precedent of involving Indigenous communities in museum displays.

The author outlines the limitations of renovations in terms of budget, space, and Indigenous protocols, while considering the potential impact of the proposed Tarrkarri Centre for First Nations Culture. He emphasises the importance of fostering relationships between Aboriginal and non-Aboriginal peoples, allowing Indigenous voices to speak for themselves.

Thomas focusses on the Fire Exhibit, discussing its significance in Aboriginal culture, the lack of contextualisation, and the need for improved representation. He proposes short-term actions such as adding QR-code-based text for context, and long-term ambitions like incorporating audio-visual and augmented reality elements. He highlights the importance of Aboriginal fire land management practices, especially in the aftermath of the 2019 Australian bushfires.

Thomas proposes strengthening the exhibit’s connection to foods, medicines, and fixatives that benefit from cultural burning. He envisions collaboration with the Adelaide Botanic Gardens and acknowledges the resource constraints faced by the museum. He concludes by envisioning a template for extending improvements across the museum and fostering better understanding and representation of Aboriginal culture.

Embedded in built environment discourse, this chapter examines the traditional knowledge and resilience of the Ngadjuri Nation Peoples through an Elder’s narrative of reconciliation as well as resistance in their subsisting colonial settlement. Removed from ‘Country’ in the 1840s, Ngadjuri Aboriginal community endured colonial industries of open-cut copper mining and large-scale pastoralism as irreparable destruction to their cultural landscapes. European processes in the resources sectors reshaped natural topographies, deconstructing Ngadjuri Songlines and Ancestral Dreaming stories. Burra’s colonial stone buildings of settlement, painstakingly cut and composed from materials of the surrounding ecological terrain, prompted new narratives from Ngadjuri as a way of alleviating scars. Broadly speaking, this chapter aims to show how cultural heritage of two communities is provocatively and conceptually unpacked through the vernacular buildings’ cross-cultural foundations. That is, an under-reported narrative was unwittingly bestowed on the colonial-built forms with hidden meanings that deserve further investigation. This chapter offers a counternarrative to colonial histories revealing Ngadjuri’s methods for reconnecting to Country and culture after generations of disempowerment. It explores how within the materiality of colonial structures, the Ngadjuri entwined their remediated storylines – revealing a data curation that had avoided popular discourse in the galleries, libraries, archives, and museums [GLAM] sector representation. This example implies there are bodies of knowledge in built cultural heritage hidden elsewhere on our Aboriginal Nations and the challenges it presents GLAM in their Indigenisation processes.

Australian mining projects frequently undertake cultural salvage, involving archaeological consultants and Aboriginal Elders to identify important artefacts. However, the storage conditions within shipping containers present challenges, such as weather, insects, and limited access for Traditional Owners. The author, reflecting on his experience working as a project heritage advisor in Western Australia’s Pilbara region, emphasises the need for collaborative engagement between the mining sector and Aboriginal communities to develop effective storage strategies that prioritise both scientific integrity and cultural significance. The author raises questions about the purpose and sustainability of storing cultural artefacts in containers, while highlighting the need to balance safeguarding heritage with the evolving needs of Indigenous communities. Ultimately, the author emphasises the importance of empowering Traditional Owners in decisions about artefact storage and engaging in meaningful consultation to preserve cultural heritage. The author suggests that the process should prioritise not just tangible artefacts but also intangible aspects like stories and songlines that make up the living Indigenous culture.

Country and cultural heritage are inextricably linked for First Nations peoples. This chapter explores those relationships in the context of repatriating cultural heritage materials back to Country and conceptualising a place for its ‘awakening’ for the Ngadjuri community of Mid-North South Australia. These materials in the context of this book ‘interpreted’ as a form of data curation, requiring potentially unique information systems designs to achieve accessibility, recoverability, and durability in remote communities with limited internet and mobile phone coverage. On the other hand, it is critically important to note, that the processes, challenges and repatriation of culturally sensitive materials and remains, are dependant here on the limitations of language. The reference to the notion of ‘data’ as a descriptor, and an inadequate term on some level, does not, and is not intended to, diminish any of their cultural significance and gravity. These are challenges that are worth the intellectual and technological investment to realise a return to Country for generationally displaced peoples and their cultural property that also needs to make it home.

In her opinion piece, Deanne Hanchant-Nichols, a Ngarrindjeri mi:mini (woman) with diverse Aboriginal family connections, reflects on the progress of the galleries, libraries, archives, and museums [GLAM] sector in collaborating with Indigenous communities. She observes a shift from tokenistic consultation towards meaningful engagement, where Indigenous voices are authentically integrated into exhibitions and programmes. The author highlights the example of Te Papa Museum in New Zealand, which successfully partnered with Māori Peoples to create an inclusive and engaging museum experience, contrasting this with the more colonial undertones in some Australian museums.

Hanchant-Nichols explores the concept of Tarrkarri, a proposed cultural centre at Lot 14 in Adelaide, South Australia, which aims to showcase Aboriginal and Torres Strait Islander cultural treasures and contemporary works. She acknowledges the challenge of creating a space that genuinely reflects Indigenous culture while operating within a Western cultural paradigm. She emphasises the need for Tarrkarri to be a living cultural centre, accommodating the diverse needs of Aboriginal and Torres Strait Islander communities, offering educative and entertainment elements, and maintaining cultural safety.

The author underscores the importance of collaboration with local Kaurna custodians and other cultural groups, respecting their perspectives. She acknowledges the significance of the site on Kaurna Country and the potential for Tarrkarri to establish an internationally renowned cultural centre. Hanchant-Nichols believes that Tarrkarri, with its potential to showcase both heritage and contemporary Indigenous knowledge, could not only excel in the GLAM space but also become a leader in the science, technology, engineering, and mathematics [STEM] field, ultimately shaping a better future for all.

The goal was emancipatory, to characterise and dislodge oppressive management practices, to allow for the possibility of seeking an alternative organisational construction free of postcolonial/subaltern subordination and discrimination in a local, well-documented narrative.

The study was informed by a postcolonial/subaltern perspective and drew on the employment experience of an Aboriginal woman, Canada’s first Indigenous Dean of a law school. The researcher employed a combination of case study and critical discourse analysis with the aim of advancing rich analyses of the complex workings of power and privilege in sustaining Western, postcolonial relations.

The study made several conclusions: first, that the institution, a medium-sized Canadian university, carefully controlled the Indigenous subaltern to remake her to be palatable to Western sensibilities. Second, the effect of this control was to assimilate her, to subordinate her Indigeneity and to civilise in a manner analogous to the purpose of Indian residential schools. Third, that rather than management’s action being rational and neutral, focused on goal attainment, efficiency and effectiveness, it was an implicit moral judgement based on her race and an opportunity to exploit her value as a means for the university’s growth and status.

Through a postcolonial/subaltern perspective, this study demonstrated how management practices reproduced barriers to the participation of an Indigenous woman and the First Nations community that an organisation was intended to serve. The study demonstrated how a Western perspective – that of a university’s administration, faculty and staff – was privileged, or taken for granted, and the Indigenous perspective subordinated, as the university remained committed to the dispossession of Indigenous knowledge and values.

In 2019, the Kaurna Nation and traditional custodians of the Adelaide plains in South Australia, challenged the City of Holdfast Bay to walk alongside them to create an exhibition exploring the true history of South Australia’s colonisation. This collaboration ultimately became the award-winning exhibition ‘Tiati Wangkanthi Kumangka’ (Truth-Telling Together). This project was envisioned, led, and implemented by the Kaurna Nation at the Bay Discovery Centre in South Australia. Ultimately, ‘Tiati’ became more than just another exhibition. It became a pathway to healing and possibility for both the Kaurna Nation and the City of Holdfast Bay. When considering indigenisation of museum spaces, ‘Tiati’ demonstrates how smaller museums and/or local government can play a pivotal role in reshaping the traditional narrative of colonialism in Australia’s museums, with the voice of First Nations people at the forefront.

This chapter came about, after five years of working with the Ngadjuri community on speculative student cultural centre designs. Ideation for those conversations and studio-based interactions, in addition to time and cultural tours spent on Country, revealed a variety of opinions and hopes that exist within the Ngadjuri community for a place to celebrate their cultural heritage. This heritage has an incredible history, and the idea of a cultural centre has been topical since the late Uncle Vince Copley Senior worked with other Ngadjuri community members such as Robert Rigney, on Country and in an advocacy role for Ngadjuri more than 30 years ago. This series of yarnings from a two-part transcription process re-awakens those desires of Elders now passed. The transcriptions are complemented with literature around yarning as a research methodology that delivers current, immediate, and insightful personal thoughts, although only as personal as the lead yarner wishes to share. In addition, the literature contextualises the key themes of which the yarnings divulge. Research has indicated how yarning interactions and interrelationships create a unique dynamic between the researcher and the community members. It is these rich experiences where knowledge is shared in a two-way exchange that is noteworthy for the galleries, libraries, archives, and museums [GLAM] sector. GLAM sector priorities must implement policy to pursue future Indigenisation of their epistemological methods and ontological systems. To address any future data curation of Ngadjuri cultural heritage materials on Country or in GLAM, hearing the personal stories and desires seemed timely and necessary.