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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.

This chapter provides a brief overview of community sanctions in Australia and examines the extent to which McNeill’s analysis in Pervasive Punishment (2019) is applicable in the Australian context. Two key issues in the Australian context are, firstly, state and territory-level variations within a federal political structure, and secondly, disproportionate Indigenous imprisonment and community sanction rates and the generally destructive impact of the criminal legal system on Indigenous communities and peoples. The chapter argues that developing a better agonistic politics around community sanctions requires descending from the broad level of historical and sociological analysis to examine state and territory-level variations in judicial and correctional structures, histories and cultures. Further, that Australian community sanctions cannot be understood without a primary focus on the differences between Indigenous and non-Indigenous rates, experiences and meaning. The key to addressing the destructive impact of criminal legal processes and practices on Indigenous peoples lies in developing Indigenous governance, empowerment, self-determination, sovereignty and nation-building. Two recent developments promoting Indigenous governance are examined: the Uluru Statement from the Heart and Justice Reinvestment projects initiated by First Nations communities, highlighting the importance of activism, contest and struggle by community organisations.

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.

This chapter presents a survey of education development in Oceania, a region of diversity held together by its commonalities, shaped by the largest ocean on the planet. The chapter outlines the regional contexts of Oceania and offers a brief historical overview of formal education. Oceania, like most regions, has struggled to mediate between global agendas and national and regional aspirations for sovereignty and self-determination. The chapter recounts ongoing efforts to navigate education in the post-colonial period, efforts to negotiate some of the aspirations of the Millennium Development Goals (MDGs), Education for All (EFA), and other global agendas of the early 2000s with, more recently, the Sustainable Development Goals (SDGs). In this survey, we hope to demonstrate collective efforts to respond to global agendas, to shape and strengthen regionalism, while maintaining sovereignty in a globalized world. We also highlight the evolving identities of the region, in particular the relationships between Australia and Aotearoa New Zealand and the Pacific countries that collectively make up Oceania.

This chapter presents a critical reflection on delivering a lecture on the impacts of colonialism to a cohort of predominantly white, undergraduate students in the UK. This chapter provides an overview of the lecture, including its key content and how it built on a wider programme of learning. It then discusses student reactions to the lecture content, reviews the literature on teaching sensitive subjects, highlights what pedagogues in Higher Education (HE) can learn from this literature, and explores both teacher and student positionality. The chapter concludes that pedagogues in HE should pursue the teaching of sensitive subjects and not ‘give in’ to student discomfort. Not creating the conditions to discuss such issues in learning spaces ultimately sides with existing structures of power and privilege in HE that should be challenged. However, strategies need to be put in place to overcome students’ fears of discussing sensitive subjects. These strategies include pedagogues building up trust, facilitating open dialogue, and reflexively exploring positionality. These present both students and teachers with the opportunity to recognise and transform their own biases, perceptions, and attitudes to facilitate deeper and more democratic learning; and challenge existing structures of privilege in HE that benefit more powerful groups.

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.

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.