Search results

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.

This paper aims to present the findings of a government-initiated project that sought to explore the possibility of incorporating cultural connections to land within the federal national accounting system using the United Nations Systems of Environmental-Economic Accounting (UN-SEEA) framework as a basis.

Adopting a critical dialogic approach and responding to the calls for critical accountants to engage with stakeholders, the authors worked with two Indigenous groups of Australia to develop a system of accounts that incorporates their cultural connections to “Country”. The two groups were clans from the Mungguy Country in the Kakadu region of Northern Territory and the Ewamian Aboriginal Corporation of Northern Queensland. Conducting two-day workshops on separate occasions with both groups, the authors attempted to meld the Indigenous worldviews with the worldviews embodied within national accounting systems and the UN-SEEA framework.

The models developed highlight significant differences between the ontological foundations of Indigenous and Western-worldviews and the authors reflect on the tensions created between these competing worldviews. The authors also offer pragmatic solutions that could be implemented by the Indigenous Traditional Owners and the government in terms of developing such an accounting system that incorporates connections to Country.

The paper contributes to providing a contemporary case study of engagement with Indigenous peoples in the co-development of a system of accounting for and by Indigenous peoples; it also contributes to the ongoing debate on bridging the divide between critique and praxis; and finally, the paper delves into an area that is largely unexplored within accounting research which is national accounting.

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 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.

Digital media platforms on one hand are tools of communication. On the other hand, it is a site where narratives are shared among members of various communities. Thus providing a space to create identities and educate audiences about behaviors toward “them” from “us.” This chapter will highlight how the narratives of Aboriginal Australian women discriminatory issues are conveyed and discussed on Twitter. In attempting so, this chapter will highlight whether the digital space has contributed to equality in the society or is it attempting to reassert the existing hegemonic discourses and status in the Australian Community. Accordingly, this research suggests policies that could help create emancipatory pedagogy.

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.