Indigenous advocate Christine Royan, a member of the Butchulla Aboriginal Corporation, has sounded warnings. She worries that the increase in visitors is having a negative effect on K’gari, also known as Fraser Island. She is working to pass legislation capping visitor numbers to give the island’s diverse culture and history a chance to flourish. Royan’s concern is a very real and serious one. The overwhelming influx of tourists threatens not only the environment but the cultural meaning of this sacred site.
Meanwhile, in the Northern Territory, the government’s decision to scale back an Aboriginal art gallery project in Alice Springs has sparked outrage. The decision was labelled “offensive” by Federal Labor MP Patrick Gorman. He continued to stress that it is erasing the need of having Indigenous representation in arts. Gorman’s remarks highlight a growing concern among Aboriginal leaders about the government’s commitment to supporting Indigenous culture.
A cohort of emerging First Nations women leaders have come together in the Northern Territory. With their creativity, they produced an explosive live performance that merged traditional cultural arts with modern day figurine styling. This festival is truly dynamic, indicative of the meaningful change that is taking place in the world to express, highlight and celebrate Indigenous culture in today’s world.
This year, the Tasmanian winter arts and music festival, Dark Mofo, returns with an excitingly provocative program. Artistic director Chris Twite has programmed a thrilling lineup of performances and events! The cultural festival strives to use artistic expression through all mediums to create cultural dialogue and understanding between people. Its revival represents something bigger — a renewed interest in nurturing a sense of community and artistic compatriots.
Today, the legacy of the Pintupi Nine continues. Touchdown, the last Aboriginal family to have made contact with the modern world more than 40 years ago after years of seclusion in Western Australia’s desertscape. Their legacy is an everlasting tribute to the complicated relationship between Indigenous peoples and settler society.
Back in Papunya, the Wangka Walytja exhibition contains a host of hard-to-find tales and paintings found in first contact oral tradition. This exhibition serves as an important cultural touchstone, allowing visitors to engage with the narratives that have shaped Aboriginal history.
Australia is preparing for the first federal election since the debacle of the Voice to Parliament referendum. This has amplified the urgency of the 10th annual Indigenous arts and culture festival, Parrtjima, in Alice Springs. In this year’s festival, Indigenous creativity takes center stage with dynamic performances and visual art exhibitions. It initiates critical conversations around rights, representation, and access.
Art and designs from Fitzroy Crossing, a remote outback town, have made notable appearances on international catwalks in Paris, New York, and Melbourne. This worldwide acknowledgment is a testament to the innovation and vision of Indigenous artists to shape the global fashion future.
Incredible examples of young women from the Giiyong Festival showing their unique approach to contemporary traditional art. Players by the Müller & Szaky Collective Modeling on stage, they connected heritage with current form. A scarf inspired by WA’s Pilbara that was presented to Gisèle Pelicot. This gesture of solidarity unites us, connecting us and uplifting us for the struggle ahead.
The Biennale of Sydney has embraced a new artistic vision under director Hoor Al Qasimi, featuring works from artists such as Packing Room Prize winner Abdul Abdullah. This effort is a huge step toward their marketing commitment to amplifying genre-blurring narratives in the broader art world.
First Nations director Chantelle Murray has created a joyful animation titled The Lost Tiger, breaking away from darker themes prevalent in many contemporary Indigenous stories.
An independent investigation found cause for concern regarding claims of interference in First Nations artwork. The Indigenous corporation regulator has now ruled that there will be no further action. This outcome has opened up a wider discussion about the integrity of Indigenous art practices and the need for continued vigilance.
Rock art expert Benjamin Smith has deeply condemned the WA government. He accuses them of employing ‘propaganda’ in a dispute over rock art preservation while covering up proof of pollution destruction to priceless petroglyphs. His allegations expose deeper national strains over conservation of natural resources and preservation of cultural legacy.
Scott Wilson, founder of the Indigiverse, a comic-book universe populated by Indigenous superheroes. This new method of Aboriginal story-telling amplifies Aboriginal voices and highlights Aboriginal champions.
