U.S. laws on the repatriation of Indigenous artifacts and remains still uphold inequities in the relationships between Indigenous people and the agencies holding their materials.
Rock art directly represents how our ancestors saw the world. A new approach involving the history of the landscape brings fresh meaning to Arnhem Land rock art.
Saskatchewan’s provincial government must work with Indigenous nations on a shared vision for the future that is more likely to withstand the tests of time and litigation.
In the Global South, a group of writers are rejecting the norms of science fiction and commenting on the future in a way that embraces Indigenous culture.
People in the First Nations fashion industry see their work contributing to cultural tradition, economics and cultural sustainability, and blak pride and storytelling.
Remote art centres are central to the Indigenous contemporary art industry. They typically have a white art centre manager and other staff overseen by an Indigenous board.
Bell is an internationally renowned artist who works across painting, installation, video and performance, and a new documentary brings him to cinemas.
Indigenous oral history is more than a methodology. It is living history, practised for thousands of millennia, intrinsically woven into Aboriginal people’s way of life and culture.
Challenging Indigenous identity fraud in academia must name and focus explicitly on structures of whiteness, white entitlement and settler colonialism so we don’t recreate the harms of past policies.
Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne