Hip-hop got its start as a political artistic force in the streets of Bronx. In the age of coronavirus, that same force has taken to the internet.
A ghost light shines at the Theatre Royal in Sydney.
COVID-19 has shown up a mind-bending contradiction. On one hand, the arts are entwined with our daily lives. Yet culture has disappeared from federal policy. Something has gone fundamentally wrong.
The University of Sydney in the late 1950s was full of bright young things who’d go on to shape Australia’s cultural scene.
Clive James’ brilliant career began as an undergraduate at the University of Sydney in 1957, where he first honed his skills as a performer and writer.
Along the Stuart Highway in the Northern Territory, giant termite mounds have been bestowed with human clothes and accessories.
Around 300 termite mounds dressed as people can be found along the Stuart Highway in the Northern Territory. They sport all manner of accessories from bras to hard hats to beer cans.
You might not know the name, but you would recognise the songs. Mojo was the advertising agency behind such classics as You Ought to be Congratulated.
The ABC documentary, How Australia Got Its Mojo, purported to tell the story of advertising agency Mojo. But the real story is more complex.
Through Paul Hogan and Crocodile Dundee we can learn a lot about the enduring myth of the Aussie Bloke.
The mythical Australian bloke is white, straight, and able-bodied – he’s Crocodile Dundee. But where does this legend come from, and what is his future?
Legendary Australian food writer Margaret Fulton, pictured here at the launch of a stamp collection featuring her in 2014, has died aged 94.
Margaret Fulton built a long-lasting career on the provision of sound, trustworthy cookery advice.
A Royal Victorian Small Homes House, designed in conjuction with The Age newspaper, 1955.
Photo: Wolfgang Sievers. Pictures Collection, State Library Victoria
Renewed interest in mid-century modern houses is more about substance than style. They represent the emergence of a new spirit and a coming of age in postwar Australia.
Poster for the 23rd National Folk Festival in Maleny, Qld, 1989. Since 1994, the Festival has been held in Canberra.
Courtesy of the National Film and Sound Archive and Kim Brown, 462585.
Folklore is everywhere and a valuable part of our national heritage. But it is undervalued by our government.
Traditional support networks too often fail our artists.
The performing arts is the canary in the coalmine of the gig economy.
Badeschi on the Spree River in Berlin.
Community proposals for public swimming pools are popping up all over the country. But individuals need to work with governments to ensure these projects actually get off the ground.
Australia’s cultural obsession with the US and the UK has real impacts on our politics.
Coined in a science-fiction novel in 1995, the Anglosphere has become Australia’s cultural (and political) obsession. That leaves us blind to other perspectives.
The Warrnambool potato harvest of 1881.
State Library of Victoria
Irish influence on Australian English is much like the influence of the Irish on Australians themselves — less than you’d expect on the surface, but everywhere once you start looking.
The income gap between men and women is wider in the arts than the average gap across all industries in Australia. This is especially so for female writers, visual artists and musicians.
The average Australian female artist is better educated than her male counterpart but earns significantly less than him, new research shows. And artists’ incomes are declining in real terms.
A scene from Bangarra Dance Theatre’s Lore: the oldest continuing culture in the world resonates with overseas audiences.
Why do students still describe Australia as a ‘young’ country lacking culture? Are our universities doing enough to to teach Australian films, artwork and books?
Bachelorette Sophie Monk with this year’s contestants.
The Bachelorette might appear to be a progressive alternative to The Bachelor, but it is actually doing nothing for women when male bonds are central to its drama.
The Pool: Architecture, Culture and Identity, exhibition by Aileen Sage Architects (Isabelle Tolandand Amelia Holliday) with Michelle Tabet, commissioned for the Australian Pavilion by the Australian Institute of Architects for the Venice Biennale of Architecture 2016.
Swimming pools are much more than holes in the ground - they are often beautifully designed, as a new exhibition at the NGV shows. They also document Australia’s history of racism and sexism, and gradual relaxation of social mores.
Discontinuities, a triple bill staged at La Mama in 2002.
From Cate Blanchett to David Williamson, some of Australia’s most well known theatre artists have performed at La Mama, which celebrates its 50th birthday this year.
Australia’s videogame industry has called for an end to the government’s silence around funding. And with local games competing on the world stage, it’s time for the cultural medium to be recognised alongside TV and film.
Waleed Aly’s 2016 Gold Logie win tells us that the audience has been more appreciative of Australian television’s diversity than the industry.
The Logies are fantastically daggy, but they let us compare audience and industry definitions of achievement. Looking back, it’s clear the public celebrates new, diverse and varied television.