Calling the Shots: Aboriginal Photographies by Jane Lydon

By Jane Lydon

Historically, images of Indigenous Australians have been frequently produced less than unequal and exploitative conditions. this present day, in spite of the fact that, such pictures characterize a wealthy cultural background for descendants who can use this archive to discover Aboriginal historical past, to spot family members, and to reclaim tradition. In Calling the Shots, individuals examine the Indigenous value of attractive with photographs from all of the former colonies. the result's a clean standpoint on Australia’s prior, and on present-day Indigenous identities. instead of telling us what the white photographer observed, this ebook focuses upon the interactions among photographer and Indigenous humans and the residing meanings the images have today.

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He grew up at Erambie Mission, Cowra, a Wiradjuri community, and worked for various community development programs there before enrolling at university. His doctoral thesis explored cultural continuity through storytelling within his Wiradjuri community. He is Chairperson of Erambie Advancement, a community corporation that develops and administers community education, health and employment programs at Erambie. He was lucky to have been taught by some very talented Koori storytellers and his work today reflects their teaching.

INDIGENOUS ARTISTS As well as these domestic and historical uses of photographs, Indigenous artists have long understood the power of old photographs; some artists — such as Brook Andrew — draw directly from the archive to literally re-work or re-frame them. 34 One such imaginative engagement with the colonial photographic collection is Christian Thompson’s 2012 series We bury our own, in which he has engaged with the colonial archive held in the Pitt Rivers Museum at Oxford University, where he is one of the first recipients of the Charlie Perkins Scholarship.

Sari Braithwaite and Megan McKeough obtained image permissions. Many colleagues and friends have provided advice and encouragement throughout the project and we are grateful to them all. We are grateful to the many institutions and individuals who generously gave us permission to reproduce their photographs, also acknowledged within each separate chapter. ; Loraine Padgham, Angela Tenbuuren and the Taungurong; the Tasmanian Museum and Art Gallery; the Trustees of the British Museum; Ronald Briggs and the Mitchell Library at the State Library of New South Wales; the National Library of Australia; Christopher Morton and the Pitt Rivers Museum, Oxford; Les Simon of the Batemans Bay Local Aboriginal Land Council; Tharawal Land Council; Jude McBean and the Grafton Regional Gallery; the Northern Territory Library; Sarah Morgan; Zena Cumpston; Isobel Crombie, Jennie Moloney and Maggie Finch at the National Gallery of Australia; La Trobe Picture Collection at the State Library of Victoria; Gary Murray for the Yung Balug and Dhudhuroa clans; the Dja Dja Wurrung Clans Aboriginal Corporation; Michael Treloar; Doris Yuke Collection; John Oxley Library of the State Library of Queensland; Paul Costigan; Queensland Art Gallery; University of Queensland Anthropology Museum; Queensland Museum; South Australian Museum; Ellen and Tom Trevorrow; Walter Richards; Cynthia Hutchison and the Ngaut Ngaut Mannum Aboriginal Community Association; Ayers House Collection, Adelaide; Jamie Carstairs and Hannah Lowery of the Special Collections, University of Bristol Library; Jackie Johnston and the Mill Cottage Museum Collection, Port Lincoln; State Library of South Australia; State Library of Western Australia; Berndt Museum; Northern Territory Library; National Archives of Australia; Ara Irititja; Royal Geographical Society of South Australia; the Elders of Billiluna Pastoral Company; Jill Braithwaite; and Ian Conway.

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