The Australian Heritage Commission (AHC), was the Australian federal government authority established in 1975 by the Australian Heritage Commission Act 1975 as the first body to manage natural and cultural heritage in Australia until its demise in 2004. It was responsible for the creation of the Register of the National Estate.
The Australian Heritage Commission was one of a number of ventures by the Whitlam Labor government to establish cultural heritage as a more substantial government activity. In his policy speech in November 1972, the federal Labor leader said that "...one overriding objective of a Labor government would be to preserve and enhance the quality of the National Estate". When the Labor government came to office in December 1972, a Committee of Inquiry into the National Estate was set up, with terms of reference "...to report on: the nature and state of the National Estate; the measures presently being adopted; the measures which should be adopted; the role which the Australian Government should play in the preservation and enhancement of the National Estate; the manner in which the National Trusts of Australia and other appropriate conservation groups could be supported by public funds and the amount required in order that these bodies can immediately increase their effectiveness, in arguing and working for the preservation and enhancement of the National Estate". [1]
The AHC had wide terms of reference, covering natural, Indigenous and historical heritage. It was first proposed in the government-appointed Committee of Inquiry into the National Estate, chaired by Mr Justice R. M. Hope, in April 1973. The committee reported to federal parliament in August 1974 that "...uncontrolled development, economic growth and 'progress' to that time had had a very detrimental effect on Australia's national estate..." and called for "...prompt action and public education to prevent further neglect and destruction". [2]
An Interim Committee on the National Estate was formed in August 1974 to continue the work of the inquiry and begin to develop a national policy for the national estate, based on UNESCO's Committee for the Protection of World Cultural and National Heritage, which spoke of an "International Estate". [3] The Australian Heritage Commission Act 1975 was assented to on 19 June 1975. The commission was a statutory authority, responsible to the Commonwealth Minister for the Environment, Sport and Territories. Commissioners meet four to six times a year, and with the part-time chairman and six part-time commissioners being chosen for their skills and interest in the natural and cultural environment. [1]
In the 1980s and 90s the AHC developed a number of policy documents which became standard heritage practice. Heritage practitioners including Jane Lennon and Michael Pearson were important figures in this process. [4] The first meeting of the seven part-time members of AHC chaired by David Yencken was held on 27 July 1976. A small staff supported the work of the chairman and commissioners. [1]
A critical component of the commission was the creation of the Register of the National Estate, [5] which was intended as an inventory of ...those places, being components of the natural environment of Australia or the cultural environment of Australia, that have aesthetic, historic, scientific or social significance or other special value for future generations as well as for the present community. [6]
The AHC was an important catalyst to other state and local heritage protection and took on the early role of establishing guidelines, standards and criteria for assessment and managing places of heritage significance. An example was the development of the Australian Historic Themes for use by heritage professionals at the national level, as a means for co-ordinating research and significance assessments. [7]
The commission also established criteria for the assessment of places on the Register of the National Estate, which have been subsequently adapted and adopted by most state and community heritage organisation. [8]
Formed just as the Fraser Liberal-Country coalition government came into power, the AHC came under criticism from mining and development lobbies, and the Commonwealth Government itself over issues such as the Ranger Uranium Mine in Kakadu, and the Gordon-below-Franklin dam proposal which had been placed on the World Heritage List in 1983. [3]
The AHC was ultimately abolished under the Howard Liberal-National coalition government and the Australian Heritage Council formed in its place on 19 February 2004. [9]
The National Indigenous Heritage Art Awards, initially known as the National Aboriginal and Torres Strait Islander Heritage Art Awards, were held in Canberra from 1993 until 2000. The accompanying exhibitions were known as The Art of Place.
In November 1993, the International Year for the World's Indigenous People, it was announced in parliament that the AHC would be sponsoring a new art prize for Indigenous Australians, [10] initially known as National Aboriginal and Torres Strait Islander Heritage Art Award. [11] Worth a total prize pool of A$30,000, the prizes would be awarded for "an Aboriginal or Torres Strait Islander work of art which uses a National Estate place as its subject". The subject of the artwork had to be either "in the Register of the National Estate, its Interim List or places the artist believes should be listed". There would be three sections: Open, with a first prize of A$17,000, a photographic section (A$2,500), and a youth section, for artists 25 years and under (A$2,500). Entries were exhibited at Old Parliament House from 15 December 1993 to 12 January 1994, [10] in an exhibition known as The Art of Place. [12]
The awards continued through the 1990s, with the second award staged in 1994; [11] the third in 1996; [13] and the fourth, now called the National Indigenous Heritage Award, was held in April 1998. [11] The 1998 Art of Place exhibition toured to several regional towns in New South Wales as well as Adelaide and Brisbane, attracting some 44,000 visitors. [14] Some exhibition catalogues were published. [15] [16] The exhibitions became known as The Art of Place. [17] [18]
In 2000, then prime minister John Howard gave an opening address at the fifth edition of the awards ceremony. The sponsors that year included the Koori Mail , N. M. Rothschild and Sons and Multiplex. A selection of artworks from the 2000 exhibition toured the country in 2001, funded by the federal government, including Sydney, Wagga Wagga, Alice Springs, Adelaide and Perth in its tour. [18] [11] Sponsorship paid for 36% of the prize money, and a record 436 entries were submitted. [19]
Although the touring exhibition was deemed a success, [20] the awards are not mentioned in subsequent reports of the AHC. [21]
The Aboriginal and Torres Strait Islander Commission (ATSIC) (1990–2005) was the Australian Government body through which Aboriginal Australians and Torres Strait Islanders were formally involved in the processes of government affecting their lives, established under the Hawke government in 1990. A number of Indigenous programs and organisations fell under the overall umbrella of ATSIC.
Torres Strait Islanders are the Indigenous Melanesian people of the Torres Strait Islands, which are part of the state of Queensland, Australia. Ethnically distinct from the Aboriginal peoples of the rest of Australia, they are often grouped with them as Indigenous Australians. Today there are many more Torres Strait Islander people living in mainland Australia than on the Islands.
The Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS), established as the Australian Institute of Aboriginal Studies (AIAS) in 1964, is an independent Australian Government statutory authority. It is a collecting, publishing and research institute and is considered to be Australia's premier resource for information about the cultures and societies of Aboriginal and Torres Strait Islander peoples. The institute is a leader in ethical research and the handling of culturally sensitive material and holds in its collections many unique and irreplaceable items of cultural, historical and spiritual significance. The collection at AIATSIS has been built through over 50 years of research and engagement with Aboriginal and Torres Strait Islander communities and is now a source of language and culture revitalisation, native title research and family and community history. AIATSIS is located on Acton Peninsula in Canberra, Australian Capital Territory.
Lin Onus, born William McLintock Onus and also known as Lin Burralung McLintock Onus, was an Australian artist of Scottish-Aboriginal origins. He was the son of activist Bill Onus.
The South Australian Museum is a natural history museum and research institution in Adelaide, South Australia, founded in 1856 and owned by the Government of South Australia. It occupies a complex of buildings on North Terrace in the cultural precinct of the Adelaide Parklands. Plans are under way to move much of its Australian Aboriginal cultural collection, into a new National Gallery for Aboriginal Art and Cultures.
The National Aboriginal & Torres Strait Islander Art Award (NATSIAA) is Australia's longest running Indigenous art award. Established in 1984 as the National Aboriginal Art Award by the Museum and Art Gallery of the Northern Territory in Darwin, the annual award is commonly referred to as the Telstra National Aboriginal & Torres Strait Islander Art Award, the Telstra Award or Telstra Prize. It is open to all Aboriginal and Torres Strait Islander artists working in all media.
Indigenous Australians are people with familial heritage from, and/or recognised membership of, the various ethnic groups living within the territory of present day Australia prior to British colonisation. They consist of two distinct groups, which includes many ethnic groups: the Aboriginal Australians of the mainland and many islands, including Tasmania, and the Torres Strait Islanders of the seas between Queensland and Papua New Guinea, located in Melanesia. The term Aboriginal and Torres Strait Islander peoples or the person's specific cultural group, is often preferred, though the terms First Nations of Australia, First Peoples of Australia and First Australians are also increasingly common; 812,728 people self-identified as being of Aboriginal and/or Torres Strait Islander origin in the 2021 Australian Census, representing 3.2% of the total population of Australia. Of these Indigenous Australians, 91.4% identified as Aboriginal; 4.2% identified as Torres Strait Islander; while 4.4% identified with both groups. Since 1995, the Australian Aboriginal flag and the Torres Strait Islander flag have been official flags of Australia.
The Tandanya National Aboriginal Cultural Institute, usually referred to as Tandanya, is an art museum located on Grenfell Street in Adelaide, South Australia. It specialises in promoting Indigenous Australian art, including visual art, music and storytelling. It is the oldest Aboriginal-owned and -run cultural centre in Australia.
Henrietta Marrie is a Gimuy Walubara Yidinji elder, an Australian Research Council Fellow and Honorary Professor with the University of Queensland.
Makinti Napanangka was a Pintupi-speaking Indigenous Australian artist from Australia's Western Desert region. She was referred to posthumously as Kumentje. The term Kumentje was used instead of her personal name as it is customary among many indigenous communities not to refer to deceased people by their original given names for some time after their deaths. She lived in the communities of Haasts Bluff, Papunya, and later at Kintore, about 50 kilometres (31 mi) north-east of the Lake MacDonald region where she was born, on the border of the Northern Territory and Western Australia.
Danie Mellor is an Australian artist who was the winner of 2009 National Aboriginal & Torres Strait Islander Art Award. Born in Mackay, Queensland, Mellor grew up in Scotland, Australia, and South Africa before undertaking tertiary studies at North Adelaide School of Art, the Australian National University (ANU) and Birmingham Institute of Art and Design. He then took up a post lecturing at Sydney College of the Arts. He works in different media including printmaking, drawing, painting, and sculpture. Considered a key figure in contemporary Indigenous Australian art, the dominant theme in Mellor's art is the relationship between Indigenous and non-Indigenous Australian cultures.
Wintjiya Napaltjarri, and also known as Wintjia Napaltjarri No. 1, is a Pintupi-speaking Indigenous artist from Australia's Western Desert region. She is the sister of artist Tjunkiya Napaltjarri; both were wives of Toba Tjakamarra, with whom Wintjiya had five children.
Linda Yunkata Syddick Napaltjarri is a Pintupi- and Pitjantjatjara- speaking Indigenous artist from Australia's Western Desert region. Her father was killed when she was young; her mother later married Shorty Lungkarta Tjungarrayi, an artist whose work was a significant influence on Linda Syddick's painting.
Contemporary Indigenous Australian art is the modern art work produced by Indigenous Australians, that is, Aboriginal Australians and Torres Strait Islander people. It is generally regarded as beginning in 1971 with a painting movement that started at Papunya, northwest of Alice Springs, Northern Territory, involving Aboriginal artists such as Clifford Possum Tjapaltjarri and Kaapa Tjampitjinpa, and facilitated by white Australian teacher and art worker Geoffrey Bardon. The movement spawned widespread interest across rural and remote Aboriginal Australia in creating art, while contemporary Indigenous art of a different nature also emerged in urban centres; together they have become central to Australian art. Indigenous art centres have fostered the emergence of the contemporary art movement, and as of 2010 were estimated to represent over 5000 artists, mostly in Australia's north and west.
The Aboriginal and Torres Strait Islander Heritage Protection Act 1984(Cth), is an Act passed by the Parliament of the Commonwealth of Australia to enable the Commonwealth Government to intervene and, where necessary, preserve and protect areas and objects of particular significance to Australia's Aboriginal or Torres Strait Islander peoples from being desecrated or injured.
Ginger Riley Munduwalawala was an Aboriginal Australian contemporary artist. He was born incountry, in the Limmen Bight area of the Gulf of Carpentaria coast. His first language was Marra, now a critically endangered language. Riley became an artist during the 1950s as a result of his encounter with Albert Namatjira.
Brenda L. Croft is an Aboriginal Australian artist, curator, writer, and educator working across contemporary Indigenous and mainstream arts and cultural sectors. Croft was a founding member of the Boomalli Aboriginal Artists Cooperative in 1987.
Jody Broun is an Indigenous Australian artist and activist with a long-standing career, most recently with her current position being Chief Executive Officer of the National Indigenous Australians Agency. She has completed a Diploma of Teaching, Bachelor of Education and a Masters in Philosophy. In 1998 she was awarded first prize in the Telstra National Aboriginal and Torres Strait Islander Art Award for her artwork "White Fellas Come To Talk Bout Land" and in 2005 Broun was awarded first place in the Canberra Art Prize for her artwork "Half-Time Game". Along with these major awards Broun has displayed many artworks in solo and group exhibitions, winning many other awards, and grants. Broun is a Yindjibarndi woman with family connection from the Pilbara region in North Western Australia, and is known for her dedication to Indigenous communities in Australia.
Karen Casey was an Australian interdisciplinary artist of the Palawa people, Australia. She was Melbourne's Artist in Residence in 2003.
Constitutional recognition of Indigenous Australians refers to various proposals for changes to the Australian Constitution to recognise Indigenous Australians in the document. Various proposals have been suggested to symbolically recognise the special place Indigenous Australians have as the first peoples of Australia, along with substantial changes, such as prohibitions on racial discrimination, the protection of languages and the addition of new institutions. In 2017, the Uluru Statement from the Heart was released by Indigenous leaders, which called for the establishment of an Indigenous Voice to Parliament as their preferred form of recognition. When submitted to a national referendum in 2023 by the Albanese government, the proposal was heavily defeated.
"The first National Aboriginal and Torres Strait Islander Heritage Art Award was held in 1993... second award was staged in 1994 ... the third Award was in 1996. The fourth, now called the National Indigenous Heritage Award, was held in April 1998." -- inside cover
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: CS1 maint: numeric names: authors list (link)The Award attracted a record 436 submissions for entry and, of these, 118 were selected to compete for the Award and to hang in the nine-week-long Art of Place exhibition at Old Parliament House... Forty-five entries were selected for the national travelling Art of Place exhibition, which opened in Wagga Wagga, New South Wales in October and from there went to Adelaide, Sydney and Alice Springs. The travelling exhibition will finish in Perth in September 2001.
The Commission ran its Third National Aboriginal and Torres Strait Islander Heritage Art Award and Exhibition, The Art of Place, from 3 to 30 April 1996... Places in the Heart: A print of the winning entry in the Second National Aboriginal and Torres Strait Islander Heritage Art Award, 1994-95... by Melbourne artist, Lin Onus, is of Barmah Forest.
The Art of Place exhibition tour of 44 entries from the Year 2000 National Indigenous Heritage Art Award ended in Perth in September 2001... a commemorative poster set of all five winners of the Award.