‘From Riverbank Humpy to White House’

Untitled

“…The man that is well documented in several photographs wearing the breastplate inscribed 'Jackey Jackey -King of the Logan and Pimpama' lived in the region of south-east Queensland near where the town of Beenleigh now stands on the lower Logan River. While a record identifying his birth has yet to be found, we estimate from his appearance in photographs in the years just prior to his death, as well as when his daughter Emily was born around 1853, 17 that he was born around 1820. He lived in the region from before the first European settlers arrived in the Beenleigh district in the 1860s until his death in around 1900.…”

“…This is indicative of a new Indigenous politics that sought to distinguish a nationwide Indigenous community from non-Indigenous Australians. 17 As an alternative to the colonial idea of Aboriginality, survival was emphasised as a historical experience shared by all Indigenous people. 'Survival' also drew on an international discourse that had emerged from the 1960s with an outpouring of Holocaust survivor testimonies, especially in response to the Eichmann trial in 1961.…”

“…A confrontation ensued with non-Indigenous patrons in a hotel next to the park, and subsequently with police in the street. Bongiorno, The Eighties, 252; Morris,Protest,Land Rights and Riots,[17][18][19]; 'Blood on the Street the Night a Town Exploded ', Sydney Morning Herald, 17 August 1987, pp. 1, 5.…”

“…1 Nina Berrell has demonstrated how the better-known exhibitions of the late 1980s had their origins in the activities of the Aboriginal Arts Board in the 1970s both in touring exhibitions and selling artworks to overseas collections to create a long-term international audience for Aboriginal art. Berrell, 'Inroads Offshore ',[13][14][15][16][17][18][19][20][21][22][23][24][25][26][27][28][29][30]Foley,'Black The ideas articulated in written form here are also realised in a new permanent exhibition curated by one of this article's authors, Matt Poll, which places Aboriginal art at the centre of a major Australian institutional collection at the University of Sydney. In this Ambassadors exhibition, a series of display cabinets feature the cultural work of Indigenous people from different parts of the Australian continent throughout the museum so that, whether visitors are viewing ancient Greek artefacts or animal specimens from Asia, the presence of Aboriginal culture is always felt (Figure 1).…”

“…16 He subsequently promoted the artworks, stories, song recordings and film footage collected on the Arnhem Land Expedition by collaborating with non-Indigenous performing artists, who would go on to use the collection in the creation of new musical and dance works. 17 The expedition's collection would be publicly exhibited in subsequent years and Mountford played an active role in the shift towards exhibiting bark paintings in galleries rather than museums. 18 While the art objects collected during the Arnhem Land Expedition enjoyed widespread promotion in the Australian and international arts community, this was not the case for the artists and performers who created them.…”