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A response to Dr. Liz Conor’s The Conversation essay ‘Aboriginalia’ and the politics of Aboriginal kitsch’ by Kerry Reed-Gilbert, Wiradjuri elder and collector of Aboriginalia, with curator Sally Brand.
A new display has opened in the AIATSIS Reading Room featuring Aboriginalia from the Kerry Reed-Gilbert collection.
Now that four of the largest paintings in the AIATSIS Collection have been digitised, we have extremely detailed, colour accurate digital reproductions preserved for the future.
As a part of AIATSIS’ Ngunawal Revival Project, we assisted in writing an acknowledgment of country in Ngunawal, which PM Malcom Turnbull has said in Parliament. But on what other occasions have Indigenous Australian languages been used in Parliament?
Sentenced to hang in 1959, Arrernte man Rupert Max Stewart survived 7 stays of execution and ultimately had his conviction commuted to life in prison. The Father Dixon and the Stuart Case Papers provide an insight into how this was achieved.
Merle and Alick Jackomos have a long connection with AIATSIS. Upon hearing the news that the Jackomos family home was being sold, the Institute contacted Merle and Alick’s daughter, Esmai, to make arrangements for the preservation of her parents’ papers.
This year marks 10 years since the National Apology to Australia’s Stolen Generations, 20 years since the Bringing Them Home report and over 30 years since the Stolen Generations were documented in two AIATSIS films.
How did a colourful sculptural installation that started as an innovative form of protest transform into an enduring symbol of Non Indigenous community aspirations to be reconciled with Aboriginal people and Torres Strait Islanders?
World Day for Audiovisual Heritage raises awareness about the importance and vulnerability of audiovisual collections. For AIATSIS the content at risk includes recordings of Aboriginal cultural, social and political life from the 1940s to early 2000s.
‘Against Native Title’ is a book about one Aboriginal group’s experience of the native title claims process. The book has a central character, a woman called Sue Coleman Haseldine. Aunty Sue is a skilled storyteller — a warm, wise and funny person — and a vehement critic of native title.