NiTRO Creative Matters

Perspectives on creative arts in higher education

ANU

In 2015, The Australian National University’s School of Art and Design’s Environment Studio launched a unique field-based program, The Balawan Elective, honourably named with guidance and permissions of the First Nations community on Yuin Country, after their culturally significant mountain Balawan … Seven years on, much has come from

By Tor Frømyhr — Many wander through life unaware of the real story that led to their existence and the course their lives have taken. Is it important? For many, not really. For me, vitally important.
By Jennifer Newsome — The ANU School of Music is currently pursuing a bold and progressive approach to the way it engages and does business with First Nations’ People and communities.
By Dr Chris Sainsbury — When a music school gets it right pertaining to Aboriginal and Torres Strait Islander engagement, a certain feeling grows within the school. “Feel” is a word that I intentionally borrow from music-making. Speaking from our in-house example, it feels positive and empowering for First Nations
By Matt Livingstone, Mat Taylor and Steven Vranch — Yamaha is the world’s largest manufacturer of musical instruments. Formed in 1887, the company has a long history of engineering innovation, design creativity and supporting musicians, producing music making devices ranging from reed organs and pianos, through trumpets, saxophones and violins
By Dr Scott Davie — In 2020, the ANU School of Music devised an innovative research project aimed at engaging Indigenous composers with an old keyboard instrument, the Henrion piano.
By Professor Frank Millward — There are many things that need to be remembered in relation to Indigenous Australians. Here are three we may have chosen to forget or have faded enough from our collective memory that they may be considered as forgotten...
By Pat O’Grady — My office in the ANU School of Music shares a wall with Yil Lull studio, one of the few studios in Australia dedicated to recording First Nations’ music. The walls are thin. I often hear the wonderful music taking place on the studio floor.
By Professor Kim Cunio — I am really proud of our music school. It has accomplished a great deal, rebuilding, decolonising and allowing an evolution in First Nations practice to occur.
Professor Frank Millward talks to Will Kepa, producer, engineer and director of the Yil Lull Indigenous Recording Studio at the ANU School of Music