NiTRO + Creative Matters

Perspectives on creative arts in higher education

Indigenous

An Indigenous voice in design: Six years of solid impact … Looking back and connecting the dots

In 2016 I wrote an article for NiTRO titled “Styling Australia’s New Visual Design Identity”, which sought to explore how to incorporate the amazing features of Indigenous iconography into design without denigrating or disrespecting the original owners and creators.

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What does it feel like?
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
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This is just the beginning: Yamaha and First Nations music
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
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New Indigenous music for an old piano
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.
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Remembering what we chose to forget: Indigeneity, modernism, music and the academy
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...
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The Indigenous voice in Australian popular music
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.
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Russian dolls and music schools
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.
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My story and the story of many
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.
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On whose terms? Recalibrating engagement with First Nations’ Peoples and communities at the ANU School of Music
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.
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In conversation with Will Kepa, Director of the Yil Lull Indigenous Recording Studio
Professor Frank Millward talks to Will Kepa, producer, engineer and director of the Yil Lull Indigenous Recording Studio at the ANU School of Music
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In the spirit of reconciliation, the DDCA acknowledges the Traditional Custodians of country throughout Australia and their connections to land, sea and community. We pay our respect to their Elders past and present and extend that respect to all Aboriginal and Torres Strait Islander peoples today.

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