Each team should prepare a coherent presentation based on the group of articles.

Art Historical Perspectives

Batty, Philip (1992). “Money, Corruption and Authenticity.” Artlink 10(1& 2): 32-3.

Benjamin, R. (1990). “Aboriginal Art: exploitation or empowerment.” Art in America 78: 73-81.

Coleman, Elizabeth Burns (2001). “Aboriginal painting: identity and authenticity.” The Journal of Aesthetics and Art Criticism 59(4): 385-402. [X]

Rankin-Reid, Jane (1989). “Colonial Foreplay.” Artscribe International 77: 12-3. [X]

Anthropological Perspectives

Berndt, Ronald M. (1972). “The Changing Face of the Aboriginal Arts.” Anthropological Forum 3(2): 146-56.

Megaw, J. V. S. (1982). “Western Desert Acrylic Painting-- artefact or art?” Art History 5(2): 205-18.

Myers, Fred (1991). “Representing Culture: the production of discourse(s) for Aboriginal acrylic paintings.” Cultural Anthropology 6(1): 26-62.
[This article is a bit heavy in theory. Just do your best]

Music

Castles, John (1998). “Tjungaringanyi: Aborignal Rock (1971-91).” Sound alliances: indigenous peoples, cultural politics, and popular music in the Pacific. Philip Hayward. London; New York, Cassell: 11-25.

Magowan, Fiona (1994). 'This land is our märr (essence), it stays forever': the yothu-yindi relationship in Australian aboriginal traditional and popular musics. Ethnicity, identity, and music: the musical construction of place. Martin Stokes. Oxford, UK ; Providence, RI, Berg: 135-55.

Yunupingu, Mandawuy (1994). “Yothu Yindi: finding balance.” Race and Class 35(4): 113-20.

Post Modern Perspectives

Fry, Tony and Anne-Marrie Willis (1989). “Aboriginal Art: Symptom or Success?” Art in America(86): 108-17.

Michaels, Eric (1988). “Bad Aboriginal Art.” Art and Text 28: 59-73.

Nicoll, Fiona (1993). “The Art of Reconciliation: Art, Aboriginality and the State.” Meanjin 52(4): 705-18.