This article examines the National Recording Project for Indigenous Performance in Australia as a dedicated network of Indigenous performers, and allied scholars and curators, to protect and sustain Australia's highly endangered traditions of Indigenous
Australian Performing Arts Market (APAM) is the Australia Council for the Arts’ key strategic engage...
This paper concerns the significance of performances at an Indigenous dance festival in Australia. A...
This article considers the artistic and legal practices of Bangarra Dance Theatre in a case study of...
This article examines the National Recording Project for Indigenous Performance in Australia as a de...
The article investigates the history of the National Recording Project for Indigenous Performance in...
This article provides an account of the response to the modern postcolonial prerogative in intercult...
Aboriginal-influenced compositions have been central to Australian art music practice since the 1960...
This issue of Musicology Australia marks the establishment of the National Recording Project for Ind...
Oral tradition recorded by linguists in the course of their fieldwork needs to be archived for longt...
Digitisation has made the return of recordings made by researchers in the past far more achievable t...
Indigenous arts are significant to the way Australia is represented to the world. Since the early 19...
I begin this chapter by arguing against any sort of prescriptive definitions for Indigenous Australi...
The relationships between Indigenous peoples, recording technology and techniques, the recording ind...
When Indigenous performance traditions make the journey into the Western academy and other education...
Over the last decade, ethnomusicologists have increasingly become preoccupied with the repatriation ...
Australian Performing Arts Market (APAM) is the Australia Council for the Arts’ key strategic engage...
This paper concerns the significance of performances at an Indigenous dance festival in Australia. A...
This article considers the artistic and legal practices of Bangarra Dance Theatre in a case study of...
This article examines the National Recording Project for Indigenous Performance in Australia as a de...
The article investigates the history of the National Recording Project for Indigenous Performance in...
This article provides an account of the response to the modern postcolonial prerogative in intercult...
Aboriginal-influenced compositions have been central to Australian art music practice since the 1960...
This issue of Musicology Australia marks the establishment of the National Recording Project for Ind...
Oral tradition recorded by linguists in the course of their fieldwork needs to be archived for longt...
Digitisation has made the return of recordings made by researchers in the past far more achievable t...
Indigenous arts are significant to the way Australia is represented to the world. Since the early 19...
I begin this chapter by arguing against any sort of prescriptive definitions for Indigenous Australi...
The relationships between Indigenous peoples, recording technology and techniques, the recording ind...
When Indigenous performance traditions make the journey into the Western academy and other education...
Over the last decade, ethnomusicologists have increasingly become preoccupied with the repatriation ...
Australian Performing Arts Market (APAM) is the Australia Council for the Arts’ key strategic engage...
This paper concerns the significance of performances at an Indigenous dance festival in Australia. A...
This article considers the artistic and legal practices of Bangarra Dance Theatre in a case study of...