the black see education kit - KickArts Contemporary Arts

LANGUAGE
WARNING
THE BLACK SEE EDUCATION KIT
1
ACKNOWLEDGMENTS
Cover image: Jennifer Herd, Warrior woman 1,2,3 (detail), digital image, 2011
This education kit accompanies the major body of work created by proppaNOW for
the 2011 exhibition, The Black See.
KickArts Contemporary Arts is a not for profit company limited by guarantee and
is supported financially by Arts Queensland and the Australia Council for the Arts
through the Visual Arts and Craft Strategy, an initiative of the Australian, State and
Territory Governments.
Exhibition Sponsors and Partners:
Arts Queensland
Cairns Indigenous Art Fair
Backing Indigenous Arts
Australia Council
National Arts and Craft Industry Support
Boom Sherrin
KickArts Contemporary Arts
96 Abbott Street Cairns QLD 4870 Australia
Postal address: PO Box 6090 Cairns QLD 4870 Australia
www.kickarts.org.au
[email protected]
Telephone: 07 4050 9494
International telephone +61 7 4050 9494
Artists: Tony Albert, Vernon Ah Kee, Bianca Beetson, Richard Bell, Jennifer Herd,
Gordon Hookey, Laurie Nilsen
Director: Ingrid Hoffmann
Curator: Sam Creyton
Writers and contributors: Ingrid Hoffmann, Tony Albert, Vernon Ah Kee, Bianca
Beetson, Richard Bell, Jennifer Herd, Gordon Hookey, Laurie Nilsen, Sam Creyton,
Claire Heathcock.
Design and production: Sam Creyton
Photography: Courtesy the artists, Vernon Ah Kee, Colyn Hubler
Proof Reading: Beverley Mitchell, Ingrid Hoffmann
© KickArts Contemporary Arts 2011
Copyright KickArts Contemporary Arts, the artist and authors 2011. This work
is copyright. Apart from any use as permitted under the Copyright Act 1968,
no part may be reproduced without prior written permission from the publisher.
No illustration in this publication may be reproduced without the permission of
the copyright owners. Neither may information be stored electronically in any
form whatsoever without such permission. Requests and enquiries concerning
reproduction and rights should be addressed to the publisher. The views expressed
are not necessarily those of the publisher.
Please note images in this document that require a language warning are marked
with this red symbol.
2
LANGUAGE
WARNING
CONTENTS
Acknowledgments
2
About The Black See
4
About proppaNOW
5
Have a closer look
6
Tony Albert
8
Vernon Ah Kee 9
Bianca Beetson 10
Richard Bell 11
Jennifer Herd 12
Gordon Hookey 13
Laurie Nilsen 14
Collaborative work 15
Glossary of terms 16
Useful links 17
ABOUT THE BLACK SEE
Aboriginal people love sport. We love it for all the reasons
any individual or group should love it. It’s the passion that
sport generates; the way a good contest energises the
competitors and enthralls a crowd; the thrill of victory and
the pain of defeat. The Black See, however, is less about
Aboriginal enjoyment of sport and more about Aboriginal
engagement with sport.
hold of the stadiums and big events, the bald-faced racism
long embedded in name-calling continues unabated and
without shame. It does have a long history as normalised
behaviour in this country, perhaps starting with artist Norman
Lindsay producing cartoons of Tommy Burns and Jack
Johnson to accompany some of the newspapers’ diatribe.
And didn’t writer Henry Lawson call Johnson a ‘nigger’?
If you talk to any Aboriginal person who plays sport in
Australia, they can readily tell you that it’s the excitement and
passion that draws you into the game and out onto the field.
The sense of combat, victory, and defeat are what we taste in
our mouths and feel in our muscles and bones. But equally,
any Aboriginal will tell you that the most common experience
for Aborigines in sport is not the winning or losing, it is not the
camaraderie, and it is not the sense of belonging to a club or
team, it is name-calling. And a term most commonly fired at
Blackfellas playing sport is, of course, ‘Black C***’. It is as if,
in terms of sport, all of the well-practised, wide-ranging forms
of racist insult and name-calling have become essential and
distilled over the years into this ubiquitous term. And if you
happen to be very good, the term is merely directed at you
more often and with more venom.
The Black See is also about how Aborigines encounter racism
in Australia. It is about deeply embedded attitudes on race
in societies like Australia where long-established preserves
exist for not only what white people enjoy and like to engage
in, but also as ‘places’ where these specially crafted activities
can be located. The effect of the ‘preserve’ is especially
noticeable in sport where echelons of influence and decisionmaking in the past determined, for the Aborigine, not only
if you were even permitted to participate in a particular
sport, but what would be the level of Aboriginal participation/
inclusion in sport, and many more subtle forms of exclusion.
Subtler forms of racism seem obvious but may not be: rugby
league player Andrew Johns apologised ‘unreservedly’ for
his comment, and continues to provide commentary for
Channel Nine’s Rugby League broadcasts; and despite their
prevalence and history, Aboriginal cricketers still struggle for
participation or permanence in representative sides.
It can be said that the Australian form of racial insult and namecalling formalised and normalised itself during the lead-up to
the championship boxing match between Jack Johnson and
Tommy Burns for the heavyweight title in Sydney in 1908.
While the bout made headlines internationally, the Australian
press had a field day labeling Johnson every racial epitaph
imaginable, far too many to detail here. Suffice it to say, as a
survey of the depth and breadth of insult that can be leveled
at one person, it is comprehensive.
At the time of the Johnson-Burns contest, ‘Australia’, a newly
federated state, is only seven years old and reveling its
status as a newly formed ‘white’ country. Commensurate with
its sense of ‘white’ worth, the Australian public felt not only
justified, but euphoric at the prospect of witnessing on ‘home’
soil the heavyweight champion of the world, a white man,
defending the title for the first time against a black man. The
Burns victory, expectant and resounding, serving to vindicate
white entitlement everywhere. It is a matter of history of
course that unfolding events did not quite play out that way.
Sport informs so much of the national psyche in Australia that
a lot of the behavioral gestures and vernacular are very much
a part of everyday life in this country. There is a normalcy to,
and an acceptance of, the ‘C’mon’ or the ‘Oi, Oi, Oi’. The use
of the term ‘Black C***’, along with other particular favourites
of name-calling, is so commonly used on and off the sporting
field in Australia, you could be forgiven for believing the
delivering/receiving of it to be essential to actual sporting
engagement. Whether this is true or not doesn’t change the
fact of its prevalence. And while hooliganism hasn’t yet taken
4
Two notable sporting figures who suffered greatly under the
weight of racism in Australia are boxer Elley Bennett and
cricketer Eddie Gilbert. Elley Bennett, renown throughout
his career as one of the hardest punchers in the game,
was nevertheless subject to the Queensland Aborigine’s
Act, his earnings having been withheld from him during
the course of his prizefighting career by the Queensland
Government. When Bennett, upon retirement, tried to
claim his winnings, a fortune estimated to be upwards
of £25,000, he was informed there were none for him to
claim, the Government subsequently having no knowledge
of his withheld earnings having ever existed. Eddie Gilbert
is justifiably regarded as one of Australia’s quickest fast
bowlers. Playing for Queensland against New South Wales
in 1931, Gilbert famously dismissed Donald Bradman for a
duck. Subsequently, and after being called for throwing (13
times) later that year in a game against Victoria, Gilbert’s
action was continually questioned by the media of the time
and he was dropped from the Queensland team two years
later ‘due to poor form’. Under the ‘Act’, Gilbert had needed
written permission whenever he was required to travel from
his Aboriginal settlement of Barambah (now Cherbourg) to
play in a first-class match, suffering a torrent of abuse every
time he took the field.
Vernon Ah Kee | proppaNOW, August 2011
ABOUT PROPPANOW
proppaNOW is a collective of Aboriginal artists set up in Brisbane in 2004 to give urban based Aboriginal artists a voice. The
proppaNOW collective is at the forefront of contemporary art in Australia and the eight individuals who make up the group have
exhibited in museums and galleries around the world. proppaNOW challenges the notion of what Aboriginal art is. The artists
use their art to forcefully push for social change, while paying homage to their cultural roots. They use paintings, sculptures,
film and photos to address issues of racism, displacement, land rights, the environment and to challenge ‘white’ ideas of
Aboriginal art and Aboriginal life in society today. They don’t do dots, they don’t do art about the dreamtime, they do art about
NOW. Tony Albert, Vernon Ah Kee, Bianca Beetson, Richard Bell, Megan Cope, Jennifer Herd, Gordon Hookey and Laurie
Nilsen are the proppaNOW collective.
We try and comment on concerns and
issues as they arise. Like the name
‘ProppaNOW’ - it’s about being proper,
it’s about the protocol. And now it’s about
reacting to now.
Gordon Hookey
http://www.abc.net.au/tv/messagestick/stories/s3264665.htm
The artists in the proppaNOW collective
utilise and manipulate language in their
artworks. What do you think proppaNOW
means? And what does it mean for the
artists in the proppaNOW collective? Try
and find other examples in the exhibition
where proppaNOW have manipulated
language and discuss.
5
HAVE A CLOSER LOOK
ProppaNOW use their art to communicate and comment on contemporary issues. Sometimes the messages implicit to their
artworks can be very clear and other times very subtle. For this reason it is important to look closely at the artworks and
observe not only the literal objects and words but also the symbolic messages portrayed by the artwork and how the social
and cultural contexts of the artworks can manipulate this. Often it is helpful to record your first impression of an artwork and
then note how it changes as you explore more deeply the themes and symbolism embedded in the artwork/s. It is also good
to discuss the artworks with your friends, everyone will interpret an artwork differently and it is interesting and important to
respect and listen to everyone’s perspectives.
LANGUAGE
WARNING
What’s the first thing you noticed when you walked in to the exhibition The Black See?
The use of strong language in any exhibition can initiate a number of issues both for the artists and
for those viewing the exhibition. The proppaNOW collective are sometimes described as agitators
due to the controversial content of their work.
The Black See provides a good example of how controversial content can be utlised. The unifying
theme for the artworks featured in The Black See is the term “Black C***”. The artists in proppaNow
would have utilised this term strategically to make a statement and to an extent to shock viewers,
however, the phrase holds greater meaning within the context of the exhibition.
The issue of censorship is one which emerges regularly in the context of contemporary art, most
notably in relation to controversial artworks or exhibitions. To censor means to suppress information
and material which is deemed unacceptable. Often the larger issue becomes just who it is that has
the right to deem material unacceptable and does this inhibit our right to freedom of speech? Is
there a difference between an artists right to create art and their right to censorship?
Do you think the use of the term “Black C***” is appropriate in the context of The Black See?
6
Use this page to record your
first impressions of the artworks.
Discuss the artworks with your
friends and make notes on your
thoughts and ideas.
7
TONY ALBERT
LANGUAGE
WARNING
Tony Albert is a Brisbane-based artist, who was born in North Queensland. His family comes from Cardwell, situated in the rainforest
area of the far north. In 2004 Tony completed a degree in Visual Arts majoring in Contemporary Australian Indigenous Art. Tony
Albert’s artworks are complex interrogations into the human condition. Mining imagery and source material from across the globe
and drawing upon personal and collective histories, Albert questions how we understand and imagine difference. Weaving together
text appropriated from popular music, film, fiction and art history along with clichéd images of extraterrestrials, photographs of his
family in Lucha Libre and an immense collection of “Aboriginalia” (a term Albert has coined to describe objects such as ash trays,
drink coasters, velvet paintings, tea-towels and playing cards which include naïve images of Australian Aboriginal people and their
culture) Albert presents a tapestry of ideas. Albert engages in a sophisticated negotiation with his viewers, enacting both good and
bad cop with his confrontational and unapologetic stance coupled with punching humour and hope.
Tony Albert
Image
Daddy’s little girl 2010 (after Gordon Bennett) 2011 (detail), mixed media triptych.
What do you think the artist is communicating to the viewer about
sporting culture with this artwork?
8
VERNON AH KEE
LANGUAGE
WARNING
Vernon Ah Kee was born in North Queensland and is of the Kuku Yalandji, Waanji, Koko Berrin, Yidindji and Gugu Yimithirr peoples.
His art practice, comprised of conceptual use of text, video, 3D, photography, drawing and painting, is anchored in the artist’s own
life experiences in this country and his family’s history. Vernon’s work is primarily a critique of Australian culture, specifically its
inherent black/white dichotomy. In 2007 he was selected for Culture Warriors, the National Gallery of Australia’s inaugural National
Indigenous Art Triennial; in 2008 he was selected for Revolutions: Forms That Turn, the 16th Biennale of Sydney; and in 2009 he
represented Australia in the 53rd Venice Biennale in Italy with his CantChant Installation (text, surfboards, video) for the ancillary
group exhibition Once Removed. Vernon has exhibited throughout Australia and internationally where major institutions have
collected his work.
Artist statement, see page 4
Images
stop that Black Cunt (after Andrew Johns 2010) 2011, acrylic text.
look at him, mate, look at him, and you tell me what the similarity is (after Lleyton Hewitt 2001) 2011, acrylic text.
kaffirboetie (c’mon aussie, c’mon 2005) 2011, acrylic text.
What do Vernon Ah Kee’s text pieces communicate about
the language of sportsmen and women? Do you think this
language changes depending where you live?
Like Vernon Ah Kee, create an artwork about sport that
uses text. Before you begin, as well as thinking about
what it will say, think carefully about the composition of the
artwork, and the size and shape of the letters. Do different
sizes and styles of letters convey different things?
9
BIANCA BEETSON
Bianca is a Kabi Kabi woman, born in Roma Western Queensland. She studied a Bachelor of Arts, Visual Arts (Honours), at the
Queensland University of Technology. Bianca’s work is usually pink, with the occasional variation of hue or medium, which has
become the signature for her work. It is not just the colour pink alone that makes her work so unique, but rather her use of humour
and satire to critique issues of importance. Bianca’s work is concerned with her identity as an Aboriginal, the commodification of
Aboriginal culture; the demarcation of ‘art’, ‘artifact’ and ‘kitsch’; critique of the social and cultural structures; and the critique of the
‘beauty’ and the ‘feminine’. Blended with references to the work of twentieth century artists such as Emily Kame Kngwarreye, Lin
Onus, Rover Thomas, Richard Bell and Andy Warhol.
Image
Playing on - portrait of Artie Beetson, 2011, texta on hahneműhle paper.
In this piece the artist has used her own handwriting
instead of typed or computer generated text. Why
do you think this is? What does this say about her
connection to the artwork and it’s subject matter?
Interview a friend and use the text of that interview to
make a portrait of then.
10
RICHARD BELL
Born in Charleville in 1953, into the Kamilaroi tribe. Richard was a leader in the first group of urban Indigenous artists whose work
provided a means of expression during the lead up to the 1988 bi-centenary of white Australian settlement. During this time, Richard
focused on ‘challenging non-Indigenous artists who appropriated Indigenous imagery in their work’ and the perceived notions of
traditional and modern Indigenous art. As well, his work addresses contemporary issues such as religion, art and politics. Richard
now lives in Brisbane. Richard’s works are described as ‘totemic animal, dot application, cross hatching and traditional hand stencils’
examining ‘the historical treatment of Aboriginal people after European settlement’. These are seen as Richard’s response to
issues of oppression, frustration and discrimination. Richard believes that, “… it is my job as an artist to test people’s resolve, to
provoke thought and that’s what I do, I provoke thought and discussion.” With more than 20 years of incendiary production behind
him the ‘enfant terrible’ of Australian Art is never lost for words or wit.
Image
A white hero for Black Australia, 2011, acrylic on canvas. (Collaboration with Emory Douglas)
This artwork portrays real people and is based on a real event. Do you
know who they are and what the event is? The people in the picture
are all wearing the same badge, do you know why?
Describe this artwork. What effect does the background have against
the figures? Consider the vibrant colours used in this work. Do you
think the use of different colours help to tell this story?
11
JENNIFER HERD
Jennifer Herd née Malthouse was born in Brisbane in 1951. She is a descendant of the Mbarbaram people whose family, clan and
cultural connections lie in the Far North of Queensland where her mother and grandmother’s people are from. Jennifer completed
studies in Fashion Design from Queensland College of Art, at Seven Hills in 1984. After working for a number of years in the theatre
and fashion field, she went on to complete a Diploma of Teaching (Early Childhood Education) from Queensland University of
Technology in 1990. In 2003 she completed a Master of Visual Arts winning the Queensland College of Art Post Graduate Student
prize, the Theiss Art Prize. She is currently undertaking a Doctorate in Visual Arts. A committed practicing artist for the last 17
years Jennifer is also a full time lecturer at Queensland College of Art, Griffith University. In recent years Jennifer made a shift from
costume making to installation works, as well as painting, photography and sculpture. Ms Herd is currently the convener and lecturer
in the Contemporary Australian Indigenous Art Program at the Queensland College of Art. She is an active and founding member
of the proppaNOW Artists Collective.
Image
Warrior woman 1,2,3, 2011, digital photograph, edition of 5.
Describe the colours that have been used in these images. How are
they used? What role does colour play in Warrior woman 1,2,3?
Jennifer Herd has deliberately used a female model in her photograph.
Why do you think this is?
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GORDON HOOKEY
LANGUAGE
WARNING
Gordon Hookey was born in Cloncurry, Queensland, and belongs to the Waanyi people. Hookey’s work combines figurative
characters, iconic symbols, bold comic-like text and a spectrum of vibrant colours. Through this idiosyncratic visual language he has
developed a unique and immediately recognisable style. Hookey locates his art at the interface where Aboriginal and non-Aboriginal
cultures converge. He explicitly attacks the establishment and implicates our current political representatives. He is widely travelled,
having exhibited and undertaken residencies in several countries and currently lives and works in Brisbane, Queensland. Gordon
Hookey is represented by Milani Gallery in Brisbane and Nellie Castan Gallery in Melbourne.
Image
Black C, 2011, mixed media triptych (detail)
Colour plays an important part in Gordon Hookey’s work.
Consider the colours in this painting, how do they help tell the
story, what do they tell you?
13
LAURIE NILSEN
Laurie Nilsen was born in Roma 1953. He moved to Brisbane in the late 1960s to become a jockey. After finishing his apprenticeship
at the age of 21, Laurie completed a three-year certificate course in commercial illustration at the Queensland College of Art. In
1989-99 he graduated from the Gippsland Institution (VIC) with a BA in Fine Arts, majoring in sculpture. Laurie’s political works
featuring barbed wire as a medium encompass cultural, political and environmental concerns. Although most of his work tackles
issues of concern for Aboriginal people he knows some of these concerns overlay and affect non-Aboriginal people also.
Image
Just another Black C, 2011, powdercoated barbed wire.
Why do you think Laurie Nilsen has used barbwire in Just another Black
C? What visual effect does this material have on his work?
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COLLABORATIVE WORK
A collaborative work is a joint production by two or more artists working together on the same artwork. In this instance Vernon
Ah Kee, Gordon Hookey and Laurie Nilsen worked together to create two collaborative artworks about Cricketer Eddie Gilbert
(pictured) and Boxer Elley Bennett.
Image
Does he bowl or does he throw, 2011, acrylic and charcoal on canvas, cricket ball.
Research the title of this work in relation to Eddie Gilbert? What does
ths work tell us?
Eddie Gilbert played cricket in the 1930’s. Can you find other historical
examples of racism in sport? Compare these to modern examples of
racism in sport. Do you think things have changed?
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EXHIBITION GLOSSARY OF TERMS
Agitator – An agitator is a person who actively supports an ideology or movement with their thought, speech and actions.
Assemblage – Is an artistic process. In the visual arts, it consists of making a three-dimensional artistic composition from
putting together found objects. It can also mean adding found objects to a two dimensional work. eg a painting.
Black C*** - A racial slur often used on the sporting field. The purpose is to try to weaken the opponent’s concentration,
thereby causing them to make mistakes or underperform.
Black Panther Party - The Black Panther Party was a progressive political organization that stood in the vanguard of the
most powerful movement for social change in America since the Revolution of 1776 and the Civil War: that dynamic episode
generally referred to as The Sixties. It is the sole black organization in the entire history of black struggle against slavery and
oppression in the United States that was armed and promoted a revolutionary agenda, and it represents the last great thrust
by the mass of black people for equality, justice and freedom.
Censor – The suppression of something deemed objectionable on moral, political, military, or other grounds.
Collaboration – (Art) Is a joint production by two or more artists working together on the same artwork.
Collage – is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a
new whole.
Community – Is a social group of any size whose members reside in a specific locality, share government, and often have a
common cultural and historical heritage.
Coon – Offensive slang. Used as a disparaging term for an Australian Aborigine.
Composition - Is the placement or arrangement of visual elements or ingredients in a work of art, as distinct from the subject
of a work. It can also be thought of as the organization of the elements of art according to the principles of art.
Culture – Is the behaviors and beliefs characteristic of a particular social, ethnic, or age group.
Darkie - Offensive slang. Used as a disparaging term for an Australian Aborigine.
Hero - A person of distinguished courage or ability, admired for their brave deeds and noble qualities.
Kaffir – The word kaffir, sometimes spelled kaffer or kafir, is an offensive term for a black person, most common in South
Africa and other African countries. Generally considered a racial or ethnic slur in modern usage, it was previously a neutral
term for black southern African people.
Kaffir boettie – (English: Kafir brother) Is a racial term often used to describe a white person who fraternises with or
sympathizes with the cause of the black community.
Legend – (Sporting) A person whose actions earn them the enduring respect and admiration of the public.
Leisure – Is time free from the demands of work or duty, when one can rest, enjoy hobbies or sports, etc.
Murri - The Murri are indigenous Australians traditionally based in Queensland.
16
Naïve Art – Is a classification of art that is often characterized by simplicity in its subject matter and technique. While many
naïve artists appear, from their works, to have little or no formal art training, this is often not true.
Olympic Project For Human Rights - The Olympic Project for Human Rights or OPHR was an organisation established by
sociologist Harry Edwards and others, including athlete Tommie Smith, in October 1967. The aim of the organization was
to protest racial segregation in the United States and elsewhere (such as South Africa), and racism in sport generally. Most
members of the OPHR were African American athletes or community leaders. The group advocated a boycott of the 1968
Mexico City Olympic Games. Whilst the boycott largely failed to materialize, African American sprinters Tommie Smith and
John Carlos and Australian sprinter Peter Norman wore OPHR patches during the medal ceremony for the 200 meter race.
Tommie Smith and John Carlos also raised their hands in a black power salute during the playing of the US national anthem.
Despite being a primarily African American organization, the OPHR was supported by white athletes such as Norman and
members of the Harvard University rowing team.
Political – Pertaining to or concerned with Politics.
Political Correctness - Is a term which denotes language, ideas, policies, and behavior seen as seeking to minimize
social and institutional offense in occupational, gender, racial, cultural, sexual orientation, certain other religions, beliefs
or ideologies, disability, and age-related contexts, and, as purported by the term, doing so to an excessive extent. It is
commonly abbreviated to PC.
Politics - Is a process by which groups of people make collective decisions. The term is generally applied to the art or
science of running governmental or state affairs. It also refers to behavior within civil governments. However, politics can be
observed in other group interactions, including corporate, academic, and religious institutions.
Prejudice - Is a prejudgment, an assumption made about someone or something before having adequate knowledge to be
able to do so with guaranteed accuracy, or judging a book by it’s cover. The word prejudice is most commonly used to refer
to preconceived judgments toward people or a person because of race, social class, gender, ethnicity, homelessness, age,
disability, obesity, religion, sexual orientation, or other personal characteristics.
Racial vilification - Is the term in the legislation of Australia that refers to a public act that encourages or incites others to hate
people because of their race, nationality, country of origin, colour or ethnic origin.
Racism - Is the belief that there are inherent differences in people’s traits and capacities that are entirely due to their race,
however defined, and that, as a consequence, racial discrimination (i.e. different treatment of those people, both socially and
legally) is justified.
Sculpture – Is three-dimensional artwork created by shaping or combining materials - typically stone such as marble - or
metal, glass, or wood. Softer (“plastic”) materials can also be used, such as clay, textiles, plastics, polymers and softer
metals. The term has been extended to works including sound, text and light.
Sledging - Is a term used in sport to describe the practice whereby some players seek to gain an advantage by insulting or
verbally intimidating the opposing player. The purpose is to try to weaken the opponent’s concentration, thereby causing
them to make mistakes or underperform.
Slur – Is an insulting or disparaging remark or innuendo.
Sport - Is an organized, competitive, entertaining, and skillful activity requiring commitment, strategy, and fair play, in which a
winner and loser can be defined by objective means.
Triptych – Is a work of art divided into three sections.
17
USEFUL LINKS
Andrew Johns
http://www.theroar.com.au/2010/06/13/andrew-johns-quits-nsw-over-inglis-racial-slur/
Lleyton Hewitt, James Blake
http://www.telegraph.co.uk/sport/tennis/usopen/3011926/US-Open-Crowd-chide-racist-Hewitt.html
Brydan Klein
http://www.brisbanetimes.com.au/sport/wa-tennis-star-fined-14000-for-racial-slur-20090620-crqs.html
Elley Bennett
http://www.smh.com.au/sport/boxing/the-legend-and-tragedy-of-elley-bennett-australias-first-great-boxer-20100702-zu1o.html
http://staging.aso.gov.au/titles/documentaries/fighting-blood/clip1/#
Eddie Gilbert
http://en.wikipedia.org/wiki/Eddie_Gilbert_(cricketer)
http://adb.anu.edu.au/biography/gilbert-edward-eddie-6379
Black Panther Party
http://www.blackpanther.org/
Arthur Beetson
http://en.wikipedia.org/wiki/Arthur_Beetson
http://www.theroar.com.au/2009/06/03/beetson-plays-down-gallen-slur/
proppaNOW
www.proppaNOW.com
http://www.youtube.com/watch?v=c3KWA-pDk4o
http://www.artlink.com.au/articles/3359/learning-to-be-proppa-aboriginal-artists-collecti/
KickArts Contemporary Arts
www.kickarts.org.au
Cairns Indigenous Art Fair
www.ciaf.com.au
Texts
A Race To Remember, The Peter Norman Story
Damien Johnstone and Matt Norman, JoJo Publishing; 2008
What’s the score? A survey of cultural diversity and racism in Australian sport
http://www.hreoc.gov.au/racial_discrimination/whats_the_score/pdf/introduction.pdf
Obstacle Race: Aborigines in Sport
Colin Tatz, University of New South Wales Press; 1995
18
Film
Salute is a 2008 Australian documentary film written, directed and produced by Matt Norman. It is about Norman’s uncle,
Australian track athlete Peter Norman, specifically the actions he took at the 1968 Summer Olympics in Mexico City. The film
provides an insight into and incident at the 1968 Summer Olympics which saw two United States athletes, Tommie Smith
and John Carlos, give the black power salute from the victory dais after the 200 metres final. The film focuses on the third
man on the dias, silver medal winner Peter Norman, who showed his support for Smith and Carlos by donning an “Olympic
Project for Human Rights” (OPHR) badge on his way to the podium. It was also Norman who suggested to Smith and Carlos
that they share the black gloves used in their salute, after Carlos had left his gloves in the Olympic Village. This is the reason
for Smith raising his right fist, while Carlos raised his left. Asked later about his support of Smith and Carlos’ cause by the
world’s press, Norman said he opposed his country’s government’s White Australia policy.
The film documents the subsequent reprimand of Norman by the Australian Olympic authorities, and his ostracism by the
Australian media. Despite Norman running qualifying times for both the 100m and 200m during 1971/72, the Australian
Olympic track team did not send him to the 1972 Summer Olympics in Munich. It also documents Norman’s reunion with
Smith and Carlos, shortly before his death in 2006. Distributed by Paramount Pictures.
Fighting Blood
Fighting Blood,1951. This Cinesound documentary highlights the talents of Australian fighters, including Aboriginal boxers
Alfie Clay, Elley Bennett and Dave Sands.
Length: 18 minutes. For an excerpt visit:
http://staging.aso.gov.au/titles/documentaries/fighting-blood/clip1/#
Extra
About Gordon Bennett
http://en.wikipedia.org/wiki/Gordon_Bennett_(artist)
http://www.ngv.vic.gov.au/gordonbennett/education/themes.html
About Emory Douglas
http://en.wikipedia.org/wiki/Emory_Douglas
http://www.moca.org/emorydouglas/
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