Published in 2008, Slavoj Žižek’s Violence: Six Sideways Reflections provides critical insight into the structures of power which dictate our perception and comprehension of violence in society. In particular, Žižek’s conception of the distinction between the subjective and objective modes of perceiving violence is particularly illuminating. This paper utilizes Žižek’s distinction to recontextualize and reframe a classic of Australian theatre, David Williamson’s The Removalists. [i] This approach puts Žižek’s seminal work on violence to task, teases out new meanings (...) from Williamson’s text, and most broadly, explores new methods for understanding the playing out of violence on stage. (shrink)

Over the past 30 years, the Australian state of Victoria has made numerous reforms to a set of jury directions purporting to address concerns that rape trials do not adequately respond to the reality of sexual offending in the community. Building on work identifying the predominant narratives mobilised in rape trials, in this article we consider whether the way in which a jury consumes information during a trial explains why the jury directions, positioned and utilised as they are, appear (...) to have been inadequate to the task of enabling juries to re-imagine evidence through alternative narrative frameworks. (shrink)

This book, the first of its kind, surveys the career of the renowned Australian-German theatre and opera director Barrie Kosky. Its nine chapters provide multidisciplinary analyses of Barrie Kosky’s working practices and stage productions, from the beginning of his career in Melbourne to his current roles as Head of the Komische Oper Berlin and as a guest director in international demand. Specialists in theatre studies, opera studies, musical theatre studies, aesthetics, and arts administration offer in-depth accounts (...) of Kosky’s unusually wide-ranging engagements with the performing arts – as a director of spoken theatre, operas, musicals, operettas, as an adaptor, a performer, a writer, and an arts manager. Further, this book includes contributions from theatre practitioners with first-hand experience of collaborating with Kosky in the 1990s, who draw on interviews with members of Gilgul, Australia’s first Jewish theatre company, to document this formative period in Kosky’s career. The book investigates the ways in which Kosky has created transnational theatres, through introducing European themes and theatre techniques to his Australian work or through bringing fresh voices to the national dialogue in Germany’s theatre landscape. An appendix contains a timeline and guide to Kosky’s productions to date. (shrink)

In early 2020, as the first of many COVID lockdowns began across Australia, a collective of feminist and queer performance scholars and artists embarked on the research project Staging Australian Women’s Lives: Theatre, Feminism and Socially Engaged Art. Our aim was to document contributions of womxn theatre makers, while conducting a feminist analysis of strategies used to deal with gender inequality and oppression, on stage and off. While pivoting to the digital and the virtual, we recognised a (...) need to support womxn theatre makers whose lives and livelihoods are thrown into further precarity by the pandemic. This paper speaks to our commitment to bringing together critical theory, arts practices and everyday life in ethical forms and encounters that make visible, recognise and express care for one another and for the work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:September 27, 2008 (1:09 pm) G:\WPData\TYPE2801\russell 28,1 048RED.wpd 76 Reviews REAPPRAISING GILBERT MURRAY Louis Greenspan Religious Studies / McMaster U. Hamilton, on, Canada l8s 4k1 [email protected] ChristopherStray,ed.GilbertMurrayReassessed: Hellenism, Theatre, and International Politics. Oxford: Oxford U. P., 2007. Pp. xii, 400. £65; £27.50 (pb). Cdn. $156 (hb). us$55 (pb). isbn 978-0-19-920879-1 (hb). For much of the Wrst half of the twentieth century Gilbert Murray was a leading Wgure in (...) British academia, in British theatre, on the British and American lecture circuits and even in British politics. He was admired by the community of scholars as Regius Professor of Greek at Oxford, the most prestigious position in classical scholarship in the English-speaking world. He was also esteemed by a wider reading public as the champion of a magisterial liberalism rooted in classical Greek culture. Finally he was respected by the world at large as a liberal activist who, during World War 1, wrote well-argued pamphlets in support of the war and who later became co-chairman of the League of Nations Union, an organization that in the ’20s and ’30s attracted 400,000 members. Among his companions were George Bernard Shaw and Bertrand Russell, both of whom remained his friends for life. As chief editor of the Home University Library he commissioned Russell’s The Problems of Philosophyz, which is still unsurpassed as an introduction to this subject. Today he is forgotten. Younger classical scholars would endorse the statement by Fowler (quoted in this volume): “in spite of his great fame when he was alive, he might never have written, so far as most scholars are concerned today” (p. 58). His role as the public intellectual who connected modern liberalism with Hellenism has been taken over by the followers of Leo Strauss who view this connection rather diTerently than Murray did. As for his liberal activism, when he died in 1957 Murray was regarded aTectionately as a noble ghost of Victorian liberalism past, whose passionate advocacy of the League of Nations was seen as well meaning and futile as the organization he had championed. In the ’60s and ’70s his words and deeds were swept away in the tides of anti-liberal fervour that inspired the newly emerging leftist revolutionaries and neo-conservatives. At Wrst perusal Gilbert Murray Reassessed zhas the format of festschrifts and other scholarly reviews of the accomplishments of a particular writer. There are articles on every aspect of Murray’s activities: his translations of Greek drama, his critical editions of Euripides, his views of Hellenism, his post-World War 1 September 27, 2008 (1:09 pm) G:\WPData\TYPE2801\russell 28,1 048RED.wpd Reviews 77 internationalism and even his lectures on the bbc, all by specialists in these topics. But this volume is more than a summing up of Murray’s contributions to scholarship. The aim of the volume is to revive Murray the public intellectual, a voice of liberalism that deserves a new hearing. The book could have been entitled Gilbert Murray Retrieved for Our Timesz: a contribution to the struggle to Wnd a liberalism that addresses the anti-liberal, anti-intellectual forces that threaten us today. In this spirit the volume is dedicated to those who died in the London terrorist attack of July 2005. The volume opens with two sets of memoirs, one by Murray’s grandchildren Ann Pauladan and Alexander Murray, the other Francis West’s account of Murray ’s reXections on an Australian childhood. The memoirs of his grandchildren, aTectionate and charming, seem less interested in refashioning Gilbert Murray for our time. They still portray Murray as one who inhabited a world that is no more, the proponent of a liberalism that was naively optimistic and top heavy with reason at the expense of the emotions. Murray’s optimism is evident in their anecdote about an encounter between Murray and Sir Edward Grey, during a summer walk in 1914. Murray opened the conversation by scoUng at rumours of impending war in Europe, for him impossible between civilized powers. Grey closed it by assuring him that war was certain, thus causing the speechless and horriWed Murray... (shrink)

Obituaries represent a prominent way of expressing the human universal of grief. According to philosophers, obituaries are a ritualized way of evaluating both individuals who have passed away and the communities that helped to shape them. The basic idea is that you can tell what it takes to count as a good person of a particular type in a particular community by seeing how persons of that type are described and celebrated in their obituaries. Obituaries of those killed in conflict, (...) in particular, are rich repositories of communal values, as they reflect the values and virtues that are admired and respected in individuals who are considered to be heroes in their communities. In this paper, we use natural language processing techniques to map the patterns of values and virtues attributed to Australian military personnel who were killed in action during World War I and World War II. Doing so reveals several clusters of values and virtues that tend to be attributed together. In addition, we use named entity recognition and geotagging the track the movements of these soldiers to various theatres of the wars, including North Africa, Europe, and the Pacific. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 119-131 [Access article in PDF] New Stages: Challenges for Teaching the Aesthetics of Drama Online Michael Anderson Introduction The history of drama education can be read as a series of arguments over dichotomies: process and product, theatre and classroom, artist and teacher, and so forth.1 One of the more recent discussions has focused on technology versus live classroom drama.2 At the (...) heart of these discussions is an attempt to define the aesthetic dimensions of the subject. In one sense, these are fruitful discussions to have as they reflect the dynamism of a live art form in schools. There seems, however, to be a tendency for these debates to entrench themselves into ideological positions. In this paper, I would like to promote the idea that we do not have to develop oppositions or dichotomies before finding that the middle ground provides the richest experiences for drama students. I would like to propose that we see these emerging technologies as providing yet other (albeit different) stages upon which the drama aesthetic can be played.3 Aesthetics and Drama Education Drama education has had an uneasy and often contentious relationship with discussions around aesthetics. Often the drama education community has split along two lines—those who value process and those who value product.4 Work by drama educators such as Judith McLean has demonstrated the centrality of the understanding of the aesthetic and the importance of putting an aesthetic understanding at the center of teaching and learning in drama.5 Her development of an Aesthetic Framework provides teachers with an approach for understanding the position of aesthetics within drama teaching and learning that bypasses the fruitless dichotomies [End Page 119] of process versus product. As most now agree, the drama classroom has a place for both process and product.6 In both, we can find important aesthetic features of drama education. The Challenge of Emerging Technologies and Drama Education Having weathered the dichotomies of the past, there are now fresh challenges to the understanding of drama and aesthetics. The prevalence of and pressure for integration of new technologies in the drama classroom are also challenging drama educators to incorporate technology within the drama aesthetic. The ubiquity of technology that relates to drama education is facing teachers with serious challenges to engage with a dramatic aesthetic in classrooms. Perhaps the most stunning challenge is the exposure and experience twenty-first-century children have to rapidly changing technologies. As Morris explains, students are exposed to more drama in settings other than classrooms and theatres: For most Australian children, experience of drama is less likely to be through live performance than through screen-based media such as television, film, videos, video games, CD-ROM, DVD-ROM and interactive web-based games. And their experience of live performance is most likely to be shaped by the use of technology for design elements such as set, lighting and sound.7This is a compelling and imminent challenge. If drama educators cannot or will not find ways to work with technology, students will find other places to express their creativity outside the drama classroom. Added to the pressure from students who have grown up with these technologies, there is increasing pressure from curriculum developers and school systems to integrate technology into teaching. Aesthetics, Technology, and Curriculum: An Evolving Relationship All authorities and educational policy bodies in Australia are mandating integration of Information and Communications Technology (ICT) into drama curriculum. Recently, the New South Wales (NSW) Board of Studies mandated ICT as an area of "cross curriculum content," necessitating its inclusion in all Years 7-10 syllabi (which include all of the arts).8 For instance, the Year 7-10 drama syllabus states "... teachers should allow students the opportunity to explore different information communication technologies in their class work."9Recent studies have demonstrated mixed rates of participation and enthusiasm for the introduction of ICT in Australia and internationally. In the Australian study, half the respondents surveyed were not using ICT of any kind in their drama education.10 A... (shrink)

This article relates two forms of political and cultural marginality and emancipation to a third one, which, in traditional patriarchal cultures, is the embodiment of marginality par excellence: that of the female self. It explores their similar positioning in the spatial and temporal economy of power relations in a detailed analysis of Irina Grigorescu Pana's novel Melbourne Sundays, a fictionallyrical account of the Romanian author's 11-year exile in Australia, read as a narrative counterpart of her critical approach to exile in (...) The Tomis Complex: Exile and Eros in Australian Literature. These two works describe an experience happening at the intersection between the author's national background – that of Romania – and the postcolonial one of her country of adoption – Australia – as they become relevant from her personal and professional experience as a woman writer. Exile is thus reflected in language, being spatially constructed by means of metaphors such as book, theatre, carnival, garden, which are also relevant for the process of identity formation. The argument mainly relies on Kristeva's theories, an approach motivated by Pana's own choice of the Kristevan discourse of love/hate in relation to the theme of exile in her fictional and critical works, since, as she remarks, exiles and lovers share a marginal, though at the same time essential, position in postcolonial cultures. (shrink)

Machine generated contents note: -- List of IllustrationsAcknowledgementsIntroductionImmanent authorship: From the Living Theatre to Cage and Goat IslandDisorganizing language, voicing minority: From Artaud to Carmelo Bene, Robert Wilson & Georges LavaudantImmanent imitations, animal affects: From Hijikata Tatsumi to Marcus CoatesPaying attention, participating in the whole: Allan Kaprow alongside Lygia ClarkEthical durations, opening to other times: Returning to Goat Island with WilsonIn-Conclusion: What 'good' is immanent theatre? Immanence as an ethico-aesthetic valueCodaBibliographyIndex.

Identifying sporting talent remains a difficult task due to the complex nature of sport. Technical skill assessments are used throughout the talent pathway to monitor athletes in an attempt to more effectively predict future performance. These assessments however, largely focus on the isolated execution of key skills devoid of any game context. When assessments are representative of match-play and applied in a setting where all four components of competition (i.e., technical, tactical, physiological and psychological) are assessed within an integrated approach, (...) prediction of talent is more likely to be successful. This article explores the current talent identification technical skill assessments, with a particular focus on Australian Football, and proposes a 5-level performance assessment model for athlete assessment. The model separates technical game skill on a continuum from Level-1 (i.e., laboratory analysis) to Level-5 (i.e., match-play). These levels, using the assumptions of the expert performance model and representative learning design theory, incorporate a step-wise progression of performance demands to more closely represent match-play conditions. The proposed model will provide researchers and practitioners with a structured framework to consider when assessing, or developing, new assessments of technical game-based skill. (shrink)

I should like to begin this paper by thanking Anik Waldow for drawing my attention to a debate between Jean Jacques Rousseau and the philosophes about the proposal to build a theatre in Geneva, wit...

This chapter examines the relevance of Gilles Deleuze's work for the works of Italian director Carmelo Bene. It argues that Deleuze's One Less Manifesto conceived the theatre of continuous variation, particularly Bene's theatre, as one that is initiated and sustained by subtraction. It also questions the compatibility of Deleuze's vitalist concept of subtraction with Bene's own concept of the subtractive.

In light of the growing need to pay attention to general public opinions and sentiments toward AI, this paper examines the levels of understandings amongst the Australian public toward the increased societal use of AI technologies. Drawing on a nationally representative survey of 2019 adults across Australia, the paper examines how aware people consider themselves to be of recent developments in AI; variations in popular conceptions of what AI is; and the extent to which levels of support for AI (...) are liable to alter with additional exposure to information about AI. While a majority of respondents consider themselves to have little knowledge and familiarity with the topic of AI, the survey nevertheless finds considerable range of relatively ‘plausible’ basic understandings of what AI is. Significantly, repeated questioning highlights a willingness among many people to reassess their opinions once having received further information about AI, and being asked to think through issues relating to AI and society. These patterns remain relatively consistent, regardless of respondents’ political orientation, income, social class and other demographic characteristics. As such, the paper concludes by considering how these findings provide support for the development of public education efforts to further enhance what might be termed ‘public understanding of AI’. (shrink)

_Stranger Cities_ explores the nature of Australia’s distinctive urban civilization with its portal ontology, axial metaphysics, ambidextrous style of thinking, architectonic spirit, and happy phlegmatic outlook. This classic ethos is offset by various choleric and melancholic strands of Australian romanticism.

This paper explores the power of theatre to engage the public and my personal journey using theatre as a research tool in reproductive science. I argue that the capacity of theatre to simultaneously engage the minds and hearts of audience members qua research participants affords audience members the capacity to provide researchers with insightful comments informed by the scientific, social and tacit knowledge derived from the performance, integrated with their lived experience. Theatre is a particularly important (...) research strategy when investigating public understandings and desires about complex issues such as those related to reproductive and genetic science. (shrink)

There is currently little empirical information about attitudes towards cognitive enhancement - the use of pharmaceutical drugs to enhance normal brain functioning. It is claimed this behaviour most commonly occurs in students to aid studying. We undertook a qualitative assessment of attitudes towards cognitive enhancement by conducting 19 semi-structured interviews with Australian university students. Most students considered cognitive enhancement to be unacceptable, in part because they believed it to be unethical but there was a lack of consensus on whether (...) it was similar or different to steroid use in sport. There was support for awareness campaigns and monitoring of cognitive enhancement use of pharmaceutical drugs. An understanding of student attitudes towards cognitive enhancement is important in formulating future policy. (shrink)

This book outlines the realist and pluralist philosophy of John Anderson, Australia's most original thinker. His teaching at Sydney University and his arti6es have deeply influenced Australian intellectual life. Several main themes run through his work, but Anderson never gave an overall account of his views. This is remedied here: exhibiting the range of Anderson's thought from logic, epistemology and theory of mind, to language and social theory, this volume sketches realism as a systematic philosophical position, while showing something (...) of the history of ideas in Australia. (shrink)

History of women philosophers in Australia delivered as part of a series of of lectures on many aspects of philosophy in Australia.

It is a truism that the relationships between literature and visual entertainment are multiple, complex and variable, especially if we consider literature in the broad sense and keep in mind the enormous variety in the forms of spectacle. Actually, several dangers lie in wait for the one who, on the comparative level, deals with the problem of the relationships between a literary work and a work intended to be viewed as visual entertainment.

The London‐based Oily Cart theatre company aims to produce shows that are suitable forallyoung people. This paper closely examines one of their productions,Splish Splash, which was developed for children with profound and multiple learning difficulties. The paper's central purpose is to understand the value of this type of theatrical experience for these children. It argues that Winnicott's conception of play, and his account of the conditions that enable the capacity for play to unfold, provide a persuasive theoretical framework that (...) makes sense of Oily Cart's achievement. Winnicott's framework can integrate the views expressed (in interviews) by adults who were involved with or observed the show; arguably it is also corroborated by more recent infant research. (shrink)

Swami Satyananda Saraswati visited Australia several times from 1968 to 1984 and under his care and guidance the gift of yoga and spiritual life blossomed in the hearts and minds of the Australian people. This pictorial offers a glimpse into Sri Swaniji's Australian journeys, and includes a selection of his finest satsangs of that era.

En focalisant notre attention sur l'atelier comme lieu de formation des improvisateurs et improvisatrices de théâtre, cet article vise à réintroduire le Théâtre d'Improvisation dans le processus d'apprentissage qui l'accompagne. Dirigé par un·e chef·fe d'atelier chargé·e de la gestion des exercices, des consignes ainsi que des retours, l'atelier se construit comme un jeu interactionnel et discursif visant à transmettre des compétences à improviser. Ce processus suppose des modalités d'ajustements collectifs et de compréhension mutuelle entre les comédien·ne·s qui s'exercent et le·la (...) chef·fe d'atelier qui prend le rôle de conseiller·ère, d'évaluateur·rice et d'enseignant·e. En ce sens, le travail d'atelier relève d'une dynamique particulière en tant que performance avant la performance publique, impliquant d'élargir la notion d'exercice à ses débordements interactionnels. Au sein de ce cadre pédagogique, le retour, moment d'échanges en aval de l'exercice, devient un phénomène primordial. S'il recouvre différentes fonctions telles que l'évaluation, la critique ou le conseil, le retour offre aussi la possibilité de déréférencer le propos de l'exercice en question pour traiter du Théâtre d'Improvisation comme pratique. Le retour dans sa dimension épisémiotique permet dès lors de saisir le passage de l'exercice, comme phénomène éphémère et localisé à la pratique du Théâtre d'Improvisation, comme discipline stabilisée et collective. (shrink)

This book provides both a historical analysis of the philosophical problem of individuation, and a new trajectory in its treatment. Drawing on the work of Gilles Deleuze, as well as C.S. Peirce and the lesser-known Gilbert Simondon, Alberto Toscano takes the problem of individuation, as reconfigured by Kant and Nietzsche, into the realm of modernity, providing a unique and vibrant contribution to contemporary debates in European philosophy.

It is the thesis of the paper that the arts of the twentieth century have gone much further in the criticism of customary modes of thought than have both the sciences and the various critical philosophies which exist today. Moreover, they have not only developed an abstract principle of criticism, they have also studied the psychological conditions under which criticism can be expected to become effective. Some plays and the theoretical essays of Ionesco are analysed as an example. It is (...) pointed out that Ionesco resembles Bacon in that he believes in an unchangeable basis of humanity from which all ideologies proceed. An attempt is made to free Ionesco from these dogmatic elements, theoretically, as well as practically (i.e. as regards the performance of his plays) and to utilize to the full his contributions to a theatre that is free of prejudice, and fully critical. (shrink)

In the context of the blurring of boundaries between club and theatre, game and theatre, and party and theatre, experiential spectatorship is spilling into the mainstream. This article starts from the recognition of the rapid rise of the experience economy as a turning point in consumer culture towards a specific appeal to the sensory body. The definition of experience in this analysis is key and a distinction is made between experience as it passes moment by moment, erlebnis, (...) and experience as something that is cumulatively built up over time, erfahrung. This paper asks, in a society defined by the crisis of experience, does this rise of the experiential in theatre simply reflect the reduction of experience to a series of consumable sensory moments or is there a mode of experience modelled through performance interaction which moves both beyond this established mode of experience and also beyond the notion of experience as cumulatively formed wisdom? Drawing a parallel between established popular cultural practices of the body and those of the spectator in spectacular promenade performance, Fuerzabruta is used as an illustrative example of popular experiential performance and Hwang’s The Road as an example of experiential performance in which a transformative aesthetic is made possible. (shrink)

The subject of intercultural exchange is complex and demands that we keep the basic issues that shape our views of the world in mind. And one of these basic issues is what we mean by “European identity.” The ideological concerns over the norms of identity became necessarily entangled in the post-1989 interests and agendas of Europe’s various nations. So the great challenge for us as academics as well as for the policymakers in Brussels and Strasburg is to focus on these (...) dialectics. European identity is too varied to be a unitary and homogenous thing; indeed, one of the battles within it is between the advocates of a unitary identity and those who see the whole as a complex that is irreducible to a unified identity. In this article I explore how the theatre, in the aftermath of the Second World War, served as a laboratory for the investigation, analysis, and constuction of dramatic models that became a means of transcultural communication. As attested by the continuing success of the experimental approaches of Brecht, Grotowski, La Mama, and Suzuki, this endeavour reflected the struggle of people from different cultural backgrounds to understand and accept each other. One of the reasons the theatre continues to have the potentiality to promote transcultural integration is that it deals in concrete particulars with universal resonances. As I will demonstrate with examples from my own work in various countries, the production and directing of plays by these and other dramatists shows that it is only in the performance—by transforming the familiar into the unfamiliar, by making the habitual and customary seem strange and unexpected—that the motives, relationships, and events enclosed in the written play are released so as to stimulate the audience to re-examine their own contemporary realities. Transcultural theatre thus creates dramatic experiences that are adequate and responsive to the changing world of migration and mobility in which both practitioners and audiences actually live. As such it offers the kind of transcultural education that promotes communication and understanding and that fosters an open-eyed and open-hearted attitude to the changing realities of Europe. (shrink)

A Professor of Medical Ethics and a theatre director, also mother and daughter, talk about health, illness, suffering, performance and practice. Using the lenses of ethical and performance theory, they explore what it means to be a patient, a spectator and a practitioner and cover many plays, texts and productions: Samuel Beckett’s Not I and All That Fall, Sarah Kane’s Crave, Tim Crouch’s An Oak Tree, Enda Walsh’s Ballyturk, Annie Ryan’s adaptation of Eimear McBride’s novel A Girl Is a (...) Half-Formed Thing, Duncan MacMillan’s People, Place and Things and Henrik Ibsen’s Hedda Gabler. These were selected because first we have seen, studied or worked with each and they have continued to inspire us. Second, they offer rich and revealing insights into the ways in which meaning is/are both negotiated and contested in relation to health and illness. It is the iterative negotiation of meaning that, it is argued, is the essence of narrative practice, be it in medicine or in the theatre. The difference and divergence of perception, response and interpretation to dramatic performance can test relationships, be they professional, creative or familial. Yet, the capacity to understand, and embrace, disagreement and uncertainty is vital; fundamental to a flourishing life. For it is by recognising our part in creating narratives, broken and otherwise, that we can begin to recognise the necessary interactionism and humanity of both medicine and theatre. (shrink)

From oral culture, through the advent of literacy, to the introduction of printing, to the development of electronic media, communication structures have radically altered culture in profound ways. As the first book to take a critical realist approach to culture, Theatre, Communication, Critical Realism examines theatre and its history through the interaction of society’s structures, agents, and discourses. Tobin Nellhaus shows that communication structure—a culture’s use and development of speech, handwriting, printing, and electronics—explains much about why, when, and (...) how theatre has transformed. (shrink)

Theatre & the Visual argues that theatre studies' preoccupation with problems arising from textual analysis has compromised a fuller, political consideration of the visual. Johnson examines the spectator's role in the theatre, exploring pleasure, difficulty and spectacle, to consider the implications for visual experience in the theatre.

Dynamic Consent is both a model and a specific web-based tool that enables clear, granular communication and recording of participant consent choices over time. The DC model enables individuals to know and to decide how personal research information is being used and provides a way in which to exercise legal rights provided in privacy and data protection law. The DC tool is flexible and responsive, enabling legal and ethical requirements in research data sharing to be met and for online health (...) information to be maintained. DC has been used in rare diseases and genomics, to enable people to control and express their preferences regarding their own data. However, DC has never been explored in relationship to historical collections of bioscientific and genetic heritage or to contexts involving Aboriginal and Torres Strait Islander people.In response to the growing interest by First Peoples throughout Australia in genetic and genomic research, and the increasing number of invitations from researchers to participate in community health and wellbeing projects, this article examines the legal and ethical attributes and challenges of DC in these contexts. It also explores opportunities for including First Peoples' cultural perspectives, governance, and leadership as a method for defining DC on cultural terms that engage best practice research and data analysis as well as respect for meaningful and longitudinal individual and family participation. (shrink)

INTRODUCTION Is the theatre good? A reply is likely to come back: 'That is not the point, the question is what does it mean?' But here I want to reassert ...