Performing arts
References
References
1 United Nations General Assembly, United
Nations Declaration on the Rights of
Indigenous Peoples, United Nations
Documents, Human Rights Council,
A/HRC/1/l/3 29 June 2006.
2 T Janke, M Frankel & Company, Our
culture: our future – Report on Australian
Indigenous cultural and intellectual
property rights, Australian Institute of
Aboriginal and Torres Strait Islander
Studies and the Aboriginal and Torres
Strait Islander Commission, Sydney, 1998.
3 W Enoch, Indigenous Theatre Director,
telephone consultation, 1 May 2002.
4 ibid.
5 T Janke, Our culture: our future, op. cit.
6 ibid.
7 ibid.
8 United Nations General Assembly, Draft
Declaration on the Rights of Indigenous
Peoples, United Nations Documents,
Human Rights Council, Resolution
2006/2.A/HRC/1/l/3 23 June 2006
9 The Mataatua Declaration was developed
at the First International Conference on the
Cultural and Intellectual Property Rights of
Indigenous Peoples, 12–18 June 1993, at
Whakatane, Aotearoa, New Zealand. A full
text of the Declaration is cited in Terri Janke,
Our culture: our future, pp306–310.
10 Mrs Erica Irene Daes, Final Report on the
Protection of the Heritage of Indigenous
Peoples, United Nations Document E/
CN.4/Sub.2/1995/26. The full text, as
adopted and elaborated on by ATSIC’s
Indigenous Reference Group, is cited in
Terri Janke, Our culture: our future, pages
273–277. See also Erica Irene Daes,
Study of the Protection of the Cultural
60
and Intellectual Property of Indigenous
Peoples, United Nations Economic
and Social Council, Geneva, 1993.
11 See the World Intellectual Property
Organisation’s website, <http://www.wipo.
int/globalissues>, and WIPO Magazine,
<www.wipo.int/wipo_magazine/en/
pdf/2002/wipo_pub_121_2002_03.pdf>,
for further information.
12 ibid.
13 World Intellectual Property Organisation,
Intergovernmental Committee on
Intellectual Property and Genetic
Resources, Traditional Knowledge and
Folklore, The protection of traditional
cultural expressions/expressions of
folklore, Draft objectives and principles,
WIPO/GRTKF/IC/10/4.
14 World Intellectual Property Organisation,
Intergovernmental Committee on
Intellectual Property and Genetic
Resources, Traditional Knowledge and
Folklore, The protection of traditional
knowledge; Draft objectives and
principles, WIPO/GRTKF/IC/10/5,
2 October 2006.
15 World Intellectual Property Organisation,
Intergovernmental Committee on
Intellectual Property and Genetic
Resources, Traditional Knowledge and
Folklore, The protection of traditional
cultural expression/expression of folklore;
Draft objectives and principles, WIPO/
GRTKF/IC/10/4, Article 3, p19.
16 Section 6, Model Law for the Protection
of Traditional Knowledge and Expressions
of Culture, South Pacific Community,
Noumea, 2002.
17 DB Rose, Nourishing Terrains, Australian
Heritage Commission, Canberra, 1996.
www.ahc.gov.au/publications/generalpubs/
nourishing/index.html#foreword
Performing arts
References
18 D Mellor & T Janke, (ed), Valuing art,
respecting culture: Protocols for working
with the Australian Indigenous visual arts
and craft sector, National Association for
the Visual Arts (NAVA), Sydney, 2001, p13.
19 D Milroy, Telephone consultation with
Robynne Quiggin, 20 January 2006.
20 S Cook, executive director, Yirra Yaakin
Noongar Theatre telephone consultation
with Robynne Quiggin, 9 November 2006.
21 J Harding, manager, Indigenous arts
program, City of Melbourne, telephone
consultation, 4 April 2002.
22 W Enoch, peer review notes, 1 May 2002
and telephone consultation with Robynne
Quiggin 28 April 2006.
23 S Cook, op. cit.
24 A Hurley, associate lecturer Queensland
University of Technology, telephone
consultation, 4 October 2006.
25 W Enoch, consultation meeting,
7 February 2002.
26 N McDonald, Kooemba Jdarra Indigenous
Performing Arts, telephone consultation,
26 March 2002.
27 K Belling, artistic director, Ilbijerri Aboriginal
and Torres Strait Islander Theatre
Co-operative, telephone consultation with
Robynne Quiggin, 6 October 2006.
28 N McDonald, op cit.
29 K Belling, op cit.
61
34 R Swain, Marrugeku Company, transcript
of discussion on dance from Awaye, ABC
Radio National, in Writing on Dance 20:
Dance comes from the land, p84.
35 P MacPhail, op cit.
36 Adapted from Wesley Enoch, peer review
notes, 29 April 2002.
37 A Hurley, op. cit.
38 J Harding, op. cit.
39 Adapted from Wesley Enoch, peer review
notes, 29 April 2002.
40 H Anu, consultation meeting,
14 August 2001.
41 R Swain, Marrugeku, op. cit.
42 P MacPhail, op. cit.
43 K Belling, op. cit.
44 H Anu, op. cit.
45 ibid.
46 K Belling, op. cit.
47 S Cook, op. cit.
48 A Hurley, op. cit.
49 N McDonald, op cit.
50 Media Entertainment and Arts Alliance,
<www.alliance.org.au/>.
51 S Cook, op. cit.
52 R Swain, op. cit,. Marrugeku ensures that
the community is paid a royalty of 3 per
cent when the show is sold.
30 P MacPhail, Yirra Yaakin Noongar Theatre,
telephone consultation, 17 May 2002.
53 P MacPhail, op. cit.
31 N McDonald, op. cit.
55 W Enoch, consultation meeting,
7 February 2002.
32 R Swain, Marrugeku Company, telephone
consultation, 4 April 2002.
33 N McDonald, op cit.
54 R Swain, op. cit.