In 2024, Reconciliation Week embraces the theme Now More Than Ever, a reminder that pursuing justice and rights for Aboriginal and Torres Strait Islander peoples is ongoing and imperative. In these challenging times, our commitment to reconciliation demands political action, amplifying the voices of Indigenous communities and confronting systemic racism head-on.
Since the 1960s, screen printing has been an affordable tool for grassroots activism, enabling groups and individuals without substantial resources to create and distribute impactful political messages en masse. This democratisation of printmaking was further facilitated by its incorporation into school curricula in the 1970s, leading to the establishment of groups and workshops that empowered marginalised communities to engage in political discourse and cultural expression.
In the 1980s, the Australian political landscape witnessed a resurgence of activism and advocacy for First Nations rights and issues, marking a significant turning point in the representation of Indigenous Australians in mainstream discourse. Several notable protests and campaigns emerged, interrogating land rights, sovereignty and self-determination, including the 1982 Commonwealth Games Protests in Brisbane and the 1988 Bicentennial Protests.
In this display of posters from the period, diverse voices converge to articulate the complexities of Indigenous experiences, resistance, and advocacy in the face of colonial oppression. Recognising Indigenous victories and cultural milestones, Ray Young’s This Place We People chronicles the Tiwi people’s triumph over British attempts to establish a fort on Melville Island in 1824, Jalak Graphics’ Nyuntu Anangu maruku ngurangka ngaranyi commemorates Uluru’s return to its traditional owners, and Harold Thomas marks two decades of the Aboriginal flag. Alice Hinton-Bateup battles colonial misconceptions with We Have Survived, created amidst the Bicentennial celebrations commemorating Cook’s landing.
Advocating for further change are Avril Quaill’s Trespassers Keep Out!, challenging colonial notions of land ownership, Graphix Garage’s Lost Heritage, poignantly depicting the erosion of Indigenous cultural heritage and the ongoing struggle for cultural revitalisation, and Bloody Good Graffix’s Get the Message…: Aboriginal Interpreter Service, campaigning for effective communication and emphasising the significance of linguistic and cultural diversity in Indigenous communities.
These works offer a glimpse into the Political Poster Collection at Flinders University Museum of Art (FUMA), serving as a repository of historical documentation and artistic expression. FUMA’s collection chronicles pivotal moments in Australia’s political landscape, capturing the essence of activism and advocacy across campaigns for human rights, social justice and global equity.
To explore more of FUMA’s political poster collection visit our current exhibition. Running from Monday 6 May to Monday 26 August, it summons the energy, passion, and revolutionary ambitions of a counterculture active at Flinders University through the 1970s.
