Protocols and Guidelines

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Abstract: The SBS charter is contained in section 6 of the Special Broadcasting Services Act 1991 (reproduced in this document). Sections include: general programming; news and current affairs; overseas news and current affairs television classification code; advertising and sponsorship; community information; political broadcasts and election coverage; and comments and complaints about SBS programming.10 The section on general programming includes codes of practice regarding their commitment to providing for a diversity of views, perspectives and backgrounds, and to actively seek to counter prejudice, racism and discrimination. Specific code regarding Indigenous Australians is outlined at 1.3.1. SBS states that they seek to promote and facilitate among all Australians an understanding of indigenous cultures, values and aspirations, and that they support the goals of reconciliation. They aim to provide programming which caters to the needs of all Indigenous Australians and deals with contemporary issues in relation to such. In regards to production and presentation, they aim to ensure that Indigenous Australians are involved, and proper sensitivity is paid to cultural traditions and values: for instance, sensitivity to the depiction of death. Program makers, producers and journalists are expected to refer to the SBS publication The Greater Perspective (1997).

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Abstract: The principles of this guide are grounded in respect for Indigenous people?s “inherent right to self-determination”, and to control and maintain their culture and heritage. The following areas are discussed comprehensively within this report:consultation, negotiation and mutual understanding: these principles should provide the foundation for research with or about Indigenous peoples. It is argued that consultation should be a two-way, ongoing process whereby mutual understanding and agreement is achieved regarding the aims, methods and outcomes of all proposed research. respect, recognition and involvement: researchers must acknowledge Indigenous knowledge systems and processes, and respect cultural property rights in relation to these. The diversity of Indigenous people must be recognized, and Indigenous researchers, individuals or communities should be involved in the process as collaborators rather than objects of research. benefits, outcomes and agreement: the use of, and access to, research results should be agreed on. The community being researched should benefit from or not be disadvantaged by the research project.

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Abstract: This Code of Practice contains a final advisory note concerning the portrayal of Aboriginal and Torres Strait Islander people (p.53). Reporters and program producers who engage with ATSI content are advised to respect the dignity, traditions, and diversity of the people, and to avoid prejudice or stereotyping in their representation. Also included are a series of guidelines regarding culturally sensitive actions: for instance, issues of representation, respect for local protocol, use of language, and casting.

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Abstract: "This practical guide is essential reading for all filmmakers shooting in Australia. Research and written by lawyer Terri Janke, Pathways & Protocols provides advice about the ethical and legal issues involved in transferring Indigenous cultural material to the screen. Whether shooting in country or city, with an Indigenous cast or not, practitioners of film, TV and digital media projects are encouraged to recognise and respect Indigenous people’s images, knowledge, stories and land in the production of audiovisual material." [From back cover]

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Abstract: The Indigenous Branch of the AFC funds programs that support projects and stories authored by Indigenous Australians. They aim to assist the career development of writers, directors and producers through the provision of: draft development investment in projects that have the potential to be realized; development and/or production Investment in targeted initiatives and on-off projects (etc); support for internships and mentorship programs; support for Indigenous practitioners to attend conferences, markets and festivals, nationally and internationally; assessment and guidance to projects with Indigenous content that are submitted to the Film Development Branch; contribute to AFC and industry policy development. This report begins with a clear introduction of how to apply for funding in terms of definitions, eligibility and general criteria. Distinct funding is allocated to documentary programs, drama programs and digital media programs, as well as additional funding for practitioner support (for instance, travel grants). Included towards the end of the report is further information regarding cultural and intellectual property rights.

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Abstract: Backing Indigenous Ability (BIA) is an $89.9 million initiative by the Australian Government to help improve communications services in remote communities. It is composed of three funded aspects: a BIA telecommunications program, a National Indigenous Television (NITV), and Indigenous Remote Radio Replacement (IRRR) program. This telecommunications program is designed to address the need for telephones, internet and videoconferencing, provide training and skills development and promote and develop Indigenous online content. The BIA television component has funding of $50 million to establish an organization which would develop, produce and aggregate Indigenous television content. This would build on existing Indigenous community television narrow cast services. NITV will initially be broadcast on Imparja?s Channel via satellite, and be run concurrent with (rather than replace) Indigenous content on community television, pay television, SBS and ABC. NITV was launched 13 July, 2007.

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Abstract: Long Black was a funding initiative that sought to invest in the development of feature-length drama projects. They aimed to encourage and support Indigenous filmmakers to work in longer formats (at least 90mins). Included among the terms of eligibility are the following restrictions: the project must have Indigenous Australians in key creative roles (minimum of writer and director), the writer or writer/director must have produced at least one short film, feature film or appropriate television drama credit, and they cannot be a student at a film school. Up to five projects will be selected for development to first draft: successful project would receive up to $20,000 for this stage. A further selection process would occur after this to select projects to be funded to the second stage.

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Abstract: The Ministry for the Arts supports the arts and cultural sector, providing advice to Government and ?advocating a meaningful role for the arts in everyday life.? This report is the product of a review into how best to fulfill the needs and aspirations of the arts sector and broader community through the yearly investment of $240 into cultural institutions, capital works and art projects. The stated priorities concern strengthening the arts and cultural environment, innovation, education and learning, and leadership. Specific references to Indigenous arts are made: in relation to the specific challenges for the arts. There is a stated desire to ?take advantage of? distinctive indigenous voices. in terms of the broader goal of strengthening the arts and cultural environment. Actions include the enhancement of Indigenous arts development in outer Metropolitan Sydney and the Illawarra (as well as in other regions), through establishing effective infrastructure support

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Abstract: The author attributes the increasing success of the Indigenous film industry in 2002[1] to the following influences: funding programs and drama initiatives of the Australian Film Commission?s Indigenous Unit; formal training at the Australian Film, Television and Radio School (AFTRS); mentorships; short courses; on-the-job training programs; and support from the ABC and SBS. While the number of strong directors and producers is increasing, the author notes that there are still areas of significant under-representation: for instance, there are comparatively few cinematographers, sound boom swingers, script editors and unit managers. It is argued that there is a need to expand Indigenous participation within all areas of the film industry, and to this end an Indigenous Film and Television Training Strategy has been launched. This initiative was developed by the AFTRS, the AFC and Indigenous Screen Australia and will determine the extent of Indigenous participation across all sectors of the film industry.

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Abstract: This paper aims to assist Indigenous visual artists by clearly outlining their various rights. It is hoped that this information will help the artist in their application processes, and equally, will encourage those organizations that commission Indigenous visual arts projects to respect the diversity of arts practice. Specific artists are considered in order to outline a general and fairly simplified guide to the issues surrounding Indigenous art practice: for instance, H J Wedge and Brenda L Croft. The majority of this guide concerns the issues of copyright for the artist, concluding with a list of references to established support structures and sources of further information.

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Abstract: This report aims to provide practical guidance for improving communication between Islanders and non-Islanders, and increasing understandings of Islander ways. The booklet includes an overview of traditional Islander society and contact history in order to provide context for dealing with specific barriers to cross-cultural communications. Accountability towards Islanders in the consultation process is emphasized, particularly in terms of their ability to negotiate the terms of the policies and programs that directly affect them

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Abstract: This report by the Department of Aboriginal and Torres Strait Islander Policy and Development was produced from the recommendations of an Aboriginal Working Party. It provides a flexible guide for individuals (particularly Government officials) who need to consult with Queensland Aboriginal individuals, groups, and/or communities. The report primarily consists of a comprehensive series of protocols for negotiations and consultations with a view to avoiding offence. An overview of early history is provided, along with a brief summary of the major issues which have developed post-contact. The official role of the Department of Aboriginal and Torres Strait Islander Policy and Development is outlined in relation to these issues.

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Abstract: This booklet sets out protocol and guidelines for the production of film and television about Aboriginal and Torres Strait Islander commuities. The report provides an overview of the general shared history, values, languages and structures of Indigenous communities. Specific guidelines are outlined for production crews entering indigenous communities: for instance, it is important to always contact the local Aboriginal Community Council (or related organization) in order to inform them of intentions and obtain the correct permissions (for instance, to enter the land). The role of the land and community councils is outlined, along with protocol regarding (for instance) editorial control, copyright issues, environmental issues, production guidelines and the associated rights of indiviauls involved. In terms of dramatic productions, guidelines are also set regarding actors, scriptwriting and the recognition and avoidance of stereotype. The guidelines put forward in this document are base don the following six (summarized) principles Program makers should be aware of and challenge teir prejudices regading indigenous people An aboriginal view of indigenous issues may differ from a non-aboriginal one Where non-indigenous people produce programs on indigenous people, they should do so in consultation with the people involved Dealings with indigenous people should be conduted openly and honestly No damage should be done to the lands or cultural property of the indigenous people involved The collection and use of information for a project should not be used against the people from whom the information comes. This guideline does not negate the need to file news reports which could be detrimental to indigenous communities, but these reports should remain culturally sensitive. The protocols are based on a code of ethics developed out of significant historical eevents. Following the Royal Commission into Aboriginal Deaths in Custody, in 1991 it was recommended that Aboriginal media organizations received adequate funding where necessary, in recognition of the importance of their functions (205.a) and that all media organizations should develop codes and policis relating to the presentation of Aboriginal issues (205b). Media organizations should support Aboriginal people in terms of providing training and employment programs, annual awards, including Aboriginal content in journalism courses, creating research units and increasing awareness of the problems related to representation in the media.

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