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This paper discusses cultural transmission from Britain to Australia by demonstrating its importance in music. As in other art forms, it was not simply a matter of replication. English cultural forms themselves took on different meanings in Australia, while British hegemony was in no way uncontested. An example of full indigenisation is given in a discussion of Deborah Cheetham's opera, Pecan Summer. Discussion then shifts to the cultural challenges facing classical music in Australia today, the argument being that whereas once cultural transmission was horizontal-outward from England-now it could be said to be vertical, within Australia, from one generation to the next. The role of institutions has become crucial; the current funding debate between 'elitist' and community arts is also given due attention. The paper concludes by stating that whatever the case in the past, the problem of creating a national culture in music-or in anything else-has been largely negated by the rise of globalism. [ABSTRACT FROM AUTHOR]

This article examines data from two different studies concerning issues of social justice, gender and schooling and specifically the practices of secondary teachers, 'Mr B', a teacher from a school in Tasmania, Australia, and 'Mr C', a teacher from a school in Bedfordshire in the United Kingdom. Both teachers' practices and relationships with students are analysed within a feminist interpretation of the Productive Pedagogies model of quality teaching and learning. The two different stories are presented as juxtapositions that serve to illuminate the capacities of pedagogy to, on the one hand, work in ways likely to re-inscribe the discourses of entitlement and privilege that perpetuate cultural gender injustice, and on the other, transform these discourses towards more equitable and just networks of multiple and intersecting differences. [ABSTRACT FROM AUTHOR]

From the earliest British colonization of Australia, draughtsmen and watercolourists were eager to depict their new home. A demand for paintings in the more permanent and prestigious medium of oil was met by many of these first artists, even though most were not trained in this medium. In the first 40 years, artists often depended on personal patrons and friends in Britain for the supply of painting materials. The problems of shortages led to some improvisation and substitution of materials. By the 1830s the number of professionally trained British artists who had emigrated to Australia had increased, and the supply of artists' materials had also become more reliable. This early period, greatly dependent on irregular supplies from England, was followed by rapid commercial development of the colonies and faster shipping which ensured that new materials and techniques from England quickly appeared in the Australian colonies. [ABSTRACT FROM AUTHOR]