Linear Artists: Mikaela Jade

I am a Cabrogal woman of the Dharug Nation. I am connected to the Parramatta Native Institution (and the first government endorsed removal of our children in 1815) through a child called Fanny. Her daughter Lucy Leane was one of the first women to petition the Aborigine Protection Board for access rights to resources.

In my work I am focused on how I can help recover our cultural values and knowledge systems and share them with our communities.
I travel between the worlds of Indigenous belief systems, environmental science and information technologies helping to create platforms that capture the hearts and minds of our next generations.

I am concerned with the creation of opportunities for our people to become key players in the digital economy and in ways that are based on the richness of our ways of being — our stories, our pedagogical approaches and the intergenerational foundation of the passing on of those knowledges.

I use new technologies to stimulate the minds of our young ones. They see their stories being told with augmented and virtual realities, and that connects them to the world they live in but through their traditional narratives. It makes them proud and reinforces the relevance and truth of Country.

I work with these platforms to increase the opportunity for us to share the characteristics of our identity — our language, our stories, our protocols. I work with the Elders to help re-imagine the ways we look after culture. I work with these technologies to help our people connect with the tools of the future that will help us preserve the knowledge of the tools of the past.

In developing projects with partners like Microsoft and Virtual Songlines, in close consultation with the Elders and community, I create those opportunities for our people to learn and become empowered as digital custodians, establishing our autonomy and positioning as the true experts in our culture — bringing all of those worlds together with respect and building a deeper cultural understanding.
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