Abstract
From tactile paintings in sand to acrylic on board, Australian Aboriginal performative art can be thought of as also cultural heritage survival maps. This paper synthesises the two key authors' work [1; 2] that address this concept. In so doing, it sheds new light on understandings of the indexicality of the Australian Aboriginal cultural heritage survival map to form a theory of the cultural specificity of the conventions used and their role as storytelling navigation aids.