Author of case study: Marcela Torres Molano
Geopolitical location of space:
19 Dimboola Rd
Broadmeadows, Victoria
Australia
Extant? Yes
In use as a museum since 2002.
The Broadmeadows Koori Court follows the Victorian Koori County model (alternative Indigenous justice practice). In a Koori Court everyone sits around an oval table to encourage direct communication. The Elders and Respected Persons have their say. This is done to create a less threatening environment.
The Koori Indigenous model is used in this space. It is one of Australia’s alternative justice systems for Indigenous people. It is considered to be under the Restorative Justice concept. Reparation of harm and more active involvement of victims in the process are among their goals.
The Broadmeadows Koori Court is part of an alternative justice system for Koori people. The Koori system was set up because of the large numbers of Koori people in the criminal justice system. The aim is to create a more culturally appropriate justice process that involves Elders and other Respected Persons from the community.
Yes, the arrangement of the space is designed for safe listening, a more informal and less threatening environment.
Two type of audiences:
1. The Children’s Koori Court is for young offenders who:
2. Broadmeadows Koori Court is for adults offenders who:
Broadmeadows Koori Court is a public court of the Victoria State.
1. Children’s Koori Court:
Architect: Ireland Brown Constructions (IBC)
Client: Department of Justice, Victoria
Area: approximately 1400m2 (two levels)
Completed: 2015
The new Children’s Koori Court was an extension of the main Magistrates court building. It involved the construction of an adjacent new court house with 2 courtrooms, meeting rooms, office space, and a new combined entry foyer for the Magistrates and Children’s Court.
The design included:
The building included glazed brickwork, bluestone paving and cladding, polished precast panels, glazing and timber paneling.
2. Adults Koori Court in Broadmeadows:
“Remodelled courtroom with an oval table, 3 flags (Australian, Aboriginal and Torres Strait Islander), Indigenous paintings and noticeboard” (Australian Institute of Criminology, 2004).
The Koori Court is a culturally appropriate, sensitive space for Koori justice. The room includes Aboriginal art elements on the walls and the table. One of the main elements for Koori justice procedures is having an oval bar table at the centre of the space that allows direct communication and the “circle sentencing” method.
For this specific space, a special table was constructed in 2018, using recycled yellow stringybark, and a boomerang shape featured in its centre.The Koori courtroom follows the Nunga Court model — oval table, Aboriginal and Torres Strait Islander art and symbols, one or two Elders accompanying the Magistrate — rather than the Circle Court model, which is usually held in a venue of cultural significance, and usually involving victims (Youth Koori Court Review, 2005).
Family, friends and service providers who know the young person, researchers, journalists, Department of Justice staff, and other observers might sit at the back of the courtroom. These seats might also be occupied by prison escorts for people who are in custody (Youth Koori Court Review, 2005).
Male offenders account for around three quarters of all the accused (77%).
The stakeholders involved in this alternative justice system are:
Koori courtrooms are working for inclusion and access for Aboriginal community court processes. The Koori system first began in 2002, in the Victorian Magistrates Court. It was developed in consultation with Aboriginal communities as a response to the first Royal Commission into Aboriginal deaths in custody.
These courts ensure offenders are sentenced in more culturally appropriate spaces, and allow them to discuss the underlying issues that contributed to their behaviour. “The courts allow offenders to have a say, better engage with the process and reduce those feelings of alienation and intimidation experienced by many Koori offenders, especially young people” (Geelong Advertiser, 2016).
Aboriginal Elders and Respected Persons play a prominent role in the court process, providing cultural advice to the Magistrate. The Magistrate still sentences the offender in accordance with the same requirements that apply in mainstream courts. The Koori courts in Victoria state employ 80 Elders and Respected Persons, and 16 full-time and part-time staff.
The Youth Koori Court space:
The Children’s Koori Court is a section of the Children’s Court for young Aboriginal people who have been charged with a criminal offence and must be willing to go to court and talk openly about their behaviour. The person must not be charged with a sexual offence. The Children’s Koori Court is based on the principles of respect and responsibility.
The Koori courtroom is rearranged for Youth Koori Court meetings with all participants seated around the oval table. Paintings on permanent loan to the Youth Koori Court by young Aboriginal and Torres Strait Island artists are hung on the walls. These are set up and de-installed by court officers or the Aboriginal Liaison Officer.
“At the start of a session, the police prosecutor, the young person, the young person’s legal supports, their family and/or community supports, and service providers wait around the oval table. Youth Koori Court is called into order and the participants all stand as the Magistrate and the Youth Koori Court Elders walk in and cross the courtroom to stand behind their own chairs at the bar table. The participants bow and they all take their seats” (Children’s Court of Victoria).
is Professor of Art History at Concordia University. She is an artist and scholar, whose research and creation emphasize living memories and situated knowledge of the city, especially women’s knowledge. Her most recent solo exhibition, ‘Les Jardins des femmes’, was held at the School of Architecture of McGill University in June 2019. This exhibition centred around St. Margaret’s Home (Montreal), which for almost a century was a home to older women. Cynthia is presently leading two federally-funded research grants: “La ville extraordinaire: Learning from older Montrealers’ urban knowledge through oral history research-creation” is a three-year Partnership Development Grant project that aims to learn about diverse older Montrealers’ spatial memories and urban knowledge. Core members Shauna Janssen and Eric Craven are co-applicants on this project, and many COHDS students are leading the interviews with different communities. The Centre des mémoires Montréalais.es will host an exhibition about this work in 2024. “The Spaces of Restorative and Transitional Justice” is a two-year Insight Development Grant that explores the ways in which design and spatial questions can support or hinder alternative justice activities. This project was inspired by core member, Luis Sotelo Castro’s own research on restorative and transitional justice. He is a co-applicant alongside McGill professor, Ipek Türeli. Through this project we have amassed 35 interviews and 50 case studies, which can be viewed here. Cynthia’s research can be accessed here, and her artistic work can be found here.
She is a Colombian human rights lawyer and doctor in Sociology at Oxford. She worked for almost a decade with Amnesty International as a researcher on the Situation of Human Rights Defenders in the Americas.
Her research focuses on the impact of social movement organizations led by Indigenous women on the practice of corporate actors involved in mega-projects in the Americas.
Nancy received the Best Human Rights Dissertation Award from the International Studies Association (ISA) for her Ph.D. thesis: “Indigenous Women Leading the Defense of Human Rights from the Abuses by Mega-Projects in Latin America, in the Face of Extreme Violence” (2020).
is an artist, writer and social practice facilitator dedicated to dialogical arts practices, archiving as cultural activism, and public interventions for political engagement. She has facilitated durational multi-stakeholder arts activist projects with the Immigrant Workers Centre in Montreal, the Politics & Care project, and the tactical media Living Archives with the collective PreOccupations. Her performance interventions have been seen in theatres, warehouses, artist-run centres, street demos, and outdoor landscapes across the Americas. She currently teaches in the departments of Theatre and School of Community and Public Affairs at Concordia.
Her PhD in Humanities supports her ongoing research-creation in migrant justice in social arts practices, with considerations for performance in conflict zones, critical curatorial strategies and trauma in social movements. Koby continues building on her multi-year relationships with im/migrant worker-led campaigns, arts activism and migrant justice organisers across the continent. She integrates this with her commitment to radical mothering, collective care practices, and community liberatory projects.
is a curator, arts administrator, and researcher working and learning as a guest in Tiohtià:ke/ Mooniyang/ Montreal. She is currently an MA student in the Art History department at Concordia University. Her thesis research asks how contemporary curatorial practices may participate in cross-community coalition building, through ecologically-oriented public art engagements. Megan’s curatorial research and practices are concerned with decolonial and queer methodologies, hospitality, critical geographies, diaspora studies, and land-based research approaches. She has previously held positions with Primary Colours/Couleurs primaires, Open Space, and Oxygen Art Centre. Megan has also worked extensively in the community sector, primarily in anti-violence education, migrant justice, and youth support.
is a PhD candidate in the geography department at Concordia University. After completing a masters in Cultural Geography at Wageningen Research Institute in the Netherlands, she became fascinated by the power of maps as storytelling devices. Her Ph.D. research aims to create meaningful ways of mapping the diverse aspects of state-sponsored colonial and ecclesiastical archives, ultimately enhancing their relevance for Indigenous perspectives. As member of allied workforce in Kanehsatà:ke since 2020, she assists community members in any project they feel are important ranging from organizing protests, liaising with settlers, and making maps.
is Associate Professor in the Department of Theatre at Concordia University, Montreal (Quebec, Canada). He is also the director of Concordia’s Acts of Listening Lab (ALLab). The ALLab is a hub for research-creaiton on the transformative power of listening in the context of oral history performance. His latest publications explore listening in the context of post-conflict performances of memory. For instance, see Luis Carlos Sotelo-Castro & Toni Shapiro-Phim (2023) Listening, as common ground: oral history performance for transitional justice, Research in Drama Education: The
Journal of Applied Theatre and Performance, 28:1, 1-1
As a woman designer, I am constantly wondering how my creations are shaped by the cultural values of the society to which I belong. I define myself as feminist, as a person that cares about human and other beings. As designer, I want my work to both convey my own values and challenge some common assumptions regarding gender. I believe that design may be employed to bring social changes, and for this reason, my creations are a reflection of my values: equality, respect of nature, and community engagement.