Equity, diversity and social inclusion
Monash Business School values human rights, social justice, and respect for diversity in individuals, communities and ideas. We are proud to celebrate cultural, gender, and linguistic diversity, and to advance equity through access to opportunities for communities often underrepresented in business education and research.
We aim to provide a safe, vibrant and inclusive environment for learning, research, work and leisure in which all can flourish.
Our activities within the School contribute to the University’s Diversity and Inclusion Framework.
The Master of Indigenous Business Leadership is designed to build leadership and governance capability among indigenous business communities, incorporating cultural values and knowledges as well as contemporary business practice.
Named in honour of late Yorta Yorta leader and political activist, William Cooper, Monash University has opened the William Cooper Institute, a hub dedicated to increasing outcomes and improving opportunities for Indigenous Australians.
In 2020, the Dean has introduced the Diversity and Inclusion Awards for excellence in education, and in research. These awards will acknowledge and celebrate outstanding contributions to equity, diversity and social inclusion in the Business School, University, and community.
We reflect our commitment to inclusion through our art collection, which features indigenous artists, emerging artists, particularly women, and new Australians from a range of cultural backgrounds. Within the over-arching themes of diversity and inclusivity, our collection provides unique insights and perspectives on contemporary life from the architecture of the cities so many of us we live in to the impact of technology, the experience of migration and negotiation of histories and traditions.
Nyapanyapa Yunupingu is a member of the Gumatj Clan and Yolngu people. She lives in Yirrkala, Arnhem Land in the Northern Territory and is a senior artist from a family of cultural leaders. Yunupingu’s oeuvre is marked by her departure from the conventions of Yolngu art, which was divided between sacred works connected intimately with Yolngu spiritual beliefs and purely decorative art. These paintings on bark are not defined by sacred law but represent the memories and experiences of the artist’s life. They use traditional earth pigments (ochre) painted onto bark in layers; red and black as a ground with luminescent white rrark (cross-hatching) and figurative elements.
Based in Sydney, Jamie North initially worked in photography but is now known for his sculptures that combine the waste products of industry with native Australian plant species to create living installations. His interest in native plants and their ability to survive in the most unlikely circumstances led him to experiment with cast concrete and the bi-products of industrial processes to create miniature landscapes that replicate the ability of native plants to grow and reclaim seemingly hostile environments.
Raafat Ishak was born in Egypt in 1967 and migrated to Australia in 1982. His interdisciplinary practise ranges from painting, installation and site-specific drawing, informed by architecture and his Arabic cultural heritage. Ishak’s work is often punctuated by the symbiotic relationship between the political and the personal, exploring the nuances of cross-cultural dialogue in the process. These paintings by Ishak, from a series of works each bearing the name of a nut as a way of serialising their titles, are typical of his approach to image-making. Fragments quoted from diverse sources in art history, design – especially architecture – and elsewhere are overlaid to condense broad spans of historical time into each work. Ishak stages encounters between ancient and modern cultures throughout his paintings.
Pakistani artist Nusra Latif Qureshi lives and works in Melbourne where her experience as an immigrant woman in Australian society has informed her artistic practice. Qureshi works across painting, installation and digital image making. The traditions of miniature painting and 19th century portrait photographer are employed by the artist to narrate personal stories and question the politics.