Jahkarli Romanis

Research Assistant, Wominjeka Djeembana Lab

Photographer: Jason Hamilton

Jahkarli Romanis, a proud Pitta Pitta woman, artist, and emerging researcher, is leading the charge in re-examining narratives surrounding Indigenous representation. Based on Wurundjeri Country, Jahkarli is undertaking a practice-led PhD that critiques photography based archives such as the Tindale Genealogical Collection, housed at the South Australian Museum, and Google Earth’s online archive of images portraying Land and Country. Her research dismantles colonial myths such as ‘terra nullius’ and emphasises the importance of recognising the diverse narratives tied to Country and Ancestors.

In addition to her PhD project, Jahkarli is a Research Assistant at Monash University, where she contributes to the Australian Research Council-funded project Protocols for Indigenous-Led Creative Practice. Her work as a Research Assistant seeks to understand the impact of the Australian Indigenous Design Charter and the International Indigenous Design Charter, both of which are co-authored by the Chief Investigators of the project— Professor Brian Martin, Jefa Greenaway, Associate Professor Meghan Kelly and Dr Russell Kennedy.

Through her academic pursuits and her role at Monash, Jahkarli advocates for a more inclusive and critical understanding of archives, mapping technologies, and creative practices. Her journey highlights the transformative power of Indigenous-led research, as well as the central role of community, connection, and storytelling in reshaping research narratives.

Could you tell us about your PhD and its focus?

My PhD is practice-led, which means it revolves around creating artworks while being critical of two archives: the Tindale Genealogical Collection and Google Earth. The Tindale Genealogical Collection is an anthropological archive that documented Aboriginal people in the 1930-40s, including my great-grandparents, from a perspective that framed them as part of a "dying race."

Google Earth, on the other hand, is a modern mapping technology, but I critique it as an archive of Country. Mapping technologies present as neutral or objective tools, while ignoring Indigenous connections to Place and Country. My work seeks to bring these unacknowledged stories of Country and Ancestors to the forefront.

What impact do you hope your work will have?

I hope to make people critically evaluate archives like the Tindale Genealogical Collection and technologies like Google Earth. It’s crucial to recognise the many narratives and connections to Country and history, moving beyond the colonial gaze. My goal is to deepen my own connection to Ancestors and Country while unpacking colonial perspectives embedded in these archives.

What moments during your PhD have been the most impactful?

Visiting the Tindale Genealogical Collection archive at the South Australian Museum was incredibly moving. I saw original documents about my great-grandmother, it was a deeply personal and emotional experience. Working with family stories and archives has been both an honour and a privilege, as it’s allowed me to deepen my connection to my matrilineal heritage in meaningful ways.

Another memorable experience was a cross-cultural exchange in Toronto, where I collaborated with First Nations colleagues. It reinforced the importance of community and shared narratives in my work.

What is your role at Monash University?

I work as a research assistant on the ARC-funded project "Protocols for Indigenous Led Creative Practice," led by Professor Brian Martin, Jefa Greenaway, Professor Meghan Kelly, Dr Russell Kennedy and Research Fellow Dr Jessica Neath. This project evaluates the Indigenous Design Charter, a document aimed at guiding creative industries in respectful and collaborative practices with Indigenous communities. My role involves logistical, administrative, and budgeting support, giving me insight into how large-scale research projects are organised.

What do you enjoy most about your role?

It’s fascinating to see the scale and impact of such long-term research projects. I’ve learned a lot about planning, collaboration, and the potential outputs of a project that spans several years. It’s inspiring to be part of something that contributes meaningfully to the creative industries.

What advice would you give to Indigenous students considering a PhD?

Having a strong support network of Indigenous researchers and practitioners is essential. Being supported by peers who understand your cultural context can help you produce your best work. I’ve been fortunate to have a positive experience at Monash, particularly due to the advocacy of mentors like Professor Brian Martin and being around a cohort of incredible Indigenous makers and thinkers.

How can institutions better support Indigenous PhD students?

It’s vital for institutions to provide tailored support, whether through Indigenous-led research networks, mentorship, peer support or resources and education tools that acknowledge the unique challenges faced by Indigenous students. Institutions need to fund and resource Indigenous-led initiatives that aim to assist and build the research capacity of Indigenous candidates. Funding is crucial.