IELTS 24th January 2026 AC Similar passages for practice
PASSAGE 1
Australia’s Artists’ Heritage
Australia’s artistic heritage reflects a complex interaction between Indigenous traditions, colonial influences, and modern global movements. Long before European settlement, Aboriginal and Torres Strait Islander peoples produced intricate visual art forms that served spiritual, ceremonial, and practical purposes. Rock paintings, bark paintings, body art, and carved objects were not merely decorative; they functioned as visual records of ancestral stories, ecological knowledge, and social laws. These artistic expressions formed part of a living cultural system that continues to evolve today.
One of the most distinctive features of Indigenous Australian art is its deep connection to the land. Many artworks depict “Dreaming” stories, which explain the origins of landscapes, animals, and human customs. These stories are not considered myths in the Western sense but are understood as ongoing realities that shape moral behaviour and community identity. The repetition of symbols and motifs across generations has helped preserve this knowledge despite the disruption caused by colonisation.
European settlement in the late eighteenth century introduced radically different artistic traditions. Early colonial artists, many of whom were trained in Britain, produced landscapes and portraits that presented Australia through a European aesthetic lens. Their work often portrayed the land as empty or untamed, reinforcing the colonial narrative of terra nullius, the notion that the land belonged to no one. Indigenous people, when depicted at all, were frequently shown as marginal figures rather than as central participants in the nation’s history.
By the late nineteenth and early twentieth centuries, a growing number of Australian-born artists began to challenge imported European styles. They sought to develop a distinctly Australian visual identity by focusing on local landscapes, light conditions, and rural life. The Heidelberg School, for example, produced impressionistic paintings that celebrated the Australian bush and suburban scenes. These artists aimed to capture what they perceived as the unique atmosphere of the continent rather than imitating European artistic conventions.
The mid-twentieth century marked a turning point in the recognition of Indigenous art within mainstream Australian culture. For much of the colonial period, Aboriginal artworks had been dismissed as ethnographic artefacts rather than valued as fine art. However, exhibitions in major galleries during the 1950s and 1960s began to challenge this perception. Art critics and curators started to acknowledge the technical sophistication and symbolic complexity of Indigenous visual traditions.
The emergence of the Western Desert Art Movement in the 1970s further transformed public attitudes. Indigenous artists from remote communities began using acrylic paints and canvas to represent traditional designs that had previously been created in sand or on ceremonial objects. While some observers initially questioned whether these works were “authentic,” many Indigenous artists argued that adaptation had always been part of their cultural practice. This movement played a crucial role in bringing Indigenous art to international audiences.
In contemporary Australia, artists from diverse cultural backgrounds contribute to an increasingly pluralistic artistic landscape. Migrants from Asia, Europe, and the Middle East have introduced new techniques, themes, and perspectives, enriching the nation’s creative output. At the same time, many Indigenous artists continue to assert cultural sovereignty by maintaining control over how their stories and designs are represented in the global art market.
Despite these developments, debates persist about cultural appropriation, intellectual property rights, and the ethical responsibilities of galleries and collectors. Some Indigenous communities have expressed concern about the commercial exploitation of sacred symbols, while others see art as a means of economic empowerment and cultural visibility. These tensions highlight the ongoing negotiation between tradition and innovation that characterises Australia’s artistic heritage.
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QUESTIONS 1–7
Do the following statements agree with the information given in Passage 1?
Write:
TRUE – if the statement agrees with the information
FALSE – if the statement contradicts the information
NOT GIVEN – if there is no information on this
1. Indigenous Australian art originally served only decorative purposes.
2. “Dreaming” stories are viewed by Indigenous communities as historical myths.
3. Early colonial paintings often ignored Indigenous presence.
4. The Heidelberg School focused mainly on urban architecture.
5. Indigenous artworks were long regarded as ethnographic objects rather than fine art.
6. All critics accepted the Western Desert Art Movement immediately.
7. Cultural appropriation remains a controversial issue in modern Australia.
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QUESTIONS 8–13
Complete the sentences below.
Choose NO MORE THAN TWO WORDS from the passage for each answer.
8. Indigenous artworks functioned as visual records of __________ knowledge.
9. Colonial artists often portrayed Australia as empty or __________.
10. The Heidelberg School aimed to capture the unique __________ of the continent.
11. Exhibitions in the 1950s and 1960s helped change perceptions of Indigenous art in major __________.
12. The Western Desert Art Movement used materials such as acrylic paints and __________.
13. Some Indigenous groups worry about the commercial exploitation of __________ symbols.
PASSAGE 2
Patrol Power
Urban patrol forces have long been a visible symbol of public authority, but their role and function have evolved considerably in response to social change, technological innovation, and shifting political priorities. Once limited to foot patrols focused on maintaining order and responding to immediate disturbances, modern patrol units now operate within complex networks of surveillance systems, data analytics, and inter-agency coordination.
Historically, patrol work was based on the principle of deterrence through visibility. The mere presence of uniformed officers in public spaces was believed to discourage criminal activity and reassure residents. Early policing models placed heavy emphasis on routine patrol routes, with officers covering predefined zones on foot or horseback. While this approach fostered familiarity between police and local communities, it was labour-intensive and often inefficient in addressing emerging crime patterns.
The introduction of motorised patrols in the twentieth century transformed the scope and speed of law enforcement. Patrol cars enabled officers to respond more rapidly to incidents across wider geographic areas, significantly increasing coverage. However, critics argued that this shift reduced meaningful interaction with community members and contributed to a more reactive, incident-driven style of policing rather than a preventative one.
In recent decades, digital technologies have further reshaped patrol operations. The integration of real-time crime mapping, automated licence plate recognition, and predictive policing software has allowed patrol units to allocate resources more strategically. Instead of following fixed routes, officers are increasingly deployed to “hotspots” identified through statistical analysis of crime data. Proponents claim this data-led approach enhances efficiency and reduces response times, while opponents raise concerns about algorithmic bias and the erosion of civil liberties.
Another major development has been the expansion of private security patrols operating alongside public police forces. In many cities, private firms now provide patrol services for shopping centres, residential complexes, and business districts. Although these patrols often handle minor incidents and deter petty crime, their legal authority is typically more limited than that of public officers. This has sparked debate about accountability, regulation, and the potential fragmentation of public safety responsibilities.
Community-based patrol initiatives represent a contrasting trend. Programmes such as neighbourhood watch groups and volunteer patrols aim to empower residents to take an active role in maintaining local safety. Supporters argue that these initiatives strengthen social cohesion and improve trust between citizens and authorities. Critics, however, caution that such schemes may lack proper training, expose volunteers to risk, and inadvertently encourage vigilantism.
The militarisation of patrol forces has also become a contentious issue. The adoption of military-style equipment, armoured vehicles, and tactical uniforms has been justified by some authorities as a necessary response to terrorism and organised crime. Yet opponents contend that these visual and operational changes can escalate tensions, undermine community relations, and blur the line between civilian policing and military operations.
Looking ahead, experts predict that patrol power will continue to shift toward a hybrid model combining human judgment with automated systems. While artificial intelligence may enhance predictive accuracy and operational coordination, most analysts agree that technology alone cannot replace the need for ethical oversight, transparency, and community engagement. The challenge for future patrol forces lies in balancing efficiency with accountability in an increasingly surveilled society.
QUESTIONS 14–19
Which paragraph contains the following information?
Write the correct letter A–H next to questions 14–19.
A. Traditional deterrence through visibility
B. Expansion of private patrol services
C. Data-driven deployment strategies
D. Concerns about militarisation
E. Limitations of motorised patrols
F. Role of volunteer patrol initiatives
14. A policing approach based on routine foot patrols
15. The use of algorithms to identify crime hotspots
16. The growth of non-government security patrols
17. Worries about the impact of military-style policing
18. The drawbacks of relying on patrol cars
19. Efforts to involve residents directly in patrol work
QUESTIONS 20–26
Complete the summary below.
Choose NO MORE THAN TWO WORDS from the passage for each answer.
Early patrol systems relied on the (20) __________ of officers to deter crime and reassure communities.
The introduction of patrol cars increased speed and (21) __________ but reduced close contact with residents.
Modern patrol units use crime data and (22) __________ software to allocate resources more efficiently.
Private security patrols now operate in many (23) __________ districts, though their legal powers are more limited.
Community patrol programmes aim to improve trust but may lack adequate (24) __________.
The increasing use of military-style equipment has raised concerns about rising (25) __________.
Experts believe future patrol forces must balance technological efficiency with ethical (26) __________.
PASSAGE 3
The Island of Karrala: A Rock Painting Enigma
The small offshore island of Karrala, located along Australia’s northern coastline, has emerged as one of the most significant archaeological discoveries in recent decades. Despite its modest size and limited accessibility, the island contains an extensive network of rock shelters adorned with paintings that have radically altered prevailing theories about early human migration and cultural exchange in the region.
The paintings, first systematically documented in the late 1990s, depict a striking range of subjects, including marine animals, human figures, ceremonial scenes, and what appear to be foreign vessels. The stylistic diversity of these images has puzzled researchers, as certain motifs resemble artistic traditions found in Southeast Asia rather than those typically associated with mainland Aboriginal rock art. This has led some scholars to propose that Karrala may have served as a cultural crossroads for seafaring groups moving between islands thousands of years ago.
Radiocarbon dating of charcoal residues found near several painted panels suggests that the oldest artworks may be more than 17,000 years old. However, determining the precise age of individual paintings remains problematic. Many images have been repainted or retouched over successive generations, creating layered compositions that blur chronological boundaries. As a result, archaeologists must rely on indirect dating methods, which are often subject to considerable margins of error.
Equally challenging is the interpretation of the paintings’ meanings. While some scenes are thought to represent mythological narratives or ancestral beings, others appear to document real historical encounters, including interactions with outsiders. One particularly debated image shows a large, multi-masted vessel bearing a resemblance to early European ships, raising the controversial possibility of pre-colonial contact between Indigenous Australians and foreign explorers. Critics argue, however, that such interpretations may be shaped by modern biases rather than grounded in Indigenous oral traditions.
The island’s isolation has helped preserve many of the artworks, but it has also complicated research efforts. Reaching Karrala requires a multi-day sea journey, and unpredictable weather frequently disrupts fieldwork schedules. Moreover, conservationists warn that increasing tourism poses a serious threat to the fragile rock surfaces. Exposure to human touch, changes in humidity, and the introduction of pollutants could accelerate the deterioration of pigments that have survived for millennia.
In response, authorities have imposed strict access controls, limiting the number of visitors and requiring permits for all research teams. Digital documentation techniques, such as high-resolution 3D scanning and multispectral imaging, are now being employed to create detailed records of the paintings without direct physical contact. These technologies not only aid preservation but also enable remote analysis by international experts.
Indigenous custodians play a central role in managing the site. Elders from nearby communities are actively involved in decision-making processes regarding conservation strategies, research priorities, and public interpretation. They emphasise that the paintings are not merely historical artefacts but living cultural expressions that continue to hold spiritual significance.
The discovery of Karrala has sparked renewed debate about the complexity of ancient maritime networks and the extent of cultural interaction in prehistoric Australia. While definitive conclusions remain elusive, most researchers agree that the island represents a unique archive of human creativity, mobility, and cross-cultural contact. Ongoing interdisciplinary collaboration is expected to yield further insights, though scholars caution that some questions may never be fully resolved.
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QUESTIONS 27–30
Multiple Choice
Choose the correct letter A, B, C, or D.
27. Why has the artistic style of the Karrala paintings puzzled researchers?
A. Because the materials used are unknown
B. Because some motifs resemble Southeast Asian art
C. Because the colours are unusually bright
D. Because the subjects are entirely abstract
28. What makes dating the paintings particularly difficult?
A. The absence of any organic material
B. The repainting of images over time
C. The lack of modern equipment
D. The refusal of Indigenous custodians to allow testing
29. Why is the image of the multi-masted vessel controversial?
A. It contradicts official government records
B. It may suggest contact with foreigners before colonisation
C. It depicts a type of ship that never existed
D. It was discovered only recently
30. What is one major risk associated with tourism on Karrala?
A. Theft of artworks
B. Political protests
C. Damage to rock surfaces
D. Overcrowding of local villages
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QUESTIONS 31–35
Complete the sentences below.
Choose NO MORE THAN TWO WORDS from the passage for each answer.
31. Karrala may have functioned as a cultural __________ for seafaring groups.
32. The oldest paintings are estimated to be over __________ years old.
33. Archaeologists rely on __________ dating methods to estimate ages.
34. Researchers are using 3D scanning and __________ imaging to document the site.
35. Indigenous elders stress that the paintings still have __________ significance.
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QUESTIONS 36–40
Do the following statements agree with the claims of the writer in Passage 3?
Write:
YES – if the statement agrees with the writer
NO – if the statement contradicts the writer
NOT GIVEN – if there is no information on this
36. All of the Karrala paintings are believed to be more than 17,000 years old.
37. Some scholars think Karrala played a role in ancient maritime travel.
38. There is universal agreement about the meaning of the ship painting.
39. Digital technologies are being used to replace traditional conservation methods entirely.
40. Some questions about Karrala’s past may never be fully answered.
ANSWERS + EXPLANATIONS
1. Indigenous Australian art originally served only decorative purposes.
Answer: FALSE
Why: The passage says Indigenous art was not merely decorative and had spiritual, ceremonial, and practical purposes.
“not merely decorative; they functioned as visual records…”
So “only decorative” directly contradicts the text.
2. “Dreaming” stories are viewed by Indigenous communities as historical myths.
Answer: FALSE
Why: The passage explicitly rejects this Western idea.
“These stories are not considered myths in the Western sense but are understood as ongoing realities…”
So calling them “historical myths” is wrong.
3. Early colonial paintings often ignored Indigenous presence.
Answer: TRUE
Why:
“Their work often portrayed the land as empty or untamed…”
“Indigenous people, when depicted at all, were frequently shown as marginal figures…”
That clearly supports the statement.
4. The Heidelberg School focused mainly on urban architecture.
Answer: FALSE
Why: The passage says the opposite.
“celebrated the Australian bush and suburban scenes”
No mention of architecture. It’s landscape + atmosphere, not buildings.
5. Indigenous artworks were long regarded as ethnographic objects rather than fine art.
Answer: TRUE
Why:
“For much of the colonial period, Aboriginal artworks had been dismissed as ethnographic artefacts rather than valued as fine art.”
Exact paraphrase.
6. All critics accepted the Western Desert Art Movement immediately.
Answer: FALSE
Why:
“some observers initially questioned whether these works were ‘authentic’”
So acceptance was not immediate or universal.
7. Cultural appropriation remains a controversial issue in modern Australia.
Answer: TRUE
Why:
“debates persist about cultural appropriation, intellectual property rights…”
“Persist” = still ongoing = controversial.
QUESTIONS 8–13
Sentence Completion (NO MORE THAN TWO WORDS)
8. Indigenous artworks functioned as visual records of __________ knowledge.
Answer: ecological
Why:
“visual records of ancestral stories, ecological knowledge, and social laws”
Only one word fits: ecological.
9. Colonial artists often portrayed Australia as empty or __________.
Answer: untamed
Why:
“portrayed the land as empty or untamed”
Direct lift.
10. The Heidelberg School aimed to capture the unique __________ of the continent.
Answer: atmosphere
Why:
“aimed to capture what they perceived as the unique atmosphere of the continent”
One-word extraction.
11. Exhibitions in the 1950s and 1960s helped change perceptions of Indigenous art in major __________.
Answer: galleries
Why:
“exhibitions in major galleries during the 1950s and 1960s…”
Plural noun matches grammar.
12. The Western Desert Art Movement used materials such as acrylic paints and __________.
Answer: canvas
Why:
“using acrylic paints and canvas”
Exact phrase.
13. Some Indigenous groups worry about the commercial exploitation of __________ symbols.
Answer: sacred
Why:
“commercial exploitation of sacred symbols”
Single adjective.
14. A policing approach based on routine foot patrols
Answer: A
Why: Paragraph A (2nd paragraph) describes early policing models using routine patrol routes on foot.
“routine patrol routes… officers covering predefined zones on foot”
15. The use of algorithms to identify crime hotspots
Answer: C
Why: Paragraph D explains predictive policing software and hotspot deployment.
“hotspots identified through statistical analysis of crime data”
16. The growth of non-government security patrols
Answer: B
Why: Paragraph E discusses private security patrols operating alongside public police.
“private firms now provide patrol services…”
17. Worries about the impact of military-style policing
Answer: D
Why: Paragraph G focuses entirely on militarisation concerns.
“adoption of military-style equipment… contentious issue”
18. The drawbacks of relying on patrol cars
Answer: E
Why: Paragraph C highlights criticism of motorised patrols reducing community interaction.
“critics argued… reduced meaningful interaction”
19. Efforts to involve residents directly in patrol work
Answer: F
Why: Paragraph F discusses neighbourhood watch and volunteer patrols.
“aim to empower residents…”
QUESTIONS 20–26
Summary Completion
20. Early patrol systems relied on the (20) __________ of officers to deter crime…
Answer: presence
Why:
“deterrence through visibility… mere presence of uniformed officers…”
21. The introduction of patrol cars increased speed and (21) __________…
Answer: coverage
Why:
“respond more rapidly… significantly increasing coverage”
22. Modern patrol units use crime data and (22) __________ software…
Answer: predictive
Why:
“predictive policing software”
23. Private security patrols now operate in many (23) __________ districts…
Answer: business
Why:
“business districts”
24. Community patrol programmes… may lack adequate (24) __________.
Answer: training
Why:
“may lack proper training”
25. Military-style equipment has raised concerns about rising (25) __________.
Answer: tensions
Why:
“can escalate tensions”
26. Future patrol forces must balance technological efficiency with ethical (26) __________.
Answer: oversight
Why:
“need for ethical oversight”
QUESTIONS 27–30
Multiple Choice
27.
Answer: B
Why:
> “certain motifs resemble artistic traditions found in Southeast Asia”
That’s the exact puzzle.
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28.
Answer: B
Why:
> “Many images have been repainted or retouched over successive generations…”
Layering = dating nightmare.
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29.
Answer: B
Why:
> “raising the controversial possibility of pre-colonial contact…”
That’s literally the controversy.
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30.
Answer: C
Why:
> “increasing tourism poses a serious threat to the fragile rock surfaces”
Not theft. Not politics. Physical damage.
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QUESTIONS 31–35
Sentence Completion
31. cultural crossroads
Why:
> “may have served as a cultural crossroads”
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32. over 17,000
Why:
> “more than 17,000 years old”
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33. indirect
Why:
> “must rely on indirect dating methods”
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34. multispectral
Why:
> “multispectral imaging”
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35. spiritual
Why:
> “continue to hold spiritual significance”
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QUESTIONS 36–40
Yes / No / Not Given
36. All of the Karrala paintings are believed to be more than 17,000 years old.
Answer: NO
Why:
Only the oldest may be that old.
> “the oldest artworks may be more than 17,000 years old”
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37. Some scholars think Karrala played a role in ancient maritime travel.
Answer: YES
Why:
> “served as a cultural crossroads for seafaring groups”
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38. There is universal agreement about the meaning of the ship painting.
Answer: NO
Why:
> “Critics argue…”
Clear disagreement exists.
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39. Digital technologies are being used to replace traditional conservation methods entirely.
Answer: NO
Why:
They aid preservation, not replace it.
> “These technologies not only aid preservation…”
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40. Some questions about Karrala’s past may never be fully answered.
Answer: YES
Why:
> “some questions may never be fully resolved”
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