Transcript CROSS - CURRENTS - Art Education Victoria

CROSS CURRENTS
Western based art education is at a
crossroads with Indigenous cultures.
This presentation will explore
approaches to art education through
Indigenous perspectives and a cultural
framework for the interpretation and
practice of making art.
CROSS - CURRENTS

Purely Western analysis should
not apply to Indigenous Art.

Inappropriate model for
Indigenous Art and other
cultures and cultural contexts.

Emphasis is on analysing and
writing about art – emphasis
must shift from this to a more
cultural framework.

This is a benefit of Post
Modernism which encourages
us to unpack the cultural
elements of Aboriginal Art
works.
Culturally Competent Art Education

Recognise our personal bias and try to eliminate negative
effects from it.

Need to acquire a more complete understanding of culture to
underpin a sound pedagogical practice.

Inclusion of cultural content in art curricula beyond holidays and
events.

Avoid art activities and materials that inadvertently perpetuate
rather than eliminate stereotyping.

Mimicry of cultural objects that have highly religious and sacred
cultural connotations is unacceptable.
LIN ONUS – URBAN DINGO

An artist who links Western and
indigenous culture to create his
own statement.

This exhibition is the journey of
his life.

Humour was very important to
his work, ‘X and Ray’, Totem
Poles.

Stories of him and his people –
recognition of culture in his
work.

What is Culture?

Meaning of Culture
Dawn Casey – The National Museum Canberra

Indigenous exhibitions are now
being put together by
indigenous people.

Objects in the exhibitions are no
longer inanimate but are
presented in proper cultural
contexts.

National Museum has
addressed this issue with
everyday objects such as ‘The
Hills Hoist’ clothes line.

Common objects are part of
culture.

Baskets – what they mean, their
purpose, their aesthetic
qualities.
Christine Sage-Marsh

Aboriginal art is primarily an art
of spirituality.

Their works express their sacred
laws and rituals and are
presented to us in a variety of
ways depending on the culture of
a particular group of Aboriginal
people and where they come
from.

Their tribal area is one of the
most relevant aspects relating to
Aboriginal Art, life and survival.

It was a firm belief that a person
could not, would not survive
outside their own sacred
boundaries.

Around Australia we see many
different styles of Aboriginal art.
A different approach ?

Collaboration

The importance of family
(Aunty/Uncle, Brother/Sister,
Cousins)

Stories and knowledge and the
sharing and ownership of them.
(Tiriki taking over from his
Father and Judy Greeny
Kngwarreye inheriting the
stories of her Great Aunty, Emily
Kane Kngwarreye)

Who owns the stories?

Connectedness to the land and
all it holds. (Robyn Heckenberg
–’Talk’n country, AEV ARTicle)
Kelly Koumalatsos

Possum skins and their
importance to the indigenous art
of South East Australia.

Possum skins as printing plates.

The importance of Possum skin
cloaks in political, cultural and
health contexts.

Responding to indigenous art.

Art inspired by...
Treahna Hamm

Taken from mother at birth

Religious education took the
place of cultural teaching

Western art education,
influenced by the works of Paul
Klee.
‘Taking a line for a walk’

60’s images of Aborigines as
desert dwelling people
(anthropologists)

Artefacts showing Aboriginal
‘Art’ purely as a selling device.
Jill Hudson
The Reconciliation Wall

Ceramic tile mural as school
contribution to reconciliation

Designed by local Aboriginal
artist, Mandy Nicholls on the
recommendation of local
indigenous Elder.

Students working collaboratively
on the project.

Mural is an indigenous
representation of Sky, Earth,
Water and other icons.
In conclusion

Inclusion of superficial cultural activities continues the usual western
ethnocentric manner, perhaps reinforcing stereotypical or even racist
representation. (Wilks 2001)

Arts education should provide opportunities to develop an awareness of
the complexity of the term culture. ( Eisner 1988)

Critical dialogue (discussion and critical questioning) is central to the
process of deconstructing the meanings both implicit and explicit in art
images. (Reid 1995)

Creating art works inspired by the technologies used, may have value if
accompanied by in-depth consideration of how this cultural art form
has been and continues to be shaped. (Davenport 2000)

The danger lies in taking examples out of context particularly in a
spiritually invested art work. (Taylor 2001)