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)