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CROSS CURRENTS

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.

georgia-robertson
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CROSS CURRENTS

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  1. 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.

  2. 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. CROSS - CURRENTS

  3. 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.

  4. 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

  5. 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.

  6. 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.

  7. 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)

  8. 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...

  9. 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.

  10. 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.

  11. 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)

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