Using the ‘Arts’ to Teach Indigenous Australian Studies in Higher Education

Authors

  • Karen Vaughan University of Technology Sydney

DOI:

https://doi.org/10.1017/S1326011100004026

Abstract

Abstract

This paper will discuss some personal philosophies and rationales in approaching and delivering Indigenous Australian studies – approaches that have been influenced and informed by experienced and knowledgeable educators both Indigenous and non-Indigenous. It doesn’t aim or pretend to be unique or innovative in its arguments or approach; instead, it is a reflection on the pathway taken by one Indigenous educator and the thinking behind this – at least at this point in time. As such, it adopts a philosophy that “it’s important to know where we’ve come from in order to make sense of where we are and where we might be heading”. It is hoped that through this reflection and by offering an example of how art (as performance/role-play) has been used in one of my teaching sessions that I might make more sense of my personal practice and contribute in some small way to the important and ongoing debates surrounding teaching Indigenous Australian studies.

Downloads

Download data is not yet available.

References

Bell D. ( 2002). Person and place: Making meaning of the art of Australian Indigenous women. Feminist Studies, 28( 1), 95– 127.

Berndt R.M. & Berndt C.H. ( 1989). The speaking land: Myth and story in Aboriginal Australia Ringwood, VIC: Penguin Books.

Board of studies NSW. ( 2001). Working with Aboriginal communities: A guide to community consultation and protocols. Sydney: Board of Studies NSW.

Coleman E.B. ( 2004). Appreciating “traditional” Aboriginal painting aesthetically. The Journal of Aesthetics and Art Criticis, 62( 3), 235– 247.

Craven R., D’Arbon M., & Wilson-Miller J. ( 1999). Developing teaching activitie. In Craven R. (Ed.), Teaching Aboriginal studies(pp. 231– 260). St Leonards, NSW: Allen & Unwin.

Fielding M. ( 2004). Transformative approaches to student voice: Theoretical underpinnings, recalcitrant realities. British Educational Research Journal, 30( 2), 295– 311.

Fink H., & Perkins H. ( 1997). Writing for land. In Fink H. (Ed.), Art and Australia(pp. 60– 63). North Ryde: Fine Arts Press.

Harrison N. ( 2004). Indigenous education and the adventure of insight: Learning and teaching in Indigenous classroom. Flaxton, QLD: Post Pressed.

Janke T. ( 1998). Our culture, our future: Report on Australian Indigenous cultural and intellectual property right. Surrey Hills: Hills: Michael Frankel and Company Solicitors.

Johnston R.R. ( 2001). Beyond postmodernism: Spatialism and the representation of the infinite. CREArTA: Journal of the Centre for Research and Education in the Art, 2( 2), 3– 13.

Maline A. ( 2000). Towards the essence of adult experiential learning: A reading of the theories of Knowles, Mb, Mezirow, Revans and Schon Jyvaskyl. Jyvaskyla University Printing House.

McConaghy C. ( 2000). Rethinking Indigenous education: Culturalism, colonialism and the politics of knowing Flaxton, QLD: Post Pressed.

McConaghy C. ( 2003). On pedagogy, trauma and difficult memory: Remembering Namatjira, our beloved. The Australian Journal of Indigenous Education, 32 11– 20.

McDaniel M., & Flowers R. ( 1995). Adult education and Indigenous Australians. In Foley G. (Ed.), Understanding adult education and training(pp. 253– 266). St Leonards, NSW: Allen & Unwin.

Meekison L. ( 2000). Can you see what I hear?: Music in Indigenous theatre. Meanjin, 59( 2), 85– 94.

Millado C., & Tan J.H. (Eds.) ( 1997). . POP: A training manual for communityorganiser facilitators. Malaysia: Southeast Asia Popular Communications Programme.

Nakata M. ( 2004). Indigenous Australian Studies and Higher Education -The Wentworth Lectures 2004. Canberra: : Australian Institute of Aboriginal and Torres Strait Islander Studies.

Perkins H.K. ( 2005). Introduction. In Art Gallery of NSW (Ed.), Tradition today: Indigenous art in Australia(pp. 13– 21). Sydney: Art Gallery of New South Wales.

Ruben B.D. ( 1999). Simulations, games and experience-based learning: The quest for a new paradigm for teaching and learning. Simulation and Gaming, 30( 4), 498– 652.

Ryan. J. ( 1997). Abstraction, meaning and essence in Aboriginal art. Art and Australia Quarterly Journal, 35( 1), 74– 81.

Stanislavsky K. ( 1938). An actor prepares(E. R. Hapgood, Trans.). London: Eyre Methuen.

Worlds Indigenous Peoples Conference on Education (WIPCE). ( 1999). The Coolangatta Statement: On Indigenous peoples’ right in educatio. Retrieved 27 January, 2005, from http://www.tebtebba.org/tebtebba_files/susdev/ik/coolangatta.html.

Yunupingu G. ( 1997). Indigenous art in the Olympic age. In Fink H. (Ed.), Art and Australia(pp. 64– 67). North Ryde: Fine Arts Press.

Downloads

Published

2005-12-01

How to Cite

Vaughan, K. (2005). Using the ‘Arts’ to Teach Indigenous Australian Studies in Higher Education. The Australian Journal of Indigenous Education, 34(1), 107–112. https://doi.org/10.1017/S1326011100004026

Issue

Section

Articles