Key Outcomes for Visual Arts
Session Ten
Visual Arts Forum Outcomes: Moving forward
Terry Miniyawany Marawili said that Garma should host Yolŋu from other communities. He wanted to see more Yolŋu speakers, for Yolŋu to have the opportunity to 'speak in their own right, talk for their own right.' He stated the importance of continuing to advocate for ways that Yolŋu can be properly recognised for the role they play in teaching and training in the visual arts and in other areas. He shared a vision of a more balanced situation developing where Yolŋu and Ŋapaki (non-Indigenous Australians) worked, lived and learned together about both cultures. More Yolŋu ought to be involved in this. People who are with Yolŋu people should let them know and bring them here and give them the opportunity to talk. Garma organisers should meet with Yolŋu before the festival to listen to their ideas and encourage them to talk.
Howard Morphy added a note of caution on the use of the word 'authenticity' as it has been used in culturally inappropriate ways in the past. He preferred the term 'provenance', a widely used term in the art world, which 'speaks more to the life and path of a respected artwork after its production'. The documentation of art works was an indispensable tool for artists in their own practice, for arts centres, for private and commercial galleries, the art market and for research and history keeping. There was an overall very positive feeling in the workshops and while this was often the case when isolated workers gather together to share with colleagues, he hoped that this Forum would generate ideas that would be an ongoing support for people when they return to their communities. Levels of Yolŋu representation need to be addressed in future years of Garma. The key point arising from all the sessions within the Visual Arts stream was that arts centres were fundamental, not just for artists but for the whole community. It was important to link tourism, art and business because art crosses all parts of Indigenous societies. Furthermore, it was imperative to move from the bottom up where local community government structures were implemented. Currently there was a gap between national institutions and local ground level development. 'Networks' must be able to provide funding for artists. They need to be articulating with local communities to build local and sustainable economies.