Key Outcomes for Visual Arts
Session Three
Indigenous Visual Arts Training - The concept of a National School of Indigenous Art
Stephanie Hawkins, ANKAAA Manager pointed out that the Australian Government announced it would undertake a feasibility study into the establishment of a National School of Indigenous Art in its 2004 election policy, Indigenous Australians – Opportunity and Responsibility and Strengthening Australian Arts. The Commonwealth Department of Communications Information Technology and the Arts (DCITA) was recording this session to use as guidance toward a feasibility study for this important area. She noted that urban and remote area artists have very different needs in relation to training.
Sally Basser from DCITA began by stating that the Department wanted ideas about what the feasibility study for the art school should cover. She reflected on Galarrwuy Yunupiŋu's inspiring Garma opening comments regarding finding balance. She intimated that further discussions would be held around the country to listen and learn what people want.
John Oster reported that DesArt is currently conducting a survey to identify the education needs of their artists and that five principal areas have been identified.
- Training in governance would empower Indigenous members of arts boards.
- Cultural transfer was a priority, ensuring knowledge is passed from the older generation to the younger to provide them with a future.
- Technical artist training is necessary, but modes of delivery may differ from other educational institutions with mentor teaching and one on one delivery being more effective.
- Training in archiving and managing existing artistic resources is also a priority.
- Any national school must deliver its programmes on the ground in communities.
Brenda L. Croft is a Gurindji woman raised in urban areas and educated at art school in Sydney. After a year she and others opened their own studio and gallery as a way to show their work. At that time, during the mid 1980s they were finding it difficult to get their art shown as authentic Aboriginal art because they were urban Indigenous people. With that, of course, came the implication that they were not authentic Aborigines. After they established their studio and gallery, Indigenous arts bodies from all around Australia approached them for assistance in putting on shows. Having a varied experience in many situations, she believes that her education has as much come from things like working alongside Terry Marawili as from more formal courses or classes. Education can range from Masters' degrees to trips to the Venice Biennale for young artists so they can bring Indigenous art on the world stage. She put that range forward for the Department to consider.
Terry Marawili reflected on the importance of arts centres in education. Artists in remote areas and cities may have very different needs. Conservation, marketing and literacy were some of the many areas where an artist needed knowledge in order to succeed. But most importantly, maintaining culture and tradition were priority areas as they are where all art arises.
Karen Mills discussed the many experiences that have led to her development as an artist, from curatorial opportunities, participation in festivals and residencies and interactions with other artists. She indicated interpretation and presentation of Indigenous art to other artists as areas for consideration and closed posing the question of what the word 'national' can mean in the Indigenous context. How can such a diversity of people be best served?
Emma Fowler-Thomason indicated that the flexibility of delivery of print workshops offered through the Northern Editions printmaking facility at Charles Darwin University was the key to its success. Printmakers work with artists on campus in the Studio or in the artists' community. The VTE program has also been a success in establishing a similar workshop situation, as has one-on-one training. In one case, the one-on-one mentoring style of training in the form of a six-month traineeship has resulted in on-going employment for an Anmatjerra woman as an editioning printmaker at Northern Editions.
Leon Stainer said that working with artists on country had been a terrific support to Indigenous styles of learning through family and colleagues. Now these ways of learning were unsupported.
Howard Morphy suggested that certain educational programs might be delivered centrally, but they would have to be strategically selected. Even if central administration were possible, it is essential for education to be integrated into existing and evolving structures and organisations in communities.
Helen Garnett suggested that artists might be best supported by being offered a smorgasbord of possibilities, enhancing and facilitating what is available.
Brenda L. Croft contended that informal learning should be valued and supported alongside formal education and training. The knowledge passed between Indigenous people should be formally respected.
Louise Partos passed on a message from her Chairman, Richard Birrinbirrin at Bula'bula Arts. He said 'I've learnt my artwork and my dreamings from my father. That's the way it's always been and that's the way it will always be.' She praised collaborative workshops run through Northern Editions at Charles Darwin University. Training targeted specifically for Bula'bula had suited their needs.
Stephanie Hawkins cautioned again that different artists and nations needs regarding training could not be packaged into one.