Hostname: page-component-cd9895bd7-gxg78 Total loading time: 0 Render date: 2024-12-24T01:19:27.116Z Has data issue: false hasContentIssue false
  • English
  • Français

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

Published online by Cambridge University Press:  22 July 2015

Karen Vaughan
Karen Vaughan*
Affiliation:
Faculty of Education, University of Technology Sydney, PO Box 123, Broadway, New South Wales, 2007, Australia
Get access

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.

Type
Research Article
Information
The Australian Journal of Indigenous Education , Volume 34 , 2005 , pp. 107 - 112
Copyright
Copyright © Cambridge University Press 2005

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bell, D. (2002). Person and place: Making meaning of the art of Australian Indigenous women. Feminist Studies, 28 (1), 95–127.Google Scholar
Berndt, R.M. &Berndt, C.H. (1989). The speaking land: Myth and story in Aboriginal Australia Ringwood, VIC: Penguin Books.Google Scholar
Board of studies NSW. (2001). Working with Aboriginal communities: A guide to community consultation and protocols. Sydney: Board of Studies NSW.Google Scholar
Coleman, E.B. (2004). Appreciating “traditional” Aboriginal painting aesthetically. The Journal of Aesthetics and Art Criticis, 62 (3), 235–247.Google Scholar
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.Google Scholar
Fielding, M. (2004). Transformative approaches to student voice: Theoretical underpinnings, recalcitrant realities. British Educational Research Journal, 30 (2), 295–311.CrossRefGoogle Scholar
Fink, H., &Perkins, H. (1997). Writing for land. In Fink, H. (Ed.), Art and Australia (pp.60–63). North Ryde: Fine Arts Press.Google Scholar
Harrison, N. (2004). Indigenous education and the adventure of insight: Learning and teaching in Indigenous classroom. Flaxton, QLD: Post Pressed.Google Scholar
Janke, T. (1998). Our culture, our future: Report on Australian Indigenous cultural and intellectual property right. Surrey Hills: Hills: Michael Frankel and Company Solicitors.Google Scholar
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.Google Scholar
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.Google Scholar
McConaghy, C. (2000). Rethinking Indigenous education: Culturalism, colonialism and the politics of knowing Flaxton, QLD: Post Pressed.Google Scholar
McConaghy, C. (2003). On pedagogy, trauma and difficult memory: Remembering Namatjira, our beloved. The Australian Journal of Indigenous Education, 32 11–20.Google Scholar
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.Google Scholar
Meekison, L. (2000). Can you see what I hear?: Music in Indigenous theatre. Meanjin, 59 (2), 85–94.Google Scholar
Millado, C., &Tan, J.H. (Eds.) (1997). . POP: A training manual for communityorganiser facilitators. Malaysia: Southeast Asia Popular Communications Programme.Google Scholar
Nakata, M. (2004). Indigenous Australian Studies and Higher Education -The Wentworth Lectures 2004. Canberra: : Australian Institute of Aboriginal and Torres Strait Islander Studies.Google Scholar
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.Google Scholar
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.Google Scholar
Ryan., J. (1997). Abstraction, meaning and essence in Aboriginal art. Art and Australia Quarterly Journal, 35 (1), 74–81.Google Scholar
Stanislavsky, K. (1938). An actor prepares (E. R. Hapgood, Trans.). London: Eyre Methuen.Google Scholar
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.Google Scholar
Yunupingu, G. (1997). Indigenous art in the Olympic age. In Fink, H. (Ed.), Art and Australia (pp.64–67). North Ryde: Fine Arts Press.Google Scholar