- Class Number 4039
- Term Code 3130
- Class Info
- Unit Value 6 units
- Mode of Delivery In Person
- AsPr Brenda Croft
- Dr Sarah Scott
- Class Dates
- Class Start Date 22/02/2021
- Class End Date 28/05/2021
- Census Date 31/03/2021
- Last Date to Enrol 01/03/2021
Australian First Nations’ arts and cultural practices and cosmological beliefs span 60,000+ years, with Australian First Nations' Peoples standing firm in the belief that they have been here since deep time associated with Australian First Nations' Ancestral Beings, creation stories and cosmologies. This course explores the diversity of pre-contact, post-contact Australian First Nations' arts and cultural manifestations, from customary to contemporary representations, incorporating diverse media and trans-disciplinary platforms.
The course in Australian First Nations’ visual arts and culture has three main aims:
* Provide students with basic geographical, historical and contextual frameworks for the study of Australian First Nations’ visual arts and culture in mainland Australia, Tasmania and the Torres Strait Islands.
* Familiarise students with concepts that are fundamental to Australian First Nations’ understandings of the interconnected relationships between art, culture and life, both historically (pre- and early post-contact, up to the early 20th century) and in a contemporary (early 20th - present-day) context.
* Assist students in developing ideas about how contemporary Australian First Peoples’ visual arts and cultures contribute to cross-cultural critical theory, representation and identity, and trans-disciplinary practice and research.
Wherever possible collections and exhibitions at national arts, cultural, social history and archival institutions are used as part of the teaching and learning experience.
Upon successful completion, students will have the knowledge and skills to:
- identify historical and geographical origins of Australian First Nations’ Visual Arts and Culture and Cultural Practices;
- conduct a culturally relevant appreciation of Australian First Nations’ Visual Arts and Culture and Cultural Practices;
- develop cross-cultural awareness in the processes of interpretation of Australian First Nations’ Visual Arts and Culture and Cultural Practices;
- research and access information on Australian First Nations’ Visual Arts and Culture and Cultural Practices; and
- speak and write with appropriate cultural sensitivity and awareness on Australian First Nations’ Visual Arts and Culture and Cultural Practices.
Please see Wattle site for weekly recommended resources
Students will be given feedback in the following forms in this course:
- written comments
- verbal comments
- feedback to whole class, groups, individuals, focus group etc
ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). The feedback given in these surveys is anonymous and provides the Colleges, University Education Committee and Academic Board with opportunities to recognise excellent teaching, and opportunities for improvement. The Surveys and Evaluation website provides more information on student surveys at ANU and reports on the feedback provided on ANU courses.
|Week/Session||Summary of Activities||Assessment|
|1||Tuesday 23 February, 10:00 am - 12:00 pm - COURSE OVERVIEW & INTRODUCTION to foundational concepts and terminologies. Course overview: Course co-convenors - Associate Professor, Brenda L Croft and Dr Sarah Scott.||Acknowledgement of Country Diversity of Australian First Nations Cultural protocols terminology Introduction to the course outline Site visits to cultural institutions – exhibitions & collections Tutorial participation Guest presentations prior to lecture commencement SOAD Library – presentation Tutorial discussion topics Site visits – significance relating to assessments. National Museum of Australia National Gallery of Australia Canberra Museum and Art Gallery Culture Loop Bus, free Public Transport Walk or bicycle We will also discuss writing, reading and research practice - what are each of these practices, how are they undertaken, who is your audience. All lectures and tutorials are delivered online unless otherwise stated. While tutorial participation is not compulsory, attendance is strongly encouraged as discussion, contextualisation and analysis of weekly lecture content and topics will take place during tutorials. A roll will also be taken. Preliminary events on ANU Campus: Here I am: Great Art by Women, amBUSH Gallery, Kambri|
|2||Tuesday 2 March 10:00 am - 12:00 pm: ANU Indigenous Heritage Trail. Guided tour with Dave Johnston, First Nations Archaeologist, Dave Johnston||Virtual tour of ANU Indigenous Heritage Trail Students are encouraged to view all the videos prior to the guided tour. Other sites: Heritage Projects: ANU Indigenous Heritage Trail ANU Indigenous Heritage Trail App and Guide Please note that the tour will be commencing from Kambri Ground Map at Sullivans Creek Bridge entrance to Kambri, 10 am for a 10:10 am start.|
|3||Tuesday 9 March, 10:00 am - 12:00 pm. Film: Putuparri and the Rainmakers, (2015)||Putuparri and the Rainmakers, (2015), 86 minutes. Tom 'Putuparri' Lawford’s people have lived in the desert of Western Australia for over forty thousand years. They lived a nomadic life knowing they could always retreat to their sacred waterholes when times were hard. Kurtal is one of the most important of these waterholes in the heart of the Great Sandy Desert. It is the site where underground artisan water known as ‘jila’ or ‘living water’ comes to the surface and it is where the spirits of Putuparri's people return to when they die. When Europeans arrived, their cattle and horses fouled the water holes and forced Aboriginal people off their land. Many of them worked on cattle stations where they retained a physical link to their Country. But in the late 1960s when the courts introduced equal pay, many Aboriginal people were forced off the stations into towns like Fitzroy Crossing. Putuparri grew up in Fitzroy Crossing as part of an activist family. He was ten years old when he joined the picket line at Noonkanbah Station to fight oil-drilling on sacred land. His grandfather, ‘Spider’, grew up in the desert and taught Putuparri bush knowledge and the dreamtime myths. But Putuparri struggles with being singled out to care for his law and culture. The expectations of passing on 40,000 years of cultural tradition are a heavy burden and the party lifestyle in Fitzroy Crossing doesn't help. A trip back to Spider’s homeland in the desert begins the process of cultural awakening. Putuparri is shocked to learn that the dreamtime myths are not just stories, that there is a Country called Kurtal and a snake spirit that is the subject of an elaborate rainmaking ritual. The film spans twenty transformative years in Putuparri's life as he navigates the deep chasm between his Western upbringing and his traditional culture. He and Spider go on a series of epic journeys to their family’s Country. Each trip marks a different stage in his passage from rebellious young man to inspirational leader. Set against the backdrop of the long fight to reclaim their traditional lands, Putuparri And The Rainmakers is a story of love, hope and the survival of Aboriginal law and culture against all odds. To view, please go to Vimeo: Putaparri and the Rainmakers See Brenda and Sarah for the password http://putuparriandtherainmakers.com/about/ Zoom Tutorial discussion topic: Film discussion: Colonisation Remote community/ies Country/Displacement Law/Lore Cosmologies Visual art & Culture First Nations vs. Non-Indigenous values|
|4||Tuesday 16 March, 10:00 am - 12:00 pm. Belonging: Stories of Australian Art Belonging: Stories of Australian Art Know My Name: Australian Women Artists 1900 to Now Part 1: 14 Nov 2020 – 4 Jul 2021 Know My Name: Australian Women Artists 1900 to Now National Gallery of Australia - Free Exhibitions Option 1: Students take a self-directed tour through one of the exhibitions on alternate weeks (Week 4 and Week 6) Option 2: Online Pre-recorded lecture on Belonging: Stories of Australian Art All NGA visitors must book timed tickets and read NGA COVID Awareness||Belonging: Stories of Australian Art This major collection presentation recasts the story of nineteenth-century Australian art. Informed by the many voices of Indigenous and non-Indigenous cultures and communities, the display reconsiders Australia’s history of colonisation. It draws together historical and contemporary work created by more than 170 artists from across Australia. Belonging: Stories of Australian Art reveals different stories and connections between art, people and Country in its presentation of visual art and culture in Australia before 1900. The display highlights the endurance and resilience of Indigenous cultures and custodianship, as well as the impact and ongoing effects of colonisation. By highlighting how contemporary artists are engaged with the story of colonisation, Belonging shows the extent to which art and history are always being reinterpreted. Belonging: Stories of Australian Art Know My Name: Australian Women Artists 1900 to Now showcases art made by women. Drawn from the National Gallery’s collection and loans from across Australia, it is the most comprehensive presentation of art by women assembled in this country to date. Told in two parts, this exhibition tells a new story of Australian art. Looking at moments in which women created new forms of art and cultural commentary such as feminism, Know My Name highlights creative and intellectual relationships between artists across time. Know My Name is not a complete account; instead, the exhibition proposes alternative histories, challenging stereotypes and highlighting the stories and achievements of all women artists. Know My Name: Australian Women Artists 1900 to Now is part of a series of ongoing gender equity initiatives by the Gallery to increase the representation of all women in its artistic program, collection development and organisational structures. Part One: 14 November 2020 – 4 July 2021 Know My Name: Australian Women Artists 1900 to Now ?Zoom tutorials: Select 2 artists/collectives from each exhibition for discussion in the tutorial. Consider their selection, representation in the display, your response to their work and the exhibition. References will be on the Wattle site.|
|5||Tuesday 23 March, 10:00 am - 12:00 pm. Films - 'First Citizen: Albert Namatjira' (1989), 54 mins 'Sons of Namatjira' (1975), 46 mins 'Namatjira Project' (2017), 87 mins||Films on Albert Namatjira and his legacy ?Film 'FIRST CITIZEN: ALBERT NAMATJIRA', 54 minutes, 1989, Ronin Films First Citizen: Albert Namatjira Film - FIRST CITIZEN: ALBERT NAMATJIRA explores the great talent which enabled the Aranda Aboriginal to become the first to adopt the painting techniques and modes of expression of culture which were in direct contrast to his own. Namatjira's life is an expression of Australia's faltering response and awareness of Aboriginal culture and the diametrically opposed Western values of art, law and morality. The story of Namatjira is one of extreme contrast and paradox. More than almost any other well-known Australian, his life and stature as an artist reflect the changing attitudes of Australian society in the 20th century. During his lifetime (1902-1959) he was a pivotal figure in some of the dramatic changes wrought between Aboriginal and non-Aboriginal people. The film has live footage and a collection of re-creations of periods of Namatjira's life, newsreel excerpts and archival footage. It details a number of his paintings. Interviews with Clifford Possum Tjapaltjarri reveal he painted with Namatjira at a very early stage at Glen Helen. Sir William Dargie relates a personal account of the time when Namatjira sat for the Archibald Prize-winning portrait. The film offers a sensitive, detailed record and analysis of Albert Namatjira. To view, please go to Vimeo: https://vimeo.com/402074431 Password: Please contact Brenda or Sarah for the password which is for ARTH2098/6598 students only. Film - 'Sons Of Namatjira', Part of the Series: The AIATSIS Ethnographic Collection, 1975, 46 mins SONS OF NAMATJIRA examines the relationship between a community of Aboriginal artists and the outside world. Keith Namatjira is the son of the celebrated artist Albert Namatjira, and emulates his father's distinctive style. He lives with his family in the same camp that his father had established on the outskirts of Alice Springs in Central Australia. One of Curtis Levy's finest documentaries, SONS OF NAMATJIRA, follows Keith and his wife, Isabel, and other relatives, in their interactions with the wider world including art galleries in town and bus-loads of middle-aged tourists from the big cities. The film highlights communication difficulties between black and white, and in Levy's terms, becomes "a parable of black-white relations in Australia". Tourists and dealers drive out to the artists' camp to bargain with the artists in person. Keith feels pressured to accept their offers but dreams that one day he will own his own gallery, so that his family can make a decent living from their work. In addition, Keith has other pressures: he has to go to court on a charge of drink-driving, whilst at the same time working with a legal-aid officer on a claim for the land they are living on. He and his family are worried that their land will be swamped by the urban development they can see closing in around them. This sympathetic portrait of a tiny community of Aboriginal artists is rich in Levy's characteristic humour and sense of irony. It was the last of Levy's films for Australian Institute of Aboriginal Studies (now AIATSIS) before he returned to independent production, and remains one of the Film Unit's most widely seen works. Sons of Namatjira To view, please go to Vimeo: https://vimeo.com/405719956 Password: Please contact Brenda or Sarah for the password which is for ARTH2098/6598 students only. Film - Namatjira Project documentary, a film by BIG hART, created with the Namatjira Family, 2017, 87 mins CAN JUSTICE BE RESTORED TO THE NAMATJIRA FAMILY? From the remote Australian desert to the opulence of Buckingham Palace – this is the iconic story of the Namatjira family, tracing their quest for justice. Albert Namatjira was the first Indigenous person to be made a citizen by the Australian Government. The founder of the Indigenous art movement in Australia, his artworks gave many Australians their first glimpses into the outback heart of the country. He was widely celebrated, exhibited globally, and introduced to Queen Elizabeth. However, Namatjira was caught between cultures – paraded as a great Australian, whilst treated with contempt. He was wrongfully imprisoned, and in 1959 he died a broken man. In 1983 the Government sold the copyright to his artworks to an art dealer. Today his family fight for survival, justice and to regain their grandfather’s copyright. This is one of Australia’s most potent stories – illuminating the relationship between Indigenous and non-Indigenous people today, in Australia and indeed globally. Albert Namatjira was the first Indigenous person – an Aranda man - to be made a citizen by the Australian Government. This was a time when Aboriginal people were still considered flora and fauna - some 170 years after white people arrived in Australia. He was an extraordinary man founder of the Indigenous art movement in Australia, exhibited globally, and introduced to Queen Elizabeth. Albert was taught to paint by white artist Rex Battarbee when they met in the 1930s at Hermannsburg Mission, in the Central Australian desert. Their close friendship was to have a decisive impact on Australian art, and by the 1950s Namatjira had become the most famous Aboriginal person of his time. EXTRA FEATURES Namatjira Legacy Trust iTalk in Western Arrarnta with English subtitles On Country – A watercolour animation created by Ntaria (Hermannsburg) school students. Namatjira Legacy Trust launch video Descendants of Albert Namatjira speak about their grandfather, their own painting and their involvement with the Namatjira Project. Rental cost: $1.99 through YouTube The Namatjira Project $4.99 through Vimeo The Namatjira Project Further websites and references available on Wattle site Lecture: All students to view 'FIRST CITIZEN: Albert Namatjira', and then select at least one of the other two films 'Sons of Namatjira' (1975) and/or 'Namatjira Project' (2017). 'FIRST CITIZEN' and 'Sons of Namatjira' are available free, 'Namatjira Project' is available for a small fee and highly recommended. Zoom tutorial topic: After viewing at least 2 of the films compare, consider and provide reflective response.|
|6||Tuesday 30 March, 10:00 am - 12:00 pm. Endeavour Voyage: The Untold Stories of Cook and the First Australians, National Museum of Australia The story of HMB Endeavour’s 1770 voyage lies at the core of the Australian nation. Explore views from the ship and shore on the 250th anniversary of the journey. Until 26 April 2021. Students to take a self-directed tour through the exhibition. Online booking essential. Free | Timed ticketing||?Endeavour Voyage: The Untold Stories of Cook and the First Australians, National Museum of Australia The story of HMB Endeavour’s 1770 voyage lies at the core of the Australian nation. Explore views from the ship and shore on the 250th anniversary of the journey. Until 26 April 2021. Endeavour Voyage: The Untold Stories of Cook and the First Australians ?Zoom tutorials: Select 2 artists/works fromfor discussion in the tutorial. Consider their selection, representation in the display, your response to their work and the exhibition. References will be on the Wattle site.|
|7||Tuesday 20 April, 10:00 am - 12:00 pm. 'Culture Warriors', NITV/SBS TV series, 2007-9; 'Art+Soul', ABC TV series, 2010-14; 'Colour Theory', NITV/SBS series, 2014-17; 'This Place: Artist Series - 6 x 6 minutes, ABC iView, 2020 NIRIN: 22nd Biennale of Sydney, 2020||'Culture Warriors', 2007 - 9, NITV/SBS TV 9 part series, each episode is 27 minutes. Available for free viewing through Enhance TV (https://www.enhancetv.com.au/) although students will have to sign up to the free plan to log-in: Episode 1 - This episode features John Mawurndjul, Richard Bell and Jean Baptiste Apuatimi. https://www.enhancetv.com.au/video/culture-warriors/51204 Episode 2 - This episode features Shane Pickett, Danie Mellor and Gulumbu Yunupingu. https://www.enhancetv.com.au/video/culture-warriors/51464 Episode 3 - This week features Christian Bumbara Thompson, Owen Yalandja and Christopher Pease. https://www.enhancetv.com.au/video/culture-warriors/51534 Episode 4 - This episode features Doreen Reid Nakamarra, Vernon Ah Kee and Daniel Boyd. https://www.enhancetv.com.au/video/culture-warriors/61780 Episode 5 - This week features Anniebell Marrngamarrnga, Julie Dowling and Dennis Nona. https://www.enhancetv.com.au/video/culture-warriors/61779 Episode 6 - This episode features Gordon Hookey, Maringka Baker, Destiny Deacon and Virginia Fraser. https://www.enhancetv.com.au/video/culture-warriors/61781 Episode 7 - not available Episode 8 - This episode features Arthur Koo'ekka Pambegan Jr, Christine Christophersen and HJ Wedge. https://www.enhancetv.com.au/video/culture-warriors/47290 Episode 9 - This week features Lofty Bardayal Nadjamerrek, Treahna Hamm and Ricky Maynard. https://www.enhancetv.com.au/video/culture-warriors/47468 'Art + Soul' (2010), ABC TV & Hibiscus Films, Series 1, with Hetti Perkins with Warwick Thornton, director. Season 2 of 'Art + Soul' is also available for viewing on EnhanceTV. For all episodes, https://www.enhancetv.com.au/browse/program/series/art-soul/3836 Episode 1 (a): Home and Away - In this three-part documentary series, Hetti Perkins takes us on a personal journey into the world of Aboriginal art. art + soul, directed by Warwick Thornton (Samson and Delilah), is the powerful and emotionally engaging television series about contemporary Aboriginal and Torres Strait Islander art, and the artists who create it, 54:59 minutes. https://www.enhancetv.com.au/video/art-soul-home-and-away/3836 Episode 2: Dreams and Nightmares - In episode two, Hetti explores the themes of dreams and nightmares, 55:209 minutes. https://www.enhancetv.com.au/video/art-soul-dreams-and-nightmares/16261 Episode 3: Bitter and Sweet - In episode three, Hetti explores the themes of Bitter and Sweet and asks "How does the startling beauty - and humour - of Aboriginal art intertwine with reverberations of the past and our present"? 55:28 minutes. https://www.enhancetv.com.au/video/art-soul-bitter-and-sweet/31063 'Colour Theory' (Seasons 1 - 4, 2013 - 2017), NITV/SBS TV is a series from NITV looking at cutting edge and developing communities and collectives that are producing contemporary work that reflects the up and coming artistic development within the creative Indigenous community, that up until now has had little exposure to a wider society.'Colour Theory' unearths a variety of Contemporary Indigenous Artist and their connection to their art, community and country. Season 1 was hosted by the proclaimed show off, "Richard Bell". Seasons 2, 3 & 4 were hosted by renowned multi-disciplinary artist Tony Albert. For the full list of each 'Colour Theory' season and series see - https://www.enhancetv.com.au/search?keywords=Colour%20Theory&subjects=Indigenous%20Australians This Place: Artist Series - 6 artists x 6 minutes, ABC iView with the National Gallery of Australia, 2020. Vernon Ah Kee, Julie Gough, Mabel Juli, Yvonne Koolmatrie, Banduk Marika, Ken Thaiday Snr https://iview.abc.net.au/show/this-place-artist-series NIRIN: 22nd Biennale of Sydney Namila Benson | Behind the Biennale Podcast | Episode 1 - In conversation with Brook Andrew Tony Albert Karla Dickens The Mulka Project: 'Watami Manikay (Song of the Winds)' No?girr?a Marawili at the Museum of Contemporary Art, NIRIN Social Tour Karla Dickens: NIRIN Social Tour Tennant Creek Brio: NIRIN Social Tour Tony Albert: NIRIN Social Tour The Mulka Project: NIRIN Social Tour Nicholas Galanin: NIRIN Social Tour Adrian Stimson: NIRIN Social Tour Students to select episodes from the following series to make up the 2 hour lecture. Zoom tutorial discussions will be on the above selected documents: cultural representation, materiality, concepts, contexts, viewer response.|
|8||Tuesday 27 April, 10:00 am - 12:00 pm. Papunya Tula Artists: Film - 'Tjungu?utja: from having come together', (2017), 82 mins; ?Exhibition at Museum and Art Gallery of the Northern Territory||Film, Essays, Exhibition and Catalogue Reviews. PAPUNYA TULA ARTISTS Ltd Pty: one of the most significant Australian First Nations art/cultural movements presented through film, exhibition sites and texts: 'Tjungu?utja: from having come together', Museum and Art Gallery of the Northern Territory with Papunya Tula Artists Pty Ltd, 2017, https://www.magnt.net.au/tjungunutja-tour Film - 'Tjungu?utja: from having come together', (2017), 82 mins, uploaded to Echo360. 'In a separate viewing area is an 84-minute film, made up of twelve chapters, with each chapter focusing on one of the founding members of the Papunya Art Movement. If the exhibition is a coming together of the past through art, then the video is where memory lies in the present. Through this film, directed by David Nixon, we are able to hear directly from the artists and their families. The gentle pace and quiet detail builds a mood that speaks of what art means to Papunya. Not as a vague “Aboriginal community” but as a place made of individuals who grasped opportunities and expressed their worlds in a way that built a legacy their descendants still hold dear today.' https://www.artlink.com.au/articles/4627/tjungunutja-from-having-come-together/ Readings: https://www.art-almanac.com.au/tag/tjungunutja/ https://www.artlink.com.au/articles/4627/tjungunutja-from-having-come-together/ https://theconversation.com/friday-essay-how-the-mens-painting-room-at-papunya-transformed-australian-art-79909 http://archive.artgallery.nsw.gov.au/exhibitions/archived/2000/papunya_tula/ https://www.artgallery.nsw.gov.au/collection/works/?exhibition_id=2780 View film and select one reading to discuss during Zoom Tutorial and in Online Discussion Forum|
|9||Tuesday 4 May, 10:00 am - 12:00 pm. Film: 'Cracks in the mask' (1997), 56 minutes Film: 'Destiny Deacon and her photography' (2005), ABC TV Rewind: Series 5, 21 minutes.||'Cracks in the mask' (1997), 56 minutes Over the last 100 years, the Torres Strait Islanders in far north Australia have been the subject of many anthropological expeditions. The resulting depletion of their cultural artefacts has left them with nothing but a history of remembered loss. The only people in the Pacific to make elaborate turtleshell masks have none left; all their material culture now resides in foreign museums. In a quest to reclaim the past, Ephraim Bani, a wise and knowledgeable Torres Strait Islander , travels with his wife to the great museums of Europe where his heritage lies. Ephraim unburdens himself to his diary in moments of poignant revelation: the artefacts made by his ancestors have undergone a transformation as museum displays. When Ephraim asks for the return of some objects, the resulting debate exposes wider questions about contemporary museum culture as well as the complexity of international and Indigenous politics. They thought it would be easy to talk to the curators about the restitution of some objects; but to his mind, museums were in competition with each other to own the greatest treasures. As the title suggests, even the thickest of masks can crack when the original owners come to visit. Cracks in the Mask synopsis, 56 minutes https://vimeo.com/406430780 - please contact Brenda and Sarah for password Series 5 Destiny Deacon and her Photography Photographer Destiny Deacon puts a laugh and a tear into every image that she makes. Find out why she thinks her international renown far surpasses her reputation within Australian art. ?Rewind Series 5: Destiny Deacon Destiny, National Gallery of Victoria, DESTINY, National Gallery of Victoria, 23 Nov 2020 – 14 Feb 2021 Destiny Deacon is one of Australia’s boldest and most acclaimed contemporary artists. In the largest retrospective of her work to date, DESTINY marks the artist’s first solo show in over 15 years. Featuring more than 100 multi-disciplinary works made over a 30-year period, the exhibition includes the premiere of newly-commissioned works. Numerous early video works created with the late Wiradjuri/Kamilaroi photographer Michael Riley and West Australian performance artist Erin Hefferon are also on display. A descendant of the Kuku and Erub/Mer people from Far North Queensland and Torres Strait, Deacon is internationally known for a body of work depicting her darkly comic, idiosyncratic worldview. Offering a nuanced, thoughtful and, at times, intensely funny snapshot of contemporary Australian life, Deacon reminds us that ‘serious’ art can also have a sense of humour. Melbourne-based, Deacon works across photography, video, sculpture and installation to explore dichotomies such as childhood and adulthood, comedy and tragedy, and theft and reclamation. Her chaotic worlds, where disgraced dolls play out sinister scenes for audience amusement, subvert cultural phenomena to reflect and parody the environments around us. The NGV would like to acknowledge the passing of Virginia Fraser. We offer our sincere condolences to Virginia’s family and friends. Zoom Tutorial discussion topic: View at least one of the films and Destiny, National Gallery of Victoria. Discuss historical and contemporary Torres Strait Islander representation and identity.|
|10||Tuesday 11 May, 10:00 am - 12:00 pm. Guest Lecture on Tasmanian First Nations representation. Professor Ian Anderson AO Deputy Vice-Chancellor (Student and University Experience) MBBS, PhD, DMedSci (honouris causa) FAFPHM, FASSA, FAAHMS. Julie Gough: Art Forum - film||Professor Ian Anderson AO https://www.anu.edu.au/about/university-executive/professor-ian-anderson-ao Please note that the following film is required viewing prior to the lecture by Professor Anderson: The Last Tasmanian (1978) "The Tasmanians were a distinct people, isolated from Australia and the rest of the world for 12,000 years. In 1803, British colonisation began and in 1876, Truganini died. She was the last full-blood and tribal Tasmanian Aboriginal. Within her one lifetime, a whole society and culture were removed from the face of the earth. The Last Tasmanian had an extraordinary impact upon a very wide public in the years following its cinema release in 1978. It is a deeply moving and finely crafted work which has been credited by historians for substantially altering Australian perceptions of the colonial past. This pioneering achievement in historical detective work opens with the State funeral in 1976 for the remains of Truganini who died 100 years before. She was the last full-blood Aborigine in Tasmania. The film follows the work of Dr Rhys Jones, archaeologist and anthropologist, in his search to discover and comprehend the life and death of the Tasmanian Aborigines. The film aroused considerable controversy when it was released. Many Aboriginal people from Tasmania who are descendants of the original population objected to the film's implication that their people had been wiped out. The controversy provoked much debate, although no-one denied the enormity of the colonialists' assault upon the Aboriginal population of the island."--Ronin Films. https://web.microsoftstream.com/video/fb47f78c-a8e5-42aa-8f30-c6e4e0a97ea6?referrer=https:%2F%2Flibrary.anu.edu.au%2F 1:44:26 minutes. Julie Gough?is an artist, writer and curator who lives in Hobart, Tasmania. She was born in Melbourne, Victoria (Australia) in 1965, and has lived mostly in Tasmania since the end of 1993. Julie’s matriarchal Aboriginal family line are Trawlwoolway from Tebrikunna, far north eastern Lutruwita / Tasmania?and her paternal heritage is Scottish and Irish. Julie’s research and art practice involves uncovering and re-presenting subsumed and often conflicting histories, often referring to her family’s experiences as Tasmanian Aboriginal people. Current work in installation, sound and video explores ephemerality, absence and recurrence and interrogates the impact of colonisation on Tasmania’s first people—then and now. Julie’s work is held?in most state and national collections. A major survey of her work?Julie Gough: Tense Past was held at the Tasmanian Museum and Art Gallery in 2019. https://www.youtube.com/watch?v=Yc12yioDO7E. 49:14 minutes. Zoom tutorial discussion will be on historical and contemporary issues of identity, representation.|
|11||Tuesday 18 May, 10:00 am - 12:00 pm. [Arnhem Land doco]||TBC - Awaiting permission|
|12||Tuesday 25 May, 10:00 am - 12:00 pm. Films: 'proppaNOW' (2010), directed by Dean Gibson for Carbon Media, 56 minutes. Judy Watson – a preponderance of aboriginal blood, 11:27 minutes. Judy Watson - out of country: blood and bone, 1:30:38 minutes.||'proppaNOW' (2010), directed by Dean Gibson for Carbon Media, 56 mins. Queensland’s leading Indigenous arts collective, proppaNOW, was set up in Brisbane in 2003 to give urban-based Aboriginal artists a voice. They present a unique and controversial perspective of black Australia which is sometimes confronting and always thought provoking. The name proppaNOW best encapsulates the philosophy of what the collective is all about. They approach everything in a considered manner whilst providing a supportive environment for members to explore current social and cultural issues through art. The collective creates art that raises awareness of Aboriginal urban expression that depicts a contemporary story. They reinforce that Aboriginal Australia is a living culture that has evolved over time. Current members Vernon Ah Kee, Tony Albert, Richard Bell, Jennifer Herd, Gordon Hookey, Laurie Nilsen and Megan Cope are all established artists and well respected in their own right. Collectively, they are an Australian success story. While the history of proppaNOW is barely a decade old, it’s been a full and exciting time. We recognise the importance of documenting the history of proppaNOW for ourselves and for others, but this will take time. We wish to acknowledge our past members and will do this appropriately, as soon as we can (2013). proppaNOW 2014 Available through Vimeo, https://vimeo.com/carbon/download/49740588/62f0d1e1b6 Judy Watson - a preponderance of aboriginal blood Judy Watson produced her artist book 'a preponderance of aboriginal blood' in 2005 in an edition of five for 'Suffrance Women's Artists' Books' an exhibition organised by the State Library of Queensland to celebrate the centenary of women gaining the right to vote in Queensland elections. 'a preponderance of aboriginal blood', however, marks the forty years since 1965 when Aboriginal people were allowed to enrol to vote in Queensland. In 2019 'a preponderance of aboriginal' was republished in an edition of 1,000 and launched at the State Library of Queensland in February 2020.We will view both editions in this episode. a preponderance of aboriginal blood, 11:27 minutes. Judy Watson - out of country: blood and bone Panel discussion with Dr Lyndon Ormond-Parker, Dr Gaye Sculthorpe, Prof. David Trigger, Judy Watson and Daniel Browning. Judy Watson’s new commission, skullduggery, stems from research into the early 1930s theft of a skull and king plate from the grave of Aboriginal man Tiger, known as ‘King of the Mines’ of Lawn Hill near the Gulf of Carpentaria in northwest Queensland. King Tiger’s skull and king plate were presented to Agnes Kerr, Matron at Burketown Hospital, who then sent them to the Wellcome Historical Medical Museum (now Wellcome Collection) in London for their collection after extensive correspondence with the institution. While King Tiger’s skull was returned to the National Museum in Canberra in the 2000s, where it awaits repatriation from his community, his king plate remains in the Wellcome collection. out of country: blood and bone brings together key academics, curators and activists to discuss the history of trade in Australian Aboriginal ancestral remains and material culture, the contemporary connection to these from living Aboriginal peoples, and the complex issues around repatriation. out of country: blood and bone, 1:30:38 minutes Zoom tutorial discussion will be on historical and contemporary issues of identity, representation. Semester wrap-up discussion|
Tutorials will be held Tuesday 12:00 - 13:00, 14:00 - 15:00, 15:00 - 16:00, 16:00 - 17:00. Enrolment is through Wattle Site only. Due to high enrolment numbers students are
Tutorials will be held Tuesday 12:00 - 13:00, 14:00 - 15:00, 15:00 - 16:00, 16:00 - 17:00. Enrolment is through Wattle Site only. Due to high enrolment numbers students are encouraged to enrol in their tutorial of choice as soon as possible.
|Assessment task||Value||Due Date||Return of assessment||Learning Outcomes|
|Assessment Task 1: Focus on 2 Key Works and/or Artists from one of the following three exhibitions||20 %||26/03/2021||09/04/2021||1, 2, 5|
|Exhibition/Event/TV Program/Film Review – select from the following in details of task||30 %||30/04/2021||14/05/2021||1, 2, 3, 4, 5|
|Essay questions will be posted on the Wattle website by end of Week 2.||40 %||11/06/2021||11/07/2021||1, 2, 3, 4, 5|
|Assessment Task 4: Participation in and contribution to Tutorials; Online forum participation 10 posts||10 %||28/05/2021||11/07/2021||1, 3, 5|
* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details
ANU has educational policies, procedures and guidelines, which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Misconduct Rule before the commencement of their course. Other key policies and guidelines include:
The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the Academic Integrity . In rare cases where online submission using Turnitin software is not technically possible; or where not using Turnitin software has been justified by the Course Convener and approved by the Associate Dean (Education) on the basis of the teaching model being employed; students shall submit assessment online via ‘Wattle’ outside of Turnitin, or failing that in hard copy, or through a combination of submission methods as approved by the Associate Dean (Education). The submission method is detailed below.
Moderation of Assessment
Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.
Assessment Task 1
Learning Outcomes: 1, 2, 5
Assessment Task 1: Focus on 2 Key Works and/or Artists from one of the following three exhibitions
Details of Task:
Choose a work/s and/or artist/s (2 maximum – work/artist) – select from the following:
- Belonging: Stories of Australian Art, National Gallery of Australia
- Endeavour Voyage: The Untold Stories of Cook and the First Australians, National Museum of Australia
- Know My Name: Australian Women Artists 1900 to Now, National Gallery of Australia
Include at least 500 words visual analysis of the work discussing medium, scale, texture, line, colour, composition. How do these formal elements relate to the meaning of the work? Include up to 500 on the artist(s) biography, creative intent and context for the work.
Your focus on a key-work will be assessed according to the following criteria:
· Depth of visual analysis of the chosen artwork
· Relationship between the visual analysis and content of the work
· Depth of research
· Capacity to put forward an interesting critical argument
· Quality of the overview of the artist’s work
Word limit: 1000 words
Presentation requirements: double spaced
Due date: 26/03/2021
Estimated return date: 9/04/2021
Learning outcomes: 1, 2, 5
|Depth of visual analysis of the chosen artwork||Relationship between the visual analysis + content||Depth of research||Capacity to put forward an interesting critical ar||Quality of the overview of the artist/s work|
Assessment Task 2
Learning Outcomes: 1, 2, 3, 4, 5
Exhibition/Event/TV Program/Film Review – select from the following in details of task
Choose a work/s and/or artist/s (2 maximum – work/artist) – select from the following:
- Belonging: Stories of Australian Art, National Gallery of Australia
- Endeavour Voyage: The Untold Stories of Cook and the First Australians, National Museum of Australia
- Know My Name: Australian Women Artists 1900 to Now, National Gallery of Australia
- Another exhibition, event, television program or film of student’s choice (relating to the course) in discussion with tutor
Details of task:
Guide for writing a review:
- Include a ‘hook’ sentence at the beginning of the review to capture the reader’s interest
- Discuss at least one key work in more detail in order to convey the character of the collection display or exhibition
- Identify the argument that the collection display or exhibition puts forward. What is the concept proposal of the collection display or exhibition?
- Make sure that your review puts forward your own argument which presents your point of view concerning the collection display or exhibition. What is the collection display or exhibition trying to do? Is the collection display or exhibition successful in its aims?
- Conclude with a sentence that encourages the reader to further speculate about the collection display or exhibition
- Read other reviews of other collection display or exhibition reviews in general (see Wattle website) but remember to present your own original voice in your review. What can you uniquely offer the reader?
- In relation to choosing an event/television program or film (relating to the course) focus on key elements of respective event/television program/film - eg, cultural concepts, context, arguments/proposals, taking into account period referenced/period event/program/film was made. Discuss queries with your tutor prior to submitting assignment.
Assessment Rubric - Your review will be assessed according to the following criteria:
- Capacity to put forward an interesting critical argument
- The quality of the discussion of analysis on the collection display and/or exhibition selected
- Depth of research
|Capacity to put forward an interesting critical ar||The quality of the discussion of analysis on the c||Depth of research||Originality|
Assessment Task 3
Learning Outcomes: 1, 2, 3, 4, 5
Essay questions will be posted on the Wattle website by end of Week 2.
Essays will be assessed according to the criteria in the rubric included at the end of this course guide.
Word limit: 2500 words
Presentation requirements: typed, double spaced.
Due date: 11/06/2021
Return date: 09/07/2021
Learning Outcomes: 1, 2, 3, 4, 5
Assessment Task 4
Learning Outcomes: 1, 3, 5
Assessment Task 4: Participation in and contribution to Tutorials; Online forum participation 10 posts
Assessment Task 4: Participation in and contribution to Tutorials; Online forum participation with 10 posts from each students
Details of task: Participation in and contribution to tutorial groups each week, based around lectures (including guest lectures), site visits to cultural institutions (including guest lectures), and associated readings. Online forum participation, with at least 10 posts from each student. Topics will address current issues, relating to the course and general Australian First Nations issues.
Participation requirements: Weekly tutorials; Online forum - 10 posts
Due date: Weeks 3, 4, 5, 6, 7, 8, 9, 10, 11, 12
Return date: 11/07/2020 in final assessment
Learning Outcomes: 1, 3, 5
Academic integrity is a core part of the ANU culture as a community of scholars. At its heart, academic integrity is about behaving ethically, committing to honest and responsible scholarly practice and upholding these values with respect and fairness.
The ANU commits to assisting all members of our community to understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. The ANU expects staff and students to be familiar with the academic integrity principle and Academic Misconduct Rule, uphold high standards of academic integrity and act ethically and honestly, to ensure the quality and value of the qualification that you will graduate with.
The Academic Misconduct Rule is in place to promote academic integrity and manage academic misconduct. Very minor breaches of the academic integrity principle may result in a reduction of marks of up to 10% of the total marks available for the assessment. The ANU offers a number of online and in person services to assist students with their assignments, examinations, and other learning activities. Visit the Academic Skills website for more information about academic integrity, your responsibilities and for assistance with your assignments, writing skills and study.
You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) submission must be through Turnitin.
For some forms of assessment (hand written assignments, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.
Individual assessment tasks may or may not allow for late submission. Policy regarding late submission is detailed below:
- Late submission not permitted. If submission of assessment tasks without an extension after the due date is not permitted, a mark of 0 will be awarded.
- Late submission permitted. Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.
Accepted academic practice for referencing sources that you use in presentations can be found via the links on the Wattle site, under the file named “ANU and College Policies, Program Information, Student Support Services and Assessment”. Alternatively, you can seek help through the Students Learning Development website.
Extensions and Penalties
Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. Extensions may be granted for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.
Distribution of grades policy
Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.
Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.
Support for students
The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).
- ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
- ANU Diversity and inclusion for students with a disability or ongoing or chronic illness
- ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
- ANU Academic Skills and Learning Centre supports you make your own decisions about how you learn and manage your workload.
- ANU Counselling Centre promotes, supports and enhances mental health and wellbeing within the University student community.
- ANUSA supports and represents undergraduate and ANU College students
- PARSA supports and represents postgraduate and research students
Brenda L Croft is a proud member of Gurindji/Malngin/Mudburra Peoples from the Victoria River region of the Northern Territory of Australia, and has Anglo-Australian/Chinese/German/Irish heritage. Croft has been involved in the Australian First Nations' and broader contemporary arts and cultural sectors as an artist, arts administrator, curator, academic and consultant for over three decades. Croft's research interests include: Australian First Nations' contemporary visual arts and culture; international First Nations' contemporary visual arts and culture; critical Indigenous performative auto-ethnography, Indigenous Storying/Storywork and Indigenous Knowledges; cultural representation and identity; personal and public archives. From 2012 - 2015 Croft was Senior Research Fellow at the National Institute for Experimental Arts, UNSW Art & Design Australia, undertaking creative-led doctoral research. From 2009 - 2011, Croft was Senior Lecturer, Indigenous Art, Culture and Design at UniSA. From 2002 - 09 Croft was Senior Curator of Aboriginal and Torres Strait Islander Art at the National Gallery of Australia. From 1999 - 2002 Croft was Curator of Indigenous Art at the Art Gallery of Western Australia. In 1998 Croft taught Indigenous Visual Culture at Canberra School of Art. In 1987 she was a founding member of Boomalli Aboriginal Artists Co-operative, and Co-ordinator/General Manager from 1990 - 96. In 2009 Croft received an Honorary Doctorate (Vis. Arts) from the University of Sydney, and in 2001 she received an Alumni Award from UNSW.
AsPr Brenda Croft