CAIRNS
INDIGENOUS ART FAIR Teacher Resource 2O15
WELCOME TO THE 2O15 CIAF TEACHER RESOURCE How to use this resource The CIAF 2O15 Teacher Resource defines three key phases for teachers - EARLY (P - 5), MIDDLE (6 - 9) and SENIOR (1O - 12). Each section is informed by and refers to Embedding Aboriginal and Torres Strait Islander Perspectives in Schools (EATSIPS). The TALK, LOOK and DO sections are to be seen as starting points and are not exclusive or finite. Please adopt, adapt, share and extend these ideas with your students and your peers.
early
The years of education are a particularly important time for children to build strong foundations in learning and relationships with others. In the early years, children learn about the diversity of Aboriginal and Torres Strait Islander peoples. They engage with a variety of stories, languages, beliefs and cultural practices of Australia’s Indigenous peoples.
middle
In the phase of schooling, students develop an understanding of the perspectives of Indigenous and non-Indigenous Australians and how these are influenced by personal experiences, cultural backgrounds and knowledge. This understanding helps students gain a better appreciation of Australian history and contemporary issues.
INDIGENOUS PERSPECTIVES IN THE CURRICULUM http://www.qcaa.qld.edu.au/577.html
senior
In the phase, learners gain an awareness of the contributions of Indigenous Australians at local, regional, national and global levels. They engage with a variety of cultural protocols when working with Indigenous communities within their local area and in the sourcing of Indigenous knowledges. This helps them develop a greater understanding of their own country of origin and of the cultural, social and political beliefs that influence Australian identity and society.
What are Cultural Protocols?
Protocols are ethical principles which guide behaviour in a particular situation. Protocols are designed to protect Aboriginal and Torres Strait Islander cultural and intellectual property rights. Protocols pave the way for improving working relationships between non Aboriginal and Aboriginal and Torres Strait Islander people and consequently for achieving better outcomes for everyone. Cultural and intellectual property rights include the right for Aboriginal and Torres Strait Islander Peoples to: • own and control their cultural and intellectual property • ensure that any means of protecting their cultural and intellectual property is based on the principle of self determination • be recognised as the primary guardians and interpreters of their cultures and so regulate how stories and information are presented • authorise or refuse the use of their cultural and intellectual property according to customary law • maintain the secrecy of their knowledge and other cultural practices • be given full and proper attribution for sharing their heritage • control the recording of cultural customs and expressions, the particular language which may be intrinsic to cultural identity, knowledge, skill and teaching of culture. This material is sourced from; http://www.reconciliation.org.au/raphub/wp-content/uploads/2013/03/Respect-Aboriginal-and-Torres-Strait-Islander-protocolsOxfam-Australia.pdfhttps://www.qcaa.qld.edu.au/3035.html (accessed 3 July 2O15) Protocols for consultation and negotiation with Torres Strait Islander people https://www.datsip.qld.gov.au/resources/datsima/people-communities/protocols-aboriginal/aboriginal-protocols-for-consultation.pdf (accessed 3 July 2O15)
CONTEMPORARY ABORIGINAL AND TORRES STRAIT ISLANDER ART IS THE ART OF TODAY Contemporary Indigenous Art is the art of today, produced by Aboriginal and Torres Strait Islander artists living in the in a range of urban and remote communities. Contemporary Indigenous Artists work in a globally influenced, culturally diverse, and technologically advancing world. Their art is a dynamic combination of materials, methods, concepts, and subjects that often challenge traditional boundaries of both Western and Indigenous art and defy easy definition. Diverse and eclectic, contemporary Indigenous Art as a whole is distinguished by the very lack of a uniform, organising principle, ideology, or style.
R.E.A.C.H. Teacher Resource
WHAT
CAN
WE
LEARN
FROM
CONTEMPORARY
ART?
The integration of contemporary art into school and community learning enables educators to actively engage with issues that affect our lives, provoking curiosity, encouraging dialogue, and igniting debate about the world around us. Contemporary Aboriginal and Torres Strait Islander artists address both current historical events and policies. These references help educators and students make connections across the curriculum and support interdisciplinary thinking. As artists continue to explore new technologies and media, the work they create encourages critical thinking and visual literacy in our increasingly media-saturated society. We want students to understand that contemporary Aboriginal and Torres Strait Islander art is part of a cultural dialogue that concerns larger contextual frameworks, such as personal and cultural identity, family, community, and nationality. Curiosity, openness, and dialogue are important tools for engaging audiences in contemporary art. Instead of questioning whether a work of art is good or bad, the study of contemporary art requires an open-ended methodology and an inquirybased approach. Asking questions that stimulate discussion is an integral step in the process towards appreciating contemporary art. Looking at contemporary art is an investigation and an exploration; an opportunity to consider ideas and different perspectives, to learn something new, and eventually to create a personal sense of meaning and understanding.
DISCUSSIONS AROUND CONTEMPORARY ABORIGINAL AND TORRES STRAIT ISLANDER ART • What makes a work of art a work of art? Is contemporary Aboriginal and Torres Strait Islander art defined by particular boundaries? • Who decides what an artwork means? Is it the artist, the critic, the viewer, or history? • Where do Aboriginal and Torres Strait Islander artists find their inspiration? • What are the most important skills an Aboriginal and Torres Strait Islander artist working today can have? • What materials and tools are Aboriginal and Torres Strait Islander artists using to create art? • What is the difference between working alone and collaborating with fabricators, audiences, others? • In addition to museums and galleries, what are other places where you may see Indigenous art? • What subjects, issues, and themes are important to Aboriginal and Torres Strait Islander artists? What subjects, issues, and themes are important to you and what connections can you make between the two? • Does a work of art need to be beautiful? Why or why not? Who defines beauty? • Does contemporary Aboriginal and Torres Strait Islander art have a purpose, a role, a responsibility?
DISCUSS HOW TO LOOK AT VISUAL ART
• Describe the artwork. What are the artwork’s formal qualities: colour, composition, style, mood, media and materials? • Consider the artist’s concept. What is the artist thinking, what choices have they made, and what process have they used? • Identify the context of the work. What are the circumstances in which an artwork is made, as well as when, where, and how the viewer sees a work of art?
DISCUSS A SINGLE WORK OF ART • What choices or decisions such as selection of materials, installation decisions, colour choices has the artist made? Why do you think the artist made those choices? • What personal references do you make to this work? What does this work remind you of? • Consider the relationship of this work of art to your own ideas, experiences, and opinions. • What visual, literary, and/or historical references are made in the work? What prior knowledge does the viewer need? • What can this work of art tell you about the artist, yourself, and/or the world around you?
(This text was paraphrased and developed with the support of http://www.art21.org/teach/on-contemporary-art/starting-the-conversation (accessed 3 July 2O15), a non-profit contemporary art organisation.)
R.E.A.C.H. Teacher Resource
Out of Queensland - New Indigenous Textiles Nine Queensland artists have broken with their traditional mediums and embraced digital technology as a new process for the Out of Queensland: New Indigenous Textiles exhibition at the Cairns Regional Gallery held in partnership Cairns Indigenous Art Fair The exhibition comprises digitally printed lengths of fabric from Vernon Ah Kee, Naomi Hobson, Ryan Presley, Gordon Hookey, Brian Robinson, Heather Koowatha, Claudia Moodoonuthi, Teho Ropeyarn and Arthur Roughsey. Screen print and textile artist Bobbie Ruben collaborated with these artists, manipulating images to create repeat-patterns for direct-to-fabric digital printing. (DTF) This method of printing uses computerised images sent to inkjet printers similar to ones used for printing on paper. The inks are speciality inks that are created for fabrics and set by heat. Some benefits to digital textile printing over the traditional screen printing include; • Extensive colours and blending options and new technology inks • More creativity and possibilities. Images are created with very fine detail, enabling artwork to be printed with unlimited illustrative or photographic results. Environmental benefits are; • Minimal fabric waste, as printed fabric amounts are controlled • Zero ink waste
(above) Naomi Hobson PA’II (Three Sisters) 2O15 digital design
for textile
image courtesy and © the artist
The work tells a story about her father’s mother and her two sisters. “Their life journeys have taken them on different paths in different places but all are grounded in their Kanthanampu (Lockhart River) traditional heritage with shared beliefs and stories, culture and country.”
(above) Vernon Ah Kee
Brutalities 2O15 digital design for textile image courtesy and © the artist
“When most white Australians look at an Aborigine, this is what they see, someone who is not fully human. Brutalities represents what happens to the person who perceives this way.” R.E.A.C.H. Teacher Resource
Out of Queensland - New Indigenous Textiles (below) Heather Koowootha
Traditional women’s building materials 2O15 digital design for textile image courtesy and © the artist
Heather grew up in Yarrabah, the daughter of two ‘stolen’ children. Her printmaking portrays detailed drawings based on sacred land protocols and various themes inspired by her upbringing. Heather’s print features significant words and sentences about traditional ways, interspersed with plants, fruits and water.
(above) Brian Robinson
The blooms continue to flourish. 2O15 digital design for textile image courtesy and © the artist
“Skill in gardening was partly dependent on understanding the seasons including knowledge of the stars and constellations, tidal patterns and migration of birds and certain sea creatures… certain magical rites and ceremonies were performed to ensure good crops.”
(above) Ryan Presley
Bedburner 2O15 digital design for textile image courtesy and © the artist
“The flow-on effect of the design reflects the flow-on effect of oppression... Seemingly shocking events may erupt within this sort of social and political climate but they are precipitated by the same misgivings, ignorance and stupidity that are common in colonial society. Their detrimental behaviours are then exacerbated by power.” R.E.A.C.H. Teacher Resource
Out of Queensland - New Indigenous Textiles
(above) Gordon Hookey
(above) Teho Ropeyarn
Wallaroo.2O15 digital design for textile
Udhyama upanthi arrirra ayki wanthah (two sister birds looking for scrub yam) 2O15 digital design for textile
image courtesy and © the artist
Hookey describes the work as, “an infinite mob of multi-coloured kangaroos wearing Aboriginal flag glasses that symbolise seeing things Aboriginal way. The kangaroos are Murri people.”
image courtesy and © the artist
A linocut print depicting a story of the Utku (emu) that betrays the Alarrakudhi (Brolga) and tricks her into killing her children. R.E.A.C.H. Teacher Resource
Out of Queensland - New Indigenous Textiles (left) Arthur Roughsey
Thuwathu, the Rainbow Serpent. 2O15 digital design for textile image courtesy and © the artist
“He dies when his sister Bulthuku (Shore Bird), lights him up with fire when he wouldn’t share his humpy with her and her baby Jindirrbu (Willywagtail). Her baby died because of the cold rain when Thuwathu wouldn’t give them shelter. Now you can see him up in the sky as the many different colours of the rainbow.”
(left) Claudia Moodoonuthi
Body marks 2O15 digital design for textile image courtesy and © the artist
Her work is influenced by the work of her Great Grandmother, May Moodoonuthi and May’s sister Sally Gabori. The multi-coloured lines in Burkunda (Body marks) pay tribute to her Grandmother. “My Grandmother was a keen tracker, a wise elder and a motherly figure to all who knew her. Body marks are given to us when we go through lore. Her body marks have become mine.”
EARLY LOOK How many different animals can you see in the fabrics?
TALK What is the differences between a painting and the material?
DO Design your own bed spread or curtains for your room based on story.
MIDDLE LOOK
Look closely at the material. Each piece has the pattern repeated twice. Can you see where the patterns have been repeated?
TALK What do you think the difference is between a painting and creating a piece of material?
DO
Design an image for a piece of material that can be repeated. Use photoshop to create a repeat of your design.
SENIOR LOOK Look and consider the different approaches each artist has taken to a common design brief.
TALK What do you think Ryan Presley’s statement means? How do you read his print?
DO Vernon Ah Kee and Gordon Hookey are similar to Presley in that they are expressing political concerns within a typically non political genre. Create art that examines a political point using a typically non political genre.
R.E.A.C.H. Teacher Resource
Ghostnets - a story of collaboration An Olive Ridley turtle feeds in the shallows, oblivious of the expanse of net stretching past. He is distracted by the fibres which brush against his flipper and as he backs away the fibres catch his claw. He panics and, trying to free himself he tosses his big body about until he is entirely ensnared. The tide brings the net to shore. The long stretch of beach is uninhabited and the waves break over the net and entrapped turtle as sand sings through the wind. The turtle’s breath begins to labour…
above: Wik and Kugu Rangers, Aurukun, removing net from shores of western Cape York. Photo by Leigh Harris courtesy GhostNets Australia below: Senior Nanum Wungthim Ranger, Phillip Mango cutting free a juvenile Hawksbill turtle. Photo by Matt Gillis. courtesy GhostNets Australia
A troupie makes its way along the hard sand. Genan, bounces along in the passenger seat, keeping an eye out for any quarantine hazards that wash ashore. The local Indigenous rangers have already collected pieces of driftwood that might be home to borers, whose insatiable appetite could devastate the Australian native forests. Didj’s eyesight is remarkable and he spots the fishing net and entrapped turtle from 1OO metres away. “Ghost net” he says lifting his finger for the other rangers to follow. Pulling over, they gently disentangle the turtle, which makes only an exhausted protest. Whilst the other two rangers carefully lift the 45 kg turtle into the troupie, Didj gathers up the ghost net so it doesn’t wash back out to sea and waits for the others to load it up. He tests the green fibres in his fingers; this bit of net is just what Auntie’s been looking for he thinks. Smiling, he wonders if she might weave him a dilly bag for dug-up yams. Before delivering the ghost net to Auntie, Didj helps to unload the turtle at the triage station in the nearby community. You’re in good hands mate, he says to the turtle before heading on his way.
Didj was right, Auntie is ecstatic and before too long Auntie’s expert fingers have twisted, coiled and woven the ghost net into the shape of a proud bush turkey… The woven bush turkey sits with his chest out proudly on a stall at the Cairns Indigenous Art Fair; it’s been quite a journey. images and extract from Tell Me a Story Follow the deadly journey of a ghost net from Indonesia to the coast of Australia, where it is finally transformed by an Indigenous weaver… http://www.ghostnets.com.au/about/tell-me-a-story/
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Ghostnets - a story of collaboration How does the Ghost Net Art Project create projects?
EARLY LOOK
In remote indigenous communities, ideas for large sculptural works would have a focus on a connection to culture or community. The materials on hand also play a large part in what will be made, such as the type of net and rope and quantity. You can’t run out half way as it isn’t something you can buy at the shop!
Go to the Ghostnet Australia website http://www.ghostnets. com.au/about/tell-me-a-story/ and read the whole story.
One issue is the cost of freighting works around the country. Large works can be very expensive to tour, such as the four metre Southern Right Whale made in Ceduna, South Australia (below). With this in mind, the initial design may need to come apart or fold up to save on freight. This can prove a compromise as much of the beauty of the form can be lost if it has to be created in segments. However, it is an interesting challenge and a good problem-solving exercise in a workshop environment where everyone can throw in ideas.
After looking at the website talk about how you can help save fish and animals in the ocean
To create large works the workshops tend to run for two weeks with two artist facilitators. After an initial discussion with participants of what will be made and how big it will be, a key elder or artist is asked to draw up the shape to scale for an armature plan. There are usually preexisting paintings or drawing by the artist to use as reference. After this is done, participants are divided into groups - one group to create small works or components for the large work, and the other group to work on the armature. People can move through the groups or work on their own ghost net work. Introductory workshops try to develop skills and techniques in using the material on smaller objects first. Usually when the sculpture starts to take shape everyone is keen to work on it, especially when time is running out. At this stage the workshops really bring people together. It is the moment everyone takes ownership of the sculpture which
MIDDLE
TALK
DO In small groups make a classroom poster about the animals that are affected by ghost net - draw an animal for this poster
LOOK Look at the armature of the whale and then the finished whale. Can you still see the armature?
TALK What is more important in a collaborative work: the final artwork or the process of making the artwork?
DO In small groups work on a collaborative art project that explores an environmental issue in your area. Consider; • how you chose your media, • how did you arrive at a shared idea or vision,? • how did you divide up the project? • did everyone contribute equally? Document your group’s ideas.
SENIOR LOOK In a collaborative work can the viewer tell if a single “voice” has been used or whether the work has multiple voices and ideas?
TALK How does collaborative work affect your ideas of the importance of the artist? Research and discuss other collaborative art projects.
DO Invite another art student from a remote school to join you in creating an online artwork. Consider how this could be done and what outcomes you would want to achieve.
R.E.A.C.H. Teacher Resource
Ghostnets - a story of collaboration
has to be negotiated carefully so everyone can contribute their ideas and skills within the overall completed work while still maintaining the visual qualities. Much of the work is very flexible according to who is involved and whatever is happening on each particular day with the differing communities bringing to projects their own particular dynamics. Eventually it is the approaching deadline that becomes a driving force. Workshop facilitators were aware that once they left a community, the whole energy of the group dynamic may decline as everyone returns to their usual activities. Their aim was to try to get at least one person to take on using the material so Erub Artists with their ghost net coconut trees ’Sau’. This installation tells the story of new life, survival and journeys across oceans. Traditional grass hut constructed by Dick Pilot jnr and community.
R.E.A.C.H. Teacher Resource
Ghostnets - a story of collaboration they can keep it going once they leave. This model has proved successful in many communities such Erub where the artists have established themselves as prominent producers of ghostnet art. Sue Ryan of the Ghostnet Art Project has noticed that indigenous people often like to observe how something that is new to them is done for some time before they begin, whereas other people will tend to pick up the material and try to learn by doing. The Ghostnet Art Project’s cross cultural activities are often open public workshops at festivals or events. They bring different artists from communities to conduct casual workshops often creating a sculpture, but primarily providing a friendly environment where people can learn how to make something, learn about ghost net and learn about what life is like in a remote indigenous community. These weaving, stitching circles allow people to connect, tell stories, learn new techniques or to contribute to the collaborative sculpture in a very relaxed way. At other cross cultural workshops in communities they may bring different indigenous groups together. Sue says it is amazing how individuals in these different groups always seem to be able to find family connections. Even with seemingly separate cultures such as Aboriginal and Torres Strait Islander groups there are often family connections. In the end, all of the workshops they do are a way to learn to make things, tell stories and make connections.
EARLY LOOK Can you see the person wearing a ghostnet mask?
TALK Discuss the making techniques of sewing, cutting and binding/ wrapping/threading/knotting
DO Join in at the Ghost Net Project under the large tree.
MIDDLE LOOK Look at the image of the nets. Can you see the ghostnet? Look at the different ways the materials have been joined together.
TALK Talk about the knowledge of plants and animals you would need to make the whale or coconuts or the fish.
DO Join in at the Ghost Net Project under the large tree.
SENIOR LOOK Look at the photo of the coconuts next to the hut. Think about installations how the context of an artwork could change the way you view the work.
TALK How do you learn new things? Think about your learning style and teach a friend a new art skill. Will you show them, talk them through it, draw a diagram?
DO Join in at the Ghost Net Project under the large tree.
Images provided by Sue Ryan and Lynnette Griffiths
R.E.A.C.H. Teacher Resource
Kei Kalak - Glen Mackie
Glen Mackie “Yankee Ned” Edward Mosby 2O14 Vinylcut print on paper
The story of ‘Yankee Ned’ Mosby Edward Mosby, born around 184O in Maryland was said to be a sailor on a ship that brought him to Australia in the late 186Os. Oral history has differing stories as to how Edward Mosby, known on Thursday Island as ‘Yankee Ned’, ended up living on Massig (Yorke Island) in the Torres Strait. It is possible that he was a deserter from the United States Navy or a sailor aboard a Massachusetts whaling ship who quarrelled with the first mate, jumped ship and travelled as far north as possible to escape capture and punishment. John Jardine recorded that Mosby came to Torres Strait in the mid-sixties and worked for him at Somerset in Albany Passage. It’s believed that his work for Jardine was on an early pearling lugger which also gathered beche-de-mer. From the day he appeared in the Straits he attempted to convince islanders that the pearl fishers were taking away wealth that by rights should be theirs. Such an idea made Mosby very popular with the islanders, but very unpopular with the pearlers. Eventually Mosby arrived on Massig with his own boat. He promised the islanders a share of any wealth that could be gained from the sea if their best swimmers and divers would help him to harvest the shells and beche-de-mer. He also guaranteed that he would make his home on the island and marry one of the island girls. To show that his commitment was genuine, Mosby wooed and won a Massig girl. He called her “Queenie” and it is by that name that she is best remembered. Yankee Ned and Queenie married according to island rituals and he had a grass-thatched house erected on the north side of the island. The house didn’t last for long as a rival suitor, jealous of his relationship with Queenie, crept up in the dead of night and shot a fire-tipped arrow into the house. The couple was saved from the raging inferno by nearby villagers. As time went by Mosby became accepted by most on Massig, even though some still did not consider him the powerful force he sought to be. Then fate stepped in to convince all the islanders that they indeed had a great leader among them. The islanders of Mer, or Murray Island, considered to be the most fearsome of the Torres Strait head-hunters, decided to go on one of their periodic raids to the surrounding islands. They had selected Massig as their target and with faces and bodies painted for battle the men of Mer crowded into canoes. As their canoes came into sight of Massig, they were silhouetted against the rising morning sun and were spotted by Mosby. He gathered together the local warriors and set a plan into action. A third of the Massig men were to stand in plain view on the beach and await the attack. The remainder, with the women and children, were to run across the low sand to the other side of the island, and prepare to flee in canoes to safety. The attacking warriors of Mer watched this manoeuvre and thought they had only a small force of Massig men to overcome. What they were unaware of was that Mosby had told the remaining Massig men to turn back and crawl on their hands
R.E.A.C.H. Teacher Resource
Kei Kalak - Glen Mackie
EARLY
Iama (Yam Island)
LOOK
Lives and works: Cairns
How many people are in the print? What other things can you see?
Artist Story
Glen Mackie’s (Kei Kalak) bold ‘minar’, or infilldesign style, incorporates family totemic designs and his own invented geometric repeating water pattern. He retells the myths and legendary stories he inherited from older family members. As Yam Photos and text courtesy of the Island’s only practising artist he feels he has a artist and Canopy Art Centre responsibility to keep alive the sacred stories of the four brothers who travelled from the north before memory and settled Zenadh Kes, more commonly known as the Central and Eastern Torres Strait Islands. These four brothers were: Malu, who became god of Mer (Murray Island); Sigai, brother of Malu, teacher of war, mamoose of Yam Island; Kulka, third brother, teacher of hunting, mamoose of Ourete Island (Skull Island) and younger brother Siue, teacher of dance, mamoose of Massig (Yorke Island). Art and law are combined heroically in what can only be described as an ‘epic’ style. The figures are woven into rhythmic patterns (minaral).
The story of ‘Yankee Ned’ Mosby (cont.) and knees through the grass to the beach where the landing was to take place. When the warriors from Mer beached their canoes they were immediately met with a shower of arrows from the concealed warriors. Many of the attacking force fell on that blood stained coral beach. Only a half-full canoe got away alive and it was the last time a head hunting force ever attempted to attack the islanders of Massig. Following the victory, Yankee Ned was accepted as leader of the Massig people and a force to be reckoned with in the whole Torres Strait. In 1879 Mosby was well established on Massig when a visiting government agent advised the islanders of their annexation by Queensland. However, Mosby had already brought the first form of western civilization and rule to the Island by employing a white schoolmaster so that the children could be educated. Mosby’s business prospered and he erected a European style house, introduced cattle and horses and seeds for gardens. People of Massig were soon the most progressive in the Torres Strait. By the outbreak of the Second World War four of Mosby’s sons who owned luggers had also become prominent in the gathering of pearl shell, trochus shell and beche-de-mer. After the loss of a leg from coral poisoning, it was Yankee Ned’s habit to sit on his verandah in the evening and to look at his collection of priceless pearls. He would take them out of a canvas bag and put them on a table under the light of an oil lamp and explain to his sons that one day these would pay for their education in the United States, “where you will meet all of your relatives in Virginia”. According to legend, he was looking at his pearls one evening when he heard a noise in the darkness. He spun around and saw a Japanese pearl diver watching him. The next morning Mosby told his family he had safely buried his treasured pearls where no one but he would ever find them. Unfortunately Ned Mosby died suddenly and he never had a chance to reveal the whereabouts of his hidden pearls. Though many have searched for them, they are still buried somewhere on Massig, today known as Yorke Island. Edward Mosby remains on the list of Civil War dead buried in Australia. He died in 1911 on Yorke Island, Torres Strait and was buried on Thursday Island.
TALK Talk about how the people are dressed and why they are dressed like that.
DO Draw a picture of one of your family surrounded by things that are important to them.
MIDDLE LOOK Look at all the people in the print. Who do you think they are or do they represent other parts of Glen Mackie’s story?
TALK Discuss why there would be different stories about how Yankee Ned came to the Torres Strait.
DO Glen invented his own repeating pattern for water. Create repeated patterns representing elements such as water, fire, wind or earth
SENIOR LOOK Look at the way Mackie has constructed this print and the use of layering and positioning.
TALK Discuss what effect these stylistic choices have and how Mackie is using them to communicate ideas about history and its importance.
DO Create a relief print based on a family story using a similar style of flat layering and repetitive patterns.
R.E.A.C.H. Teacher Resource
Irene Namok
Irene Namok Untitled 2O15 Hand made ceramics 5cm X 8.5cm Irene Namok’s artworks has been exhibited in both solo and group exhibitions within Australia and Internationally since May 2OO9. In 2O14, Irene Namok produced handmade ceramic birds tapping deep into another artistic talent within herself. The results of the new ceramic works produced by Irene has been well received by art buyers and this has opened up a new door for her to connect with another segment of the diversified art market audience.
R.E.A.C.H. Teacher Resource
Irene Namok
EARLY Lives: Lockhart River
LOOK
Works: Lockhart River Arts
Look at the bird. What bird does it remind you of?
Indigenous Corporation Artist Story (transcribed from the artist)
Photos and text courtesy of the artist and Lockhart River Arts Indigenous Corporation
I was born on Thursday Island and my grandfather was a church minister at the Old Site. I was going to get married but the man I was going to marry died. I have got six kids. Four boys and two girls, but one of my girls died so now I only have one.
School time I was a good artist and as I grew up I been doing art. I grew up with old ancestors - old grannie boys and old grannie girls at Old Site. I been turn 9 years old at old site and we move to new site. As I been with my old ancestors they tell me story and draw on sand and charcoal for me and they tell me, “grannie girl, one day you become artisit and you go around the world making name for yumi”, and I still never forget that.
TALK When Irene paints she likes to use the colours from bright sun. Talk about your favorite colours and why you like them.
DO Sit outside on a sunny day. Draw what you see using either using paint or crayons.
MIDDLE LOOK Look at the shape of the bird and the details of the feathers and wings.
TALK Discuss if you think it is important for the bird to look realistic.
I like play with the colours that blends and that’s how I get the colours from the brightness of the sun, like morning sun, midday sun and afternoon sunset. I take it from there now and put it on my linen and canvas and plus we got water here and when the sun rise, it make reflection on the saltwater at sunbeach, that’s more nice and where I get inspiration. We get sunrise everyday in front of beach.
DO
My painting is about land, about culture, ancestor stories from tribals that passing to generations just like I’m speaking now here in Lockhart. We one big family. What I want is to pass inspiration onto my next generation in years to come, because we are all in that same circle and plus we got different totems to go with thempla stories.
SENIOR
I also paint about my emotions. I paint about the forest in my country, bush fires and the waterholes. I paint the lagoons because we like to swim in the lagoons. I also paint about meetings times and festivals times and meeting places. We dress the kids all up and paint them all and we sit together and we yarn around the fireplace under the moonlight. I am happy when they buy my painting. They take my story with them as well and they tell to their family. I even tell them when they buy my painting to be aware when they go camping, hunting and fishing, stay long way from creek and river. I tell them that when they go down the creek, check rocks to find if anything in there before they go in like crocodile or wild pig. This one now my story
Make small birds out of paperclay and then paint them when dry. You could attach them to a branch for a class display.
LOOK Look at the small ceramic bird with its handmade qualities and consider this versus mass produced works.
TALK Discuss the difference between a transcription of the artist talking and an artist statement. Do you think it would change the way you read this text if it was changed into formal language?
DO Experiment with capturing the same scene in different weather and time conditions - e.g. bright sun, cloudy, late afternoon. Try to capture the colour differences.
R.E.A.C.H. Teacher Resource
This resource has been developed by REACH (Regional Excellence in Arts and Culture Hubs) and CIAF (Cairns Indigenous Art Fair) to assist teachers and other educators in their support of learning in the visual arts with an emphasis on contemporary Indigenous artists and their work.
What is REACH?
Regional Excellence in Arts and Culture Hubs REACH is an Arts strategy (all strands: Visual Arts, Drama, Dance, Music and Media) being implemented by Education Queensland to connect and bring together people at primary and secondary schools all over FNQ (local, rural and remote) to: • Improve Arts teacher practice by identifying existing strengths and skills and sharing curriculum and classroom practices • Identify talented Arts students and improve their learning and career pathways • Develop and run school-based excellence courses for students using Artists in Residence • Exhibit and celebrate successful outcomes of Arts students • Build up a range of resources to support practical implementation of Arts in schools throughout FNQ. The REACH Goal Focus on improving consistency, balance and excellence in Arts Education delivery to Indigenous students, nonIndigenous students and teachers including all phases of learning in rural and remote contexts.
Cairns Indigenous Art Fair (CIAF)
CIAF is a unique three-day event that merges an art market with a celebration of Queensland Aboriginal and Torres Strait Islander cultures. The Cairns Indigenous Art Fair is the only art fair in Australia to welcome commercial art galleries and Indigenous art centres to sell and showcase art by Queensland Aboriginal and Torres Strait Islander artists. Cairns Indigenous Art Fair (CIAF) is committed to providing an ethical marketplace for the sale and purchase of Queensland Indigenous art and supporting the career development of Queensland Indigenous artists. Since the birth of CIAF in 2OO9, the event has grown to be one of the most recognised Art Fairs / Festivals in Australia. Held 31 July to the 2 August, 2O15, it is a unique event on Australia’s cultural calendar and an unparalleled celebration of Aboriginal and Torres Strait Islander art, dance and music. www.ciaf.com.au Resource and design: Sally Donald, Visual Art Strand Organiser, REACH Special Thanks to:
Sonja Anderson Shannon Brett Create Print & Design John Eaton Vanessa Gillen Lynnette Griffiths Janina Harding
Fiona Johnson Mark Peace Enoch Perazim Paloma Ramos Wanda Weatherall Janelle Williams Jane Younghusband
Warning and notes on the publication
Readers should be aware that this Education Resource may include names and images of deceased people that may cause sadness or distress to Aboriginal people. The spelling of Aboriginal and Torres Strait words and names varies. They generally appear in the text according to the artists text or the conventions of accepted usage. In most instances, artists’ birth, language groups, clans and information has been supplied by the artists or their representative organisation.
front and back cover: Irene Namok Untitled birds 2O15 Hand made ceramics