Unit Guide

General Information

Unit convenor and teaching staff	Unit convenor and teaching staff Unit Convenor Melissa Collins melissa.collins@mq.edu.au Contact via melissa.collins@mq.edu.au W3A 407 By appointment
Credit points	Credit points 3
Prerequisites	Prerequisites 39cp
Corequisites	Corequisites
Co-badged status	Co-badged status
Unit description	Unit description After reviewing the broad historical, political and legal discourses that have shaped relations between Indigenous and non-Indigenous peoples in some specific post-colonial contexts in Australia and other post-settler states, we investigate what may constitute Indigenous studies. In doing this we not only take account of the impact of the colonial encounter in shaping Indigenous identities, but consider the ways in which Indigenous peoples make their own identities and negotiate relations with their own Others.

Important Academic Dates

Information about important academic dates including deadlines for withdrawing from units are available at https://www.mq.edu.au/study/calendar-of-dates

Learning Outcomes

On successful completion of this unit, you will be able to:

Being able to express and engage with various theoretical perspectives to account for the current conditions of Indigenous peoples’ lives in different contexts.
Being able to communicate in written and verbal form an understanding of the historical, political, legal, social and economic dimensions that have shaped the colonial encounter between Indigenous and non-Indigenous peoples in post-settler states.
Being able to communicate and critically engage with ideas related to the conceptualization of the emerging (multi/inter)discipline of ‘Indigenous Studies’
Being able to organise research materials and using these to write in a clear manner on topics of the students’ choice with appropriate referencing of relevant sources

Assessment Tasks

Name	Weighting	Due
Online contributions	35%	Weekly
Class presentation	30%	As per class schedule
Practical Reflection Report	35%	6 June 2014

Online contributions

Due: Weekly
Weighting: 35%

It is a requirement of this course that you make weekly contributions through our online site, and answer, debate or illustrate through a personal reflection, weekly questions. Students will be allocated marks according to the regular number of times and the quality of their contributions to the seminar questions. Each week reading citations will be entered into the weekly forum on Ilearn. Contributions must be made during the week that they are due. Late contributions will attract an academic penalty. This is an on-going assessment strategy and marks will be deducted if responses are not posted each week. Early feedback will be given at the end of week 5 and the final mark will be calculated at the end of semester.

On successful completion you will be able to:

Being able to express and engage with various theoretical perspectives to account for the current conditions of Indigenous peoples’ lives in different contexts.
Being able to communicate in written and verbal form an understanding of the historical, political, legal, social and economic dimensions that have shaped the colonial encounter between Indigenous and non-Indigenous peoples in post-settler states.
Being able to communicate and critically engage with ideas related to the conceptualization of the emerging (multi/inter)discipline of ‘Indigenous Studies’
Being able to organise research materials and using these to write in a clear manner on topics of the students’ choice with appropriate referencing of relevant sources

Class presentation

Due: As per class schedule
Weighting: 30%

In week 1 you will be allocated a timeframe in which you are to present (face to face students) or email a power point presentation (external online students) of 20 minute duration. You are required to choose an Indigenous Artist, of your choice, from within Australia, including the Torres Straits and Tiwi Islands. You will need to research who this artists is and identify which community (language group) they are from. You will also need to highlight from a personal perspective, why you have chosen this artist and what makes their work significant. You may also wish to outline any exhibitions and consider the benefits or challenges concerning their recognition as an Indigenous artist. Rather than base your presentation on a bibliographic format, students are encouraged to develop a personal and critical response in outlining both form and content. Comparative viewpoints from other Indigenous or Non Indigenous artists are acceptable and may be used to build your critical analogies.

You will need to submit your presentation via Turnitin by the due date.

On successful completion you will be able to:

Being able to express and engage with various theoretical perspectives to account for the current conditions of Indigenous peoples’ lives in different contexts.
Being able to communicate in written and verbal form an understanding of the historical, political, legal, social and economic dimensions that have shaped the colonial encounter between Indigenous and non-Indigenous peoples in post-settler states.
Being able to organise research materials and using these to write in a clear manner on topics of the students’ choice with appropriate referencing of relevant sources

Practical Reflection Report

Due: 6 June 2014
Weighting: 35%

You are required to write a 2,500-3000 word reflective essay describing your PACE experience - your practical experiences within the organisation or community agency of your chosen field. You need to evaluate and critique the value of Indigenous “arts” or ways of art making, including both challenges and enlightenments. As each student may be working in various areas of art based practice, you will need to locate suitable research material to validate your personal observations and reflections of your experiences.

Your placement consists of a minimum of 30 hours and needs to be completed by the end of Semester 1, 2014. You may choose to select to do this either on a weekly basis or through a block session. Should your practice impact on your attendance to class, please contact your lecturer, as this course is built on flexible delivery and self-directed research procedures.

On successful completion you will be able to:

Being able to express and engage with various theoretical perspectives to account for the current conditions of Indigenous peoples’ lives in different contexts.
Being able to communicate in written and verbal form an understanding of the historical, political, legal, social and economic dimensions that have shaped the colonial encounter between Indigenous and non-Indigenous peoples in post-settler states.
Being able to organise research materials and using these to write in a clear manner on topics of the students’ choice with appropriate referencing of relevant sources

Delivery and Resources

Unit webpage and technology used and required

Online units can be accessed at: http://ilearn.mq.edu.au/.

PC and Internet access are required. Basic computer skills (e.g., internet browsing) and skills in word processing are also a requirement.

Please consult teaching staff for any further, more specific requirements.

This unit was reviewed by students and staff in December 2012.

Unit Schedule

LECTURE AND TUTORIAL INFORMATION – ABST301

Below is a table outlining weekly lectures, with a list of recommended readings. You are required to read a minimum of one set reading each week in preparation for your weekly post and seminar. You are also required to source an additional reading and discuss your fully cited article in your online contribution.

Weekly schedule:

Week 1

Introduction to Case Studies in Indigenous Arts – Course Overview and PACE presentation: 4 March

This week your lecturer will present an overview of the main themes of the unit, explain its format, provide assistance in journal searching and answer any questions regarding assessment. Topics will be chosen for seminar presentations.

A member of the PACE team will also give a short introduction to the participation component of the unit.

DISCUSSION QUESTIONS:

Please introduce yourselves – who you are and why you have chosen this course – do you have an interest in Indigenous Australian Art? Why?

Additional Activity: - You will need to consider the area you would like to participate in for your practical experience. There are two organised placements available for you to choose from on campus, or alternatively you may consider sourcing your own.

Whilst this unit recommends a gallery/museum interpretation, you also have the opportunity to become involved in several Indigenous creative practices – these could include, but are not limited to: Art Therapy, Community Art Centres, Aboriginal Art Centres, Children’s art based programs, school or community cultural activities. There is a growing development in Art based practices for Indigenous peoples in many areas including, health, counselling, community projects and educational approaches. The University can assist you in providing selection and support.

Week 2

From ‘Noble Savages’ to Acknowledged Citizens: 11 March

This week involves a brief over-view of the colonial processes which created the social, economic, political and cultural separations between those now considered Indigenous and those who are not.

The policies of assimilation and absorption were the main ways through which colonial power was deployed in the governance and control of Indigenous peoples, but whom, exactly, counted as being Aboriginal for these purposes?

Seminar Topic (assessable):

Who decides who or what is Indigenous in Australia? On what criteria was this decision based one hundred years ago? On what was it based in 1967? On what is it based now? What were the various purposes for needing to identify who ‘counted’ as Indigenous?

Reading:

Moore, T (2004). ‘Problematising identity: governance, politics and the making of the Aborigines’ in Journal of Australian Studies 80 p 177.

Aborigines Protection and Sale of Opium Act (Qld) 1897.

Week 3

Authentic’ Indigenous Identities in the Era of Land Rights and Native Title: 18 March

This week involves a consideration of the changes that Land Rights and Native Title have instituted in relation to who and/or what now ‘counts’ as Indigenous in Australia. Is it possible to pass the ‘tests’ that determine who is and who is not Indigenous and still not be considered ‘authentic’? What does authenticity mean in Indigenous Australian contexts?

Seminar Topic (assessable):

What are the key characteristics that authentic Indigenous identities depend upon in Australia? What happens to groups of Indigenous people who cannot ‘pass’ the authenticity test?

Reading:

The Australian Constitution section 51(26).

Commonwealth Native Title Act 1993.

Aboriginal Land Rights (Northern Territory) Act 1976.

Sissons, J (2004). ‘Maori tribalism and post-settler nationhood in New Zealand’ in Oceania 75 (1) p 177.

Merlan, F (2006). ‘Beyond tradition’, in Asia Pacific Journal of Anthropology 7 (1).

Week 4

Introduction to Aboriginal Art Part 1 : 25 March

This week presents an introduction to Aboriginal art and what it means to different groups of Indigenous and non-Indigenous Australians. There will be an examination of the different kinds of art created by Indigenous Australians and the way the market has been shaped by economic, political and social forces. This historical and thematic overview will be delivered over two weeks.

Seminar Topic: (assessable)

What is Aboriginal art? Who decides this?

Reading:

McLean, I (1998) ‘Aboriginalism: White Aboriginies and Australian Nationalism’ in Australian Humanities Review, May 1998

Langton, M. (2003) ‘Dreaming Art’ in N. Papastergiadis (ed) Complex Entanglements. London, Rivers Oram p 42-56

Week 5

Introduction to Aboriginal Art Part 2 : 1 April

This week continues an overview of Aboriginal art and what it means to different groups of Indigenous and non-indigenous Australians.

Seminar Topic: (assessable)

What is considered ‘traditional’ art? What is viewed as ‘contemporary’ art? What does the Dreaming mean to Aboriginal peoples?

Reading:

McLean, I (1998) ‘Aboriginalism: White Aboriginies and Australian Nationalism’ in Australian Humanities Review, May 1998

Langton, M. (2003) ‘Dreaming Art’ in N. Papastergiadis (ed) Complex Entanglements. London, Rivers Oram p 42-56

Week 6

ART GALLERY VISIT: 8 April

Gallery Visit to the AGNSW, Yiribana Gallery, to view the collection of Aboriginal and Torres Strait Islander art on display.

http://www.artgallery.nsw.gov.au/venues/yiribana/

Students can choose to either meet at our seminar room at 9.30am to travel together into the city or can make their way independently to the Art Gallery of New South Wales, Gallery Rd, The Domain. We will meet at the entrance to the Gallery at 10.30am and our visit will conclude in time for students to return campus for their next class.

Seminar Topic: (assessable)

Discuss an artwork from the Aboriginal and Torres Strait Islander collection of the AGNSW with reference to issues/ themes covered in the last two lectures. In your answer please refer to at least one source.

MID-SEMESTER BREAK 12-27 APRIL 2014

Week 7

The development of the art centre model: 29 April

This week will trace the beginnings of the commercial art movement through the development of remote art centres.

This will necessitate an examination of the role of missionaries and the rise of the seminal Papunya Tula movement through the partnership between senior men and local teacher Geoffrey Bardon. Other issues of interest include early government initiatives to market Aboriginal art and the first commercial exhibitions.

Seminar Topic (assessable):

How did the market for Aboriginal art develop? Were there obstacles? How was the art received?

Reading:

Altman, J. P. (2005) ‘Brokering Aboriginal art a critical perspective on marketing, institutions and the state’ Kenneth Myer Lecture. R. Rentschler, Deakin University, Vic.

Healey, J (2002) “ ‘Unconventional business’: Marketing of Aboriginal art from remote centre communities” The New Wave Entrepreneurship & the Arts, Melb, Vic

Week 8

Aboriginal Art Business – Ethical Behaviour : 6 May

This week will examine ethical behaviour within the arts industry. Successful cross cultural exchange and much publicised dubious practices in the marketplace will be discussed.

Current governmental issues such as the Code of Conduct and Droit de Suite will also be addressed.

Seminar Topic (assessable).

Why is authenticity of such a concern to the art market when it comes to Aboriginal art? What does collaboration mean for Indigenous artists? Are artists actually benefiting from participating in the art industry?

Reading:

Batty, P (2008) ‘A Fine Romance: White Money, Black Art’ Paper for Crossing Cultures, 32^nd International Conference in the History of Art, Melbourne Museum.

Acker, T (2008) ‘Aboriginal art it’s a complicated thing’ Artlink Vol 28(3)

Week 9

Working outside the art centre model : 13 May

This week will trace the development of the “urban” art movement from the first exhibitions held in the mid 1980’s to the present. There will be an examination of ground-breaking exhibitions and the development of artists’ co-operatives such as Boomalli. The practice of significant artists such as Tracey Moffatt and Gordon Bennett (who attempt to defy categorisation) will be relevant to this topic.

Seminar Topic (assessable):

How did urban Aboriginal artists respond to questions of authenticity about their work during the 1980’s? Does this struggle for legitimacy continue today? Why?

Reading:

Fink, H (1999) ‘Cracking up’ in Australian Humanities Review, July issue

Week 10

PARTICIPATION WEEK – NO FORMAL CLASS: 20 May

This week is intended to provide you with an opportunity to focus on your work placement tasks and to prepare for the reflective assessment task. Your lecturer will be available to meet with you individually if required, to address any questions you may have about this final assignment.

Week 11

“Their Way”: Rise of solo artists : 27 May

This week will look at the phenomenon of “art stars” within Aboriginal arts. The pursuing of individual careers can seem at odds with community based art centres where collaborative work is commonplace. Artists such as Emily Kame Kngwarreye, Clifford Possum Tjapaltjarri and Rover Thomas are examples of internationally recognised artists who achieved successful solo careers during the 1990’s. How did this occur? Was this always of benefit to the artists? What were the costs?

During the 1990’s this practice of exhibiting and marketing solo artists from remote communities flourished and this practice has significant cultural, social and economic ramifications for the artists, their families and their art practice.

Seminar Topic (assessable):

What is at stake when community based artists leave their homes to forge solo careers? How is their success measured? Who decides?

Reading:

Benjamin, R (1997) ‘A new modernist hero’ in Margo Neale (ed) Emily Kngwarreye-Alhalkere: Paintings from Utopia’ exhibition catalogue, QAG, Brisbane

Week 12

Overview Week:

An examination of Indigenous Studies: 3 June

How can those who are not Indigenous understand what is outside their own experience? What position do Indigenous peoples occupy in (post)colonial contexts? How can those who do not occupy a similar position understand the position of Indigenous peoples?

Seminar Topic:

Who is Indigenous Studies for? Is there a ‘kind’ of Indigenous Studies’ with which non-Indigenous students can engage which is not colonial?

Reading:

Bourke, C and Bourke, E (2002). ‘Indigenous Studies: new pathways to development’, in Journal of Australian Studies 181 (20).

Nakata, M (2006). ‘Australian Indigenous Studies: a question of discipline’, in The Australian Journal of Anthropology 265 (11).

Hviding, E (2003). ‘Between knowledges: Pacific studies and academic disciplines’, in The Contemporary Pacific 15 (1).

PRACTICAL REFLECTION REPORT DUE FRIDAY 6 JUNE

Week 13

COURSE REVIEW/ WRAP-UP 10 June

Policies and Procedures

Macquarie University policies and procedures are accessible from Policy Central. Students should be aware of the following policies in particular with regard to Learning and Teaching:

Academic Honesty Policy http://mq.edu.au/policy/docs/academic_honesty/policy.html

Assessment Policy http://mq.edu.au/policy/docs/assessment/policy.html

Grading Policy http://mq.edu.au/policy/docs/grading/policy.html

Grade Appeal Policy http://mq.edu.au/policy/docs/gradeappeal/policy.html

Grievance Management Policy http://mq.edu.au/policy/docs/grievance_management/policy.html

Disruption to Studies Policy http://www.mq.edu.au/policy/docs/disruption_studies/policy.html The Disruption to Studies Policy is effective from March 3 2014 and replaces the Special Consideration Policy.

In addition, a number of other policies can be found in the Learning and Teaching Category of Policy Central.

Student Code of Conduct

Macquarie University students have a responsibility to be familiar with the Student Code of Conduct: https://students.mq.edu.au/support/student_conduct/

Student Support

Macquarie University provides a range of support services for students. For details, visit http://students.mq.edu.au/support/

Learning Skills

Learning Skills (mq.edu.au/learningskills) provides academic writing resources and study strategies to improve your marks and take control of your study.

Student Services and Support

Students with a disability are encouraged to contact the Disability Service who can provide appropriate help with any issues that arise during their studies.

Student Enquiries

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When using the University's IT, you must adhere to the Acceptable Use Policy. The policy applies to all who connect to the MQ network including students.

Graduate Capabilities

Capable of Professional and Personal Judgement and Initiative

We want our graduates to have emotional intelligence and sound interpersonal skills and to demonstrate discernment and common sense in their professional and personal judgement. They will exercise initiative as needed. They will be capable of risk assessment, and be able to handle ambiguity and complexity, enabling them to be adaptable in diverse and changing environments.