Indigenous Participation in Arts Education: A Framework for Increasing Engagement and Learning Outcomes

Abstract

The arts have always been at the forefront of leading thinking, innovation and creativity (Grierson, 2008). They provide a well-walked path for the marginalised, rebellious and visionary to critically analyse perceptions in understanding ourselves and our world and to challenge the status quo (O’Brien & Donelan, 2007). At the same time, the Arts have also been integral in retaining elements of our culture against a barrage of change, and in some cases to re-enliven parts of our past that may have been lost, as is the case with many Indigenous peoples (Barrett, 2015). Of all the disciplines, it could be argued that science offers us the greatest opportunity to improve ourselves as a species, but it is the Arts that ensure we maintain our humanity in the process.

Early in August 1963, 13 clan leaders of the Yolngu nation (Gove Peninsula, Northern Territory) signed a petition in the form of two bark paintings formally presented to the Australian Federal Parliament. These bark petitions were the first to use traditional art forms and combine bark painting with text typed on paper. The petitions were in protest of Indigenous land rights and were instrumental in effecting changes to federal legislation governing mining activities on Yolngu land and the broader recognition of Indigenous rights, customs and laws in Australia.

The bark petitions are considered ‘founding documents’ of our democracy and remain on permanent public display at the Australian Parliament, Canberra along with the Magna Carta and the Australian Constitution. (Australian Government, 2016)

Source: indigenous-art