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Sharing local history to foster a sense of belonging and togetherness in the community

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Sharing local history to foster a sense of belonging and togetherness in the community

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I’m acting as historian for the festival.

The event will bring together young and old, indigenous and non-indigenous, teachers and learners at an event intended to foster community and cooperation in an environment that will provide learning experiences for all and do so in a fun way by being highly hands-on and engaging.

History can help The Dreamtime Festival succeed in its mission. It will bring people together as it connects things past and present and develops their sense of time,  place and belonging. According to psychologist Karyn Hall, a sense of belonging to a greater community improves motivation, health and happiness. Historian Penelope Corfield says “The study of the past is essential for 'rooting' people in time. And why should that matter? The answer is that people who feel themselves to be rootless live rootless lives, often causing a lot of damage to themselves and others in the process". History has much to offer.

As my contribution to the project I am proposing the following:

A static display and interpretation of historical photographs, memorabilia, and artefacts borrowed from local museums, private collections and history groups.

Hand-outs, worksheets and a methodology for recording oral histories to share and collect historical knowledge with all age groups. Cooperation with the group’s Liaison Teacher will be important in encouraging children’s participation through local schools.

I will also be responsible for collecting all the project’s documentation and images, organising the material and storing it in a way that will make it accessible. This will create a record which will facilitate the preparation of a report on the event that summarises  the project from inception to completion and may be useful for those planning future events. The report will also consider what worked and what did not, to ensure lessons are learned and can be shared. The report will be made available to all  stakeholders including funding bodies.

Cultural sensitivities will be considered in the preparation of all material.

I have researched several websites which will provide me with resources required to carry out my tasks. I will add these to the  noticeboard.

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Participation in the arts is a human right set out in Article 27 of the Universal Declaration of Human Rights.

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Having googled the world, I found the most useful information at my doorstep! SA History have produced a practical guide to to capturing 'the voice of the past' right here in Adelaide.
http://community.history.sa.gov.au/how-do-i/oral-history

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This site is a source of inspiration for creating history activities for children that will enable them to 'interact with history’.
https://www.education.com/activity/history/
The following site contains history activities intended for 12+ .
https://www.familysearch.org/wiki/en/Family_History_Activities_for_Youth:_12-%3F

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- animation advertisement/poster artwork

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Museums, Collections and Exhibitions in Alice Springs

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Museums, Collections and Exhibitions in Alice Springs

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The following website list museums and collections that could be approached with a view to borrowing objects of cultural, artistic or historical interest for our display:
https://en.wikipedia.org/wiki/List_of_museums_in_the_Northern_Territory
The Community Directory on the Alice Springs Town Council site is another good source.
http://www.alicesprings.nt.gov.au/living/community/directory

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My role is to research indigenous artists that have worked with dream time stories and their art that is based on these stories. I selected which artists would be invited to work as creative and cultural consultants for the festival. I researched performance artists to hire for the entertainment part of the festival. Lastly I researched
protocols that we need to follow when working with indigenous visual artists, sacred stories and indigenous communities. This led to the creation of a mission statement , an acknowledgement of country and an outline of protocols we would follow when working with indigenous artists and sacred stories.

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Our Mission Statement

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The Dreamtime Festival Mission Statement

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Aboriginal and Torres Straight Islander Dance Theatre Group
http://descendance.com.au/

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Descendance 10th Anniversary Mega Mix.wmv

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Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.

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The Wadumbah Dance Group has achieved the status of being one of the premier Indigenous dance groups in Australia.

They have been doing concerts and presentations for over 12 years through-out the State of WA and invited to perform in many countries world wide on many occasions. Along with the likes of Germany, Italy, Los Angeles, San Francisco, the island paradise of Mauritius, Singapore and Kuala Lumpur in Malaysia to name a few.

The group had a successful two week tour of Dubai in the United Arab Emirates this year (May 2007). Wadumbah regularly perform at the big Fairbridge Festival south of Perth and the Perth Royal Show.

Who are we: Men from the Noongar nations of the south west of Western Australia, their tribal homeland of the 'Whadjuck region.'

The group regularly do concerts at schools, festivals, national and international conferences, conventions and Welcome To Country presentations for big and small events. We also do private functions for corporations and organizations.

Wadumbah specializes in presenting professional concerts at a variety of different events and venues. We showcase traditional Noongar dance, music and tales from the 'Dreaming,' and we share a lot of our funny and interesting stories from our adventures through-out the State and the world. Fiery energetic dances and wild Didjeridoo playing!

Concerts are well organised and presented with ease and grace. This is because we work hard in preparing for our shows. We talk to the Event Organisers about the theme of the event and work in with them to make sure the concert is done according to time allotted and the way it should be presented.

For example a 5 minute welcome to country presentation would be different to a 30 minute concert and so on. Our approach at a conference is completely different to the way we perform at a school.

The whole concert is executed in full traditional regalia, free flowing and all that is left is for the audience to relax and enjoy a great traditional performance.

The men are very experienced and know what they are doing. This is great for the organisers who can cross Wadumbah off their check up list and attend to other matters because the group take over and get things happening. They always get to the venue early and follow through to the very last refrains of the didjeridoo in the last dance of their show!

Workshops can be arranged where the men will teach dance and how to play the Didjeridoo. James T Webb does solo motivational presentations for about an hour where he talks about the achievements of the Wadumbah Dance Group and their journey towards success.

He discusses Aboriginal culture and music and demonstrates his skills on his traditional instrument the didjeridoo.

"To see a Wadumbah Dance Group performance is to experience a moving account of Indigenous culture with fiery dance sequences and raw, didgeridoo sounds. Their dedication and commitment to performance is unrivalled, captivating and all encompassing. James T Webb's performance on didgeridoo is comparable to none, the way that James tells the story through the sounds of the didgeridoo is powerful, haunting and evocative. It is with much pride that we provide this reference."... Teresa Pedrocchi - April 2007, International Dolphin Resort at Monkey Mai, Western Australia

"The dance performances, narrated by Mr. James T. Webb, and the fantastic sound and skill of the Didjeridoo played by Mr. Webb was mesmerizing! ...they not only educated the audience but entertained them as well. The knowledge of their culture and the great pride of their Noongar people was inevitable in every performance. .. Sandy Erickson. United Tribes Technical College. United Tribes International Powwow, 3315 University Drive, Bismarck, North Dakota, 58504

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The Wadumbah Dance Group has achieved the status of being one of the premier Indigenous dance groups in Australia. They have been doing concerts and presentations for over 12 years through-out the State of WA and invited to perform in many countries world wide on many occasions.

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I am a Western Aranda woman from Hermannsburg Community. Single mother and making changes to life. As I grow so does my music. I am the youngest in my family. I have an older brother and sister, they both have helped me so much in life as well did my parents.

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Black Rock Band are an emerging band hailing from the West Arnhem region in the Northern Territory's Top End.

Drawing on deep musical family history they incorporate traditional and contemporary sounds with a steady rock style, singing in both Kunwinjku and English.

With songs like Struggle, Learning on Country and their first recording Bininj Kunborrk literally translating to Traditional Song and Dance - the band sing about their families' cultural richness as well as contemporary social and political issues that reflect their experience as First Nations people.

Their songs are a celebration of culture, connection to country, the fight for social justice and the future they want to create for the next generation of children.

In 2016 Andy Baldwin (Rola Pola Studios, USA) witnessed the band's performance at Barunga Festival and was so impressed he offered to record Bininj Kunborrk. The single has since been included on the Bush Bands 2017 compilation, featured on Triple J Unearthed, Double J, Larakia Radio,Byron Bay FM, and is available for sale at gigs along with their merchandise.

Block Rock Band's body of work has continued to grow; they've now recorded another 12 tracks with Andy Baldwin at Subsonic Studio's in Darwin and Kapalga Outstation in Kakadu.

Live crowds are entranced by their on-stage style, as the boys picked up Best Community Band at Barunga Festival, played to a sold-out crowd in Melbourne's Spiegel Tent (alongside emerging artist Yirrmal Marika (Yirrkala) and contemporary folk outfit The Mae Trio), and have made regular appearances throughout Melbourne and the Top End (including Mayali Festival and Mahbilil Festival in Jabiru).

More recently at Mindill Beach Sunset markets the band took out the top spot in the first heat of Darwin's Muso Search and will return for the grand final later this month.

"The music that I sing about, I think of it as a message and a reminder for people, what's happening in the real world. Not only about the rich and famous, it's about the poor too."
- Richie Guymala (lead singer)

"Most of our songs speak about people I see in my family, with my own eyes. I see them having hard times and it's good for someone to speak about it - give my community a voice when they can never speak it out. Give them a voice to say "enough is enough"."
- Richie Guymala (lead singer)

"my old man would sing for all us brothers every night and we would dance because we like singing and dancing. He said 'If something happens to me you need to take this'. He passed away now, he gave me that culture, I keep it in my head."
- Graham Rostron (lead guitar)

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Black Rock Band are an emerging band hailing from the West Arnhem region in the Northern Territory's Top End. Drawing on deep musical family history they incorporate traditional and contemporary sounds with a steady rock style, singing in both Kunwinjku and English.

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Harold Payne Meptyane 2017
Acrylic on Canvas
45cm x 45cm

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Kardajala Kirridarra (Sandhill Women)... The descendants of a mysterious bush woman from the Northern Territory, these compelling women are from the communities of Marlinja and Kulumindini (Elliott) NT.

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A profile of Mbantua Gallery Aboriginal Artist Harold Payne Mpetyane

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The Artery Aboriginal Art Gallery is based in Sydney Australia, selling original contemporary artworks by authentic Australian artist's both online and in their gallery which is located in Darlinghurst, Sydney, Australia.

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Polly Ngala & Belinda Golder 2017
Acrylic on Canvas
194cm x 105cm

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Polly depicts the Bush Plum and its effects on her country. This fruit is one of the most important food sources in this area. The fruit is in season from early December and continues to grow until around the end of February. During this time, the women collect as much of this fruit as possible. The small dark fruit is threaded onto thin sticks and left in the sun to dehydrate. This ensures that there is an abundance of these fruits through the harsh dry times during the middle of the year. Ceremony is held at the start of the season to encourage plentiful harvest and to give thanks for the abundance of the fruit.
She uses a wide palette of colour, and often depicts the topography in shades of reds, oranges and yellows reflecting the varying seasonal palette. The colour palette for this piece has been inspired by the amount of rain Central Australia has received over the past six months.
Like her sisters Angelina Ngala (Pwerle) and Kathleen Ngala, Polly predominantly paints the Arnwekety (conker berry, also referred to as the bush plum), depicted through superimposed dot work. Polly builds up layer upon layer of colour using thick paint, creating a multi-dimensional effect to reveal the Bush Plum in all its glory.

A vibrant and bubbly person, Polly speaks little English and lives a traditional life at Utopia.

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Polly depicts the Bush Plum and its effects on her country. This fruit is one of the most important food sources in this area. The fruit is in season from early December and continues to grow until around the end of February. During this time, the women collect as much of this fruit as possible.

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Bush Medicine Leaves Dreaming

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The Bush Plum Dreaming Story is a big story that spreads right across the western and central deserts from Lajamanu and Warlpiri country to the Utopia homelands.
The Bush Plum Dreaming or Creation Story from the Utopia region goes like this: In the Dreamtime winds blew from all directions carrying the bush plum seed to the artists' ancestral lands. The first bush plum of the Dreamings grew and bore fruit and dropped more seeds. Many winds blew the seeds all over the Dreaming lands.

To ensure the continued fruiting of this plant each season, the Aboriginal people pay homage to the spirit of the bush plum by painting about it and recreating it in their ceremonies through song and dance. The patterns in the paintings celebrating the Bush Plum work on many levels: they represent the fruit of the plant, its leaves and flowers and also the body paint designs that are associated with it during ceremony.

The bush plum is a popular variety of bush tucker that is only found at certain times of the year. It is found throughout most of the Utopia region and as far west as Lajamanu. Sadly it has declined in abundance due to the grazing of introduced animals, particularly cattle and rabbits. The bush plum fruits in the summer after rain and is an important food source, even though not all of the plum is edible. The plums can be collected when ripe and immediately eaten, or they can be dried and eaten later.

When young, the fruit is green in appearance but as it matures, it becomes a purple-black colour and is similar in looks to an olive. The plant can grow up to 3 metres high and has blue-green leaves and produces a creamy white flower, making it an attractive looking plant.

The bush plum also plays an important part in Warlpiri Dreaming and ritual practices involved in Yilpinji, Love Magic. When a girl falls in love she goes to her female relatives and is instructed in how to attract her man as a lover. She weaves a belt out of hair while singing Yilpinji songs imbuing the belt with magic. When the man approaches she entices him with her charms until he comes under the influence of her allure. She reveals the belt as his ardour grows and persuades him to place the belt around her waist. As he does, he falls under her spell and they go off together as a couple. Together they eat bush plums and hunt for food. Other important Warlpiri, on learning of their tryst, follow them and confront them as a couple and also eat the bush plums. In this way the group recognizes their relationship and acknowledges that it is an appropriate match. They are now recognized by all as a couple. ( From love... art & ceremony Yilpinji Christine Nicholls, The Australian Art Print Network)

Renowned Warlpiri artist Lorna Napurrula Fencer (1923 - 2006) celebrated the bush plum in her inimitable style. Lorna Napurrula was the custodian of inherited lands at Yumurrpa situated near Chilla Well, south of the Granites Mine Area of the Tanami Desert. In 1949 many Warlpiri, including Lorna Napurrula Fencer, were forcibly transported to the government settlement of Lajamanu at Hookers Creek, situated in the country of the Gurindji people, 250 miles to the north of their own country around Yuendumu. Lorna Napurrula Fencer nevertheless maintained and strengthened her cultural identity through ceremonial activity and art, and asserted her position as a prominent elder and teacher in the community.

Lorna Napurrula Fencer's mother's country was Yumurrpa. This is where the Yarla (Yam or Big Bush Potato) Dreaming track begins on its travels north toward Lajamanu. Her father's country was Wapurtali, home of the little bush potato. The travels of Napurrula and Nakamarrra kinship or skin groups were the inspiration for Lorna Napurrula Fencer's work, and she was a custodian of the Dreamings associated with bush potato (yarla), caterpillar (luju), yam, bush onion, bush tomato, bush plum, many different seeds, and importantly springwater, for the Napurrula, Nakamarra, Japurrula, and Jakamarra skin groups

Artists' links:

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Bush Plum Dreaming - Aboriginal Art Stories - Japingka

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The Bush Plum Dreaming Story is a big story that spreads right across the western and central deserts from Lajamanu and Warlpiri country to the Utopia homelands. The Bush Plum Dreaming or Creation Story from the Utopia region goes like this: In the Dreamtime winds blew from all directions carrying the bush plum seed to the artists' ancestral lands.

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Aboriginal Dreaming
Dreamtime or Dreaming for Australian Aboriginal people represents the time when the Ancestral Spirits progressed over the land and created life and important physical geographic formations and sites.

Aboriginal philosophy is known as the Dreaming and is based on the inter-relation of all people and all things. The past of the Spirit Ancestors which live on in the legends are handed down through stories, art, ceremony and songs.

The Dreaming explains the origin of the universe and workings of nature and humanity. It shapes and structures life through the regulation and understanding of family life, the relations between the sexes and obligations to people, land and spirits.

Before European settlement of Australia, there were around 600 diverse Aboriginal populations, based on language groups.

Australian Aborigines have the longest continuous cultural history of any group of people on Earth. Educated estimates date this history around 50,000 years. leo.

Aboriginal people disclose their Dreaming stories to pass on imperative knowledge, cultural values, traditions and law to future generations. Their Dreamings are passed on through various customs such as ceremonial body painting, storytelling song and dance.

The Australian Indigenous people have over thousands of years maintained a link with the Dreamtime and Dreaming stories of the past to the present. Due to their customs and beliefs they have sustained a rich cultural heritage.

None of the hundreds of Aboriginal languages contain a word for time. When we try to explain in English their philosophy we are perhaps best not to use the term 'Dreamtime' but use the word 'Dreaming' instead.

It conveys better the timeless concept of moving from 'dream' to reality which in itself is an act of creation and the basis of many Aboriginal creation myths.

Aboriginal spirituality does not think about the 'Dreaming' as a time past, in fact not as a time at all. Time refers to past, present and future but the 'Dreaming' is none of these.

The 'Dreaming' "is there with them, it is not a long way away. The Dreaming is the environment that the Aboriginals lived in, and it still do today. It is important to note that the Dreaming always also comprises the significance of place.

The Dreaming, or 'Tjukurrpa', also means to 'see and understand the law' as it is translated from the Arrernte language (Frank Gillen with Baldwin Spencer, translating an Arrernte word Altyerrenge).

In most stories of the Dreaming, the Ancestor Spirits came to the earth in human form and as they moved through the land, they created the animals, plants, rocks, rivers, mountains and other forms of the land that we know today.

These Ancestral Spirits also formed the relationships between Aboriginal people, the land and all living beings.

Once the ancestor spirits created the world, they transformed into trees, the stars, rocks, watering holes etc. These are the sacred places of Aboriginal culture and have special meaning.

Because the ancestors did not disappear at the end of the Dreaming, but remained in these sacred sites, the Dreaming is never-ending, linking the past, present and the people and the land.

Dreamings allow Aboriginal people to understand their place in traditional society and nature, and connects their spiritual world of the past with the present and the future.

The Dreamings explain the creation process. Ancestor beings rose from the earth and seas and roamed the initially barren land, created the land's features and then returned to the land to become part of its features in the form of rocks, waterholes, trees etc.

These became sacred places, to be seen only by initiated men."

The spirits of the ancestor beings are passed on to their descendants, e.g. shark, kangaroo, honey ant, snake and so on and hundreds of others which have become totems within the diverse Indigenous groups across the continent.

Aboriginal families and individuals identify with a specific Dreamings. It gives them identity, dictates how they express their spirituality and tells them which other Aboriginal people are related to them in a close family. They can share the same Dreamings so this means that one person can have multiple Dreamings.

"Stories of the Dreaming" have been handed down through the generations, they are not owned by individuals but belong to a group.

The storytellers are chosen by the Elders who have the duty to pass the stories along, ensuring that young people build and retain a sense of who they are.

The journey of the Spirit Ancestors across the land are recorded in Dreaming tracks.

A Dreaming track joins a number of sites which trace the path of an Ancestral Being as it moves through the landscape, forming its features, creating its flora and fauna and laying down the Laws.

These Spirit Ancestors include the Rainbow Serpent, Wandjinas, Mimi Spirits - fairy-like beings of Arnhem Land, Karatgurk - Seven sisters who represent the Pleiades star cluster, These Dreamings are passed down and shared by many Aboriginal communities across Australia.

Traditionally, Dreaming stories would be told through mediums such as the haunting sound of the didgeridoo with song and dances and also by symbolic drawings.

These designs were used as body paint decorations for corroborees and as sand paintings for ceremonies.

Today paintings are created using traditional ochre and modern-day materials, but the use of traditional symbols and art styles keeps this ancient culture alive.

The symbols used in contemporary Aboriginal paintings are the same as those found on cave paintings and rock Art.

The same obligations to pass on their own Aboriginal cultural dreaming story is depicted in Aboriginal Art. It is a visual expression of these beliefs and a way to preserve their culture, beliefs and history.

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Understanding Aboriginal Dreaming and the Dreamtime

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Aboriginal Dreaming Dreamtime or Dreaming for Australian Aboriginal people represents the time when the Ancestral Spirits progressed over the land and created life and important physical geographic formations and sites. Aboriginal philosophy is known as the Dreaming and is based on the inter-relation of all people and all things.

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Michael's Biography - Michael's Biography

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Rekindling is lead by Sidney Saltner, one of Bangarra's most acclaimed artists, who became Youth Program Director after 25 years as a performer. He is supported by Youth Program Leaders and former Bangarra dancers Chantal Kerr and Patrick Thaiday.

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Artists in the Black Collaboration Toolkit

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Artists in the Black Collaboration Toolkit

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-resources for use in Indigenous art projects

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Arts Law Information Sheet

Practical resources and best practice information for use in major collaborative arts projects involving Aboriginal and Torres Strait Island artists.

In this information sheet:

Background

The Collaboration Toolkit consists of practical resources for people and organisations wanting to develop and participate in collaborative arts projects involving Aboriginal and Torres Strait Island artists. Its primary focus is the visual arts but the resources can be adapted for use in a range of creative projects. It facilitates effective and ethical management of the various legal and ICIP issues involved, including appropriate protocols and procedures, and best practice agreements.

The Toolkit can be used by people and organisations wanting to develop and participate in collaborative arts projects including:

Aboriginal and Torres Strait Island community art centres;

Aboriginal and Torres Strait Island artists with independent creative practices;

non-Indigenous artists;

arts organisations whether working in the visual arts or in other areas of creative practice (performance, film etc);

public exhibiting institutions;

academic institutions; and

other commercial enterprises .

Some examples of collaborative projects where the Toolkit can add value include:

major exhibition projects involving the development of a new body of work over an extended period of time;

collaborative work created at artists' camps on country in workshops to learn new techniques, or through collaboration with independent artists working in different media or from different cultural backgrounds;

new collaborative works developed with non-Indigenous arts organizations from outside the visual arts such as the performing arts;

public art commissions.

The Value Matrix

As a starting point, the Collaboration Toolkit includes a template 'value matrix' to identify the value of the project to all the stakeholders including the Indigenous artists involved and their community. The matrix can be used as a guide in the course of drafting and negotiation of agreements to ensure that the proposed terms secure the intended benefits of the project to these stakeholders.

Case Study: 'We Don't Need a Map - a Martu experience of the Western Desert'

The value of this approach is best illustrated by a case study. In 2010, Fremantle Arts Centre, Martumili Artists and the Martu cultural and land management organisation Kanyirninpa Jukurrpa commenced working together on an ambitious collaborative art project 'We Don't Need a Map - a Martu experience of the Western Desert'. The project celebrated the lively and enduring culture of the Martu - the traditional owners of a vast area of WA's Western Desert - but sought to be more than just an exhibition of Martu art - it explored the Martu way of life, the way they cared for country and how they belonged to it. As well as 'illustrating the distinct contemporary visual language of the Martu', the exhibition broke down barriers by bringing together Martu and other artists to collaborate and exhibit together. It featured stunning paintings, cutting-edge new media collaborations, animation, finely wrought objects, aerial desert photography, and a public education program of bush tucker and talks with the Martu artists and rangers.

The project culminated in an exhibition at Fremantle Arts Centre which opened in November 2012 and was its single most successful public exhibition with more visitors than any previous exhibition. The Exhibition enjoyed critical success and subsequently secured funding to tour nationally over the next four years through four states.

Funding for the project was principally provided by BHP Billiton, together with a number of government and corporate supporting sponsors.

The value matrix in this Toolkit is based on the experience and input of the stakeholders in this project. It can be used as a template for other projects.

Project Stakeholders - Who are they?

The first step in completion of the matrix is to identify all project stakeholders. This should be much broader than just the parties to a funding agreement or exhibition agreement. It should include all those who will have an interest in the success of the project. In addition to the participating Indigenous artists, other relevant stakeholders may include:

1. the artists' traditional communities;

2. if relevant, their community art centres;

3. external artists working independently and engaged to collaborate with Indigenous artists;

4. supporting art galleries and exhibiting institutions;

5. universities examining and researching Indigenous culture;

6. commissioning public institutions such as hospitals or local government;

7. individual participants - such as curators, art centre managers, workshop facilitators;

8. corporate and government sponsors; and

9. volunteers.

For the 'We Don't Need a Map' collaborative project, the project stakeholders were identified early on far more broadly than just the funding bodies, the exhibition venue and the artists and included:

Individual Martu artists who were members of Martumili Artists, a Martu community art centre operated by the Shire of Pilbara;

Martumili Artists;

Kanyirninpa Jukurrpa, a non-profit Martu organisation established in 2005 to look after Martu culture and help build sustainable Martu communities ;

the exhibition venue: Fremantle Arts Centre;

the broader Martu community;

External contracted non-Indigenous artists including visual and performance artist and writer Lily Hibberd, photographer Tobias Titz, visual artist Lynette Wallworth and filmmaker Dave Wells;

Funders and other supporting sponsors including BHP Billiton, the City of Fremantle, CSIRO, the WA Department of Culture and the Arts and Landgate;

Other staff and specialists employed or contracted by Martumili Artists and Fremantle Art Centre who had direct roles in bringing the project to fruition including curator Erin Coates, art centre manager Gabrielle Sullivan, writer John Carty and animator Sohan Ariel Hayes;

Volunteers who were critical to enable the creative workshop and artists camps to occur; and

School students, who would be the focus of the accompanying education program.

How will the project benefit the stakeholders?

The second step is to consider the benefits of the project to each stakeholder. A range of potential outcomes from the project are contemplated in the matrix template, from financial benefits to greater cultural understanding. Outcomes which might be listed in the matrix are described in further detail below. Importantly we are steering away from the legal language of copyright ownership and looking at values more generally. Intellectual property law is only one means to secure the value sought by a stakeholder.

What is important is to consider each stakeholder in turn and examine what their motives are for participating - what value will they be looking for from the project? Too many participants enthusiastically embark on projects having only considered the benefits that they themselves will receive. Understanding the drivers and expectations of the other participants enables the project to be structured in a way that is fair to everyone and reduces the likelihood of disenchantment, disappointment and relationship breakdown when the project doesn't deliver the expected outcomes. Problems arise in collaborative partnerships when the parties who are supposed to working together are not on the same page and don't understand what others are hoping to achieve through the collaboration.

A brief description of the more obvious 'values' or 'returns' that stakeholders might expect to receive is set out below.

Money

Which stakeholders will receive financial benefits? An artist, for example, may be paid to participate or may be entitled to receive proceeds from the sale or licensing of work created for the project (the value matrix shows "Money" as a positive '+' for these stakeholders). Some stakeholders such as corporate sponsors or funding bodies will be providing financial support to the project rather than receiving a financial benefit (negative '-'); however will be looking for other non-monetary outcomes. Some stakeholders may receive payments that are merely to cover or contribute to costs incurred in delivering the project (and the value matrix shows this as neutral '~').

Reputation / Credit

Will the project provide an opportunity to enhance the reputation of a stakeholder? For example, it could create an opportunity for a participating artist to develop his or her professional profile (through an exhibition at an important public venue), or the opportunity for a sponsor to receive public credit for supporting the arts. It may fulfil the policy objectives of a government funder or the research goals of an academic or a university.

Exposure / Audiences

Will the project give the artists and art centres access to new and different audiences through an exhibition or otherwise provide exposure for a stakeholder? Will it bring new audiences into a public gallery?

Research / Learning / Experience

Will the project be a research or learning opportunity? For example, the project may enable Indigenous artists more familiar with traditional painting techniques to work with multimedia artists or animators or other designers to learn new techniques and produce new products, or an Indigenous art centre or arts worker gaining curatorial experience through participation in a large-scale external exhibition. It may have a school education component to engage the broader community.

Increasingly universities with expertise in areas relevant to Indigenous culture (ranging from anthropology to fine art) see the sponsorship of large collaborative exhibition projects as having a synergy with academic and research outcomes. Such projects create opportunities for academic staff to explore Indigenous country with traditional owners and cultural custodians, conduct research into Indigenous stories, cultural sites and culture and, above all, generate opportunities for academic publication. This can be a valuable source of funding for Indigenous artists to travel to traditional country, create new works and exhibit in major public galleries and museums. Such projects invariably generate important sources of documentation to record and protect significant Indigenous cultural histories, performances and knowledge. However, there can be a tension between those opportunities for Indigenous artists and their communities and an academic agenda focussed on ownership of intellectual property and control over publication. This is so even though most academic institutions have carefully managed protocols and procedures to deal with academic research involving Aboriginal and Torres Strait Island culture. Such protocols can focus more on protecting the institution from any claim that it did not seek cultural approval and securing a broad discretion to publish rather than a genuine engagement with the cultural custodians. The value matrix is useful in highlighting these competing considerations and can generate productive conversations around ways of managing the cultural sensitivities.

Archive Materials / Publications (film, photos, drawings, publications, oral histories)

Will the project result in the creation of materials or archival records that will be useful beyond the life of the project? Who will receive copies of those materials and what are the conditions of use? This is particularly important if such material contains Indigenous Cultural and Intellectual Property (ICIP). Our experience is that Indigenous artists and their communities often assume that material which embodies their cultural knowledge is theirs to use and share with their communities. As a matter of law, the intellectual property and copyright ownership may rest with someone outside the community - the author of an academic article or curatorial text, a filmmaker or photographer or a funder who commissioned and paid for the materials to be created.

Identifying these competing expectations early enables protocols to be devised and contractual protections to be agreed which are acceptable to both parties.

Access to Country / Cultural Understanding

Will the project provide an opportunity for artists, elders or other community members to return to their traditional country? Will it otherwise enhance the cultural understanding of other stakeholders? The project may allow Indigenous artists, for example, to undertake bush trips for the purposes of creating work in collaboration with other external artists. The final exhibition may lead to broader community understanding of Indigenous culture.

Other Outcomes

This list is not exhaustive. There may be other important values. Conversely some of the outcomes described above may not be relevant. Each matrix will be tailored to its project.

Case Study: Benefits of We Don't Need a Map

The 'We Don't Need a Map" project provided an opportunity for Martu artists to create new work, to collaborate with external artists to produce works in different media, to raise their professional profile through participation in an exhibition in an important public gallery, and to educate audiences outside their community about Martu life and culture. The project also provided critical funding for the artists to spend time on country to develop new work. On the completion of the touring exhibition, the works will return to the art centre and be available for sale so there is also the prospect that the artist will receive a direct financial benefit.

The project enabled Martumili Artists and Kanyirninpa Jukurrpa to increase awareness of their role within the Martu community, the arts community and the general community. External arts organisations and artists visited the Martu community, and the exhibition provided a vehicle to explain the role of Martumili Artists and Kanyirninpa Jukurrpa to the public. An archive copy of material produced during the project was provided to Martumili Artists. Martumili Artists staff developed new skills working on a major exhibition project.

The independent artists who collaborated with Martu artists were able to raise their professional profiles through the creation of new work and participation in the project exhibition. However for most the single most important outcome was the unique experience of spending time with the Martu on Martu country and gaining a greater understanding of Martu culture.

The project provided an opportunity for the project sponsors to gain a greater understanding of Martu art and culture, to fulfil policy and corporate objectives, and to raise their profile in the community.

Through the development of an education program and supporting materials to accompany the exhibition, school students were able to gain a greater understanding of the Martu community and its art.

Using the Value Matrix

Understanding the ways in which the interests and motivations of the stakeholders intersected and overlapped right from its inception enabled the We Don't Need a Map project to be managed and documented in a way that facilitated a best practice approach to respecting the contribution of each stakeholder. Crucially it highlighted the importance of respecting the cultural protocols of the Martu which lead to a level of consultation and acknowledgement which was a cornerstone of the project and directly contributed to its success.

Arts Law suggests that all parties engaged in the project have input into the value matrix which is then used as a springboard for discussion about the structure of the project. It becomes a checklist and reference document for t5hose tasked with drafting the Memorandum of Understanding, or Heads of Agreement or other contracts.

Template Agreements

The Collaboration Toolkit includes a range of template agreements that can be used to manage the various legal and Indigenous cultural and intellectual property (ICIP) issues which arise in collaborative art projects involving Indigenous artists. The agreements are suitable for a range of different types of collaborative art projects and could provide a useful starting point when drafting agreements for other types of collaborative projects. Each of these sample agreements reflects the principles enshrined in the Australia Council's protocols for working with Indigenous artists and represents best practice in dealing with Indigenous Intellectual Property. Each agreement reflects the experience of art centres, artists and institutions who have either consulted us or shared with us the issues they faced in undertaking such projects in the past and seeks to strike a fair balance between the interests and priorities of all the parties involved.

This sample Collaboration Agreement should be used when an external non-Indigenous artist is invited to an Indigenous community art centre to work collaboratively with the art centre's member artists to create a body of work. The existing skills and artistic practices of the visiting artist are combined with the skills and artistic practices and cultural traditions of the local artists to create new works in collaboration. In this sample agreement, the visiting artist is paid for his or her contribution and the resulting works are owned by either by the art centre or by its member artists subject to the terms of their art centre membership agreements. In other words, the resulting works are held by the art centre for exhibition and sale. The agreement is drafted to present two options insofar as the intellectual property (copyright) of the artworks is concerned - either joint ownership of the copyright by the visiting artist and the local artists or a complete assignment of all copyright to the local artists. What is appropriate will depend on factors such as the amount of the payment to the visiting artist, the degree of creative contribution and whether there is ICIP in the resulting works. It makes clear that the visiting artist retains all pre-existing intellectual property rights. There are clauses dealing with how and when the visiting artist will be credited, the use the visiting artist may make of the work in his or her portfolio, insurance and moral rights. The agreement sets out the visiting artist's responsibilities and standards of conduct when visiting a remote Indigenous community and provides a process for the art centre to communicate clearly any relevant protocols or policies around photography, and social media.

Collaborative Indigenous art projects often involve a large number of people working with artists in different roles. It's important that there is a contract in place with anyone who is working externally to the art centre or organization with overall responsibility for the project. This sample agreement can be used when contracting an external person or arts business to facilitate a part of the creative project whether through running workshops, or mentoring the creative process or otherwise. It could be adapted for use in contracting a curator for the project. It is not suitable to govern the relationship between the individual Indigenous artists creating the work and the organization with overall responsibility. It is also not suitable for the situation where the contractor is not a facilitator but a true co-creator - an artist who is working jointly with the local Indigenous artists to create a collaborative piece.

This sample agreement can be used when an art centre is working with an exhibiting institution and an external artist or creative organization (whether in the visual arts sector or another creative medium) to create a new body of work for a major public exhibition. It is intended to regulate the overarching collaboration between these three principal players. It is not suitable for particular individuals or businesses who are contracted to work on pieces of the project such as a filmmaker documenting part of the process or a person running an artist workshop. In that situation, Arts Law's Project Facilitator Agreement is more suitable.

It is also not suitable for the situation where the exhibiting institution is not involved in the project from the outset as an equal partner. If the art centre is engaging or contracting an external artist to work jointly with the local Indigenous artists to create a collaborative piece or pieces (which may or may not later be exhibited) Arts Law's sample Collaboration Agreement: Visiting Artist is more suitable.

Volunteers play an important role in nearly every collaborative art project whether making films, organising festivals or putting on a major exhibition. A written agreement is important to ensure the volunteer understands his or her responsibilities and the policies and protocols that must be respected. This is particularly important if the volunteer will be working with Aboriginal or Torres Strait Island creators or communities. This sample Volunteer Agreement is designed as a simple letter to be sent by the person or organisation responsible for the project to the volunteer. It includes terms dealing with ownership of intellectual property created by the volunteer, insurance and how certain costs and expenses are reimbursed.

Need more help?
Useful Readings

Arts Law Centre of Australia, Information Sheets:

Arts Law Centre of Australia, Sample Policies:

Australian Copyright Council Information Sheets, available at www.copyright.org.au

Contact Arts Law if you have questions about any of the topics discussed above.

Telephone: (02) 9356 2566 or toll-free outside Sydney 1800 221 457

Also visit the Artists in the Black website ( www.aitb.com.au) for the latest news about the service.

Need more help?

If you have questions about any of the topics discussed above please contact Arts Law.

Disclaimer

The information in this information sheet is general. It does not constitute, and should be not relied on as, legal advice. The Arts Law Centre of Australia (Arts Law) recommends seeking advice from a qualified lawyer on the legal issues affecting you before acting on any legal matter.

While Arts Law tries to ensure that the content of this information sheet is accurate, adequate or complete, it does not represent or warrant its accuracy, adequacy or completeness. Arts Law is not responsible for any loss suffered as a result of or in relation to the use of this information sheet. To the extent permitted by law, Arts Law excludes any liability, including any liability for negligence, for any loss, including indirect or consequential damages arising from or in relation to the use of this information sheet.

© Arts Law Centre of Australia

You may photocopy this information sheet for a non-profit purpose, provided you copy all of it, and you do not alter it in any way. Check you have the most recent version by contacting us on (02) 9356 2566 or tollfree outside Sydney on 1800 221 457.

The Arts Law Centre of Australia has been assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

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artists in the black collaboration toolkit - resources for use in indigenous art projects

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Arts Law : Information Sheet : Artists in the Black Collaboration Toolkit - resources for use in Indigenous art projects

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Arts Law Information Sheet Practical resources and best practice information for use in major collaborative arts projects involving Aboriginal and Torres Strait Island artists. The Collaboration Toolkit consists of practical resources for people and organisations wanting to develop and participate in collaborative arts projects involving Aboriginal and Torres Strait Island artists.

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Colleen Wallace Nungari 2017
Acrylic on Canvas
78cm x 80cm
Colleen's work "The Dreamtime Sisters" depicts sacred spirits who guard sacred sites in the Arrernte Nation. They are also known as the "Irrernte Arenye".

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dreamtime sisters Colleen Wallace Nungarrayi

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Arrernte musicians located at Ikunjti (Haasts Bluff) 230km west of Alice Springs

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indigenous australian music (musical genre)

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'Tjamuku Ngurra' by Tjintu Desert Band - OFFICIAL VIDEO

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Tjintu Desert Band are from Haasts Bluff/Ikuntji, 250km west of Alice Springs, and are now one of the hottest bands currently playing in Central Australia. Their debut album 'Tjamuku Ngurra' (pronounced Jam-akoo Noora) is a new sound that leaves you with a sense of connection to the heart of Australia and the vibrant music scene known there as 'Desert Reggae'.

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Songs of the Dreamtime

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Aboriginal people throughout most of Australia believe that in the beginning of time, in the Dreaming, there were no visible landmarks; the world was flat. As time progressed, creatures emerged from the ground and had the power to change at will from their animal to their human form.

The kangaroo ancestor may now be described, in songs particularly, as the kangaroo; the form of his life essence is a matter of little consequence. These original ancestral beings created all the features of the landscape in the area in which their lives were spent, and also populated the entire region concerned. By their actions they laid down the rules of conduct for all their offspring.

Throughout their lives on earth they left inseminating powers in the soil; they also created, and taught to others, many songs including those recounting the history of their own lives, songs for healing the wounded and the sick, injuring the enemy, including rain, arresting the flood, or causing the wind to turn back.

The inseminating powers left by these ancestors are doubly important to the present people: first because the propogation of their group is dependent on this power to create human offspring in the likeliness of the human elements of the ancestor; secondly because the food source of the group is dependent on this power of each ancestor to ensure the plentiful supply of recreated forms of the animal or plant element of the ancestor's being.

These powers become most accessible to the present inhabitants of the area on those occasions when the spirit of a particular ancestor is drawn towards his own identification marks of the song, acts and designs which he originally created and which have been meticulously preserved ever since.

Songs of the Dreamtime

A song is sung as a series comprising many short verses, each of which tells about a particular event or place associated with the ancestor; or the performance may be a full ceremonial one which includes portrayal of relevant events in the performance of dances accompanied by the singing of the appropriate verses.

The song associated with any one totemic "line" will have the one melodic form throughout. This means, in the case of very long "lines" of songs, where the ancestor is reputed to have crossed thousands of miles of territory, that the characteristic melodic form will be found in areas with different languages and musical techniques.

Because of the latter differences, an outside observer may well fail to recognise extreme sections of the one song-line as conforming to the same musical pattern, but that they do conform has been repeatedly stressed by performers and shown by a number of detailed analyses. The concept differs from our experience of melodic sameness; it consists of repetitions of sections of melody for a set proportion of the time the total verse takes to perform.

Because this technique allows flexibility in those areas of musical expression which tend to change from one tribe to another, the basic information can be kept intact event though the total history may be retained, section by section, in many different tribal areas.

This means that, even when a visitor from afar is unable to understand the language that the locals are using in a song, he can determine, from the musical structure, to which totemic line the song belongs.

And, because his own totemic song has been very strong conditioning agent in the total processes of his education to adult status in the community, the recognition of his own song in another area will have very deep significance. These history songs link the time long past with the present; the singer is part of a continuum; he is reliving events of another era, and is yet part of them.

Related Topics:

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Songs of the Dreamtime - Aboriginal Australian Art & Culture

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Aboriginal people throughout most of Australia believe that in the beginning of time, in the Dreaming, there were no visible landmarks; the world was flat. As time progressed, creatures emerged from the ground and had the power to change at will from their animal to their human form.

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Michael J Connelly 2017
Acrylic on Unstretched Canvas
37cm x 27cm

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Community Arts Festival grants offer support for community festivals to develop and present arts and cultural programs in the Northern Territory 

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Community Arts Festival grants offer support for community festivals to develop and present arts and cultural programs in the Northern Territory 

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We expect our major source of funding will be the NT government under their Community Arts Festival grants scheme.
It will be necessary to properly record every aspect of our event and prepare a report to satisfy their conditions which will include an artistic and statistical report, an income and expenditure statement, an audited financial statement if our grant exceeds $25,000 and a report on any special conditions outlined in our funding agreement.
Details can be found at the following website:
https://nt.gov.au/leisure/arts-culture-heritage/arts-funding-and-grants/apply-for-community-arts-festival-grants

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Posters from previous Indigenous Festivals 

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Posters from previous Indigenous Festivals 

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ALICE SPRINGS TOWN COUNCIL ARTS AND CULTURAL POLICY 2016 – 2021 CONTAINS INFORMATION ABOUT THE LOCAL AREA AND COMMUNITY AS WELL AS OUTLINING ARTS AND CULTURAL POLICY

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ALICE SPRINGS TOWN COUNCIL ARTS AND CULTURAL POLICY 2016 – 2021 CONTAINS INFORMATION ABOUT THE LOCAL AREA AND COMMUNITY AS WELL AS OUTLINING ARTS AND CULTURAL POLICY

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http://www.alicesprings.nt.gov.au/sites/default/files/Draft%20ASTC%20Arts%20and%20Cultural%20Policy.pdf

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Similar to our festival concept

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YABUN FESTIVAL 2015 - CELEBRATING THE SURVIVAL OF INDIGENOUS CULTURE

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On Survival Day , 26 January 2015 NITV News broadcasts live from the Yabun Festival - celebrating the survival of Aboriginal people and cultures.

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Discipline: Digital Design       (website and mobile app)

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Discipline: Digital Design       (website and mobile app)

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web design and app design example for pres

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Essential information for the website and app: acknowledgement of country, acknowledgement of imagery, photographs and artwork, accessible design, warning text about the deceased, link to app, link to website (from app), logo and branding,  contact information, location (where to find the event) possibly a Google map

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Essential information for the website and app: acknowledgement of country, acknowledgement of imagery, photographs and artwork, accessible design, warning text about the deceased, link to app, link to website (from app), logo and branding,  contact information, location (where to find the event) possibly a Google map

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Alice Springs Arts and Cultural Policy 2016 - 2021

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Alice Springs Arts and Cultural Policy 2016 - 2021

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http://www.alicesprings.nt.gov.au/sites/default/files/meetings/08-B.%20CCS%20Agenda%20Item%209.2%20-%20ASTC%20Arts%20and%20Cultural%20Policy%20%28attachment%29.pdf

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Parrtjima - A Festival in Light in Alice Springs http://parrtjimaaustralia.com.au/

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Parrtjima - A Festival in Light in Alice Springs http://parrtjimaaustralia.com.au/

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Born: Mount Isa, Queensland. She was brought up throughout the Top End of the Northern Territory.

Heritage: Aboriginal and Torres Strait Islander with familial associations spanning throughout the Northern Territory and Queensland, of Australia.

Both my Mother, and my Grandmother were of the Stolen Generation, though we have been afforded the opportunity of family reunion where possible. My Mother, was born in Katherine, Northern Territory, as was my Grandmother. My Great-Grandmother, was born at the Alpurrurulam Community, also known as Lake Nash.

I have 3 children, 4, 6 and 18 years old. I also has a granddaughter who is 6 months old.

I started painting in 2010 at the encouragement of my eldest daughter who is also a fantastic Contemporary Australian Aboriginal Artist. Although I have harboured a lifelong love of art I did not have the opportunity to fully embrace it and begin my own journey of personal artistic development until some years ago when I returned to my Grandmother's Country for a family reunion. Whilst there I spent time at the community art centre, and hency my artistic flame was rekindled.

My art is of a unique and contemporary style, representing stories from my elders, ideas of my own, happenings within my community, and of things or people who have a significant meaning for me.

Box Jelly Fish

Rainbow Serpent

Red Goolil

Crocodile Territory
Each 1/2 class was asked 'What can you see?' when looking at the artworks. This is what they brainstormed:

Snake

Colourful

She did dot painting which means she is Aboriginal

Different patterns

Turtle....but we think it looks a bit like a bird

Jellyfish

Details

Raptors

Different colours, patterns and animals

Different details

Looks like some are underground

Similar colours

Same black background

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Darlene Devery (Australian Indigenous Artist) and Box Jellyfish

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Born: Mount Isa, Queensland. She was brought up throughout the Top End of the Northern Territory. Heritage: Aboriginal and Torres Strait Islander with familial associations spanning throughout the Northern Territory and Queensland, of Australia. Both my Mother, and my Grandmother were of the Stolen Generation, though we have been afforded the opportunity of family reunion where possible.

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Darlene Devery 2013
Acrylic on Canvas
91cm x 83cm

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Mbantua Gallery Profile of Aboriginal Artist Colleen Wallace Nungari from Utopia.

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Here is the project I was originally working on. Still trying figure out what I am doing in this project but yer.

https://www.artscentremelbourne.com.au/about-us/arts-wellbeing-collective

Not sure how this padlet work so I am going to keep posting here until I figure out exactly how to get this working.

Here are some core tenets about the project I am working on:

The focus of the Arts Wellbeing Collective will be on prevention and early intervention of mental health problems, with four key objectives:

1. To improve support services for Victorian arts workers

2. To collate and share information

3. To effect industry cultural change

4. To improve support networks within and between arts organisations

The lasting outcomes of the Arts Wellbeing Collective beyond its inaugural year include:

Fostering connectivity and a culture of support throughout arts communities

Increasing understanding of the benefits of nurturing good mental health

Reducing stigma associated with mental illness

Building capacity of leaders and people managers

Encouraging and normalising help seeking behaviour

Creating a portal for accessing support resources and sector-specific data

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Third Paradise in space: take part in a global collective artwork11 October 2017

Festival accolade for Speaking Daggers28 August 2017

Get set for our Annual Student Art Exhibition10 July 2017

On steps of Parliament, the Abi-Tanti close our festival9 May 2017

Thank you!7 May 2017

Explore the site

News & Events

Arts Learning Festivalunlimited imagination

A fresh take on the art of learning

arts 1 May 2017 0 Comments

The idea is to connect schools to the state’s many arts organisations and remind teachers of the resources that are always at their disposal.

‘It’s about helping teachers build their kit of resources for the future,’ says Anne Smith, who as the Arts Education Program Manager at Independent Schools Victoria has been at the forefront of festival planning.

– Gabriella Coslovich writes in theSaturday Age’s Spectrum magazine, on our Arts Learning Festival.

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Working with Indigenous Artists and Sacred Stories

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Working with Indigenous Artists and Sacred Stories

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Working with indigenous artists and sacred stories

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Araluen is a great venue for our event. It has suitable indoor and outdoor spaces and on-site assistance to help with the planning and setting up.
www.araluenartscentre.nt.gov.au

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Oral history for youth in the age of #BlackLivesMatter

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Oral history for youth in the age of #BlackLivesMatter

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Historians are not usually noted for activism – is this about to  change?

Some students in the following course are urged to consider oral history projects that not only serve to archive interviews for future use, but that “do something.”

Andrew Viñales, a student in the Oral History Masters program at Columbia University, says “As an oral historian doing work in the age of Black Lives Matter, I believe this approach can be a crucial tool in getting people to contextualize the world around them, but also encourage them to act!”

https://blog.oup.com/2016/07/oral-history-black-lives-matter/

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Students at the University of Washington Tacoma gather oral histories

Students learn the methodology of conducting oral history, interview community members, and compile projects that document the history of local individuals, organisations, and communities

Projects are archived by the university's library

http://content.lib.washington.edu/tacomacommweb/index.html