Uluru Statement from the Heart

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The ignorance of our shared history is shocking. Morrison’s denial shows us time for truth-telling is NOW

Aboriginal and Torres Strait Islander education, , , , , , , , , ,

Never has the cultural gap been so evident.  What I am talking about is the outright denial and whitewashing of the shared Australian history.  The leader of colonial Australia, Prime Minister Scott Morrison proclaimed on commercial radio station 2GB that Australia was founded on the basis that there be no slavery.  His failure to recall such histories as blackbirding or the forced indentured labour of Aboriginal peoples as domestic help or station hands after removal from family up until the 1960s has been rightly called out by historians and Aboriginal politicians. 

As an Aboriginal academic and first and foremost, educationalist, it is shocking to hear the apologetic voices of others excusing the Prime Minister’s dismissal of our shared history.  Such debates only further perpetuate the denial and divide within colonial Australia.  In reaction to the outcry Scott Morrison backed away from his original assertion by saying “there have been all sorts of hideous practices that have taken place, and so I’m not denying any of that” and that his comments on 2GB “were not intended to give offence, and if they did I deeply regret that and apologise for that”.

But it has not only been this latest act of denial by the prime minister.  The violence on Blak bodies in recent months has been an assault of endless proportions.  Politicians enacting blow after blow through their mindless rhetoric and inept claims incite further violence against Blak people.  But we should not be surprised with the contempt and disdain currently being hurled within politics and more pointedly, by the Prime Minister.  The denial and ignorance has been evident since the now Prime Minister, Scott Morrison’s maiden speech to parliament on the 14th of February, 2008.  The day after the momentous Apology to the Stolen Generations proffered by then Prime Minister, Kevin Rudd, Morrison said:

“…we cannot allow a national obsession with our past failures to overwhelm our national appetite for celebrating our modern stories of nationhood”.

He was speaking at the time about his view of the Australian nation, “the product of more than 200 years of sacrifice”.  One must ask just who or what was the sacrifice Morrison was referring to in this statement. 

The erasure of Blak histories and peoples was littered throughout his speech where he suggested that Australia was “at peace with its past”.  He continued stating that “this situation is not the result of any one act but of more than 200 years of shared ignorance, failed policies and failed communities”.  A shared ignorance!?  The outright dismissal of the Blak experience; the assimilatory properties of education where the sole purpose was to indoctrinate the Indigenous child into the ways of the coloniser – surely, the ignorance is not shared. 

Indigenous peoples know the western world.  We have been subjugated to learning the ways of the coloniser since 1788.  It was the intent to ‘discipline the savage’, if I was to paraphrase the words of Professor Martin Nakata.  The ignorance is not ours to bear.

Fast forward to 2018 when the debate about Australia Day was again being raised and Morrison was now the Prime Minister of Australia.  He had maintained that the need for Australia Day to remain as it is as “you don’t pretend your birthday was on a different day”.  He acknowledged that Australia’s national story had “a few scars” and that it was “not perfect”.  He further tweeted that “being honest about the past does [make Australia stronger] – our achievements and our failings.  We should not rewrite our history”.

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How ironic that in 2020 Morrison is doing exactly that!?  Rewriting history to placate the fragility of the Australian public.  Indentured labour is a euphemism for slavery in Australia.  There was no choice.  Aboriginal peoples and Pasifika peoples were not in a position to leave or change their conditions.

And yet, truth-telling is what the Uluru Statement from the Heart calls for.  Truth-telling is exactly that.  The truth must be told.  Not a white-washed history of a nation built on the stolen lands of Indigenous peoples but the truth.  And where better for that truth-telling to occur but in politics and in education.  For if the plight of the Indigenous child in the shared Australian historical context proves anything, education has the power to effect change and to privilege or deny the truth.

The responsibilities of schools and universities

And so while the current leader continues to use his power, privilege and position to deny Aboriginal and Torres Strait Islander peoples the respect and dignity that they deserve, I turn my lens to schools and Initial Teacher Education programs in all Australian universities and their power, privilege and position to ensure that such blatant ignorance does not continue. 

Universities and schools have a responsibility to ensure that Aboriginal and Torres Strait Islander histories and cultures are embedded as well as privileged within their teaching and learning.  Shifts in teacher education policy has made it explicit to teachers and systems the importance of addressing the cultural gap. 

Classroom teachers and principals are required to demonstrate how they know students and how they learn as well as how they know the content and how to teach it.  Embedded within these focus areas are explicit reference to Aboriginal and Torres Strait Islander students and content.  The onus in ensuring that graduating teachers are meeting the standards is placed on Initial Teacher Education programs and universities.

Some universities have met this challenge by ensuring that there is a mandatory Indigenous knowledges course within their programs university wide.  There is recognition that doing so is beneficial not just for students but for society.  Universities are further required to have an Indigenous Graduate attribute for all courses and programs. 

In Initial Teacher Education, while it is not mandatory for a standalone course, the lack of cultural awareness on display of late surely illustrates the need for such a course.  That is, if the leader of the country does not know the shared histories, how can we expect peoples who have received the same western education to know any different?

We can change it

Education is where we can effect change.  Initial Teacher Education is where we can effect change within the education provided for all.  We can work towards addressing the cultural gap. Surely, it is time. 

It is time now to look to effect change, to work towards creating a world we want to live in.  It is time to privilege and centre Aboriginal and Torres Strait Islander knowledges, histories, cultures and peoples. 

For far too long, the western education system has worked to have Aboriginal and Torres Strait Islander peoples to ‘fit in’ to their systems.  It is time that the system looked at itself and hanged its head in shame with the power, privilege and position it has maintained and look towards creating a culturally inclusive and responsive society.  The time is now.

Melitta Hogarth is a Kamilaroi woman who is Assistant Dean (Indigenous) in the Melbourne Graduate School of Education at University of Melbourne.  Prior to entering academia Melitta taught for almost 20 years in all three sectors of the Queensland education system specifically in Secondary education.  Melitta’s interests are in education, equity and social justice.  Her PhD titled “Addressing the rights of Indigenous peoples in education: A critical analysis of Indigenous education policy” was awarded the Ray Debus Award for Doctoral Research in Education. Melitta is on Twitter @melitta_hogarth

Building creative futures from the powerful stories and voice of First Nations peoples

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Australia Day this year was marked by thousands of people marching against holding our national celebration on 26th January. It is a day that represents the start of invasion, pain and dispossession for First Nations peoples. The pain was compounded this year by the refusal of the Australian Government to embrace the ‘Uluru Statement from the Heart’ and its call for the establishment of a ‘First Nations Voice’ in the Australian Constitution.

So I believe it is important to share the stories of great creative work that celebrates partnerships with First Nations peoples. First Nation knowledge and creativity could be playing a vital role in helping educate our children and can help us achieve the productive futures we want, where innovation and creativity are basic to growing our national economy.

There are important stories to be told about how we can realise creative futures, where creative, technical and business skills combine, which can draw upon the most ancient of traditions of our First Nation peoples. These include approaches that value kinship and connections, and artforms that combine ancient stories and knowing with contemporary creative technologies and performance art.

First Nation remarkable heritage can be part of our innovation and creativity agenda

Whether it be examples of Aboriginal dances adapted and created to tell the stories of first sightings of ships or white man, to a breakthrough musical theatre production like Bran Nue Dae that disrupted popular stereotypes of Indigenous peoples to recent new works such as ‘My name is Jimi’ featuring Torres Strait Islander stories from Jimi Bani, and Nakkiah Lui’s ‘Black is the new white’, First Nation theatre and performances serve as performative acts of protest and agency. Such actions and work demonstrate that Aboriginal and Torres Strait Islander peoples have always had to devise, adapt, create and remake to achieve equal rights and recognition, and arts and creative forms have been important vehicles for this.

Recently at our national capital our Arts Education, Practice and Research group along with the AARE community of educational researchers acknowledged this remarkable heritage. It was especially pertinent with 2017 being the 50-year anniversary of the 1967 Referendum, 25 years since the Mabo decision and the 20-year anniversary of the ‘Bringing them Home’ Report.

We heard from Traditional Owners such as Dr Matilda House and from Indigenous artists such as Dennis Golding and were inspired by First Nation voices, stories, resilience and creativity. Matilda House believes that “you must have stories of your country. If you don’t, you don’t belong, no matter where you come from’.

These stories, these histories and contemporary arts practices should be more appropriately recognised within various national innovation and creativity agendas. Aboriginal and Torres Strait Islander contributions are rarely considered within the innovation agenda, apart from deficit discourse about Indigenous performance and outcomes. However, Indigenous creativity, endemic to traditional cultural practices, is also an inspiration to contemporary arts and innovation practice. As Noonuccal Nuugi director, writer Wesley Enoch said:

‘The facility for change is also built into Indigenous traditional meaning-making structures. A dance from Bathurst Island depicting the gunning turrets stationed on the islands during WWII shows interpretive traditional enacting as a more modern experience, or the creation of explanatory myth-like structured stories for the coming of alcohol or money or AIDS or the Nissan four-wheel drive bespeaks a flexibility to accept and explain environmental changes through a facility of ‘New Dreaming.’

Our research project

I am currently engaged in a new research project that reminds me of the power of story and voice for helping provide insight into the human experience, but also for enabling us to realise new visions and ‘New Dreamings’.

Working in partnership with JUTE Theatre in Cairns, our research with the ‘Dare to Dream’ project will seek to investigate the short and longer-term impacts of a participatory program whereby new theatre works are being created that tell Indigenous stories, that are also generated in collaboration with local Indigenous leaders and feature Indigenous artists as key creatives on the projects. Each year as well as the performance of the work in schools, a one week workshop program is conducted within 10 schools in far-North Queensland. During the week young Aboriginal and Torres Strait Islander young people (from grades 6-10) participate in drama and storytelling workshops and at the end of the week they are invited to share what they have created with the community. The theatre and workshop experience provides direct contact for the young Indigenous people to positive professional role models and positive stories about a range of possible futures.

The first work of the series was ‘Proppa Solid’ by Steven Oliver (of ABC Black Comedy fame). The play begins with a great creative premise: in 2044 Australia has its first Aboriginal president of the republic. He has moved the centre of power (the Black House) to Brisbane and unlike his wife, the President Paul Toppy has little knowledge and connection to his country or people. Throughout the course of the play he comes to understand who he is, where he comes from and the importance of his kinship with family and country.

This week a creative development process is being hosted in Cairns which profiles the life of Henrietta Marrie, a Traditional Owner whose great-grandfather was known as ‘King Ye-i-nie’ of the Yidinji. Henrietta has been a tireless advocate for Aboriginal culture and heritage. This includes Henrietta’s work as the first Aboriginal Australian to work for the United Nations and draws attention to Australia’s obligations to its Indigenous communities under various UN Articles of the Convention of Biological Diversity.

The 2018 work being developed for the ‘Dare to Dream’ project is known as ‘Bukal’, named for Henrietta and also the black lawyer vine which grows in the rainforest and is used for weaving and other purposes. The goal for this new show is that it will inspire and educate young people, particularly young Indigenous women.

 

Nurturing an innovative and creative future through drama, theatre and arts education

This type of project and the related research is important for a number of reasons. It works in the short term to help Indigenous students feel valued and to see their cultures and stories represented on stage, but it also can have significant longer term benefits. For example, recent work from ANU reported on the Australian Council site reports:

‘One in ten First Nations people in remote Australia earn income from arts, “remote creative arts participation rates declined between 2008 and 2014-15 driven by declines in remote NT and Queensland – a concerning trend given the importance of First Nations arts to cultural and economic sustainability, and community wellbeing’.

Drama and theatre are often not regarded as particularly innovative art forms or crucial for realising ‘New Dreamings’ within digital worlds. However dramatic learning affirms the fact we still inhabit human bodies, which enable us to take action within the world. Through drama and performance players can learn. They are using dramatic forms of storytelling, but they are also bearing witness, inventing and affirming new voices and identities, and discovering new career pathways and life roles.

Through theatre we have seen the emergence of a strong body of work by Aboriginal and Torres Strait Islander artists and writers. They have documented their experiences, perceptions and imaginings through embracing, adapting and innovating upon western theatre forms of performance and scriptwriting.

From the Kevin Gilbert in 1971 with the ‘Cherry Pickers’, Bob Maza, Robert Merritt’s ‘Cake Man’, Eva Johnson’s ‘Murras’, Jack Davis’ ‘The Dreamers’, to Enoch and Mailman’s ‘Seven Stages of Grieving”, Aboriginal and Torres Strait Islander playwrights have provided us with insights into what has often been hidden and not spoken about in the lives of Indigenous peoples.Women’s experiences have been shared through personal histories revealed in works by Lingali Lawford, Leah Purcell, Sally Morgan, and Jane Harrison. Different insights on major historical events have also been documented, including through works such as ‘Black Diggers’ which highlighted the experiences of Indigenous soldiers during WWI. These play texts contain great sources of insight that can be brought into any classroom, not only theatre or drama classes.

The contribution of the drama, theatre and arts education for cultivating the skills of communication and expression, of experimentation and innovation, reflection and creativity required for productive futures seems to be undervalued by the government bodies, even though in this past year they claimed to value the importance of creativity and innovation for our future national prosperity (see the 2017 House of Representatives Federal Parliamentary inquiry).

However projects such as the ‘Dare to Dream’ project are demonstrating that creative work and processes are able to generate innovative work and life options for young people and arts professionals. As Mark Sheppard, ‘Proppa Solid’ actor said in 2017:

‘I think what enables them to have that breakthrough is a different way of learning. There is no right or wrong, it’s actually about participating. … it can be empowering and give a different perspective about what is out there in a wider world… not only in being a performer, but that the tools of theatre and creating and creativity can bring to everyday life tools of empowerment, of feeling good about yourself, and hopefully we’re able to make an impact that way.’

So much more to be done

While it is early days for the program and research, so far students and teachers have all noted the positive outcomes of the program with reports of high levels of student engagement, increased levels of confidence and the young people having expanded notions of opportunities and life pathways. The actor/facilitators have spoken of how for many of the students, the experience has opened up their sense of what might be possible (beyond sport, teaching, nursing or in some communities the military). Plans for future work will also focus on ways to capitalise on the possible connections across the school and wider communities where the shows tour, and to firm up the strategies for building and extending learning through the kinship and connection networks.

It is time to recognise that creativity and innovation relies on people and very human forms of creativity and expression, it is also time to more fully recognise the contributions, strengths, creativity and innovations of our First Nations peoples, and that their ingenuity, resilience and creative endeavours are quite extraordinary and should be more explicitly celebrated in ways that are respectful and appropriate.

 

Susan Davis is Deputy Dean Research for the School of Education & the Arts at CQ University, Australia. Her research has focused on drama, arts-education, engagement and digital technologies. She is one of the Co-Convenors of the Arts Education Research SIG of AARE and a Board member for Drama Australia and the Sunshine Coast Creative Alliance. Sue was previously a drama teacher and performing arts Head of Department and has created and managed many arts-based projects in collaboration with various education, arts industry and community groups. Susan was one of the convenors of a Creative Education Summit held at ACMI in 2016, with summit outcomes contributing to an Arts Education, Practice and Research group submission to the “The House of Representatives Standing Committee on Employment, Education and Training Inquiry into innovation and creativity: workforce for the new economy”. She was also invited to present further evidence at a roundtable for the inquiry.