An Artistin-School cultural Partnership Project
2011
Project Partners Lake Macquarie City Art Gallery Whitebridge High School Project Team Artists: Doug Archibald and Joanna Davies Project Coordinator: Carol Carter Project Manager: Debbie Abraham Education Consultant: Cherie Johnson Project Teachers: Linda Alcorn and Stephnie Jan Project Support Construction Consultant: Edward Milan School Technical Assistant: Michael North Concrete Contractors: Civilake, Lake Macquarie City Council Other Teachers: Hayley Terry and Sam Dyball Whitebridge High School Student Participants Aboriginal Students: Eliza Gordon, Lily Gordon, Dillon Turner, Taylor Pyke, Biankah Griffen, Jordon Gibb, Cheyenne Nelson, Kirstie Ford (Year 7); Jarrah Maddison, Jacob Taylor, Hannah Ashley, Ryley Anderson, Jordon Nelson, Brady Rye (Year 8); Kristal Sinclair, Samantha Russel, Tyla Smolen (Year 9); Jacob Ashley, Jamahla Barron, Jesse Nelson, David White-Sneddon (Year 10); Brad Ford, Bryce Turner, Lyarnah Gregory (Year 11); Jeremy Raw (Year 12) Year 11 Visual Arts Students: Nikeeta Arthur, Sarah Carroll, Mathew Christian, Kathryn Clifford, Kiernan Collins, Clare Cousins, Chloe Hunt, Gabrielle Keers, Amelia King, Cassandra McCririck, Kate McKey, Freya Pink, Georgia Sargent, Josephine Smith, Ruve Staneke, Alison Stinson, Zoe Wade, Mary-Ann Wen, Breanna Yates, Stephanie Patterson Year 10 Ceramics Students: Elle Bargwanna, Sarah Bruce, Hannah Conley, Alexander Dean, Gemma Foley, Emilie Hall, Cale Maybury, Alannah Moore, Luke Niass, Kate O’Brien, Brayden Patronaggio, Heather Phillips, Timothy Regan, Shaira Santos Primary School Student Participants Charlestown South Public School: Emily Lacy, Mikylah Newell, Dakota Haines Kahibah Public School: Madeline Leask, Chelsea Newell Charlestown East Public School: Benjamen Wiggs-Smith, Nicholas White-Sneddon Publication prepared by Cherie Johnson in consultation with the Project Team Published by Lake Macquarie City Art Gallery Editor: Debbie Abraham Proofreader: Jenny Scepanovic Design: Raelene Narraway, Lakemac Print © Lake Macquarie City Art Gallery and all contributors Lake Macquarie City Art Gallery First Street Booragul NSW 2284 Box 1906 Hunter Region Mail Centre NSW 2310 T: 02 4965 8260 F: 02 4965 8733 E:
[email protected] www.lakemac.com.au Project funded through the Creative Education Partnerships ConnectEd Program supported by Arts NSW, Australia Council for the Arts and The Department of Education and Training.
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CONTENTS Introduction
4
Process Diary Term Two Term Three
6 13
Processes Making Plaster Moulds Surface Treatment, Glazing and Firing Installing the Artwork OH&S Checklist
17 20 22 24
Cross-CurriculaR LESSONS Technical and Applied Science Dance Information, Communication and Technology English
25 26 26 27
Evaluation Summary Project Team Students Checklist
28 28 30 31
Appendices A1 Year 11 Visual Arts Program A2 Year 11 Visual Arts Assessment Task: Making Art A3 Year 11 Visual Arts Assessment Task: Theory A4 Year 11 Visual Arts Focus Study: Gordon Bennett A5 Year 11 Visual Arts Focus Study: Vernon Ah Kee A6 Year 10 Ceramics Program A7 Year 10 Ceramics Assessment Task: Practical Work A8 Year 10 Ceramics Assessment Task: Theory A9 Years 7-10 Aboriginal Students Program A10 Year 9 Technical and Applied Science: Fashion Discovery A11 Year 11 Dance: Development of Dance in Australia A12 Year 11 Dance Assessment Task: Aboriginal Dance A13 Student Evaluation Form (sample) A14 Project Team Evaluation Form (sample) A15 Project Team Profiles and Roles
32 35 36 37 39 40 41 42 44 45 47 49 50 51 52
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INTRODUCTION
Bridging Cultures is the fourth in a series of artists’ residencies linked to schools supported by Lake Macquarie City Art Gallery and Communities NSW through the ConnectEd Program. The first was a short residency with Martin Smith, entitled Family Matters; the second artist+school+gallery=public art with Lake Macquarie High School and Tom Ireland; and the third was A Possum Skin Cloak by the Lake with Doug Archibald and the gallery’s Aboriginal Reference Group (ARG). This project continues the gallery’s commitment to Indigenous programming, in partnership with the ARG, and supports our project partner, Whitebridge High School, with its program of working with the Aboriginal community and students. The gallery has worked for 11 years with the ARG towards developing, presenting and promoting Indigenous program content; in fact, 18 dedicated Aboriginal projects have been developed and between 70–80% of exhibitions include Indigenous artists. Within the school, Carol Carter has conducted a program involving Aboriginal and non-Aboriginal students making artwork for the grounds. This has become a valuable program, not only in the area of visual arts, but also because it lends support to the Aboriginal students at the school in the absence of an Aboriginal Education Officer. Bridging Cultures reinforces the philosophies of both partners by addressing Aboriginal issues and promoting Aboriginal culture through a cultural partnership. Although the project took place over 16 weeks, the outcomes will be long term. Foremost, many Aboriginal students were involved in the project, alongside their non-Aboriginal fellow students, encouraging a better understanding of the place and importance of Aboriginal culture in the community. The process of designing, making and documenting the project was arduous at times, but worthwhile. The artists, Doug Archibald and Joanna Davies, worked tirelessly with the teachers, students and each other to impart knowledge and skills. Doug with his deep cultural knowledge and Joanna with her proficient ceramic skills, partnered with the teaching staff’s expertise, enabled such accomplished artworks to be created. The finished product – a series of permanent outdoor ceramic sculptural artworks – has instilled pride in the makers and respect from the student body, teaching staff and the local community.
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Carol Carter’s drive and enthusiasm encouraged and inspired the artists and allowed them to achieve a much larger project than originally conceived. Her commitment also ensured the families of the Aboriginal students were informed about the project and felt comfortable to visit the school to view its progress. Cherie Johnson’s extensive knowledge of Aboriginal and visual arts education, together with the Project Team’s input, resulted in this excellent education resource and cross-curricular programs within the school, contributing to the depth of the project. The resource will have ongoing benefits for educators, encouraging more cultural partnership projects throughout the Hunter and New South Wales. During the project, Edward Milan was of great assistance with his technical advice and skills, and Michael North contributed to the project, particularly by firing up the kiln many times. Congratulations to the Project Team and all participants, who worked together to create such a fabulous project. In particular, the student participants have stretched their knowledge, skills and stamina to pull together and make what can only be described as a series of professional sculptural artworks. The gallery is pleased to have been a part of Bridging Cultures, and trust the project lives on through other schools and project partners. Debbie Abraham Gallery Director Lake Macquarie City Art Gallery
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PROCESS DIARY
The Bridging Cultures artist-in-residence project occurred over most of Term 2 and half of Term 3 in 2011. The artists, Doug Archibald and Joanna Davies, were set up in a studio in the school, which was a storage shed appropriate for the type of work they would be making. They worked in the school together with the students and teachers, each Wednesday and Friday. A number of Aboriginal students were involved plus the Year 11 Visual Arts and Year 10 Ceramics classes. Some classes were timetabled and other sessions were conducted as half-day or full-day workshops. The parents of the Aboriginal students were informed throughout the project by mail, phone calls or at get-togethers at the school. It must be noted that each half-day or full-day workshop was treated as an excursion, with all the necessary paperwork, timetabling and permission notes. For a project such as this to work, the workshops were necessary to allow the conceptual ideas to flow into the practical work, over a longer period of time. The following notes are based on a number of sources including process diaries used by the students in all of the sessions. It is set out in an informal manner to give the reader a sense of the flow of the project. However, to gain a complete understanding of the project’s intended goals and outcomes, refer to the programs in the Appendices. As with all projects of this nature, the program underwent a few adjustments along the way to best accommodate processes and creativity.
Term 1
At the end of Term 1 the artists were invited to the school to meet the school staff and principal and undergo an induction. They were also shown their studio space.
Term 2
Week 1 Jo:
It was the first day on the job and we began with the Project Team and students walking through the school grounds to identify possible sites for the artwork. The first idea was to use the form (or metaphor) of a serpent to carry the artwork through the grounds, leading to the wetlands. The wetland area, a breeding ground, represents new life therefore is a good place to end the sculpture as a gateway to the future.
Doug:
On one of the possible installation locations was a tree that appeared to have markings similar to a scarred tree, which was interesting. We looked at incorporating it into the concept.
Student: We were told we were going to be involved in a cultural partnership project involving Aboriginal art, with two artists, Jo and Doug. The Year 11 Visual Art class, our Year 10 Ceramics class and a heap of Aboriginal students were going to be involved in making parts of artworks to go in the grounds of the school. We weren’t really sure what we were going to make, but we knew it was to be trees made out of clay.
ed l scarr origina rge TIP: Ab oving la by rem d e t a e s of are cr section bark or of s ce he pie d in t be use ee to r t e h as t gs such of thin n io ct u constr mons rs, coola ntaine co s, oe can ging d/dig es), foo n dish e d oo (w lds. nd shie ents a implem
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Week 2 Doug:
We were now deep in project planning, trying to allocate different sections to groups due to the number of students we had working on this project (60+). It seemed that this number would grow as more Aboriginal students were finding out about the project and wanted to be involved – excellent! I was really looking forward to working with them.
Jo:
At this stage we were allocating sites, and the site nearest the entrance of the school was for the Years 7 and 8 Aboriginal students. They would be exploring the Dreamtime story of the Rainbow Serpent as a reference to the beginning of time; this was to be the traditional aspect of the project. We were thinking of it being a large mound emerging from the earth and disappearing back into it.
Year 10 Ceramics students were going to work on the next element, which was the snake track running down by the trees and linking to the entrance of the barbecue area. It was noted by one of the students that it should not look like the Loch Ness monster, but more like a snake track; lower. We all agreed. Year 11 Visual Arts students were allocated a site near the scarred tree. Drawing from the tree markings, they were to produce some upright freestanding pieces. We looked at some examples from an exhibition at the State Library of NSW. We needed to check the appropriateness of using some of the scarred tree designs. For this site, we were going to explore the possibility of producing a Hebel carving along with an aluminium casting, to demonstrate a variety of materials. Jesse and David from the senior Aboriginal group wanted to produce a piece based on the scarred tree, in the garden just to the north-east of the tree. The final work at the wetlands was yet to be decided but would hopefully represent the future goals, hopes and dreams of students involved. Doug:
We met the Year 11 Visual Arts class and we showed them some images from the State Library of NSW’s exhibition on scarred/carved trees. Scarred trees are important to Aboriginal people as they used them in many ways. Not only did the action of scarring a tree produce a type of signpost but the bark removed also created an object. The Year 11 students hadn’t realised that everything Aboriginal people did was on purpose and that the ‘art’ was not for ‘art’s’ sake but was created with a purpose – used to identify or for identification.
Junior We had some time on the Bridging Cultures project Aboriginal today, and it was cool. We met two artists, Jo and Doug. student: Doug is a blackfella who lives around here. He knows our mum and dad so we know we better not muck up or he might tell ’em!
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W
‘ e had a great day! LOL.’ Chloe
Week 3
Aboriginal students: We talked about our project’s location, and about the Rainbow Serpent and how it came out from under the ground and formed all the trees and mountains and rivers, and then the animals came out. Then the Rainbow Serpent went back into the ground. We spent some time drawing Aboriginal symbols that come from around here. We watched some Aboriginal dancers and singers on YouTube and practised our clay work. Jo showed us how to make plaster moulds and some students got plaster splashed all over them – arrgh! Jo:
Year 11 students produced drawings based on the markings of a scarred tree so they are elliptical or shieldshaped. The designs incorporated personal symbols and motifs. Carol, Doug and I produced moulds for some preliminary prototypes.
Week 4 Year 11 student:
‘Jo’s demonstr ation
s and explana tions on ceramics ar e excellent!’ Anon
We finished our designs, which are charcoal on paper We then experimented with smaller designs in our VAPD. We were told not to get too precious about our designs as we would be making heaps – we were wondering what that was about! We also started to make some moulds— concave and convex—which was very interesting. We also used two new machines – a slab roller and an extruder. The extruder was good because it helped us make the clay the same width all the way around.
Doug:
At this stage, I took the Year 10 students for a walk to look at their site again; to refresh their memories and keep them on track.
inte
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8
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and us in our m mak ode l ing.‘ Ruve
BRIDGING CULTURES
Week 5
‘My p iece w as rou ghly 4 up wit cm hig h thr h. I bu ee cu ilt it t -outs toget and her a jo ined nd J them o finis hed it becau se it off fo was t r me ime t o leav e.’ Em ily
Year 10 students: We were still making more moulds.
Year 11 student: On Wednesday we took a walk with Jo to look at our site; the scarred tree area. Jo had a good idea about joining two clay works together and designing something you could see through. Year 10 student: On Wednesday we made personal symbols; two each. We drew our inspiration from our own lives and from the traditional Aboriginal symbols Doug showed us that come from around here. While we worked, Doug talked to us about the Stolen Generations. the ctive on l perspe persona a t rn a lea he traum ‘Today I lained t Doug exp s. n io t ra e y history Stolen Gen that an better it d n hi sons be and rea yden could.’ Bra teacher
Year 11 student: On Friday, many of us were finishing our second moulds and we were beginning to see how this was all going to come together. Remarkably we were also getting much faster. I was amazed at how long the first one took us, but now we are like old hands! We were playing with the idea of hanging our works off poles, and making different sizes – small, medium and large. We also learnt that the designs could be as contemporary and colourful as we liked. Week 6 Doug:
On Wednesday, the senior Aboriginal boys had a full-day workshop. We started them on their designs and mould making. It was really nice to see them coming together as a body of students, but more importantly as a community. I was very happy to see them bonding and thought we would work well together.
Aboriginal student: We made plaster casts from our moulds and learnt how to build up the walls properly so we could pour plaster. We learnt which mould would work and which wouldn’t. We also learnt that we were good at ceramics.
We sketched some plans for a structure to be placed around the barbecue area. With project manager Jesse leading the group, we managed to map and digitalise a 3D image of the area and record the measurement.
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‘Today we have been rollin g out clay for the walls of our moulds. We also had to make sure we had no undercutting…. W e made up the plaster and got all the air bubbles out by running our hands through it.’ Emilie, Sarah, Tim
Doug:
It was a good day on Friday, and great to be working with the Aboriginal kids for the day. The girls were very quiet but worked well. There may be some future engineers, designers or architects in this group.
Student: The talk in the library with Donna Fernando was excellent; we had around 100 or more students listening quietly and respectfully. The film about the Stolen Generations was profound. There was some discussion about Donna’s talk and the possum skin cloak exhibition later in class.
Everyone worked happily and busily, placing the clay in their moulds, which they had poured two days before. Jo demonstrated how to ‘hollow out’ the shape so it’s not solid with clay.
Week 7 Jo:
All of the students were making excellent progress. Everyone was getting faster and the designs were really beginning to flow well.
Donna’s talk about the Stolen Generations really affected some of the students. They were asking many questions and Doug was gently talking through it all with them and answering questions as they came. It really was a humbling experience to witness. sad na was ith Don w y r a he libr people lk in t to have ‘The ta ening op e y ally e eak up was re away sp but it taken y ll a u m. I re act to the who we pened p a h t ’s t wha rible; it alk abou m is hor and t to the d e n ey ppe how th hat ha is was think w hat th t k in h t elsea. ing to ago.’ Ch disgust t long a h t ll not a reated were t ‘ . . . Doug read us Dreamtime stories. Then we got into th e classroom an d did some sculpting. We made a footb all shape and I put a snake on mine. The second one wa s the same sha pe as before but I painted it black and we carved it. Ben
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Week 8
Year 10 student: There was a half-day workshop and the students made many cast forms. Some were complaining about sore wrists from banging down on the clay. Year 11 student: We continued to develop our clay prototypes for the sculpture. Some precious prototypes we had made broke when being moved. Jo said some of them can be repaired but not to worry about the others because we have to make lots of different models – these are just prototypes. Aboriginal students: We were able to have two periods to carve patterns into our pieces and then we painted them with a charcoal slip. We also made patterns in some pieces using clay balls and coils in the base of the mould. ‘We made coo l shields.
Week 9 Jo:
It was fun.’ Ja cob
It was such a prolific week! Everyone produced really good work. All of the cast forms had been made and many of the students were either glazing or carving onto forms covered in slip. We had more than enough pieces. The focus was shifting from the making to the installation phase, with a push to get the footings in and Hebel mounds formed. There was never a free moment!
Week 10 Doug:
We had a few Aboriginal primary students up at the school for a workshop. It was great to see them getting into it and having a go. It was so important for the kids to have the opportunity to meet other Aboriginal people; just to feel right about themselves and be proud of who they are. I’m looking forward to seeing them all grow up and being a part of our community.
Jo:
It was the last week of term and everyone was super busy finishing off their pieces. The footings were ready to be poured by the contractors over the school holidays.
ridge High t to Whiteb June I wen of th 29 was On the t lesson. It boriginal ar A an r fo Ben boriginal School with e about A ht me mor ug ta d an lots of fun hool along the high sc We came to t. ar d an culture hools. It was ifferent sc from five d ts en ud st has a with eryone who d I bet ev an er ev ay the best d s it too. Nichola go will like
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School Holidays Cherie:
It was time to compile all of the information from the process diary and programming. While I read some of the entries in the process diary my heart sang, as my mother was a part of the Stolen Generations. Her story was told in the ARG and gallery’s exhibition yapang marruma: making our way (stories of the Stolen). When I saw how those stories made some of the students sad, and they realised what happened was horrible, it made what my mother went through to tell her story worthwhile. The stories are not told to make people feel responsible or guilty, but rather to promote understanding and acknowledgement of our country’s history. Now it is in the open we all can heal and move on.
Our community is close, and it was wonderful to get to know the Aboriginal students better and see their parents, some of whom attended the same high school as me. This project has been good in that it has given the Aboriginal students a chance to hang with the mob and learn about our culture.
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Term 3 Week 1 Jo:
We decided not to proceed with the aluminium casting as the project was getting too ambitious and time was too tight. It was a shame as it would have looked great!
We also made changes to the initial Rainbow Serpent concept and some of the site locations – an art project always evolves. The Year 10 Ceramics class artwork was not going to be among the trees but down by the hall in a more prominent position and, as a mound, will sit well among the large rocks already there.
The junior Aboriginal work was still to be a mound shape up near the entrance to the school. The senior Aboriginal students will have a plinth on which to place scarred tree/shield-inspired artworks, and the Year 11 Visual Arts students’ artworks will be mounted on a rendered wall near the hall. This still enabled a flow of works from the entrance down to the hall, which directs the viewer to the wetlands.
Doug:
The first week back at school was focused on installation. The two slabs for the mounds and the plinth had been poured by guys from Lake Macquarie City Council over the holidays. Carol did a heap of glazing over the holidays. Almost all of the works are now green; they look great. We have selected the students’ works for the large mould and worked out the size of the smaller mound. The school is going to pressure-clean the brick wall to get ready for the render.
Week 2 Jo:
The Project Team decided that we needed help with the installation. Eddie Milan, with his sculptural and building background, was called in for the last five weeks to assist.
Doug:
Eddie and I worked on the first mound near the entrance to the school. We worked on getting the shape right, ready to set in place with the adhesive and concrete. We also went shopping for appropriate materials for the job such as cement, Hebel blocks, render for the wall, etc. It was really important to know exactly what we needed and how much, as the last thing we wanted was to run out of a product halfway through a job.
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Week 3 Doug:
I finished rendering the first mound near the entrance and it looked great. I had to then focus my efforts on the group of Aboriginal boys and their work as well as the second mound near the hall.
Eddie:
We had to plan the installation well. As Hebel (aerated concrete) is very porous, it was important we installed it just before the ceramic pieces were added. If we had installed it too early, the surface may have broken down, and the render and artworks may have been difficult to install over it.
Jo:
There was a NAIDOC function for the parents of the Aboriginal students in the library to see some of the artwork made for the project. They seemed impressed and happy the students had been able to participate.
Doug:
We had such a great parent turn-out on Wednesday night; it was really nice to see the students being proud of what they had achieved.
Week 4
Doug: On Wednesday several boys from the project, including a number of Aboriginal boys, were selected to work as part of the construction team; building and installing the mound down near the hall. We started with the help of Jesse and David and made great progress. With my assistance, the boys laid the pieces in position, and shaped and numbered them. We then used concrete to secure the pieces in place to create the base of the mound. At the end of the day we covered the mound with industrial plastic to keep the rain off it. The boys worked well!
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On Friday I had two new boys, Jacob and Bryce, to help. With the cross section done we had to shape the rest of the mound. We did this by placing smaller blocks in the spaces left by the bigger blocks. We then numbered the smaller pieces, removed them and set them back in place with concrete. All of the other blocks were joined with Hebel adhesive. I think the boys were making a bit of a joke out of it and telling the other kids it was going to be an igloo or a turtle. Jacob reckons it’s the best Friday he’s ever had at school.
Eddie:
We rendered the wall and plinth today. We still need to finish off the large mould. We were going to finish the two mounds off first then work on the other locations. We have since decided to work on getting all areas done together so they are ready to install all at once.
Time was running out and we still had to do a lot. Some of the technical aspects, such as having to leave 48 hours between coats of Rockcote, added to scheduling issues – along with the rain.
Jo:
We also had to order the native grasses that would be planted around each sculpture to soften the edges.
BRIDGING CULTURES
Cherie:
Jesse was loving being a part of the project. He has asked if I had read his artist statement because it summed up how good this project has been for him.
‘This project has not bee n about being Aboriginal but about finding out abou t myself; things that I didn’t know before. The Bridging Cultures project has brought together Abo riginal and nonAboriginal students to mak e something that we can all be proud of. When I walk around the school and see what we have done, it will bring memories of fun times that I will remember for a long time. I believe that everyone achieved what they wanted to. It wasn’t just one story but a number of different stor ies that has given me insp iration for my ceramic piec e. What I have liked about the project is that I have become closer to my Aboriginal side and I am proud to say that I am Aboriginal.’ Jesse
Week 5 Doug:
The second mound was almost completed, and we just needed to finish the rendering so we could start to apply the ceramic works.
Jo:
We applied the second coat of render, and once that was done all of the surfaces were prepped and ready. The focus for the Project Team changed to installing the actual artworks.
Eddie:
The goal was to get the shields on the plinth and wall. To do this, the artists had to agree on the layout of the works. This was done by reducing images of them by 90% and setting them out on sheets of A4 paper.
To install them we drilled through sections of the ceramic artworks that were thick enough to put a rod through. There were also corresponding holes drilled in the wall. We used these rods to hold the artworks in place before adhering them with silicone adhesive around all the flat edges of the works.
As it started to rain later that day and the moisture was affecting the drying time of the silicone adhesive, we had to find an alternative.
Jo:
We decided to build up the end of the shields with ‘builder’s bog’ with the rod already affixed. This meant that if it stopped raining we could drill all the holes in the wall and set the artworks on the wall, and then apply the Rockcote around the edges. We were concerned about the time we allocated to installing all of the artwork.
Doug:
The boys really put in a major effort putting the large second mound together. They did well. They enjoyed it and stuck to it but were anxious to see it all finished.
Jo:
The wall was finished and looked fantastic – worth all the effort.
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Week 6
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Eddie:
There was a push to get everything done this week – it was the last week of the project. We all crossed our fingers that the rain stayed away and we would have enough time.
Doug:
I was happy to see the students being really proud of their artwork. We were pulling a crowd now during each recess and lunchtime – students wanted to see the progress. Everyone was busy getting the artworks on the mound and the plinth.
Jo:
It was all happening and they looked fantastic. All the artworks were going up, while we concentrated on finishing one location at a time. We just needed the rain to stay away otherwise the adhesive would not dry and we would run the risk of a shield falling off and breaking.
Doug:
Wow! The result was fantastic! It was not just the Aboriginal students or those who were involved directly with the project who were coming to check it out, it was all the students and teachers. This was what this project was all about … unity.
Jo:
It was a race against time but we did finish on time – well at least 98% finished. The few touch-ups left to do were completed by Eddie over the next week. All the team, including the students, the teachers (especially Carol) and Michael all contributed a lot. We had a great time doing this project.
BRIDGING CULTURES
PROCESSES
Building and Using Moulds Making Plaster Moulds Plaster moulds were used in this project to enable students and the artists to make multiples of particular shapes. Firstly, an original or master form is made of solid clay then a plaster mould is made from that. Multiple copies of the form can then be cast. The following process of mould-making was specific to this project. It is recommended you seek professional advice before undertaking any major projects such as this as situations vary. Concepts were explored and many drawings made until the final shapes or forms were decided upon. •
Inspiration for the artwork was gathered from images of Aboriginal scarred trees, local/general Aboriginal symbols and stories as well as contemporary shapes such as skateboards and surfboards.
•
Detailed sketches were created, ensuring they were recorded in the process diary.
•
The location and form of the finished artwork was considered.
TIP: Ce ram
ics is a highly al art form, so to success fully co nduct a proje such as ct this, y ou will n e e d to con tract or consu lt with a pract ising ce ramicis t, or the te am wil l need to be very f amiliar with ce ramic process es. technic
The moulds were prepared based on the conceptual ideas and drawings made. •
Multiple layers of clay slabs were built up on a flat board into desired shapes using scraping tools and sponges. Alternatively, a solid block could have been used. The clay shapes were made without any undercuts to ensure sections weren’t caught when the plaster mould was lifted off. This process also ensures that the clay shapes release from the mould easily.
•
A wall was built around the form, with at least 10cm space between form and wall, to contain the plaster when it was poured. It was also extended 10cm above the clay form to ensure the plaster mould had the same wall thickness all the way around, for even absorption of moisture from the clay. The wall can be made from clay, wood, flexible plastic, etc., but clay slab walls are fine for small forms less than 50cm.
•
All the joins were checked and those not tightly closed were mended with clay, as were any spaces between the base and the form. This ensured the plaster did not leak when added.
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The plaster was mixed.
TIP: Th e chem ical he at that co mes of f plas ter can ca use bu rns so it is alwa ys ess ential to see k prof essiona l assista nce be fore casting any liv e bod y parts.
•
The ratio of water to plaster was measured according to the instructions on the bag of plaster. Usually the amounts of each are quite similar, but each product may vary. The plaster was always added to the water, not the other way around.
•
A clean bucket was filled with the correct amount of tap water and the plaster was sprinkled in gradually. Ideally, the plaster should be weighed as per instructions, but sometimes it was mixed freehand by gradually sprinkling the plaster into the water until the mixture formed a ‘peak’. The plaster was then allowed to slake; that is, allowing the water to soak the plaster.
•
The plaster mix was then agitated by using a flat hand at the bottom of the bucket, slowly mixing without introducing air bubbles. It was left to thicken for a minute at a time, checked, and then stirred occasionally. As the plaster set, it produced a chemical reaction that gave off heat. This is why it is never a good idea to do a full body cast.
e two TIP: There ar ’s ter: potter types of plas casting plaster and er’s plaster plaster. Pott ) is lighter
(preferable
sorbent, and more ab l for which is idea c ltiple cerami producing mu can be forms. Plaster kg bags and bought in 20 ions are on the instruct the bag.
The plaster mould was poured. •
When plaster was thick but sloppy, it was ready to pour very carefully. As the walls were 10cm above the original clay form, a nice thick plaster wall was formed all around.
•
After an hour or so, the clay was removed from the newly made plaster mould. The mould was ready to use after cleaning and drying it out for few days. Cleaning up. •
All of the spare plaster was collected and thrown in the rubbish bin. None of the plaster or water/plaster mix was washed down the sink as it sets hard and will cause plumbing problems.
TIP: If you pou r the r befor e it is ready produce then a laye it will r of w ater mould on top of after the it set s. This the he indicat avier e s t hat particle s have bottom sunk t and w o t he ere n ot prop erly m ixed throug h. plaste
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Casting from Moulds The most appropriate clay was chosen. •
It was important for the group to choose the right clay for this project. Selecting clay is complex as it varies in colour, texture and firing temperatures. For this project two types of clays were chosen; terracotta and Feeney’s BRT.
These were selected because they contain grog (sand/grit/texture), which is good for hand-built student work (which can sometimes be big and thick and needs the grog to give it structural strength while wet). The clay can vary from project to project depending on the size of the artwork being made – the bigger the pieces, the groggier the clay. Paper clay is also good for sculptural work; however, if the clay is too fine it will not hold its shape and big artworks may collapse while wet.
The moulds were cast. •
The moulds were all cleaned and dried before use. The basic one-piece mould is best used as a press mould, where the clay is pressed into the whole mould in an even layer. The joins were all sealed and the clay pressed firmly into the mould.
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In this project two main methods were used to cast the mould: 1. A complete rolled slab was pressed into the mould, which gave a smooth surface on both sides ready to be decorated or added to later. 2. Coils, balls and extrusions were made and laid out in a pattern and joined together in the mould, leaving a decorative outer side. 3. Some of the pressed slabs were cut into and shapes taken out while some were added to so the display side was the internal side.
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The clay was then left in the mould for anywhere between an hour and a day, depending on the weather, the moisture n the air and the size of the artwork, before being removed. The plaster of the mould sucked up moisture from the clay so that the surface dried out slightly and released from the mould. As some pieces were not quite dry enough and needed support when lifting out of the mould, newspaper balls were placed inside before the clay was flipped over onto a board.
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Surf ace Treatment, Glazing and Firing Decorating The moulded clay shapes were initially decorated using two methods. •
While the artworks were leather hard, slip was applied and carved into with lino-cutting tools, so that the clay was revealed underneath. This technique is called ‘sgraffito’.
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Designs were built up with clay added by carefully cross-hatching and wetting the areas to be joined.
Bisque Firing a kiln TIP: Firing pertise requires ex ed and you ne hat you to know w The are doing.
be well kiln should and ventilated people. away from
When the artworks were bone dry, they underwent their first firing – a bisque firing. •
This firing can be anywhere between 900–1000ºC, but a conservative and safe bisque cycle would typically involve TIP: Don’t open the kiln firing the kiln up to 200ºC by increments of 50ºC per hour, door and then up to 600ºC in increments of 80ºC per hour, and when it is t oo then up to 900ºC in increments of 100ºC per hour. It is hot as t he recommended that you keep the bungs (plugs) out of the therm al shock kiln up to 600ºC to let moisture out, so start the process will crack the early in the day. a rtwork.
Glazing
A good
tempera
ture for ope ning th e kiln is 20 o 0º C.
The glazes were tested, selected and applied. • After bisque firing a piece, glaze can be applied. In this project, a few different glaze techniques were used. Clear glaze was used to cover artworks decorated with slip and copper carbonate, while coloured glazes were used on artworks without slip. • In this project a selection of Cesco brush-on earthenware glazes was used for ease of use and colour selection. Earthenware glazes are low-fired glazes (up to 1100ºC) as opposed to stoneware glazes, which are fired high (1200–1300ºC). • Each artwork was covered in three brushed-on coats of glaze, with drying time allowed between each coat. All excess glaze was sponged off the bottom and around the lower edge to ensure the pieces did not stick to the kiln shelves. Glaze becomes liquid when heated in the kiln and if it is left on in areas that come into contact with the shelves, the artwork may stick to the shelf.
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BRIDGING CULTURES
• Under some of the glazes we applied a thin coat of copper carbonate. This can be purchased in powder form, to be mixed with water. It was applied by dipping the sections of the artwork into the mix or brushing it on. The artwork was then sponged back to highlight raised areas and allow the copper to settle into the recesses. It often adds a green variation to the glaze. Copper carbonate can be applied either before or after a bisque firing, but before the glaze firing. • White engobe was applied under some of the glazes. Engobe is much like slip, but is made with fritted material (ceramic materials fused to make glass and then granulated), which reduces shrinkage. Due to this change in components, engobes are used on pottery that has already been bisqued. When it was applied to the artworks, it made them look like the glaze had been applied over a white clay, which was beneficial for colour development. Sometimes the iron in clay can react with the glaze, delivering a less than desirable outcome, so the white engobe helps in these cases. Glaze Firing • Many tests were conducted to see what colour the glazes would be under different circumstances. An example of a glaze-firing scenario for earthenware artwork is to take the kiln up to 1100°C. First the kiln is taken up to 600°C in increments of 80°C per hour and then to 1100°C in increments of 100°C per hour. fore st tiles be sts on te te e az TIP: Do gl react lazes will d work . G e ish n fi g glazin y bodies ferent cla tly on dif differen pheres. A kiln atmos ifferent and in d ference o ake a dif 10° C can m of ce n differe sition of can the po tcome, as ou e th to more as heat is the kiln, in k or the artw e kiln. gher in th intense hi
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Installing the Artwork Bridging Cultures comprises four sculptural elements situated around the grounds of the school. Methods of installing the ceramics artworks onto these elements were discussed within the Project Team and developed along the way. It was decided that installation expertise was needed, which was when Eddie Milan was contracted. This was the process used in this project, but it is important to recognise that all projects will be different and installation will vary. Always seek advice when making outdoor artwork – it has to be durable and safe. The four elements for this project were: two autoclaved aerated concrete (Hebel in this case) mounds covered with the ceramic pieces; a concrete plinth with sculptural elements added; and an existing wall onto which ceramic elements were added. Preparing the Sites The four sites were selected and prepared for us. The size and shape of the two mound footings were drawn up by the artists and then handed over to contracted concreters to form up and pour. The concrete was coloured with terracotta oxide so it would blend in to the artwork.
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As the brick wall was in-situ and relatively old, it had to be cleaned well with a pressure hose before it could be used. It was then rendered with an environmentally friendly premix and coloured render, Rockcote. The wall was given two coats (48 hours apart) of the render mix, applied with a mitt. The plinth was designed and the drawing given to contracted concreters to form up and pour. A PVC-lined hole was left in the centre, into which the steel pole would be inserted later. It was also given two coats (48 hours apart) of Rockcote.
The colour of the Rockcote was selected carefully so that it would form a theme throughout the four sculptural pieces, as it was also used to finish off the mound works.
Forming and Installing the Mounds The Hebel mounds were formed.
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•
Due to the OH&S issues related to working with Hebel, the artists and installation consultant worked on forming the mound.
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The size and shape of the mounds were decided upon with input from the students and teachers.
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The Hebel blocks were stacked and shaped in the outdoor studio before placement on the concrete slab. The size and shape of the concrete slab was checked and adjustments were made to the Hebel form accordingly. BRIDGING CULTURES
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To form the mound, the blocks were numbered and laid out alternately in different directions to add to the strength of the form. It was important to number them and make a diagram of how they went together to ensure they went back together in the same format during installation.
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The mound was shaped using a saw appropriate for forming Hebel blocks.
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The blocks were then carried outside, in order, to the concrete slab. The bottom, or structural, row was joined to the slab using Hebel adhesive. Each consecutive layer was added similarly.
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To ensure the mound was as smooth and strong as possible, small pieces of the Hebel blocks were used to fill any gaps or cracks. The form was then smoothed down using a special rasp known as a ‘surform’.
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Due to the porous nature of the Hebel material, it is important during installation to keep it dry and out of the elements, so it should be covered at all times.
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Finally two coats of Hebel render were added over the whole surface, to seal the blocks and make the final form smooth and ready for the ceramic artworks to be added.
Design and Installation of the Shield Plinth and Wall
• It was important to the theme of Bridging Cultures that the Aboriginal students’ work was visible and distinct, so Doug worked on the shield plinth with the senior Aboriginal boys. The shape and form of this work is slightly different to the other works and it stands alone, adjacent to a tree, at the apex of a pathway. • The shape and arrangement of the shields was decided upon by the Project Team in consultation with the boys, and the installation methods discussed as a group. The forms had to be thick enough in which to drill holes, and strong enough to be installed vertically on a steel pole. • To ensure the installation went smoothly for both the mounds and the plinth, a paper design was made and the artworks laid out in the studio. • Before installation, two coats (48 hours apart) of the Rockcote were applied to the plinth. • Some of the shields were adhered directly to the plinth using a masonry drill bit for the hole and a standard plug for a rod to hold the shield in place. The top of each shield was filled with builder’s bog to give it more strength. • A thin layer of silicone adhesive (Sikaflex) was then applied to the outer rim of the shield and placed carefully onto the plinth, aligning the rods on the plinth with the drilled holes in the shield. • All the excess silicone adhesive was cleaned from the plinth and shields with turpentine.
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• Any smudges or dried silicone adhesive was covered with Rockcote. • To adhere the shields to the steel pole, the desired height for the shields was determined and a galvanised steel tube was cut to length. • The shields for this section were joined together with a cementrich mortar mix, with the steel tube placed in-situ to produce an integrated unit. They were then pinned together, for greater strength, using brass U-shaped pins drilled and glued at intervals around the perimeter of each shield. • The pre-measured steel tube was then inserted into the PVC-lined hole originally left in the plinth, and secured with silicone adhesive. The Mounds
• The ceramic forms were applied to each mound using a cementrich mortar mix with a minimum embedment of 10mm. • The surrounding spaces were then painted with Rockcote to complete the sculptural form.
OH&S Checklist Make sure you are aware of all of the OH&S issues related to any product used. Most products are safe if they are used correctly and by appropriate staff/ contractors, but always read any instructions and the material safety data sheet carefully before using any product. In addition, manual handling and sun-safe issues arise when working with outdoor sculptural forms.
Some examples of OH&S issues for Bridging Cultures are as follows: Working with Hebel blocks: www.hebelaustralia.com.au/.../HE223_laying_DIY-A4_01C.pdf
tall in TIP: Do not ins as the wet weather t dry adhesive will no
mage to well, risking da Always your artworks. gency allocate contin ct time (the proje
management
rule of
ow a thumb is to all
Working with ceramics: http://pottery.about.com/od/thepottersspace/tp/safety.htm For material safety data sheet information (MSDS): www.workcover.nsw.gov.au/.../chemicals_in_the_workplace_fact_sheet_1378.pdf Manual handling: http://www.smartmove.nsw.gov.au/default.aspx?id=2 Sun safety: http://www.health.nsw.gov.au/factsheets/general/sun_protect.html
ow for 10%buffer) to all may processes that e or need to chang wet weather.
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BRIDGING CULTURES
CROSS-CURRICULAR LESSONS
During Bridging Cultures, some teachers at the school took the opportunity to work with the Education Consultant to provide and deliver Aboriginal content in their programs, to not only augment the project but to enhance the quality of Aboriginal content across the school curriculum. The DET policy has stated for several years that it is mandatory to deliver aspects of Aboriginal culture within school programs. However, often teachers need assistance in creating, accessing, interpreting and delivering meaningful Aboriginal content in their classrooms. This is why Bridging Cultures, and many other exhibition and education programs developed at the gallery, such as yapang marruma: making our way (stories of the) and A Possum Skin Cloak by the Lake, are so important in providing links and access to local and appropriate resources and the community. As a part of the funding agreement with the ConnectEd program, Bridging Cultures was to facilitate cross-curricular programming with the support of the Education Consultant. Some of the ideas below have been delivered within the school and some ideas are for teachers to pick up and run with. Any programs delivered during this project are documented in more detail in the Appendices. It is always advisable to consult with an Aboriginal educator, artist or community member when developing programs to ensure cultural protocols are followed and understood.
Delivered Aboriginal Content
Technical and Applied Science (TAS) The Year 9 TAS class was about to commence a unit on Fashion Discovery, which requires students to investigate and draw inspiration from Australian native flora and fauna to design and print a silkscreen image onto a knitted garment of their choice. At the beginning of this unit they worked with the Education Consultant, Cherie Johnson, who is also a practising artist. Cherie introduced Aboriginal content through a PowerPoint presentation, giving a broad overview of Aboriginal people and society, and emphasising the importance of art, dance and ceremony. Students were then shown examples of local traditional Aboriginal art and told traditional stories from this region. Cherie then demonstrated how this information could be incorporated into their design. Cherie left several resources and activities with the classroom teacher, Hayley Terry, for further exploration with the students. Introducing Aboriginal content in this way, during the Bridging Cultures project, is a true example of scaffolding content across curricular. It also supported the non-Aboriginal teacher in discovering new Aboriginal resources to allow her to embed Aboriginal perspectives into her program in an ongoing manner. The teacher and students gained a great deal from the process.
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Dance The Year 11 Dance students were due to commence their Development of Dance in Australia unit at the beginning of Term 3, which presented as a perfect opportunity to link in with the Bridging Cultures project. The Education Consultant is also an experienced dancer, and as such was able to work with the class on this unit. She presented an overview of an Aboriginal ceremony (note that this was not a Lore ceremony*), which created a greater understanding of when, why and how a ceremony would be conducted, and who would participate.
‘I personal ly feel as though I ha ve entere d another w orld with my new know ledge abou t Aboriginal dance.’ Anon.
The Education Consultant led the students in their conceptual development
an ‘It was of the choreography of a dance to be performed by the class at the launch nity opportu g in z a am of the Bridging Cultures project and also as an assessment task. The about n more choreography was based on an Aboriginal dance appreciation lesson, the to lear nd istory a h l a artists’ vision for the Bridging Cultures project and the native animals found in Aborig we h is w t bu around the school. The students really embraced the concept and process. dance, time.’ e or m * Aboriginal LORE is the set of rules that have been laid down in the Dreaming by the Ancestral Spirits for everyday living. had Anon.
‘The outcome for my dance students was clear… to develop an understanding of Aboriginal culture and develop an understanding and significance of Aboriginal dance. This was
achieved through an outstanding workshop with Cherie and then further experiential learning with student’s choreography of an Australian inspired composition that would be performed at the unveiling of the artworks… Their composition was thoughtful and demonstrated that the set outcome for this project was achieved.’
Sam Dyball
Lesson Suggestions
Information, Communication and Technology (ICT) This suggestion would be suitable for either VET IT Software Design & Development or a Year 10 Information Processing Technique class. It was suggested as part of Bridging Cultures, but due to limited time and resources was not delivered. The idea was to have students create a website showcasing the Bridging Cultures project through a topographical view of the school, identifying the locations and artworks. The content of the website would be determined by the group’s skills and abilities and could be adopted for any project around the school.
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BRIDGING CULTURES
The website could include concepts behind the development of the project, the selection of sites and the ideas behind each artwork. This could be achieved through either video footage and/or interview or sequenced still photographs. The website could be as detailed as time and resources allowed. • It may include information about the individual components of each artwork and the inspiration. • It could be interactive in some way or static. • Students could create a video or audio narrative explaining the significance and background of artwork acting as an introduction to the website. • As many of the student artists in Bridging Cultures drew inspiration from local Aboriginal stories, these could also be on the website with links to other resources for further research. (Note that protocols and copyright issues will need to be investigated before publishing.) A website such as this could have ongoing benefits across the school and be linked to the school’s website and other school projects. This could also be a great opportunity for scaffold learning and encourage Aboriginal content across curricular.
English Introducing Aboriginal content into Year 7 Myths and Legends unit in a meaningful manner would allow students to understand the complexities of Aboriginal Dreaming stories, and the social and spiritual significance of the stories to traditional and contemporary Aboriginal communities. To link with Bridging Cultures, the students could look at the designs made on the shield shapes, and annotate the meanings and symbolism. In terms of the Dreaming stories, students could investigate the local stories and analyse them: • What did they think about the story – what was its purpose and who was it aimed at? • Students could then create their own illustrated book about one of the stories. • They could explore the moral of the story and find a comparison to a contemporary story or movie, or look at the main characters and draw comparisons to someone they know. • Students could imagine they were one of the characters and devise an everyday, candid scenario with another character, and write dialogue.
Resources Awabakal Dreaming Stories CD-Rom resource kit, Laurel Williams, Louise Campbell, Craig Aspinall; illustration by Evis Heath, Aboriginal Multimedia Productions 2011, The Junction, NSW, ISBN: 0957954808. This education kit contains six local Dreamtime stories in individual booklets complete with a teacher’s handbook. While this resource is aimed at primary teaching, the resources and activities can be easily adapted to suit high school programs. A University of Newcastle website, Awaba, is an electronic database and guide to the history, culture and language of the Indigenous peoples of the Newcastle and Lake Macquarie region of NSW. http://www.newcastle.edu.au/group/amrhd/awaba/language/index.html Arwarbukarl Cultural Resource Association Inc. has an Indigenous directory listed along with lists of resources and information specialising in reviving language. http://www.acra.org.au/
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EVALUATION Summary Overall Bridging Cultures has been successful and has achieved the initial aim of delivering quality arts learning for students by providing a unique opportunity for them to engage with artists and to learn more about Aboriginal culture and art. The key to Bridging Cultures was cultural partnerships – between Aboriginal and non-Aboriginal educators, artists and students, and across subject areas. This has been a resounding success and will have ongoing benefits for the school and all those involved. The tangible outcome is the four ceramic artworks now standing proudly within the grounds of the school. They are all steeped in meaning, while being technically accomplished, proving the worth of the project and the processes employed. The less expected, and most thrilling outcome, was just how much the Aboriginal students wholeheartedly re/claimed their culture, and how their parents and carers supported the aims of the project. Another crucial aspect of the project was that of professional development for all involved. This was achieved not only through many conversations and the exchange of ideas among the Project Team, but thanks to the Education Consultant, across other areas of school programming. This education resource will also contribute to ongoing professional development for teachers across the state. The following evaluation is based on information gathered by the Education Consultant at the end of each term through the evaluation sheets, samples of which are in the Appendices. It does not cover everything that was written and said, but instead tries to capture the essence of what the team and students thought of the project. Many of the questions were about the Aboriginal content, but value was also seen in the technical and artistic skills brought to the project by one of the project artists, Joanna Davies.
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The Project Team It is quite a complex feat to conduct a project that involves not only school students but also a project team made up of people from different sectors of the art community – artists, educators, students and gallerists – all bringing with them their unique skills. Organisation and timelines are crucial to get right, but coordinating the busy lives of members of a project team is not always easy. The timeline for this project was generally seen as adequate, except for the initial stages, which were rushed due to the original artist withdrawing and Doug Archibald and Joanna Davies capably breaching the gap. Ideally, there would have been more time to plan further cross-curricular activities to support the central aspect of the project—the artists-inresidence. Also, the project should have had a better contingency plan, to suit outdoor sculptures, as weather can affect installation. It took a few weeks for the teachers and the artists to work out how they were going to deliver the project and what processes would work best. They decided on a teachersupported delivery by the artists augmented by half-day and full-day workshops with the groups. The students seemed to need more structure at the beginning but got used to the artist-led processes. As the project was about ‘bridging cultures’ between Aboriginal and non-Aboriginal students, Doug was the key contact because of his background and knowledge, and was supported by the Education Consultant. It took a few sessions to work out how the Aboriginal content could be best incorporated, and how traditional stories and symbols could work in a contemporary artwork. Most of the Aboriginal content was delivered informally through Doug’s storytelling and talking to the students. There was one formal session, with Donna Fernando, about the Stolen Generations, which seemed to have a profound impact on the students and team. The Education
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Consultant’s delivery of TAS and Dance units was also well received, and supported the project well. All participants agreed that regular meetings would have helped, to discuss timelines and processes. A Dropbox account was set up to share information, but only a few members of the team could access it. This idea was great, though, and it is important to have a process in place to promote open communication. The teachers felt more casual relief would have helped them support the project by being able to attend more of the workshops and interact more with the artists and students. As the project evolved some of the team expressed concern about working with unfamiliar materials such as Hebel blocks; however, in the end this added to the professional development aspect of the project. The teaching staff developed skills and knowledge as a result of the project. In particular, the art teachers enjoyed learning how to make moulds properly and use them to the best advantage. They were also interested in the process of incorporating Aboriginal art, politics and culture into their lessons, especially the dance teacher. As some of the team had been involved in a similar project, the main learning areas were in project management and fine-tuning the roles. The Project Team seemed to work together well and felt supported by one another. It was an ambitious project and all of them felt under pressure at times, but they said they enjoyed the experience. Information exchange via email and meetings seemed to work well on one level, but if this had been more structured, team members would have been better aware of their own and others’ responsibilities and current tasks. The project was suppose to be staged over Terms 1 and 2; however, due to the initial delay the project moved into Term 3 with all its associated Year 12 commitments, thus adding pressure to the teachers during the installation phase.
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All of the team agreed the project was of great benefit to the students. They commented on the fact that they seemed to learn a great deal technically, socially and culturally. The mix of students’ ages and backgrounds seemed to work well and added to the depth of the outcomes, as did working with the artists over a long period of time. The finished artworks are well executed and thematically work together. The processes have been inclusive and thorough, although the artists expressed that they would have like to have spent a bit more time with the Year 11 students to develop their section of the artworks. The students seem proud of their work and happy to have participated. They learnt a great deal about Aboriginal culture and people, as well as about ceramic techniques. The dance teacher expressed that the program was well delivered and that she saw her students gain great benefit from it. They enjoyed the process of developing their own movement inspired by the Education Consultant’s Aboriginal lesson. Throughout the project, the team witnessed Aboriginal students becoming prouder and more sure of themselves and their cultural heritage, and non-Aboriginal students gaining an understanding and respect for Aboriginal culture and people. The Aboriginal programming was inclusive and thoughtful, as the artworks evince. Doug made sure the stories were told and he worked closely with the Aboriginal students, particularly the older boys. The Project Co-ordinator made sure the parents knew what was happening throughout the project and invited them to see the work in progress in August. The Education Consultant’s inclusive cross-curricular lessons enhanced the all-school approach. Bridging Cultures promoted and supported the delivery of meaningful Aboriginal programming within the school. The gallery and school are committed to ongoing Aboriginal programming; however, the gallery has a reference group with which to discuss and develop programming. It would be worthwhile, after such strong community
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support for this project, for the school to consult in a similar and ongoing way. Schools have difficulty delivering hands-on Aboriginal programming, rather than from a textbook, because of limited appropriate resources, knowledge and contact with the community. An Aboriginal resource library is a good place to start along with intermittent programming with Aboriginal educators and/or artists. Some of the students in this project benefitted from the direct contact with the Education Consultant and the artist, Doug, particularly because of the informal artist-in-residence situation, and the vehicle of sculptural ceramics. The aim of the project was to ’bridge cultures’ and the Aboriginal non-Aboriginal students worked together towards the same outcome. Teachers in the school learnt more about presenting Aboriginal artwork ‘beyond the dot’. More students openly identified, with pride, as Aboriginal throughout the project and their parents and carers supported the project. In fact, 70% more Aboriginal parents attended the NAIDOC night than last year, as a direct result of the project – they came to view the artwork and comment on the value of Bridging Cultures for their children and the community. The Students The students’ evaluations of the project were thoughtful and thorough. Many (95%), of the Ceramics class enjoyed the project and working with the artists, as did the Aboriginal students. A few of the Visual Arts students said that they did not enjoy the project, but did not articulate why. The same number said that they didn’t learn about Aboriginal art and culture – perhaps this reflects their general engagement rather than the project outcomes. This may have been due to the limited opportunities to timetable that class
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on with the artists, along with their other syllabus commitments. The others especially commented on learning more about the local Dreamtime stories and the Stolen Generations. Some of the students expressed a desire to have spent more full-day workshops with the artists to get their teeth into the artwork. This would not be possible in a project of this duration and because of other school commitments. Most of the students, particularly the Year 10 Ceramics students, seemed to have developed a better understanding of public art and the amount of work, technical skill and time that goes into design, making and installing these works. Most of the students gained a better understanding of the use of the visual arts process diary (VAPD) in documenting ideas and preliminary work – the constant use of the project diary contributed to this. The dance students rated the Aboriginal content as high, expressing that they had learnt more about Aboriginal cultural practices and the place of Aboriginal dance within Australian dance development. The TAS students learnt about aspects of Aboriginal design and that not all Aboriginal art and design is constructed of ‘dots’. They also gained a better understanding of employment opportunities in the arts, and some expressed a desire to have seen the artist-in-residence project first hand as a part of the lesson.
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Checklist A project such as this, between a school, artist and gallery is unusual, as is the timeframe of two terms. If you are going to do a project of this scale and type, ensure all of the following are considered and implemented before you begin:
All stakeholders are briefed about the project and requirements prior to the grant process. This should be a consultative process so all agree and can support the project.
Day-long induction with all the project team to program together and fit skills with project tasks.
Ensure the artists you engage have the skills you need for the project, or arrange prior to beginning to involve other contract artists for certain tasks.
Clearly set the parameters of the work (eg. size and scope), if it is to be a public artwork.
Roles allocated to people who are committed to the project through to completion, including documentation of the progress.
The scope and limitations of the budget are firmly understood by all.
Document each stakeholder’s and participant’s requirements and roles throughout the process. This should be an ongoing factor and documented well to include timelines, deadlines, materials, outcomes, etc.
Liaise with all departments in the school and gallery to establish the level of support and commitment for the project within skills and resources.
The school’s programs and plans are developed to include the long-term residency component.
All worksheets and tasks are developed, including focus study notes, with input from the gallery, the school and the Project Team.
Set up a social network site such as Edmodo, or a physical process diary, to monitor the progress and success of the project, and as an ongoing mode of communication.
Throughout the project you may encounter some issues you are not familiar with, below are some suggestions and strategies to assist you:
Draw up a firm contract with the artists and a Memorandum of Understanding with the school. If the project changes make sure these documents are updated.
Maintain regular project meetings to ensure everyone is on track.
Monitor the project closely to ensure timeframes, deadlines and educational outcomes are being met.
Ensure people are fulfilling their roles or reallocate the role/s to someone more suitable.
Nominate a clear project manager as a point of contact for any issues.
Ensure the artists and school teachers relationship remains fruitful and a mode of professional development for both parties.
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I feel the project has changed th e way I loo public art be k at cause I mad e one of th ese artwor ks so I feel m ore contract with it. Anon.
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2. Students examine the use of symbols used in Aboriginal art, mainly from a local perspective. These symbols historically may have come from paintings from rocky overhangs, designs on weapons, possum skin cloaks and rock engravings. Symbol charts were used to develop a ‘language’ for students.
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‘I had a discussion with my students post workshop and they had learned many new things about Aboriginal culture. I felt that the content of
the workshop related well to the students. By using different forms of presentation and mixed media (weaving art, Power Point, documentary,
dance workshop etc) students were engaged and found a new appreciation for Aboriginal culture. I think this is not generally achieved well within schools. Teaching students about Aboriginal culture in the arts, in a ‘hands on’ and interesting way, seems better than teaching it from a text book. The set tasks I believed allowed students to develop a deeper understanding of Aboriginal culture.’
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Sam Dyball
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APPENDIX 13
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APPENDIX 14
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of
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Project Team Profiles & Roles
APPENDIX 15
The Project Team members’ profiles and roles are set out below. Identifying and matching skills with roles is paramount in achieving successful outcomes for a project.
Project Manager Debbie Abraham is the Gallery Director at Lake Macquarie City Art Gallery (LMCAG) with over 18 years experience in arts administration and 10 years in business. Debbie was awarded a Bachelor of Education Art (1982) and a Graduate Diploma in Printmaking (1985). During the late 1980s and early 1990s she was proprietor of the Newcastle-based textile design studio, Tikat Designs. During this time she also taught at various institutions including Hunter TAFE and secondary schools. In 1995 Debbie accepted the position of Co-Director of LMCAG where she managed the relocation of the gallery from Speers Point to Booragul. Between 1997 and 1999 she was NETS Program Manager for NSW, and was instrumental in developing the national exhibition touring policy. In 2000 Debbie took up the position of Gallery Director at LMCAG. Since that time, she has been involved in the construction and fit-out of the new building (2001) and project management of the construction of the art education room (2008). She has strategically managed the gallery and overseen the development and presentation of 170 exhibitions and projects. Debbie
established LMCAG’s Aboriginal Reference Group in 2000 and, together with the group has supported and staged 18 dedicated projects. She has been a member of many committees including the MG NSW Audience Development Steering Committee and the Newcastle City Council Public Art Committee. She is the current Chair of the Art Craft Design National Network of Museums Australia and Chair of the Regional and Public Galleries Association of NSW. The role of the project manager was to: • prepare the ConnectEd grant application, in consultation with the artists and the Project Coordinator; • prepare documentation such as contracts and acquittals for the project; • administer the project budget; • liaise with the Project Team and attend meetings; • edit and publish the education resource in collaboration with the Education Consultant; and • be a point of mediation for any disputes arising.
Project Coordinator Carol Carter is the Head Teacher of Creative and Performing Arts at Whitebridge High School, with over 30 years of teaching visual arts. She has a Diploma of Art Education (4 years) and a Graduate Diploma in Art (Photography). She has exhibited photography in Newcastle venues and has worked with the Awabakal Aboriginal Cooperative, providing photographs of Aboriginal engraving sites from the local area. 52
Carol was awarded the Premier’s Scholarship for Contemporary Art in 2011. The role of the Project Coordinator was to support the artists and the project within the school by: • providing a studio space; • communicating with the Project Team through regular formal and informal meetings; BRIDGING CULTURES
• formally inducting the artists into the •
• •
•
school; facilitating the artists’ involvement in the Year 10 Ceramics and Year 11 Visual Arts classes; communicating programming and classroom possibilities and limitations to the artists in advance; facilitating Aboriginal student involvement with the artists in sessions, as a discreet group as well as combined sessions with the other participating students; supporting the Aboriginal cultural education element of the project and liaising with artist Doug Archibald about
•
• • •
•
culturally appropriate content; supporting the education consultant in collating any school documentation related to the project appropriate for the education resource; organising classroom relief for project teachers when appropriate; organising the purchase of materials for the artists (either funded by the school or gallery); organising any OH&S documents necessary for constructing and installing a public art work within the school grounds; and liaising with the Project Manager.
Project Artist Doug Archibald is an Aboriginal artist (Gumbainggir people). He has been involved in many community and arts projects including murals at various schools, a mural in the Emergency Ward of the John Hunter Hospital, developing a concept plan for the proposed Aboriginal and Torres Strait Islander multipurpose centre at the University of Newcastle and the Lake Macquarie City Art Gallery’s major mosaic and wetlands totem projects. Doug has strong design and fabrication skills relating to Aboriginal art, as well as an ability to
encourage and guide young and inexperienced artists towards a quality outcome. He also has extensive contacts and respect within the local Aboriginal community. Doug has exhibited at LMCAG in many major exhibitions including Stories: Country, Knowledge, Spirit and Politics (2006), The Point of Marmong (2008), Art out of Water: the Fish of Art (2009) and most recently he was artistin-residence for A Possum Skin Cloak by the Lake (2010–11), also on show at the Australian Museum during 2011.
Project Artist Joanna Davies was awarded a Certificate in Fine Art and an Advanced Diploma in Ceramics. She is currently teaching on a part-time casual basis at TAFE NSW in both Design (Newcastle) and Ceramics (Hamilton), as well as conducting children’s (clay) workshops at LMCAG. Since 1999 she has taught at TAFE, WEA (community college), Back to Back Studio Potters (community studio) and LMCAG. Joanna also works as an artist and part-time Visitor Services Officer for LMCAG where she manages all of the contacts and negotiations with craftspeople for the retail outlet. She has exhibited extensively over a 10-year period, winning awards in art and design, with her most recent prize won in the contemporary
section at the 2010 Newcastle Show. Her most recent exhibition at Back to Back Galleries, Newcastle (July 2011), was a sell-out success. Her project work includes assisting Tracey Bertram in a public art project for Blacktown City Council involving the production of handmade mosaic tiles. Her commercial production and commissions include decorative wall tiles and dinnerware (local restaurants) and the design and production of limited edition commemorative souvenirs (local schools). The role of the artists was to: • be responsible, in consultation with each other, for the artistic integrity of the project;
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• apply their aesthetic skill and judgement
• undertake ongoing assessment of
•
• •
• • •
• •
and use high quality materials to create the artwork; assist in providing visual arts skills to the students and teachers at the school; lead the Aboriginal cultural education element of the project (in the case of Doug Archibald); undertake research and develop the artwork specifically for the negotiated site/s; personally undertake the artwork in collaboration with each other and students in consultation with the and LMCAG; attend meetings and maintain contact with LMCAG and the school; assist the Education Consultant in collating any relevant material for the education resource including ongoing entries in the process diary;
• • •
• •
the project in consultation with the Project Team; attend a site induction at the school; attend professional development session with Arts NSW and DET; contribute to any related public and educational programs at the LMCAG including a teacher’s in-service; abide by all ethical, legal and OH&S policies as set out by the school and DET; ensure staff and students at the school give written permission for any of their images/artwork/writing used in the artwork; abide by all public safety and OH&S issues concerning the production and installation of a public artwork; and complete the artwork by the due date.
Education Consultant Cherie Johnson was born in Mount Gambier, SA in 1978 and is from the Gamilaroi language group. Johnson was awarded a Diploma in Teaching from the University of Newcastle in 2006 after a Bachelor of Fine Arts from the University of Sydney in 2001. She has also studied dance through the National Aboriginal and Islander Skills Development Association. Johnson has exhibited extensively both at Boomali Aboriginal Art Gallery, Sydney, and at LMCAG. She has also been involved in many community projects in the region, including a series of fibre workshops at Newcastle Art Gallery and an installation at Wallsend District Library. Cherie has worked with schools for over 15 years in a number of capacities including as a teacher in HSIE & visual arts, teacher’s aide, Aboriginal Education Assistant, and as a freelance artist and dancer on numerous projects, with a highlight being choreographer of the opening work in Newcastle’s 2001 Star Struck. She was also a program officer at the
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Department of Education’s Aboriginal Education Unit and secondary visual arts teacher at Mount View High School, Cessnock. Cherie has worked on two major projects for LMCAG. In 2009 she was a key artist and educator for yapang marruma: making our way (stories of the Stolen) and in 2010–11 she was the co-writer for the education kit and workshop participant for Wrapped in a Possum Skin Cloak by the Lake. More recently, Cherie established Speaking in Colour, a consultancy business aimed to assist schools and galleries by providing Aboriginal education and creative resources; supporting educators to embed and deliver appropriate Aboriginal perspectives in the classroom. Cherie is currently a member of several committees including Muloobinbah Aboriginal Education Consultative Group, LMCAG’s Aboriginal Reference Group, and Aboriginal Education Action Team (New Lambton South Public School).
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The role of the Education Consultant was to: • develop, prepare, write and deliver an education resource which includes: - a week-by-week diary of the project; - explanations of particular processes and techniques used in the project; - cross-curricular ideas; - support programs and curriculum documents for all classes involved; - strategies for involving Aboriginal and non-Aboriginal students - case studies of relevant Aboriginal artists; - team profiles; and - evaluation.
• Attend meetings either at the LMCAG or • • • • •
• •
the school; encourage co-ordinated cross-curriculum involvement within the school; encourage Aboriginal students and family involvement in the project; liaise with the artists and oversee the ‘process diary’ ; document meetings; ensure all students featured in the written and visual documentation complete a model release form or have school clearance ; liaise with the LMCAG Project Team and LMCAG’s Aboriginal Reference Group; and complete the artwork by the due date.
Project Teachers Stephnie Jan is a visual arts teacher at Whitebridge High School with over 20 years of teaching experience. She has a Bachelor of Art Education (4 years) and has been involved in arts education advisory committees for the Art Gallery of NSW and LMCAG. She also is involved in the curatorial process of ArtExpress through the Gallery of NSW and Newcastle Art Gallery. Linda Alcorn has a Diploma in Art (Drawing and Painting majors over 3 years) and a Diploma of Education (1 year) and has 26 years of teaching experience. She has been employed as the Education Officer for LMCAG and has been the coordinator of the Young Artists’ Exhibition, a major art education event that was held annually in the Hunter over four years.
The role of the project teachers was to: • attend regular Project Team meetings; • facilitate the artists’ involvement in the Year 10 Ceramics and Year 11 Visual Arts classes; • communicate programming and classroom possibilities and limitations to the artists in advance; • support Aboriginal student involvement with the artists in sessions within the participating classes from time to time as arranged; • support the Aboriginal cultural education element of the project and liaise with artist Doug Archibald for culturally appropriate content; and • support the Education Consultant in collating any school documentation related to the project appropriate for the education resource.
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