Clare Casey Adventure Learning Grant Proposal

To Whom it May Concern,

As an artist, creative practitioner, and advocate for social change I am pleased to be given the opportunity to submit my proposal for an Adventure Learning Grant through Fairhaven College.  During my time at Fairhaven, I have developed a great appreciation for their community mission of social and environmental responsibility, justice, and cultural diversity – all learning platforms that fit with core values I have begun to critically consider and implement into my life.

Thank you for your consideration.

Sincerely,

Clare Casey

Adventure Learning Grant Proposal

THE DREAMING- appreciating Indigenous ‘Australian’ and Torres Strait Islander expressive arts: Reimagining worldviews through models of tradition and identity in a contemporary world.

PROPOSAL ABSTRACT 

(2017) In the west, “Expressive Arts” can be used as a model of the exposure and appreciation of who we are, where we come from, and how we operate in a contemporary globalizing worldview. Utilizing the adventure-learning platform, Clare proposed to activate modes of listening and learning about the journeys of an indigenous peoples in an active and post-colonial state, in a variety of inter-cultural settings. Posited as an opportunity in juxtaposing assumptions, coming directly from a Western-influenced worldview, Clare approached their theme of study within the notion of traditional ways of being. What is tradition? In the oldest societies on Earth- that of Australian Aboriginals and Torres Strait Islanders, Clare proposed deepening their understanding of the ‘other’ before and during colonization through expressive, contemplative art practices and inquiry into the practices of those around them; All with the intention of critiquing imperial psycho-dominance and moving towards a decolonization and reimagining practice of supporting and collaboration with indigenous leadership and practice in a properly respectful and truthful way.

 

PROPOSAL

For the purposes of this proposal I am defining “traditional” as “Indigenous practices developed pre-western intervention”. I do not have a real sense of what that means. I am in active research and this is my best attempt. 

The Dreaming (‘Tjukurrpa’) means “to see and understand the law” from the Arrernte peoples located near Alice Springs, Australia. Arrernte are protectors of the Arrernte land and the connection to land and spirit is the core of being. 

If chosen as a recipient of The Adventure Learning Grant, I hope to experience lifeways of Australian Aboriginal and Torres Strait Islander communities, considered among the oldest practicing traditions on Earth. In doing this, I aspire to deepen my understanding of traditional leadership styles. I aim to more explicitly explore expressive arts as a means for appreciation and as a mode of education within traditional practice, identity understanding and social action. Applying this learning platform, I hope to deepen my understanding of leadership and tradition in a contemporary world imbued with histories of colonization.

I begin by asking the question: How can I experience Aboriginal, Torres Strait Islander lifeways in a non-appropriative way to better activate myself as an artist and social practitioner (my definition: a creative who applies their artistic, creative work to a social sphere to promote open-ended engagement) and become a stronger version of a creative leader? My self-mobilization in an adventure-learning experience will help me understand and evaluate my assumptions about cultures different than my own and how human identity forms in the midst of a contemporary world. The intrinsic purity of human expression (i.e. art, spirituality, storytelling, movement, music and relationships with the natural world) seem to be foundations of identity within tradition, culture, and the global society.  Engaging with Aboriginal Australian and Torres Strait Islander arts organizations and communities would provide opportunities for social engagement within a society that is not my own, and with which I am unfamiliar.  

There are a number of overarching questions that can be address through exposure to and engagement with Aboriginal Australian and Torres Strait Islander expressive arts: Where do I find myself as a creative personality in a contemporary society, especially sharing it with those who have been disenfranchised and removed from their communities/homelands? Looking more deeply into the roles of leadership and communication of the Self will help me to apply myself to a social sphere in crisis.

How has the global art market disseminated the (mis)understanding of Aboriginal arts? How has the tourist market affected their cultural practices, and how have Aboriginal communities been forced to alter their cultural practices not only because of the influences of colonialism, but also because of the commercialization of Aboriginal culture? Do these perceptions have any influence on ‘outsider’ ability to understand and communicate ideas across cultural boundaries?

To explore these questions, I have looked into organizations such as CAN (Community Arts Network), located in Perth (far west), UMI Arts (far north peninsula and Torres Strait Islands), and the Aboriginal Art Association of Australia (AAAA) where integrating Aboriginal art practice and cultural acknowledgement are on the forefront of their missions. Furthering my contact with organizations like CAN, UMI Arts or AAAA would make room for networking and new opportunities, and help build a strong foundation in defining my arts enterprise investigation. Though Aboriginal Arts are emphasized in the continent, many of the representations are misinformed and used in the global tourist art market, rather than celebrated as culturally significant.

Aboriginal artist communities such as Warnayaka Art, Association of Northern, Kimberley and Arnhem Aboriginal Artists (ANKAAA) are collectives that aim to continue storytelling through the practice of traditional art mechanisms. These communities have maintained a grassroots status and work for Aboriginal arts advocacy and education for future generations. In placemaking, a term I acquired during a Social Practice Public Art class, proper acknowledgement of land and precedent societies are part of reparation: Humility and respect in communication, especially when coming from a place of privilege and a culture with an extensive history of being oppressors. 

Reports find that many Aboriginal people have a strong desire to live on their traditional lands, most that remain are in the Northern Territories. The Northern territories are of high interest for me, as Southern regions are highly gentrified and nearly all traditional practice Aboriginal communities have been eradicated, as seen in the population map in Fig. 1. Alice Springs, Queensland, and up through the Torres Strait Islands (which provides a more sea-based perspective of indigenous customs) are great options. Areas surrounding Alice Springs (Ayers Rock, Uluru) and Kata Tjula (east towards Queensland) and on the far north peninsula are in my repertoire of consideration for concentrated study. These are good places for independent, exploratory learning as they provide an environment that is integrated with traditional Aboriginal lifeways as well as a perspective on the history of colonization. 

Places like Kakadu National Park, located in the tropical north of Australia, east of Darwin., Australia or in various Sacred Sites can provide nature-based learning. Like the quality and variety of Australian Indigenous art produced, nature portrayed within the art reflects the richness and diversity of Indigenous culture and the distinct differences between tribes, languages, dialects and geographic landscapes.

Attached are some in depth resources that discuss how to interact as an observer with the proposed cultures, and align with my interest in pre-colonial tradition and post-colonial impacts. There are realities to consider within Aboriginal and Torres Strait Islander societies prior to and during eugenic-supported practices, oppressive governmental policy making, mass assimilation and broken land rights. These have been taking place since culture clashes became prevalent in the 17th century with Dutch arrival. It is estimated that over 750,000 Aboriginal people inhabited the island continent in 1788. The colonists were led to believe that the land was terra nullius (‘no one’s land’), which Lt James Cook declared Australia to be in 1770 during his voyage around the coast of Australia. A shocking anecdote to the realities of colonialism- which is still alive and well.

Though Australia is highly developed, it is important to consider the stark cultural differences between remote Aboriginal communities and the, often, gentrified city-centers. I am aware that Australia is an expensive continent. The cost of living in Australia is 11.20% higher than in the United States, but I am confident in my ability to face these challenges. Community homes (cohousing), land-based living, and couchsurfing are some ways to navigate a wealthy society, all of which I have experienced at one time or another. Relying on public transportation, ride-shares and networking will be necessary. I have already begun to make connections with individuals in Australia who can help me to find specific communities for interaction. A family friend and mentor, Leslie Lanes, has offered to act as a support system and put me in touch with connections that work intensively with Aboriginal communities. 

Considering diversity within a mainly colonized and contemporary landscape could be problematic -however- I believe that with the right planning and intention, my experience will be diverse, educational and extraordinary. Being open to questioning my assumptions of how language operates within diverse societies can also influence how learning takes place. Though English is the first language in the Australian and Torres Strait Island societies, there are many opportunities to listen to the traditional languages of the land, which are widely spoken and taught in remote locations.   

By organizing my thoughts, inspirations and information within a field-of-life journal, I will be able to communicate what I’ve learned and access past experiences upon returning. There are Aboriginal practices of memory code (i.e. Dreamtime and Songlines utilized to navigate and perpetuate the tradition and rituals of societies’ connection to the landscape) that use expression arts for communication. I intend to listen to, learn from, and translate my memories and experience in creative art form. I will create an art exhibit from collections and inspirations of my travels to develop an interactive installation/curriculum for viewers. I have developed skills in social engagement and art installations which enhance my ability to be a creative presence. In this manner I can foster social action, and interaction, within the Fairhaven community and beyond.