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TRAINING AND PROFESSIONAL

DEVELOPMENT NEEDS OF INDIGENOUS PEOPLE IN MUSEUMS AND ART

GALLERIES THROUGHOUT QUEENSLAND

P r e p a r e d f o r M u s e u m s A u s t r a l i a Q u e e n s l a n d ( M A Q )

A n d R e g i o n a l G a l l e r i e s A s s o c i a t i o n Q u e e n s l a n d ( R G A Q )

B y K o m b u m e r r i A b o r i g i n a l C o r p o r a t i o n f o r c u l t u r e

Y u g a m b e h M u s e u m L a n g u a g e & H e r i t a g e R e s e a r c h C e n t r e

F i n a l R e p o r t

M a r c h 2 0 0 0

CO N T E N T S

Acknowledgements �� i Summary ��.. ii Recommendations ��. iii Overview of Project ��.. 1 Terms of Reference ��.. 1 Review of Existing Research ��.. 2 Supplementary Research ��. 3 Methodology ��... 3 Findings and Recommendations of Supplementary Research ��. 5 1. Training ��.. 5 2. Peer Support �� 6 3. Sustainable Employment ��. 6 4. The Creation of Partnerships ��.. 7 5. Economic Development ��. 8 6. Need for increased awareneess of existing cultural materials in Institutions ��. 9 7. Creation of Indigenous Arts and Museum Development Officer Position �� 9 Implementation Plan �� 11 Overview �� 11 Mission Statement ��. 11 Goals ��. 11 Strategies ��.. 12 Proposed Pilot Project ��.. 15 One Day Workshop ��.. 15 Workshop Agenda �� 16 Workshop Budget ��. 17 A P P E N D I X 1. Initial Letter and Questionaire �� 18 2. Data Collected from Initial Questionaire ��.. 20 Aurukun ��. 20 Coen �� 20 Cooktown �� 22 Kowanyama ��. 23 Lockhardt River ��.. 24 Napranum �� 25 Charleville ��.. 25 Mt Isa ��. 26 Mareeba ��. 26 Mitchell ��. 27 Springsure �� 27 Bowen �� 27 Brisbane ��.. 29 Surat�� 30 St George ��. 31 Cunnamulla ��. 32 Cardwell ��.. 33 Bundaberg ��.. 34 Rockhampton ��. 35 Boulia ��. 35 Winton �� 36 Longreach ��.. 36 Independent Artist ��.. 37

Independent Artist ��... 38 3. Limited Community Response �� 39 4. Availability of Training Courses through TAFE and Universities ��.. 40 5. Community Contacts for Data Collection ��. 41 6. Professional Contacts ��.. 43 7. Bibliography ��. 44

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AC K N O W L E D G E M E N T S

The Kombumerri Aboriginal Corporation for Culture on behalf of Museums Australia Queensland [MAQ] and Regional Galleries Association Queensland [RGAQ] undertook this survey.

The work is the property of MAQ & RGAQ and may not be used or cited without their permission.

Contributors to the work include

Jody Currie Project Officer

Kym Yuke Project Coordinator

Patricia O’Connor Secretary Kombumerri Aboriginal Corporation for Culture

The Project Officer and Coordinator wish to thank the Reference Group:

John Anderson Senior Advisor [Native Title] Rail Ports & Aviation Division, Queensland Transport

Robert Anderson Chairperson of Aboriginal and Torres Strait Islander Advisory Committee

Sharenne Bell Senior Executive Officer, Aboriginal and Torres Strait Advisory Board

Margo Neale Curator, Indigenous Australian Art, Queensland Art Gallery

Debra Bennet McLean Aboriginal & Torres Strait Islander Arts Officer, Qld Community Arts Network

Olivia Robinson Assistant Curator Aboriginal Studies, Qld Museum

Colleen Wall Principal Consultant Aboriginal & Torres Strait Islander Arts Arts Queensland

Anna Grega Executive Officer, Museums Australia [Qld]

Ann Baillie Joint Training and Professional Development Program [MAQ/RGAQ]

Robert Heather Executive Director, Regional Galleries Association of Queensland

All community members and organizations who participated in the project are acknowledged for their valuable contribution to the research.

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SU M M A R Y

This report provides guidelines to MAQ, RGAQ and industry to support Indigenous communities to enable them to access training and professional development, and to establish an Indigenous Museum/Gallery industry. The adoption of this report will provide a sound basis for Indigenous communities to benefit from the employment and economic opportunities to be offered in the Museum/Gallery industry.

Indigenous communities throughout Queensland clearly identified the desire to be involved in the Museum/Gallery sector, and welcomed the opportunity to participate in the project. Training in the Museum/Gallery industry will enable the community to determine the best practices for management of their own culture and heritage.

Community and Industry emphasised the need for training programs that would to lead to sustainable employment outcomes. Indigenous employment would provide tools of empowerment to encourage economic growth in the community as a whole.

It is the responsibility of all stakeholders and levels of government to consider the recommendations of this report, for the future development of the Indigenous Museum/Gallery Industry.

The process of reconciliation will be enhanced as Indigenous communities work to fulfil their goals, and the broader Australian community will benefit from the presentation of Australian history from an Indigenous perspective.

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RE C O M M E N D A T I O N S

F O R T R A I N I N G

• That Indigenous people's oral knowledge systems be respected and understood to enable training to be provided to best suit their needs.

• That communities prior learning and knowledge about local history/ artifacts be respected and preserved.

• That relevant adaptations be made to the National Training Package [NTP] for implementation in Aboriginal communities.

• That the specific needs of community members attending formal education institutions such as TAFE and university, be identified and additional support provided to enable them to complete their tertiary goals.

F O R P E E R S U P P O R T

• That networks and resources be established to enable Indigenous museum/ gallery workers to support each other.

• That Indigenous units be created in the museum/gallery institutions to provide support for the training needs of workers in the Indigenous museum/gallery industry.

• That various components of training be supported to ensure maintenance of the employment and the training product. Support from industry and community would include:

• Community networks

• Industry professionals

• Industry/ stakeholders working in partnerships

• Local government

• Tutors.

F O R S U S T A I N A B L E E M P L O Y M E N T

• Programs be run by the museum/gallery industry to increase community awareness of employment opportunities.

• Indigenous museum/gallery/keeping places be supported by the community as a whole, for the continuing process of reconciliation.

• Partnerships be fostered by the museum/gallery industry and local community.

• State and Federal government be lobbied to support the initiative of the museum/gallery sector to create a sustainable Indigenous museum/ gallery industry.

• Traineeships be developed or modified to address the unique needs of Indigenous workers.

• Forms of employment other than traineeships have in-service training.

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F O R T H E C R E A T I O N O F P A R T N E R S H I P S • All levels of government, government agencies and relevant stakeholders become actively

involved in the creation of partnerships with Indigenous communities in relation to training for museum/gallery practices.

• Stakeholders develop policies to ensure the rights of Indigenous people to manage, maintain and sustain their cultural heritage.

F O R E C O N O M I C D E V E L O P M E N T

• Training in museums/galleries must address the unique economic development needs of each community.

• A training package for the Indigenous museum/gallery sector must address the need for economic viability of the museum or gallery, whether it be through education or tourism.

• Training be provided in strategic planning for economic development within the museum/gallery industry.

F O R I N C R E A S E D A W A R E N E S S O F E X I S T I N GC U L T U R A L M A T E R I A L S I N I N S T I T U T I O N SA N D W A Y S O F P R E S E N T I N G C U L T U R A LH E R I T A G E

• That the museum/ gallery stakeholders provide training and professional development opportunities, for communities to increase their awareness of museum/ gallery practices.

• That support be provided to communities to identify and repatriate where appropriate, existing cultural materials.

• That industry stakeholders support and train communities to research and recover their cultural knowledge.

F O R T H E C R E A T I O N O F T H E I N D I G E N O U SA R T S A N D M U S E U M D E V E L O P M E N T O F F I C E RP O S I T I O N • That MAQ & RGAQ support the employment of a worker with skills in community

development, and knowledge of the museum/gallery industry to facilitate the development of training for Indigenous people.

• That the Indigenous Arts & Museum Development Officer [IAMDO] support community’s right to their training needs being assessed on an individual community basis, with holistic outcomes including the following:

• Economic development

• Flexible delivery of training product

• Identification of training needs

• Strategic planning

• Sustainable outcomes and employment.

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OV E R V I E W O F P R O J E C T

Indigenous people throughout the state have a fundamental human right to the continuation and preservation of their cultural heritage. Recognition of this right has led to moves within the Museums and Arts industries to develop strategies for the involvement of Indigenous people at all levels of management of cultural heritage.

In pursuit of effective strategies for Indigenous control and management of their cultural heritage, Museums Australia Queensland [MAQ] and Regional Galleries Association Queensland [RGAQ] have provided an opportunity through this project to inform Government and stakeholders of ways to support the cultural rights of Indigenous communities. At the same time this project would empower them to research, present and preserve their culture in ways that are most appropriate for each community.

The Yugambeh Museum, Language & Heritage Research Centre was appointed by MAQ & RGAQ to conduct a survey to

[a] Identify the training and professional development needs of Indigenous people in museums and art galleries

[b] Develop appropriate methods of delivery of programs to meet those needs

[c] Develop a pilot project to trial the program.

Project Officer, Jody Currie was appointed by the Yugambeh Museum to implement the survey in consultation with the Project Coordinator, Kym Yuke.

T E R M S O F R E F E R E N C E

The terms of reference for the project are:

• To review existing research into Indigenous needs for training in museum and gallery practice in Qld and preferred delivery methods.

• To supplement available research with additional needs identification as appropriate.

• To develop a plan for the delivery of Indigenous training in museum and gallery practice in Queensland, including appropriate partnerships e.g. QM, QAG, State Library, MA Indigenous Advocacy Working Group

• To propose one or two pilot programs for delivery in 2000.

• Identify alternative sources of funding at Local, State, Federal levels.

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RE V I E W O F E X I S T I N G R E S E A R C H

In reviewing existing research the Project Officer found that reports such as Art Business Culture [1998], Hidden Heritage [1995], Creative Country [1997] and the Policy Review of the Queensland Museum [1992] documented various needs, rights and aspirations of Indigenous communities in relation to controlling their cultural heritage within museum/galleries.

The reports demonstrate that whilst there is cultural diversity between Indigenous groups throughout Queensland this factor does not detract from the authenticity of the cultural knowledge of any one group. Nor does it make any one of them “more Aboriginal” than another. It could be said in regard to this point, that the variations in cultural knowledge are an outcome of the government policies that have impacted on Indigenous society since colonisation.

The reports provide a sound basis for the development of guidelines for further research.

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SU P P L E M E N T A R Y R E S E A R C H

M E T H O D O L O G Y

Initial telephone contact was made with potential community participants; a covering letter and a list of 8 questions was sent to groups who expressed interest in the project. [Appendix 1]

Follow-up phone calls were made and data was recorded through an oral question and answer process.

The written record was then faxed or mailed to the participant group for their approval. [Appendix 2]

The effectiveness of this process of oral communication was evident in the quality of information received. Such positive outcomes would not have been achievable through a written process.

Community organisations and individuals that participated in the project were:

• ATSI Housing Co-Operatives/Corporations

• ATSI Land Councils

• ATSI Museum/Keeping Places/Galleries

• Art & Cultural Centres

• Community Arts Project Officers

• Department of Natural Resources [Indigenous Rangers]

• DOGIT Councils

• Indigenous Teachers and Workers within the Queensland Education Department

• Individuals.

The individuals who were contacted initially, then identified broader sectors of the community who needed to be consulted. Each group had its own networks and communication procedures which ensured that a broad range of community members were given the opportunity to become involved in the training needs survey.

There were many groups that could not be contacted. [Appendix 3]

Torres Strait Islanderss are not represented in this project despite the effort to communicate with them. There were also problems in contacting Yarrabah Museum. The Project Officer was advised to speak with the council training officer but that did not eventuate. There were other areas such as Doomadgee, Umagico, Injinoo Palm Island, Cherbourg, Stradbroke Island, New and Old Mapoon and Quilpie where contact was limited due to communities not being at the stage of development to implement a museum/keeping place/gallery. That is not to imply that they do not want or need one, but rather that the Industry as a whole must create and implement policy and strategies that inform them about the possibilities of creating their own museum/keeping place/gallery.

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The following processes were used to conduct further research:

• TAFE and universities were contacted to identify training courses currently available to Indigenous students [Appendix 4]

• Contact was made with Community Arts Project Officers, established networks and groups to determine who could participate in the project [Appendix 5]

• Contact was made with relevant groups and individuals identified by MAQ and RGAQ [Appendix 5]

• Contact was made with relevant stakeholders and individual museum/gallery professionals for input on direction of project [Appendix 6]

• Follow up calls were made to leads given by community members.

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FIN D I N G S & R E C O M M E N D A T I O N SO F T H E S U P P L E M E N T A R Y R E S E A R C H

The outcomes of the supplementary research identified the following mechanisms to address the training needs of Indigenous people in the museum/gallery sector:

1. Training

2. Peer support

3. Sustainable employment opportunities for individuals

4. Creation of partnerships

5. Economic development through community controlled educational and cultural services

6. Needs for increased awareness of existing cultural materials and ways of presenting cultural heritage

7. Creation of Indigenous Arts & Museum Development Officer Position [IAMDO].

1 T R A I N I N G

There are various Museum/Gallery Tertiary Courses available, but the delivery and mainstream structure of the courses available limits the number of Indigenous people accessing them. Discussion with Industry suggested that the best possible outcomes for the museum/gallery sector is accredited training. Most communities are only beginning to identify their needs for a museum/gallery that will properly reflect their culture through conservation, preservation and display of their cultural materials. Their training needs include an increased awareness of basic museum terminology and techniques. Some communities that already have keeping places are aware of the training needs of their workers. Training needs that relate to all communities are as follows:

• Improved literacy levels throughout the State

• Hands on, culturally appropriate and holistic training

• Training to provide individuals with real career prospects and opportunities.

Recommendations for training

To support the training needs identified by community we recommend the following:

• That Indigenous people’s oral knowledge systems be respected and understood to enable training to be provided to best suits their needs.

• That communities prior learning and knowledge about local history/artifacts be respected and preserved

• That relevant adaptations be made to the National Training Package [NTP] for implementation in Aboriginal communities

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• That the specific needs of community members attending formal education institutions such as TAFE and university, be identified and additional support provided to enable them to complete their tertiary goals.

2 . P E E R S U P P O R T

It was identified that the training needs would not be met without the support of relevant community organisations and other stakeholders:

• Communities expressed the need for training to be done in community as well as in major museums and galleries

• They also expressed the need to establish effective networks with other Indigenous people and communities who are establishing their museums/galleries

• Community identified that existing Indigenous positions in organisations such as Arts Queensland, RGAQ, Queensland Artworkers Alliance and the Queensland Museum, are under-resourced to respond to all the needs of Indigenous people in relation to museums/galleries.

Recommendations for peer support

Because of the limited Indigenous museum/gallery industry, community identified training needs will not be effective in the development of an industry without adequate peer support. The recommendations are:

• That networks and resources be established to enable Indigenous museum/gallery workers to support each other

• That Indigenous units be created in the museum/gallery institutions to provide support for the training needs of workers in the Indigenous museum/gallery industry

• That various components of training be supported, to ensure maintenance of the employment and the training product. Support from industry and community would include:

Community networks

Industry professionals

Industry/stakeholders working in partnerships

Local Government

Tutors.

All of these groups will play a key role in the support of individuals to ensure the completion of their training and maintenance of their positions.

3 . S U S T A I N A B L E E M P L O Y M E N TO P P O R T U N I T I E S F O R P I N D I V I D U A L S

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The survey found that all communities identified the need for training to be supported by sustainable employment that would enable Indigenous workers to remain in their own communities. It was also found that:

• There is a need for more information about the role and benefits of a museum/gallery in presenting cultural and heritage information, so that individuals can see the opportunities for employment.

• There is a need for employment opportunities to be identified before training can be undertaken.

• There is limited financial support from local government for the creation of infrastructure and individual employment.

• Existing government infrastructure is prepared to support museum/gallery initiatives, providing that good outcomes are evident. [Booringa Shire Council provided financial support for Language Exhibition opening]

• The presentation of culture through museum/gallery activities will enhance the process of reconciliation and cultural enrichment of the local community

• Employment in local government is often limited to traineeships for a fixed term

• Traineeships provide networks and experience for individuals but are seen as unsustainable and possibly destructive within Indigenous communities

• There was a need for commitment from all levels of government for establishment of a viable museum/gallery industry.

Recommendations for sustainable employment

Sustainable employment outcomes are imperative to any development in relation to Indigenous training needs. The recommendations are that:

• Programs be run by the museum/gallery industry to increase community awareness of employment opportunities

• Indigenous museum/galleries be supported by the community as a whole, for the continuing process of reconciliation

• Partnerships be fostered by the museum/gallery industry and local community

• State and Federal Government be lobbied to support the initiative of the museum/gallery sector to create a sustainable Indigenous museum/gallery Industry

• Traineeships be developed or modified to address the unique needs of Indigenous workers

• Forms of employment other than traineeships have in-service training.

4 . T H E C R E A T I O N O F P A R T N E R S H I P S

The survey found that partnerships need to be created with all levels of government and stakeholders to establish sustainable employment

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• Currently, in areas where museum/galleries infrastructure is established there is strong commitment and support from their local government as well as other relevant stakeholders

• The potential for partnership with other groups will vary from one community to another

• Within some communities there are problematic relationships with potential partners, where racism and stereotyping remain.

Recommendations for the creation of partnerships

It is recommended that:

• All levels of government, government agencies and relevant stakeholders become actively involved in the icreation of partnerships with Indigenous communities in relation to training for museum/gallery practices.

• Stakeholders develop policies to ensure the rights of Indigenous people to manage, maintain and sustain their cultural heritage.

Stakeholders will vary from one community to another. The following is a list of possible stakeholders that could become involved in the development of partnerships:

• All levels of government departments directly involved with land development that impacts upon Indigenous culture and heritage

• Multi-nationals directly involved with land development that impacts upon culture and heritage

• Government and non-government agencies and organisations that have vested interest in museums and galleries

• Government and non-government agencies and organisations that currently hold Aboriginal and Torres Strait Islander artifacts.

5 . E C O N O M I C D E V E L O P M E N T

Some communities identified that economic development through the tourism cultural industry was imperative as a factor to their survival. Cultural knowledge was viewed as an asset in many communities to establish an economic base through education and tourism. Other communities expressed concerns over the exploitation of their cultural knowledge through pressure for economic development, for example, tourism. All communities recognised that skills in planning were essential and believed they had a right to acquire these skills to enable them; to contribute to the economic growth of their community.

Recommendations for economic development

Community aspirations relating to the connection between the presentation of culture and economic development create variable training needs. Therefore the following is recommended:

• Training in museum/galleries must address the unique economic development needs of each community

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• A training package for the Indigenous museum/gallery sector must address the need for economic viability of the museum or gallery, whether it be through education or tourism

• Training be provided in strategic planning for economic development within the museum/gallery industry.

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6 . N E E D F O R I N C R E A S E D A W A R E N E S S O FE X I S T I N G C U L T U R A L M A T E R I A L S I NI N S T I T U T I O N S A N D W A Y S O FP R E S E N T I N G C U L T U R A L H E R I T A G E .

Indigenous people have a right to interpret and regain knowledge of their artifacts. It was identified that training must provide skills of how to gain access to artifacts which are held in other places and are no longer available in the community. Some communities identified the lack of cultural knowledge due to processes of colonisation and expressed their desire to recover this knowledge. Community identified a need to be informed about collections which are kept in both institutions and private collections and expressed a need for further information about the maintenance, collection and presentation of their cultural heritage outside their community.

Recommendations for increased awareness of existing cultural materials in institutions and ways of presenting cultural heritage.

It is recommended to Industry:

• That the museum/gallery stakeholders provide training and professional development opportunities, for communities to increase their awareness of museum/gallery practices.

• That support be provided to communities to identify and repatriate where appropriate, existing cultural materials

• That industry stakeholders support and train communities to research and recover their cultural knowledge.

7 . C R E A T I O N O F I N D I G E N O U S A R T S A N DM U S E U M D E V E L O P M E N T O F F I C E RP O S I T I O N .

Arts Business and Culture [1997:71] states “The success of a training program rests to a large extent on the presence in each Community of an enthusiastic and active training coordinator or an individual responsible for coordinating arts and cultural activities.”

Community stated that there were limited personnel to address the needs that were identified in the survey. Since the survey began many community members have contacted the Project Officer for assistance/advice on a wide range of museum/gallery issues. In reference to the overall findings it is apparent that there is a need for a position to support existing and potential workers within the Indigenous museum/gallery industry.

Recommendations for the creation of Indigenous Arts and Museum Development Officer Position.

It is recommended:

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• That MAQ and RGAQ support the employment of a worker with skills in community development, and knowledge of the museum/gallery industry to facilitate the development of training for Indigenous people

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• That the Indigenous Arts and Museum Development Officer [IAMDO] support community’s right to their training needs being assessed on an individual community basis, with holistic outcomes including the following:

Economic Development

Flexible delivery of training product

Identification of training needs

Strategic Planning

Sustainable outcomes and employment.

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I M P L E M E N T A T I O N P L A N

B A C K G R O U N D

The following is an Implementation Plan developed from the outcomes of the Training Needs Survey conducted by Yugambeh Museum from October 99-January 2000, for Museums Australia Queensland [MAQ] and Regional Galleries Association Queensland [RGAQ], in conjunction with Project Officers and Reference Group. The activation of the implementation plan will be dependent on the employment of the IAMDO.

M I S S I O N S T A T E M E N T

For IAMDO to ensure implementation of the recommendations of the Training Needs Survey of Indigenous museum/gallery workers throughout Queensland.

G O A L S

For IAMDO over a three year period, to have a number of Indigenous communities fulfill their vision for community controlled museums/galleries, operating at a level and in a way that best suits their own community.

To have trained and supported museum/gallery professionals, both paid and volunteer, within Indigenous museums and galleries throughout Queensland.

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S T R A T E G I E S

RECOMMENDATIONS PERSONNEL STRATEGIES TIMELINE

1. Creation of Indigenous Arts & Museum Development Officer Position

MAQ/RGAQ [a] Develop budget & secure funding for position from Australia Council, Arts Queensland

Dec 99 on going until secured

MAQ/RGAQ and IAMDO

[b] Identify further funding sources to ensure at least 3yr life span of position

MAQ/RGAQ Reference Group

[c] Organise office space, job description, work agreement and orientation program

June 2000


[d] Proceed with selection process and interviews for position

July 2000


[e] Ensure support mechanisms are in place for position including identified mentor and access to Indigenous peers

July 2000

MAQ/RGAQ IAMDO

[f] Establish reference group to provide guidance to IAMDO. Identify area of work focus

July 2000

2. Recognition and identification of each community’s diverse needs.

IAMDO [a] Identify needs within each community, through telephone discussion and personal visits.

July 2000

3. Provision of appropriate training

IAMDO [a] Assist community to identify training needs including strategic planning for museum and gallery training.

On going

[b] Provide or facilitate access to the most appropriate training for individuals in the community.

On going

[c] Assist in negotiations of the modification of the National

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Training Package.

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1. Peer Support IAMDO [a] Provide a list of peer group contacts to workers

On going

[b] Provide access to information regarding professional interest groups including Museums Australia Special Interest Groups Indigenous issues

[c] Assist with submission writing to obtain funding for museum/gallery workers to attend workshops and conferences

2. Creation of sustainable employment

IAMDO [a] In consultation with community identify possible positions e.g. shared position, gallery worker, museum worker, Local Government

On going

[b] Assist community to negotiate with stakeholders for sustainable employment including Local Government Traineeships

[c] Identify potential for community developed cultural tourism to create long term sustainable employment [see Recommendation 6 and 7]

3. Community desire for economic development through community controlled educational, cultural sources

IAMDO [a] Identify sources of help in planning for economical development including, Indigenous Land Councils, Indigenous Language Programs etc

On going

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1. Creation of Partnerships

IAMDO, LGAQ [a] Assist community to identify potential partnerships.

On going

[b] Identify already existing successful partnerships

[c] Assist community to negotiate with potential partners

2. Need for increased awareness of existing cultural materials in institutions and ways of presenting cultural heritage.

Yugambeh Cultural Heritage Consultancy

[a] Pilot program to be in a selected community

March 2000

MAQ/RGAQ [b] In service education of IAMDO to ensure broad knowledge of existing materials and relevant ways of presenting cultural materials

IAMDO [c] Have discussions, newsletters, workshops that explore different options for communities presenting cultural heritage

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PR O P O S A L F O R P I L O T P R O J E C T

F O R M A Q & R G A Q I N D I G E N O U S T R A I N I N G

N E E D S A N A L Y S I S P R O J E C T

It is proposed that a workshop be held in Cooktown (subject to funding) to implement Recommendation 8 of the Implementation Plan Cooktown has been nominated as a likely place to trial this workshop as the local participants would have a high level of interest in locating their own cultural materials that are currently held in other institutions. It could also attract people from other communities who wish to identify ways of presenting their cultural heritage. The outcomes of this particular workshop would be:

1. Increased understanding of procedures for presentation of cultural heritage.

2. Awareness of museum/gallery industry practices.

3. Knowledge of how to access existing cultural materials in other institutions and collections including those of a sensitive/ sacred nature.

4. Knowledge of potential sources of funding for projects

N.B. THE LOCATION FOR THE WORKSHOP WILL DEPEND ON AVAILABILITY OF FUNDING. IT MAY BE NECESSARY FOR IT TO BE HELD AT A PLACE THAT IS MORE READILY ACCESSIBLE THAN COOKTOWN.

I S S U E S F O R D I S C U S S I O N A T O N E - D A YW O R K S H O P

Discussion to identify stage of development of each community and their particular areas of interest.

Presentation of the types of museum/gallery activities that have been achieved by other Indigenous groups.

Discussion on processes that other organizations went through to enable them to have keeping places/exhibitions:

• give examples of peer support

• look at potential partnerships

• discuss funding options for workshop for Indigenous communities in Cooktown region

• awareness of museum/keeping place/ galleries in the region

• awareness of materials in existing institutions.

W O R K S H O P S T R U C T U R E

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The meeting place could be Cooktown at James Cook Museum.

People from communities in Aurukun, Kowanyama, New Mapoon, Cooktown and other places could be flown in (The Project Officers suggests that funding for travel could be found from other sources).

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W O R K S H O P A G E N D A

A Keeping Place or Other Options for Presentation and Protection of Our Cultural Heritage

9am Introduction

10am Indigenous museum/keeping place Options – presentation by Facilitators

10.30am Where are our objects?

11.00am Group discussion

• Identify what sort of keeping place/ gallery/ cultural centre would best suit your community

• Getting the community enthusiastic

• What a gallery (keeping place) would do for you.

12 Noon LUNCH

1.00pm Group discussion Who can help your community to get what it wants i.e. partnerships?

2.00pm What sort of training do we need?

3.00pm AFTERNOON TEA

3.15pm Who helps pay funding sources?

4.15pm Who will help us do these things?

4.45pm Summary and notes for participants.

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B U D G E T F O R O N E - D A Y W O R K S H O P

Facilitators X 2 Airfares Brisbane-Cooktown-Brisbane And accommodation X 2 nights at Cooktown

$1320.00

Participants X 10 X 2 days Meals and accommodation

2600.00

Workshop - Morning tea and lunch 150.00

Venue – James Cook Museum - no charge

Workshop materials – OHP’s – handouts etc 200.00

TOTAL $4270.00

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AP P E N D I X 1

I N I T I A L L E T T E R A N D Q U E S T I O N N A I R E

Yugambeh Museum Language and Heritage Research Centre Kombumerri Aboriginal Corporation for Culture Cnr Plantation Rd and Martens Street Beenleigh Qld 4207

Phone [07] 38076144 Fax [07] 38076144

To Whom it May Concern,

As per our telephone conversation, my name is Jody Currie and I am currently employed at the Yugambeh Museum as a Researcher. The project that I am researching is Training and Professional Development Program Indigenous Training, for Museums Australia Queensland [MAQ]. The objectives of this project are to identify Indigenous peoples in Queensland training and professional development needs in museum/gallery practices. Once data has been collected and analysed a plan will be developed to create a pilot training program which will be run in early 2000.

I am writing to invite you to participate in this process. Please find attached a list of questions, that will give you a basic understanding of the information I am looking for. These questions are not necessarily in any order and perhaps may not seem relevant to your organisation. However there maybe other aspects of your organisation and it’s workers which we could discuss to identify if they could be included in the pilot program. I will call you within the next few days to arrange a time to discuss the questionnaire. If you have any queries please do not hesitate in contacting me at the above number, thank you for time and input.

Yours Sincerely

Jody Currie

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Q U E S T I O N N A I R E

1. What area does your organisation focus upon: museum, gallery or culture and heritage?

2. What are the direct training needs of the community in relation to gallery and museum/keeping place items?

3. What type of workspace, if any do you have?

4. What types of resources/funds are available?

5. What types of resources/funds are accessed?

6. What are your staffing levels, both paid or volunteer?

7. What experience do your workers have?

8. Do their workers have formal education training, or are they attending any formal training in relation to galleries or museum/keeping places?

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AP P E N D I X 2

D A T A C O L L E C T E D F R O M I N I T I A LQ U E S T I O N N A I R E

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M A U R U K U N 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

Arts/crafts, cultural heritage, display and archive workshops

2. What are the direct needs of the Community in relation to Artifacts and Museum/Keeping Place items?

We need a secure temperature controlled keeping place. There are plans for an interim one in Aurukun township


Shed, office/studio space [unsealed] yards


CDEP, Arts Queensland, National Heritage Trust, Family and Community Services


CDEP, Arts Queensland


1 Arts Supervisor, 1 Cultural Heritage Supervisor, 2 Staff, 1 Volunteer, 43 CDEP Workers


Various experience and skills including; arts, mechanical, carpentry, teaching, building and rangers.

8. Do their workers have formal education training, or are they attending any formal training in relation to Museum/Keeping Places?

No. Arts School Training and Teacher Training.

NB I did not get the chance to speak with anyone and received this response from the letter sent by fax. The training needs at Aurukun should be looked at more in depth at a later date.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M C O E N 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

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Traditional Land Owners from all groups are represented on the Board. The organisation’s main focus is on community development and community projects.


The community has no artifacts or collections in storage, however they are hoping to create a museum/keeping place in their new Cultural Centre. The notion of a museum/keeping place is a relatively new concept to the people of Coen, therefore individuals need the opportunity and experience to train/visit at a major museum. The knowledge gained there can then be applied back in the community. There is a small collection of old photos which the community greatly appreciate and enjoy, due to the photos’ connection to the past. Therefore it is thought that artifacts in a museum/keeping place would be greatly accepted and treasured in the community. There is enthusiasm in the community from the younger generation in relation to culture and cultural artifacts. Due to the lack of a collection there are training needs in all areas of museum/keeping place workers. Those identified are as follows:

• Display, Installation and creation of a collection

• Interpersonal skills for communicating the significance of the collection to visitors and tourists,

• Care and conservation of collection.

• Retailing skills

• Addressing issues of harsh climatic conditions


There is a new Cultural Centre in the final stages of development, completion is expected in 3 months. The Cultural Centre is approximately 5metres square and is divided into two rooms. One room will be used to hold meetings, the other will be used as a visitors centre. There is an opportunity to house a collection in the visitors centre.


Did not have any knowledge of other funds accessed in relation to culture and heritage other than ATSIC funding.


ATSIC Funding is accessed


There are no staff within museum/keeping place due to lack of a collection and a building.


As previously stated, younger generations have shown great interest in continuing their cultural links to community and country. Formal training, in relation to museum/keeping place work would only enhance the experience already gained by the youth. The literacy of the younger generations is far better than that of the older generations.

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Not to Naomi’s knowledge.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M C O O K T O W N 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

There are 2 Aboriginal organisations in Hopevale; one is for Traditional Owners and the other is for Historical People. The Gungardi Corporation has a Community Centre where Centrelink, Land Council and Community Meetings are run.


The needs of artifacts are as follows

• That they are kept in a safe place, correct cabinets etc

• Community members learn the skills of displaying artifacts

• That artifacts kept by mainstream museums be returned and maintained in the community.

The gallery needs are as follows

• Retail and Marketing

• Framing

• Networking within industry

It was explained that paintings were leaving the community unframed and this was reducing the income to the artist, an example of this was a painting sold by an artist for $84 and later sold in a gallery in Cairns for $599. The explanation given to the artist for the price increase was framing and travelling costs incurred by the gallery. Therefore there needs to be training and industry networks created which address these problems faced by not only the artists, but also the community as a whole. The artist has also had the opportunity to visit Queensland Museum and identified the need for communities to repatriate their artifacts from the museum, for there are a lot of artifacts in storage.


There are artifacts and painting in all three organisations, however there needs to be a specific museum/gallery place created for the buildings already established do not have enough space.


ATSIC Funding.


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ATSIC and RADF. Tthe community is currently awaiting re-commencement of RADF.


The Community Arts Project Officer is funded by RADF. There are approximately 70-80 community members accessing CDEP through the Community Centre in Cooktown.

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Predominately people are self-taught in the areas of galleries and keeping places.

• Do their workers have formal education training, or are they attending any formal training in relation to Museum/Keeping Places?

No.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M K O W A N Y A M A

1. What area does your organisation focus upon: Museum, Gallery or Culture and Heritage?

Land and Natural Resource Management.


There is a collection of artifacts in 4 steel cupboards. Some artifacts are in boxes with labels; such as stone artifacts and textiles, there are also spears and woomeras. The artifacts were collected by a worker from this office over many years. The possible training needs and needs of the artifacts are as follows

• Organisation of display

• Appropriate storage and handling of display

• Conservation and preservation of display

• Access to the display

• That there is continual training of staff to ensure the display is maintained.


There could be a possibility that a room within the buildings near the Land and Natural Resource Office could be made available to house a display of these artifacts, thus creating a small community museum.


Not applicable.


Not applicable.


3 Full time Indigenous rangers.


Indigenous rangers predominantly have their Junior Certificates. Any further creation of a display from these artifacts would have to go through the appropriate community channels.

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8. Do their workers have formal education training, or are they attending any formal training in relation to Museum/Keeping Places.

There is no formal training in relation to museum/keeping places training, however rangers are constantly gaining on the job training. Various courses run through Cairns TAFE are also accessed by Indigenous rangers.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M L O C K H A R T R I V E R 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

Predominantly the organisation provides support to local artists in producing and retailing of their works. It also aids community members in entering Art Competitions/Exhibitions, participating in workshops and other relevant organised cultural projects.


In the 1920’s and 30’s many local artifacts were collected by Donald Thompson [The Thompson Collection] they are possibly in the possession of his widow. The people have always had permission to access this collection, however there is nowhere suitable in the community to house the pieces. A museum/keeping place is out of the cultural context of people within the community; tangible artifacts such as spears, baskets should be used in whatever contexts they are needed for the here and now. There are cultural differences in the ways of keeping things, artifacts would be hidden within country or carried with the person or the group, therefore the need to understand storage within a museum is not applicable. Initially amongst some elders, there is reservation towards documenting or storing cultural data and artifacts. This could possibly be due to the history of the displacement of artifacts in the past. However there is also an understanding by elders in the community that their knowledge needs to be in some way documented, so as to preserve this knowledge for future generations. The old people [particularly women] enjoy making Punya’s [baskets] beads and Juji [Bark Skirts] as well as more modern artifacts linked to the missionaries such as Pandanus skirts and mats. Artifacts such as drums, spears and Yulies [Woomera’s] are used in everyday life therefore it would be difficult to gain a collection of these purely for display. The cultural differences over ownership therefore make it difficult to establish and maintain a collection. Should a museum be established the training needs would at the very least as follows:

• Conservation and preservation of artifacts

• How to identify an artifact

• How to collect and establish a collection

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• How to conserve an artifact but still be able to have access or use of it.

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There is a Culture Centre with 3 Gallery Rooms with gallery lighting and track hanging facilities. There is a Culture Room that is air conditioned sometimes [due to the high costs of running an air conditioner]. There is also a storage room and a Fine Art Print Studio of mainstream standard. Two large verandahs on the centre approximately 10 x 5mtrs are used for people to sit and work. A refrigerated container stores various artifacts.


Funding is accessed through ATSIC. The sale of prints and paintings also provides an income.


ATSIC Funding.


1 full time centre manager, 1 Project Manager. Artists in the community and community members work on their own individual or group projects at the Arts and Culture Centre.


Not applicable.

8. Do their workers have formal education training, or are they attending any formal training in relation to Museum/Keeping Places

A young person in the community attended a traineeship in Cairns relating to language. Other than that there are no other community members with training in museum/keeping places. Literacy levels are poorer in the younger community members.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M N A P R A N U M I spoke briefly with the CAPO and they indicated that there was no keeping place/museum or gallery in Napranum. However it was indicated that with more information the community would be able to determine the facilities needed to house their artifacts that are being held in mainstream institutions. They were confident that with further information and training the community would want to establish a keeping place.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M C H A R L E V I L L E Organisation: Bidjara Housing

Due to timetables not being compatible I did not get the opportunity to speak with the Cultural and Heritage Officer at Bidjara. However I did get the opportunity to speak with the Women’s Development Officer. The training needs identified by the Women’s Development Officer were not different from other areas who were yet to establish a keeping place. Issues of infrastructure and basic museum/gallery practices were discussed.

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R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M K A L K A D O O N T R I B A L C O U N C I L M TI S A

The Coordinator was unavailable so I was directed to speak with a Board Member. They have an established keeping place with cabinets and air-conditioning. They were interested in on going training and information on funding bodies. Kalkadoon provides the opportunity for training of community members in an already established Indigenous museum.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M M A R E E B A 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

The focus of the organisation is Museum and Tourists Information. The organisation promotes historical artifacts from the local area. On display there are artifacts given by the local community and general public. The display includes stone axes, boomerangs, spears, baskets and nets. A community member organised the display.


This is a mainstream organisation, therefore there was no information available in relation to the direct needs of the community and their artifacts.


The Indigenous artifacts in the museum are fenced off with a backdrop created by Indigenous community members.


Funding is provided by Local Council.


N/A.


17 volunteer and 2 permanent positions. No Indigenous workers.


There was a trainee at the Heritage Centre about 1yr ago, who was there for 2yrs. During this time his confidence grew and his skills developed.

8. Do their workers have formal education training, or are they attending any formal training in relation to Museum/Keeping Places

The traineeship was ran through Cairns TAFE and included on the job training as well as modules such as retail training and interpretative tourism. Whilst this organisation does not have relevant information on training needs of community members, its experience

33

with the traineeship could provide valuable information at a later date in the research project.

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R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M M I T C H E L L The unique work that the individual surveyed has done stems from a commitment to preserving language and culture within her region. They have been involved in establishing the building and school at Yumba. There are currently artifacts such as spears, boomerangs and nulla nullas in the school there are plans to repatriate more artifacts and create a keeping place at Yumba. They have recently had an exhibition called “Gunggari Munmurra Bar-roo - Spirit of the River” this exhibition was a celebration of Gunggari Language and keeping their language and culture alive. They have created a Storybook for early primary school students, through a language program. They have no formal education and only has a level of education to grade 6 therefore her literacy levels were poor, however she has been working on improving these skills. They have created a good working relationship with Local Government. Irene is always doing and looking for new projects, she identified some training needs as follows:

• Collating stories and illustrations

• Exhibition displaying

• Cataloging

• Preservation of artifacts.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M S P R I N G S U R E The individual surveyed has achieved amazing outcomes for a person with limited literacy skills. They have successfully applied for funding to build a keeping place for sacred remains in Springsure. They have also played an important role in the reburial in country of 2 lots of sacred remains. They have gained funding to fence off fragile rock paintings in Carnarvon Gorge. They stated that people needed to be educated about the artifacts and paintings in country to protect them from vandalism that has destroyed or damaged over 60 art sites. There are community members who have artifacts in their homes and who would like to create a museum to house them and others that are in mainstream institutions, however due to the political climate with Local Government it has been impossible to attain land to build the museum. A large amount of money that was intended to build the museum had to be returned to ATSIC due to the Council not having land for sale. The community needs support to obtain land for their museum. Once they have their museum they will need training in documenting, cataloging and labeling of displays. It was stated that it was also important for people to know how Aboriginal people kept sacred remains and objects in country.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M B O W E N 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

Culture and Heritage.

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Currently artifacts are kept in a local Historical Museum. The artifacts are from the local area, and are in a mainstream context. Giru-dula was approached by the National Museum of Australia about the repatriation of remains in 1996. However there was no where to house the remains. The direct needs of the community in regards to museum/keeping place training are as follows:

• Knowledge of the artifact

• Protection/preservation of artifacts

• Retail/tourism

• How to put a collection together.


There is no keeping place/museum, however there is a local economic development group which is looking at establishing a Cultural Centre. They have invited input from local indigenous people this Cultural Centre could possibly contain a keeping place or museum.


There is a good relationship with Local Government, Department of Environment and Heritage and other groups in the community, funding therefore could be accessed amongst a variety of groups.


ATSIC and DATSIPD.


There is a Secretary, Coordinator and a Cultural and Heritage Officer [Jim Gaston]


There is an individual who has experience across the board in relation to Cultural and Heritage work. Young people in the community are involved in working as Trainee Site Monitors. Literacy levels within the community are average.


There is no relevant training undertaken by community members at present. It is recommended that should training take place, it would be best done in the community on a one on one basis, or with a small group. Once community members have this knowledge they could then pass it on to others who show an interest.

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R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M M U S G R A V E P A R K C U L T U R A LC O R P O R A T I O N 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

There are two main focuses of this Cultural Organisation, to be a meeting place and a keeping place for the South East Queensland Community. The proposed functions of the Cultural Centre include:

• Keeping Place and Art Gallery

• Conference facilities

• Workshop area for Artists

• Theatrette facility

• Outdoor Performing Arts area

• Library and Research facility

• Training, skills enhancement and employment opportunities.

The Cultural Centre in Musgrave Park will meet the needs of the Brisbane Aboriginal community [within the South East Qld Region] by providing cultural facilities and a community centre.


Training in the preservation of Digital Editing Material, documents and photographs. There have been donations by the community of artifacts relating to social history both in a historical and contemporary context, training in the maintenance and displaying of these artifacts is needed.


Plans for the Cultural Centre are in the final stages of development. There will be space allocated in this building to create a museum/keeping place.


N/A.


ATSIC currently funds one full-time position and operational needs. At present this wage is being shared by the administrator [full-time] and a part-time bookkeeper. DATSIPD funds one full-time position - community development worker and some operational project funding including:

• Oral Histories- “Indigenous links with Musgrave Park” [funded by EPA]

• Collection Policy- “Management of Collections” [funded by Arts Queensland]

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• Video Production- “Murris in Musgrave-100yrs”[funded by Arts Queensland]

• Culturescape Design- “Cultural Landscaping the Cultural Centre site” [funded by Australia Council for the Arts]

Last month Arts Queensland committed monies for the construction of the Aboriginal Cultural Centre in Musgrave Park. This grant was allocated from the Queensland State Government’s $320m budget, earmarked for the Qld Government’s proposed Queensland Cultural and Heritage Centre [QCC-2000]. The QCC-2000 project will be built in South Brisbane sometime in the near future.


Staffing includes:

• Administrator [full-time]

• Community development worker [full-time]

• Book keeper/ information technology worker [part-time]

• Project worker [casual]

• CDEP Worker [2 Days per week]

• There are 7 Indigenous volunteers and 5 Non-indigenous volunteers


The Administrator has worked for Aboriginal community organisations for 20 years and is currently completing an Advanced Diploma in Community Management. The community development worker has social work qualifications and the bookkeeper has relevant qualifications.


No workers have training in museum/keeping places. The community development worker is responsible for organising and facilitating the Collection Policy sub-committee. The Collection Policy is still being developed with members of the sub-committee. It would greatly benefit MPCC if a worker could gain access to training in the field of keeping places.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M S U R A T 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

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Research into Family History. The group also does work in the local Museum, Gallery and Library.


The group already has an exhibition of local family histories. The following training needs were identified:

• Submission writing

• Display and preservation of items

• Cataloging

• How to put together a travelling exhibition.


There is a building created by Waroo Shire Council for the community “The Changing Station Complex”. This complex is a three in one with a museum, gallery and library. The current exhibition in the museum is the history of 4 Aboriginal Families who used to live on the river, there was also a book produced from this exhibition.


The Local Government is a major sponsor of events within “The Changing Station Complex.” ATSIC Funding has not been accessed by this group.


The grants accessed by this group to aid in the establishment of the current exhibition are as follows:

• RADF

• Regional Writers Fund

• Vision Australia

• Gaming Fund

• Department of Environment and Heritage

• Sidney Myer Fund.


All workers at some stage are volunteers. When a grant permits, wages are paid for the coordinator.


Professional Oral Historian, Artist and Humpy Builder came from Brisbane to help in the establishment of the exhibition, local people gained experience and knowledge from this. Angela has also attended Workshops in Brisbane.


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This group has achieved great things. Of all the groups I have spoken to, they have the most clear understanding of the use and application of their Museum. These achievements have been made through self dedication and on the job training.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M S T G E O R G E 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

The organisation’s main focus is Housing, however they have taken on a Cultural and Heritage Office in partnership with CDEP.

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The keeping place has not yet been created there are some Aboriginal Artifacts in the Cobb and Co Museum. The communities training needs in establishing the keeping place are as follows:

• Creating a collection

• Local knowledge of artifacts

• Elders and community members input

• Retail training and funding submission writing

• Displaying and preserving artifacts.


A site has been established for a keeping place, however this has come to a stand still. The culture and heritage officer is in the process of recommencing the project. CDEP is currently maintaining the site.


Local Government was involved in funding the original Museum Project .


ATSI Funding is accessed by the organisation.


The cultural officer position is full time and operates in partnership with CDEP.


The culture and heritage worker has a back ground in education and arts. She has studied at Sydney University and was involved with Queensland Community Arts Networking.


No.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M C U N N A M U L L A 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

One of the objectives of the Kunja Traditional Owners is to establish a keeping place.


Many community members have artifacts in their homes, and many create artifacts. The training needs of community members in relation to creating a keeping place for their artifacts is as follows:

42

• Retail/ marketing for economic development

• Display and preservation of artifacts

• Identification and information of artifacts, including elders and community members knowledge of artifacts

• Cataloging and relevant submission writing.


There is no museum or keeping place in the community.


They require information on the funding bodies directly related to museum/ keeping places.


A small grant from ATSIC is accessed and DATSIPD provide funding for a 6mth community development officer.


There are more volunteers than paid workers.

7. What experience do their workers have. Do their workers have formal education training, or are they attending any formal training in relation to Museum/Keeping Places?

To the Community Development Officers knowledge, there is no one trained in culture and heritage or museum/keeping places. The question arose of how can you teach Aboriginal culture/ heritage within a mainstream structure. Indigenous people are the custodians of their traditions and knowledge. The knowledge is specific to each group and their country. You cannot take Aboriginal people’s knowledge or their culture out of this context. Therefore the experience of the workers and community members is relevant to their personal knowledge and understanding of themselves and their culture. Aboriginal people cannot get experience like that from any mainstream understanding or institution. The Elders and community members have their training through their lives and every day of their lives. The knowledge gained through culture is as important and as significant as any education given to Indigenous people within a mainstream/ formal education institution.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M C A R D W E L L 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

Girringun is a Land Management body which addresses issues relating to Native Title, cultural and heritage and employment.


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Training needs identified by Leigh include

• Handling of artifacts [fragile items]

• Displaying of artifacts

• Preservation/conservation

• Cataloging and storage of information.


There is currently a cabinet that houses artifacts. There are immediate plans to apply for funding to expand the premises so as to establish a museum/keeping place.

4. What types of resources/funds are available/accessed?

The funding accessed by the Organisation, is as follows:

• ATSIC

• EPA

• DNR

• Wet Tropics Management Authority

• Great Barrier Reef Marine Authority

• DATSIPD.

5. What are your staffing levels both paid or volunteer?

There are 9 paid positions in this organisation 4 Non-indigenous, 5 Indigenous. Of the 5 Indigenous employees, 4 are traditional owners. There is 1 Indigenous trainer, and 4 Indigenous trainees in the areas as follows:

• Culture and eritage

• Native Title

• Employment

• Administration.


The traineeships are providing training to levels 2, 3 and 4 of the Public Service standards. Leigh [archeologist] is providing training to the culture and heritage trainee. The local knowledge of traditional land owners is an invaluable knowledge basis for the community and the organisation.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M B U N D A B E R G 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

Native Title issues.

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There is talk of museums and keeping place throughout the area covered by Goreng Land Council, there are also keeping places already established in the area. This contact was very helpful in providing contact names and numbers of groups that I should speak with. He has worked in his position for over 4 years, and his input was invaluable. Due to the nature of the Goreng Land Council the training needs analysis was not relevant. We ended the interview and I was invited to contact them should I need any further information.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M R O C K H A M P T O N I spoke with a traditional owner from this area and he recommended I speak with an archeologist who has worked extensively with Aboriginal groups in this area on the Bowen Basin Project. Whilst the training needs of people in this community are yet to be established, it was expressed that because of their diversities, they must all have the opportunity to come together and identify their needs, both as individual groups and as a whole community. The recommendations for a Training Needs Analysis are as follows.

The training needs should be identified on a regional basis, through such things as workshops or conferencing. By doing this you create the opportunity for all relevant and interested parties to become involved. Once the training needs of the community have been identified you then have the opportunity of developing and providing training which best serves the needs of the individual community. This process will ensure that issues of community and cultural protocol are respected and followed. The community as a result will be empowered and the training project will have the greatest chance of success.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M B O U L I A 1. What area does your organisation focus upon: Museum, Gallery or Culture and

Heritage?

Housing and Social Welfare.


There is a small display in the office containing approximately 10 items. The Museum run by the Local Council has a large Aboriginal display, however no Aboriginal people were consulted in gathering or establishing this display. Michael Aird was in contact with them about 4yrs ago, and told them of the possibility of establishing a keeping place for remains and other artifacts that are currently housed in the Queensland Museum. The community is enthusiastic about the opportunity to gain training so as to establish a keeping place. It is imperative that training takes place in the community, so as to empower people in the community. The direct training needs are as follows:

• Displaying and preservation of artifacts

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• Cataloguing

• Establishing a museum

• Putting a collection together

• Knowledge of the history of artifacts.


There is no keeping place, there is a space in the office to establish a display, however that space is very limited.


The organisation has applied to Arts Queensland on several occasions and been unsuccessful.

5. What types of resources/ funds are accessed?

ATSIC, DATSIPD and rent monies collected .


There are 2 full-time and 2 part-time positions.


Community members have had very limited training from doing surveying work for various development projects.


No.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M W I N T O N It was stated that there were no Indigenous museum/ keeping place/ gallery in Winton. The response was similar to others in the same situation that with more information and training that community would create their own place and hopefully be able to establish employment and economic development.

R E S P O N S E T O I N I T I A L Q U E S T I O N N A I R EF R O M L O N G R E A C H Initially Longreach was very difficult to get a response from. In the process of trying to make contact with Longreach I discovered that Main Roads had recently done major road works through the Longreach area and that they had conducted a cultural survey with local Indigenous people. We had a meeting with Main Roads who stated that possible partnerships could be set up in the event of communities establishing their own keeping places. Main Roads had offered display cabinets to those at Longreach who had taken part in the culture and heritage survey. I still had not made contact with the individual identified by Main Roads as the main point of contact to discuss the development that had taken place. Finally three-quarters of the way through the project, I begged the secretary at the office to give me the

46

person’s home phone number, because I was intrigued as to why they had not contacted me when they had all this support from Main Roads. The contact person’s version of what had happened was far different from what had been told to me by Main Roads. He said that they had a large quantity of stone artifacts that were sitting in a box in the office. The display cabinets offered by Main Roads were useless for the organisation because it was not in a permanent lease arrangement. It was stated that they could bring or make their own cabinets for the artifacts. The community expressed frustration at companies and stakeholders negotiating with communities without providing real sustainable outcomes for the Indigenous community, yet still achieving the best outcomes for the stakeholders.

I N D E P E N D E N T A R T I S T

1. What area does your organisation focus upon: Museum, Gallery or Culture and Heritage?

(Name) has been a self-employed artist for 15yrs.

2. What are the direct training needs of the Community in relation to Gallery and Museum/Keeping Place items?

(Name) identified the need for artists to gain training in the areas of:

• Curatorship

• Conserving

• Arts administration

• Creating Infra-structure within community galleries

Also identified the need for there to be more funding and resources provided for regional galleries to establish infrastructures, which address their individual needs. By creating regional networks, artist have a better opportunity of accessing funding and employment. Also identified the need for indigenous people to have on going employment and input into local and regional galleries. There needs to be research on how to provide employment and professional development outcomes for the large number of indigenous artist throughout the State.


Currently sells her paintings at the ‘Red-back Gallery’ in Brisbane and ‘Roslyn Oxley 9 Gallery’ Sydney.

4. What types of resources/ funds are accessed/available?

Has accessed funding through The Australia Council for Arts; has also applied for funding from Arts Queensland, however to date has been unsuccessful.


N/A.


Has worked in a curator position at the ‘Museum of Contemporary Art Sydney’ and at Boomallai Aboriginal Artists Cooperative.

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8. Do their workers have formal education training, or are they attending any formal training in relation to Galleries or Museum/Keeping Places?

Studied in Arts and Education for 6 years at Sydney University.

48

I N D E P E N D E N T A R T I S T

Has been a full time independent artist for 5yrs. Has a BA in Fine Art and is currently doing a PhD. Has one solo Art Exhibition a year and puts artwork in as many exhibitions as possible. Does freelance curator work when available. The artist believes that training within mainstream institutions is good experience for Indigenous people to understand and learn the white system. It was stated that it is difficult for Indigenous artists to gain permanent positions in Regional Galleries. Also identified was that Indigenous workers in government art departments were under resourced and that there is a need for more Indigenous workers throughout these departments. It was stated even those who are empowered are dis-empowered by the mainstream structures and limited resources.

49

AP P E N D I X 3

L I M I T E D C O M M U N I T Y R E S P O N S E

Gladstone

Winton

Ayre

Quilpie

Rockhampton.

50

AP P E N D I X 4

A V A I L A B I L I T Y O F T R A I N I N G C O U R S E ST H R O U G H T A F E A N D U N I V E R S I T I E S NAME ORGANISATION TELEPHONE FAX

Barbara Paulson Morningside TAFE No Current Museum Courses

32445000

Eleanor Boyd Cairns TAFE No Current Museum Courses

40422557

Kevin Savage

Nagi Binanga Indigenous Training Advisory Committee

40692700

Sally Randall Morningside TAFE No Current museum Courses

32446338

Wendy Ludwig Tropical North QLD TAFE No Current Museum Courses

40422596

Dawn Wolfe Institute of Koorie Education Deakin University Graduate Certificate Cultural Heritage

0352272538 0352272019

Dr Andrew Wallace

Central QLD University Graduate Diploma in Cultural Studies no Museum Studies

49707242

Karen Perkins Griffith University Master of Arts in Cultural and Media Policy

38755350 38755511

Jennifer Herd

QLD College of Art Bachelor of Visual Arts in Contemporary Australian Indigenous Art

38753191

Dr Jennnifer Radbourne

QLD University of Technology Graduate Certificate in Business [Arts Administration]

38641407 38641501

51

AP P E N D I X 5

C O M M U N I T Y C O N T A C T S F O R D A T AC O L L E C T I O N CONTACT ORGANISATION TELEPHONE FAX

Burnadette Boscacci Aurukun Shire Council 40606800 40606191

Leanne Wilson Australian Workers Heritage Centre Longreach

46512725 46512777

Central West Aboriginal Corporation Barcaldine

46511226

Del George Bourke and Wills Aboriginal Cooperative Society Limited. Boulia

47463216 47463226

Linda Ryle Giru-Dula Council of Elders Bowen

47864511 47864517

Rose Best Musgrave Park Cultural Corporation Brisbane

38465700 38465700

Ken Fisher Goreng Land Council Bundaberg 41533800 41533615

Leigh Crothers Girrigun Elders Cardwell 40668300 40668353

Darlene Robinson Bidjara Aboriginal Corporation Charleville

46543218 46543182

Grace Bond Jundar Women’s Service Cherbourg

41682531 41682533

Naomi Smith Cultural Arts Project Officer

Coen Regional Aboriginal Corporation

40601192 40601179

Jackie Garrett Kunjamulla Aboriginal Corporation for Land and Cultural Heritage Cunnamulla

46551531 46551757

Fiona Foley Independent Professional Artist 41257585 41257511

Admin Staff for updated S/West Information

Goolburri Land Council 1800684766

Conrad Michael Gungarrdi Aboriginal Corporation 40695412 40695371

52

Hopevale/Cooktown

CONTACT ORGANISATION TELEPHONE FAX

Ian McInna James Cook Museum Cooktown 40695386 40695386

Pamela Croft The Sandhills Studio Gladstone 49344949 49434924

Ken Isaacson Kalkadoon Tribal Council Mt Isa

47491435 47491001

Gail Clarke Heritage Museum Mareeba Ph/Fax 40925674

Bella Savo Napranum Aboriginal Corporation Weipa

40697077 40699596

Scott Brown Bowen Basin Project Rockhampton

49266190 49263580

Sean Sandow Narli Gungalloh Rockhampton 4922190 49266190

Lindsay Black Springsure Community Member works in Keeping Place

49841644 N/A

Angela Walsh Surat Aboriginal Family History Group

46265642 46265520

46265360

Lel Black Independent Professional Artist 33795253 32782648

Tony Wheldon Estelle Blucher

ATSI Housing Longreach Ph/Fax 46583464

53

AP P E N D I X 6

M U S E U M G A L L E R Y P R O F E S S I O N A L S

CONTACT ORGANISATION PHONE FAX

Phil Gordon Australian Museum 0293206192 0293206058

Tracey Avery National Trust of Queensland 32291788 32290146

Ann Baillie MAQ and RGAQ TPDP 32501270 32501271

Colleen Wall Principle Consultant Aboriginal & Torres Strait Islander Arts, Arts Queensland

32258098 32244077

Merv AhKee ATSIC Regional Office 40312623

Olivia Robinson Queensland Museum 38407689 38461918

Ian McKinna James Cook Museum 40695386 40695386

Julie Fischer

ATSIC Brisbane ATSIC Roma ATSIC Townsville

32344222 46222300 47223888

Karen Scott 4AAA 38920100 38920101

Noreen Kirkman Indigenous Library Unit Cairns 40323333 40321679

FAIRA 33914677 33917780

54

AP P E N D I X 7

B I B L I O G R A P H Y

Bell, Sharenne, 1997. arts, business, culture: a research report on an indigenous cultural industry in Queensland. Arts Queensland, Brisbane.

Frankel, Michael and Company, Janke Terri, 1998. Our Culture: Our Future. Report on Australian Indigenous Cultural and Intellectual Property Rights. Prepared for Australian Institute of Aboriginal and Torres Strait Islander Studies and The Aboriginal and Torres Strait Islander Commission.

Lennon, Jane. 1995. Hidden Heritage: A Developmental Plan for Museums in Queensland 1995-2001. Arts Queensland, Brisbane.

Mercer, Colin. 1997. Creative Country: Review of the ATSIC Arts and Craft Industry Support Strategy [ACISS]. Prepared for Aboriginal and Torres Strait Islander Commission Culture Section Culture, Legal Aid and Family Policy Branch, Canberra.

Commonwealth Department of Communications and the Arts. Caring for Our Culture: National guidelines for museums, galleries and keeping places, Canberra.

training and professional development needs of indigenous ... · pdf filei training and...

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