Building Bridges + Connecting Culture Creative Collaboration with artists from the Tiwi Islands Stephen Anderson Diploma of Visual Arts Master of Visual Arts Charles Darwin University A thesis submitted to the School of Creative Arts and Humanities Faculty of Law, Business and Arts, Charles Darwin University in partial fulfilment of the degree of Doctor of Philosophy in Visual Arts March 2015 Declaration I hereby declare that the work herein, now submitted as an exegesis for partial requirements of the degree of Doctor of Philosophy by practice-based research of Charles Darwin University, is the result of my own investigations, and all references to ideas and work of other researchers have been specifically acknowledged. I hereby certify that the work embodied in this thesis has not already been accepted in substance for any degree, and is not being currently submitted in candidature for any other degree. Signed: __________________________________ Stephen Anderson Date: Abstract Working collaboratively is an attempt to transcend the continued polarisation of Indigenous and non-Indigenous relations. This practice based research focuses on intercultural creative collaboration with artists from the Tiwi Islands. The process of participation of ten Tiwi artists is described and analysed in this project wherein collaborative works in multiple media were produced, culminating in an exhibition with the author who is a non-Indigenous artist. These works, in painting, print and sculptural form, are produced to extend the conversation about the concept of relatedness between Indigenous and non–Indigenous people living in Australia today. It represents an alternative site that navigates a position between new narratives and cooperative endeavour within the field of creative arts practice. This work seeks to challenge dominant power structures, acknowledging the practicalities of transitional social justice to include traditional Indigenous knowing systems as valid and equally contributing forces. A ‘third space’ is envisioned where collaborative performance based actions address the understanding that personal development is foundational in the healing process that begins with self and is developed with another. Considered and developmental artworks were produced together in an attempt to determine a commonality based on developing trust. The resultant patterns woven together attest to artworks that intend to reflect mutual respect and a sustained commitment to working collaboratively. The notion of reciprocity as a way of developing relationships and building bridges of understanding is given a visual dimension through the works produced together. ii Dedication To Jean Baptiste Apuatimi, 1940- 2012 To Giovanni Tipungwuti, 1953-1993 To Vivian Kerinauia, 1958-1984 To Mantanga Tipungwuti (Pukumani), 1985- 2014 To Dr. Andrea Ash, 1962 -2013 iii To Aboriginal and Torres Strait Islander readers Although some of the images in this paper have already been published, I would like to respectfully advise that some people who are mentioned and whose images appear in this document have now passed away. Permission to show images of Jean Baptiste Apuatimi and her work has been granted by the family and the images are displayed after lengthy consultation with her daughter Maria Josette Orsto. iv Acknowledgements I acknowledge the Tiwi and Larrakia Peoples, past, present and future; upon whose respective countries much of this research cycle was completed. In particular I would like to thank the Tiwi People for their kindness and generosity in undertaking the research journey with me. Most significantly the following collaborating artists must be acknowledged; Jean Baptiste Apuatimi, Maria Josette Orsto, Alan Kerinauia, Vivian Walarpinni, Ita Tipungwuti, Bede Tugatalum, Jock Puautjimi, Danny Munkara and Osmond Kantilla. A heartfelt thanks goes to my supervisors Dr. Andrea Ash, Associate Professor Bill Wade, Dr. Cornelius Delaney, Rodney Forbes, Dr. Curtis Roman and Dr. Birut Zemits. As my initial principal supervisor, Cornelius offered critical insight into the merits and potential pitfalls of the research project. Rodney, whom I had worked with previously as a Master’s student through Monash University Gippsland Campus, supported the research from the outset until completion and his considered feedback to my praxis was invaluable. Similarly as an associate supervisor Curtis brought an Indigenous perspective to the project that helped and was critical when framing research pertaining to collaboration in a cross-cultural environment. I would like to especially thank Birut who, as principal supervisor for the latter stages of the research, assisted me in collating a cogent document from material made with others. Her unfailing support for this research is highly appreciated. I am grateful for the technical support offered by Peter Dowling and Damien Cooper. Also Don Whyte must be commended on his, as always, splendid framing of the works for exhibition. I acknowledge here my family who supported me through numerous cathartic moments when critical insights pertaining to how I could best engage with the collaborating Tiwi artists were gained. I admit this was an extended and difficult time for us and acknowledge here my deep appreciation for the kindness afforded me by my immediate family as I transitioned through the ‘long dark night of the soul’ that lasted for a four-year period. Without these foundations the research undertaken would not have been possible. v Table of Contents Declaration .......................................................................................................................................i Abstract ........................................................................................................................................... ii Dedication....................................................................................................................................... iii To Aboriginal and Torres Strait Islander readers ............................................................................. iv Acknowledgements .......................................................................................................................... v Table of Contents ............................................................................................................................ vi Table of Figures ................................................................................................................................ x Chapter 1: Toward Unity ............................................................................................................1 1.1 Introduction - The Relational Interstice .................................................................................. 1 1.2 Walking and Working Together ............................................................................................. 6 1.3 Bridge Building ..................................................................................................................... 10 1.4 Identity Politics – declaring Standpoint ................................................................................ 13 1.5 Weaving Ethics ..................................................................................................................... 20 1.6 All Our Relations ................................................................................................................... 21 1.7 Collaboration and the Self .................................................................................................... 23 1.8 Conclusion ............................................................................................................................ 26 Chapter 2: Considering Collaboration ....................................................................................... 28 2.1 Introduction .......................................................................................................................... 28 2.2 Collaboration: Liminal Space and Inalienable rights ............................................................ 29 2.3 Intercultural Artistic Collaboration: Homelands ................................................................... 38 vi 2.4 The Relational and Subject Position: ‘Appropriately After’ ................................................. 45 2.5 Conclusion ............................................................................................................................ 60 Chapter 3: Collaborative Practices and Indigenous Contexts .................................................... 63 3.1 Introduction .......................................................................................................................... 63 3.2 Collaboration by degree: Working Together ........................................................................ 63 3.3 Indigenous and non-Indigenous Creative Research practice: Difference and Treachery ..... 66 3.4 Relatedness, Reciprocity and Alterity: Inside – Outside........................................................ 72 3.5 I am not the ‘Other’ - simply ‘Another’: Decolonising Research Practice ............................. 80 3.6 Conclusion ............................................................................................................................ 83 Chapter 4: Negotiation ............................................................................................................. 85 4.1 Artists Audit–Formative & Contemporary Influences