Stephen Anderson Charles Darwin University

257 Pages·2016·4.41 MB·English

by  Spectrum Artists

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.

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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

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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.
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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.
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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
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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 ........................................................... 85
4.2 Negotiation-‘Appropriately After’ ........................................................................................ 86
4.3 Spiritual Dimensions in the Visual Arts ................................................................................. 91
4.4 The Grey Scale-Dividing the Field ....................................................................................... 103
4.5 Sacred Geometry & Mandala Principle (Tools for Understanding Self) .............................. 105
4.6 Pattern & Repetition - Impossible Skin ............................................................................... 108
4.7 Conclusion .......................................................................................................................... 114
Chapter 5: Individuation (Phase 1).......................................................................................... 115
5.1 Introduction ........................................................................................................................ 115
5.2 The Ceremonial - Cycles + Circles ........................................................................................ 117
5.3 Change................................................................................................................................ 119
5.4 Jean Baptiste Apuatimi ....................................................................................................... 123
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5.5 Maria Josette Orsto ............................................................................................................ 136
5.6 Alan John Kerinauia ............................................................................................................ 150
5.7 Douglas Vivian Walarpinni ................................................................................................. 154
5.8 Jock Puautjimi ..................................................................................................................... 161
5.9 Ita Tipungwuti .................................................................................................................... 167
5.10 Conclusion .......................................................................................................................... 172
Chapter 6: Stronger Futures (Phase 2) .................................................................................... 174
6.1 Introduction ........................................................................................................................ 174
6.2 Osmond Kantilla and Vivian Walarpinni ............................................................................. 175
6.3 Bede Tungatalum ............................................................................................................... 177
6.4 Pwoja .................................................................................................................................. 182
6.5 Wanaringa (Sun) ................................................................................................................ 184
6.6 Batik ................................................................................................................................... 187
6.7 Diamond Silk ....................................................................................................................... 191
6.8 Old Bark + New Skin–Window of Opportunity ................................................................... 198
6.9 Pandanus Bricolage ............................................................................................................ 199
6.11 Celestial Navigator ............................................................................................................. 205
6.12 Conclusion .......................................................................................................................... 207
Chapter 7: Working and Walking Together ............................................................................. 207
7.1 Dis-Unity - Urgency to change ............................................................................................ 207
7.2 Third Spaces – Alternative sites toward common ground .................................................. 212
7.3 Implications ........................................................................................................................ 214
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7.4 Reconciliation and the Self ................................................................................................. 216
7.5 Collaboration as Therapy ................................................................................................... 218
7.6 Ngarimikiyangulimayi Ngawuyati Ngampamurrumi - Old Tiwi Language (Walking Together
and Working Together) The Exhibition ........................................................................................... 220
7.7 Inhabiting New Spaces - Poles Apart .................................................................................. 221
7.8 Conclusion .......................................................................................................................... 223
References ................................................................................................................................... 225
Appendix 1: Consent Form (Confirmation of Commitment) ......................................................... 234
Appendix 2: Project Statement .................................................................................................... 235

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