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  • ARTSongs: The Soul Beneath My Skin

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    Croft_2003_01Thesis.pdf (1.677Mb)
    Author(s)
    Croft, Pamela Joy
    Primary Supervisor
    Younger, Jay
    Other Supervisors
    Fredericks, Bronwyn
    Haebich, Anna
    Bradbury, Keith
    Year published
    2003
    Metadata
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    Abstract
    This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept ...
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    This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.
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    Thesis Type
    Thesis (Professional Doctorate)
    Degree Program
    Doctor of Visual Arts (DVA)
    School
    Queensland College of Art
    DOI
    https://doi.org/10.25904/1912/2049
    Copyright Statement
    The author owns the copyright in this thesis, unless stated otherwise.
    Item Access Status
    Public
    Subject
    installations
    installation art
    bricolage
    Australian aboriginal artists
    minority art
    minority arts
    reconciliation
    race relations
    Australia
    Publication URI
    http://hdl.handle.net/10072/367423
    Collection
    • Theses - Higher Degree by Research

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    • Gold Coast
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    First Peoples of Australia
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    • Torres Strait Islander