EDAB161 Assessment 3: Academic Essay

Theme 6: Incorporating and engaging Aboriginal perspectives in the teaching

of a chosen curriculum area (Drama)

For the purpose of this essay I will be examining the ways to incorporate and
engage Aboriginal perspectives in the teaching of Drama. An appreciation of
the role that Drama education can play in incorporating Aboriginal and Torres
Strait Islander perspectives is desired. Through incorporating and embedding
Aboriginal and Torres Strait Islander perspectives within Drama education, an
understanding of these perspectives need to be grasped. As a future educator
considerations need to be made to enhance and embed Indigenous knowing
within the teaching and learning.
The Australian Curriculum defines Drama as the expression and exploration
of personal, cultural, and social worlds through role and situation that
engages, entertains and challenges (p.1). Through drama students have the
opportunity to individually and collaboratively make meaning, and analyse
their own and others stories and points of view, as a sense of inquiry and
empathy is explored through the diversity of drama (Wright, 2003). Through
this exploration, students expression, understanding and experience of their
world are diversified (Australian Curriculum (AC), nd).
According to Battiste (2013) education is described as a process by which a
culture expresses its reality and values, processes its culture, and transmits it
to each generation (p.104). In turn, this belief has resulted in establishing a
culturally imperialistic stream that unfortunately ignores and in some ways
destroys other ways of knowing (Battiste, 2013). When examining the
boundaries between culture and education, considerations of not just the
knowledge involved in the particular curriculum subject, but the ways in which
different cultural world views and realities that students operate (Battiste,
2013, p.104). Through decolonising education there is an accountability of the
tragedies and indignities that colonial education has placed on Aboriginal and
Torres Strait Islander peoples, in which this process can promote
reconciliation and reveal the beautiful qualities of Indigenous life and their

teachings (Battiste, 2013, p.108).

The arts are a way that can further develop students knowledge and
understanding of Aboriginal culture, heritage and perspectives (NSW DEC,
2011b). Aboriginal perspectives and knowing is heavily dependent on story, as
story enables an individual to grow (Blair, 2008). Stories have multiple
dimensions and allow both storyteller and listener to connect through the story
which explains, explores and projects Indigenous beings, connections and
relationships (Blair, 2008). Through the educational process of Aboriginal and
Torres Strait Islander peoples, storytelling is a vital role as it builds shape and
meaning of life (Blair, 2008). Blair (2008) describes stories as not just a way
that explains events, but it is a vehicle for transmitting Indigenous knowledge,
she continues to explain, we learn how to believe before we learn what to
believe, and stories and songs give us a way to believe and ceremonies
sustain our faith (p. 215). Story for Indigenous peoples encapsulates their
entire knowing of themselves, of others and the world in which they exist.
Battiste & Henderson (2000) believe that as Indigenous peoples enter the 21 st
Century, there is a great need for the world to embrace a consciousness that
enables all people to enrich their character and dignity (p.8). Through this
sense of consciousness, it empowers the voices of Indigenous peoples where
their roots and cultural experience transpire into positive contributions that are
welcomed (Battiste & Henderson, 2000). To have Aboriginal and Torres Strait
Islander voices heard is a fundamental right that is pursued, by Indigenous
peoples and by the society of the 21 st Century. Society is demanding, that
Indigenous peoples share their knowledge, their hearts, bodies, and souls
Battiste & Henderson, 2000, p.22), so that issues and challenges can
commence the path to resolution and reconciliation and to shift the worldwide
view (Battiste & Henderson, 2000). It is to be noted, that based on history and
the relations between the colonisers and the colonised this request for voices
to be heard of Indigenous peoples is quite profound (Battiste & Henderson,
2000).
When planning and programming, teachers should consider issues related to
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Aboriginal and Torres Strait Islander peoples, as these experiences of

Indigenous Australians contribute to students understanding of Australian
society and to the reconciliation of Aboriginal and Torres Strait Islander
peoples in the arts reflect ongoing traditions (Board of Studies, 2006, p.9).
These considerations enable a reflection of the view that Battiste (2013)
argues of decolonising education. Decolonising education, in particular
Indigenous education looks at deconstructing decisions about curricular
knowledge (Battiste, 2013, p.107). Through education, the challenge that is
faced for Indigenous peoples is restoring their spirit (Battiste & Henderson,
2000), and dignity and the question that is often posed for many educators is
how do we restore spirit and dignity within the classroom? According to Price
(2012), Aboriginal and Torres Strait Islander education is both for and about
Aboriginal and Torres Strait Islander peoples (p.3). The goal for educators is
to provide multiple avenues that acknowledge respectfully the perspectives of
Indigenous peoples.
In the Australian Curriculum there are two main threads that explore
Aboriginal perspectives (Note: The Australian Curriculum for Drama is still
awaiting the final endorsement, however it is available for use). These threads
include responding to and interpreting artworks and sharing artworks through
performance, presentation or display (AC, nd.). In responding to and
interpreting artworks, students are required to respond to drama and consider
where and why people make drama through identifying intended purposes
and meaning of drama in exploring drama of Aboriginal and Torres Strait
Islander people (AC, nd). Through sharing artworks through performance,
presentation or display, students shape, rehearse, and perform devised or
scripted drama to share community and cultural stories of Aboriginal and
Torres Strait Islander peoples to engage an audience (AC, nd).

When embedding Aboriginal and Torres Strait Islander perspectives into the
learning and teaching of Drama, it is important to recognise that Aboriginal
Australian arts are viewed not separately, but as an interrelated aspect of
Aboriginal peoples lives (NSW DEC, 2011a) of ceremony, song, dance,

spirituality, beliefs and storytelling to explain creation (NSW DEC, 2011a). To

respond and make meaning through drama in using Aboriginal perspectives
students engage in a variety of dramatic forms of improvisation, storytelling,
movement and readers theatre (NSW DEC, 2011a).
Creation stories from The Dreaming are an excellent way for students to
understand the beliefs of Indigenous Australians through movement and
storytelling. This experience can be implemented for students across all year
levels in primary school, where further research is incorporated for upper
primary. Through this experience, students are immersed in the culture and
perspectives of Aboriginal peoples and in this respect the knowledge and
understandings can be deeply formed.
Aboriginal Dreaming is a particular unit of work for Stage 2 students that
integrate Aboriginal perspectives. Through this unit of work, Aboriginal culture
and heritage, and social issues are explored. The play Honey Spot written by
Jack Davis can be a great resource to use in Drama. Honey Spot is a play
about the friendship between an Indigenous boy and a white Australian girl,
which looks at two worlds and cultures being embraced. In implementing this
experience in the classrooms, it brings to life issues that are past and present
and enables the students to examine ways of resolution and reconciliation.
Students have the opportunity to make meaning and explore the culture and
heritage of Indigenous Australians, but what about the students in the
classroom who are of Aboriginal descent? Sims-Bishop (1990) discussed the
idea of mirrors and windows, where children who view texts about them are
being reflected through a mirror, but then windows for the children who do not
belong to the culture. Kaye Price (2012) argues that for Aboriginal and Torres
Strait Islander children, there have been limited texts that have provided a
mirror into their lives, yet there have been multiple windows they have viewed
through of Australia. Aboriginal arts are the binding force of a continuum
between the past, present and the future for Aboriginal people (NSW DEC,
2011b p.79). According to Drama Australia (2006), non- Indigenous teachers
and students, as well as Indigenous teachers and students all have something
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to discover through drama and theatre and drama/theatre education about

Australia and its Indigenous peoples (p.6). Everyone who is involved has the
opportunity to enrich his or her knowledge holistically.
Throughout Drama education, family involvement, particularly Aboriginal and
Torres Strait Islander families should contribute their perspectives and
knowledge when focusing on Indigenous experiences (BOS, 2006). The
Melbourne Declaration on Educational Goals (2008) highlights the notion of
collective responsibility for education (Dinham, J. 2011), and by incorporating
Indigenous family involvement within the education system, in working
collaboratively with teachers, authentic experiences can be created for both
Indigenous and non-Indigenous students.

After undertaking the unit EDAB161 Aboriginal and Torres Strait Islander
Peoples and Cultures I feel that I have been equipped with the necessary
tools, resources and information to enter the teaching world full of insight of
Indigenous culture and heritage. This is supported through Craven, Marsh and
Mooneys research as they found that pre-service teachers who have
undertaken mandatory subjects compared to pre-service teachers who
undertake perspective courses, feel they are more capable of teaching
Aboriginal students and Aboriginal Studies and furthermore are more likely to
enjoy doing so (Price, K. 2012, p.54). Through this course I have learnt that
there are multiple needs that need to be addressed for Aboriginal and Torres
Strait Islander students. I have a strong found belief that through appropriate
and engaging experiences of Drama education, that these issues can be
addressed by gaining a deeper understanding for non-Indigenous students
(window) and a voice concerning specific issues for Indigenous students
(mirror). With a deep understanding and a voice in Drama education, the
Aboriginal and Torres Strait Islander Education Action Plan 2010 of closing
the gap can become a reality. According to Price (2012) the ideal strategies
for an outcome are genuine engagements between all stakeholder groups,
including communities (p.40). Through effective teaching about Indigenous
perspectives within Drama education that the 21 st century classroom has the

opportunity to confront the issues, and appreciate the culture and heritage of
Aboriginal and Torres Strait Islander peoples.

Price (2012) argued an avoidance of the next generation of teachers to

perpetuate similar stereotypes that were perhaps taught through our own
personal school life. As a future educator, I believe that my role is to ensure
that I provide opportunities for all my students whether they are Indigenous or
non-Indigenous that a respectful view, appreciation and authentic experiences
are created through my teachings of Drama and other Key Learning Areas. I
need to appreciate that I will be a facilitator in passing on traditional
knowledge and respect and acknowledge that Elders are the keepers of this
traditional knowledge (BOS, 2006). I want to inspire my students to consider
the world around them, and appreciate the differences in Drama education
and across all other curriculum areas. After completing this unit, and for all
pre-service teachers who will complete this unit, Australian schools may start
to see radical improvements in the teaching of and for Indigenous students.

In conclusion, this essay has closely examined the value of embedding and
incorporating Aboriginal and Torres Strait Islander perspectives within Drama
education in Australian schools.

As explored, contemporary teachers can

utilise Drama within the Creative Arts to capture Indigenous ways of knowing,
expressing and storytelling in a creative way.

This is both beneficial to

Indigenous and non-Indigenous students, as Indigenous students are able to

engage in experiences that are meaningful to them and recognise the
importance of their cultural heritage, fostering a sense of belonging, while
non-Indigenous students are provided with the opportunity to better
understand and appreciate the beauty of Indigenous culture and continue to
grow as respectful and culturally component human citizens. I recognise that
it is my responsibility as a future educator to establish relationships with local
Indigenous communities and engage in discussions of how to best
incorporate Indigenous perspectives into my teaching so that my teaching is
as authentic as possible.

References

Australian Curriculum, (AC) (nd). The Arts: Drama Curriculum. Retrieved from:
http://www.australiancurriculum.edu.au/the-arts/drama/curriculum/f-10?
layout=1

Battiste, M. (2013). Decolonizing Education: Nourishing the Learning Spirit.

SK, Canada: Purich Publishing Limited.
Battiste, M., & Henderson, J. Y. (2000). Protecting Indigenous knowledge and
heritage: a Global Challenge. Saskatoon, Canada: Purich Publishing.

Blair, N. (2008) Sweet Potatoes, Spiders and Waterlilys. Privileging Australian

Indigenous Knowledges. Epistemological Consequences of Knowledge
Production. Unpublished PhD. Pp.214-222

Board of Studies (BOS), 2006. Creative Arts K-6 Syllabus. Sydney, Australia:
Board of Studies NSW

Dinham, J. (2011). Delivering Authentic Arts Education. Australia: Cengage

Learning.

Drama Australia (2006). Aboriginal and Torres Strait Islander Guidelines for
Drama/Theatre Education. Retrieved from:
http://www.dramaaustralia.org.au/assets/files/ATSIguidelinesFinalSept0
7.pdf

NSW Department of Education and Communities (NSW DEC), (2011a).

Aboriginal Perspectives in the Creative Arts. Retrieved from:

http://www.curriculumsupport.education.nsw.gov.au/primary/creativeart
s/crosscurriculum/aboriginal/index.htm

NSW Departments of Education (NSW DEC), (2011b). Exploring the world of

K-6 drama: From ancient Anna to the Cloth of Dream Aboriginal
Dreaming. Retrieved from:
http://www.curriculumsupport.education.nsw.gov.au/primary/creativeart
s/assets/drama/pdf/drs2aboriginaldreaming.pdf

Price K. (Ed). (2012). Aboriginal and Torres Strait Islander Education. An

Introduction for the teaching profession, New York: NY. Cambridge
University Press.

Sims-Bishop, R. 1990. Mirrors, windows and sliding glass doors. In Price K.

(Ed). (2012). Aboriginal and Torres Strait Islander Education. An
Introduction for the teaching profession, Australia, Cambridge
University Press.
Wright, S. (2003). Children, meaning-making and the arts. Frenchs Forest,
NSW: Pearson

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