Exhibition themes

Cultural Learning Framework

Curriculum

P‑10

Senior Visual Art

cultural identity

identity

people

personal context

the archive

memory

country and place

cultural context

environmentalism, feminism

community

culture and society

contemporary context

Cultural Learning Framework

The Cultural Learning Framework was developed by the QAGOMA Learning team in consultation with First Nations artists, Elders and young people. The framework is a suggested tool for teachers and students engaging with Aboriginal and Torres Strait Islander cultural objects and stories, to consider and adopt First Nations knowledge systems in their classrooms. The Learning team also uses this framework to develop regional and student learning programs and resources.

Through ways of knowing, being and doing, the Framework was developed as a collaboration and intends to reflect its inception.

Quotes in the following section are taken from QAGOMA Curator, Indigenous Australian Art, Katina Davidson’s essay in the mudunama kundana wandaraba jarribirri: Judy Watson exhibition publication.

ways of being — identity

‘The Waanyi, from north-west Queensland, are known as the “running water people”.’

To varying degrees, a person’s culture can be integral to their sense of identity. Being able to connect to culture through direct or indirect links to heritage and ancestors can enrich a person’s sense of belonging to a community. There is an intrinsic value in understanding histories that inform how to exist in contemporary society.

ways of knowing — memory

‘The names of cattle stations and people were ingrained into Watson’s psyche from those times [in early childhood]. Even if she hadn’t yet visited those places, these stories of where the family lived and worked became a source of connection and contemplation for Watson in years to come.’

Without privileging one form of knowledge over another, culture can be understood as much through reason and logic as it can through emotion and intuition. Similarly, memory can retain facts and be accessed through the imagination. To learn through culture requires the ability to trust sense perceptions, and a willingness to listen deeply.

Watson poetically refers to blue as the ‘colour of memory’ washing over her. Prussian blue and ultramarine pigments, indigo dyes and blue-toned patinas feature across her paintings, prints and sculptures.

ways of doing — community

‘Every decision Watson makes is informed by layers of understanding; cultural, political and social.’

Culture is never static, meaning it exists in a continual state of transformation. To practise culture as an active participant in a community involves engaging with shared histories and constant change. Collaboration is particularly important in researching, experimenting, problem-solving and refining creative expressions of culture.

P-10 Aboriginal and Torres Strait Islander Cross-curriculum Priorities

People

Research the family structures, particularly the strong matrilineal connections, that are evident in Watson’s artwork. Consider the local, national and international significance of Judy Watson as an artist, mentor, researcher and educator.

Country and Place

Explore the distinct connection to and responsibility for Country through artworks by Judy Watson that refer to the environment. Consider how land, sea, sky and waterways from north-west Queensland’s Gulf Country and other sites have influenced Watson’s practice.

Culture

Find opportunities to engage with language and poetry through the exhibition’s title, artwork titles and the exhibition publication. Develop an awareness and appreciation of the resilience of Aboriginal and Torres Strait Islander peoples through studying the historic and contemporary impacts of colonisation.