Is the penny about to drop in government? An extract from Peter Garrett's speech

Indigenous Visual Arts
The Indigenous visual arts sector is estimated to have an annual turnover of up to $500 million.
Participation by Aboriginal and Torres Straits Islander people in the visual arts plays a vital role in supporting the maintenance and transmission of culture, inter-generational learning, and improved levels of community cohesion, health and wellbeing.

The Australian Government currently provides funding to 87 Indigenous art centres, most of which are located in remote parts of the country.

To a large degree, the Indigenous visual arts sector has been built on the backbone of these Indigenous-owned art centres.

Each art centre is owned and controlled by Indigenous community members who, in many cases, are also the artists that make the work.

The centres function like artists co-operatives and, in my view, are one of the best models that we have for supporting Indigenous self-determination and financial independence.

I am reminded of the success story of the community at Ali Curung, about 380kms North of Alice Springs with a population of 500, which, over two years, with Australian Government support, has turned community arts practice into a thriving professional enterprise.

The centre currently supports around 65 artists through its men’s and women’s centres, and has recently worked with peak tourism bodies to be recognised as a National Tourism accredited art gallery.

New ceramics practice has been added for men, using the considerable skills of the art centre coordinator as well as a timely donation of kilns.

The art centre offers outreach services to surrounding communities, is introducing a volunteer program in 2010, and is working with the Red Cross to deliver a nutrition program.

Training across all facets of art centre business is a high priority and the centre currently employs eight Indigenous arts workers to support the manager.

These arts workers are supported by specific funding that the Government is providing for the employment of Indigenous Australians in the arts, which I will talk about in more detail in a moment.

Training is extended to all members of the community in areas such as budgeting and literacy.
The art centre is now looking to extend its opening hours to meet increasing demand.
Since 2007-08, the Government has committed an additional $17.5 million over seven years to strengthen the Indigenous visual arts and craft sector.

This includes $2 million over four years from 2009-10 for a Professional Development Fund, for projects that will increase the skills of Indigenous arts centre managers and staff and provide opportunities for Indigenous people to gain employment in the sector.

The professional development projects will be jointly funded by the Australian Government and the state and territory governments.

Another important strategic achievement for Indigenous art centres is the introduction of triennial funding which reduces red tape, and enables organisations to plan more strategically over a longer term.

Australian Government support for the Indigenous visual arts sector is directed purposefully, in order to build the capacity and knowledge of individual artists, art centre staff and communities.

This, along with our measures, supports a sustainable, profitable and vibrant Indigenous visual art industry.

A Brief Visit to Ali Curung

Ali Curung July 2010

We returned to Ali Curung for the Dance Festival organised by the art centre and government agencies. We also wanted to meet up with some of our friends made over our years at Barkly Regional Arts.

It was a sad reunion. It was not long after the death of the much loved musician and song writer , “BM” Kumunjai Murphy, member of the band Nomadic. Many in the community are devastated by his death and we were glad to meet up with his two main partners in Nomadic, “AJ” and “EK”. Our next return to Ali Curung will be for the funeral.

“BM” and Nomadic were at the forefront of the push to get a music centre for Tennant Creek. They spent many hours with Lorna Martin, then head of Barkly Regional Arts, formulating their ideas and planning. The final result was the now successful WINANJJIKARI MUSIC CENTRE.

So how has Ali Curung fared since our departure and the takeover by the Barkly Shire?

Despite the millions being spent, community morale seems to be down. Housing repairs and paint jobs fail to hide the lack of care that formerly saw many well kept yards. Conversation with the Warlpiri people suggests there is an underlying discontent and an increasing feeling that they should move out to Jarra Jarra. The four language groups continue to struggle with their coexistence on Kaiditch (Kaytetye) land. Lack of resources will keep most of them put.

The last two years has seen the medical centre expanded to include a renal unit and the school has received a boost with more buildings,but still screening a declining school attendance. In a far corner of the old market garden, a controversial horticultural training centre is under construction that may see the revival of the market garden.

Without the hallmark, cultural and artistic facility, Arlpwe Art and Culture Centre one gets the feeling that Ali Curung might become even more of a gulag than ever. All the hardware in the world is wasted without properly resourced and right people to drive it. It was good to see that both the art centre and the Internet centre we set up with the community more than two years ago, were both doing well. The gallery is full of art and artefacts and the men have been involved in additional construction as well as furniture restoration.

The disbanding of the Ali Curung Council was in many ways a mistake. It was a place where any member of the community could have their say, allowing a sense of ownership. It could also be argued that if Ali Curung Council was properly resourced in the first place, millions could have been saved and better spent at the same time resulting in greater community capacity. Staff were closer to the people and more able to tailor programs to their unique needs.

So far the Barkly Shire's competence in managing Ali Curung has been appalling. This is reflected in moves by the community to expel two mangers in two years.

The dance festival, the first since the opening of the art centre two years ago, was a small affair lacking involvement from other communities. However, it is early days and if the enthusiasm of the local men and women dancers is anything to go by then the next one will be a lot bigger and better.

Ali Curung Internet Facility Still Running

Visiting the community for the first time in two years it was wonderful to see that the internet facility was still running under the Barkly Shire. Three local men operate the facility for the community.