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Resources
- Discussion Papers
Australian Indigenous Peoples
Leading Literate Lives
Davina
Woods, Monash University
A
keynote address presented at the 2001 AATE/ALEA Joint National Conference
Introduction
I wish to thank Christine Topfer and
Ian Morgan for inviting me to address this the Joint National Conference
of the Australian Association for the Teaching of English and the Australian
Literacy Educators' Association. I applaud the commitment of your organisations
to the teaching of English and literacy, and to the professional development
of teachers, academics, students and others interested in education. Language
as we all know is a major marker of culture. The focal language of Australia
is English. An individuals ability to use Standard Australian English
either in its spoken or written forms is often used to judge were an individual
sits within the social structure of a society. Knowing this and being
aware that the eminent Aboriginal educator Professor Paul Hughes was your
first preference for todays keynote speaker I feel fully the burden
of ensuring that you go away from my presentation feeling that you have
learnt something new and that you have been to a certain extend entertained.
You know very little about me and I would
like to reassure you that I have the formal knowledge, as well as life
experiences to be speaking to you today about living a literate life from
the perspective of an Australian Indigenous person. Please bear with me
as I introduce myself.
Born in Brisbane Queensland I was raised
being keenly aware of my identity as an Aboriginal person. However it
was not until 1990 that I was told by Elders that our family is of the
Kuku yalanji people of far north Queensland. Always wishing to
be a teacher, I graduated in 1979 from the North Brisbane College of Advanced
Education with a Dip Teach. Since then, I have undertaken external part
time studies to achieve a Bachelor of Education and a Graduate Certificate
in Aboriginal Studies. I have taught in Queensland primary schools and
was one of the founding group of Australian Indigenous teachers to be
seconded from classroom duties to establish the Queensland Education Departments
Aboriginal and Torres Strait Islander Education Branch.
In 1990, I moved from Gladstone in central
Queensland to Melbourne where I had won the position of Federal Aboriginal
Education Officer of the Australian Education Union. Employed by the AEU
for five and a half years I resigned and took up the position of Project
Manager for the development of a national traineeship for Aboriginal and
Torres Strait Islander Education Workers. After my experiences helping
with the establishment of the traineeship, I moved to managing an Aboriginal
education unit within the Vocational Education and Training sector.
Fortunately, for me, I am the first recipient
of the Monash Universitys Postgraduate Scholarship for an Indigenous
student to undertake postgraduate studies in the Arts Faculty. The scholarship
has been but one of a number of fortunate events which have occurred for
me in this the beginning of our third millennium. Thus far this year two
books for which I have been a contributing author have been published
and a third is due to be launched in September. The books are "
Aboriginal Women By Degrees" edited by Mary Ann Bin-Sallik and
published by University of Queensland Press, and the Lonely Planet
Guide to Aboriginal Australia and the Torres Strait Islands which
was launched last Thursday in Melbourne. The third book being published
by the Australian Curriculum Studies Association is due to be released
in September this year. Its working title is "The Professionals
working with Aboriginal and Torres Strait Islander people". My
chapter focuses on employment and is title We do not live on
bread alone.
I am enjoying a year of scholarly rigour,
reading, researching and writing. However, as many of you who have had
similar experiences would know, not all of the research one does during
such a period is completely focussed on the subject of your thesis. In
1998, I registered the business name Clever Women Consultants and prior
to taking up my scholarship, I was a free-lance education and training
consultant. I have had two projects overlap with my year of study. Both
of these projects will be of particular interest to you as one has a literacy
and numeracy focus and the other has a significant element of literacy
and English teaching of Australian Indigenous students.
However before I outline further what
will be the body of my paper I wish to acknowledge the traditional owners
of the land on which you have been meeting these last few days. To the
Ancestors of the local Pallaw people I give my thanks for their labours
and to their descendents, I offer my strength to their works of today
and the future.
I was unable to join you in your deliberations
until last night as I have been engaged in celebrating NAIDOC Week. For
those of you who do not know, NAIDOC week has grown from a day of mourning
which was organised to coincide with the 26th of January 1938.
The original day of morning was to focus attention on the inequitable
treatment meted out to Australian Indigenous peoples in the first 150
years since being colonised by the British. The National day of Mourning,
has over the years, been transformed into, a week for celebrating Australian
Indigenous cultures, knowledge, skills, achievements and aspirations.
It is therefore appropriate that I am here with you today to speak to
you about how to improve educational outcomes for Australian Indigenous
students specifically in the area of literacy and the use of the language
of power, which as we know is Standard Australian English.
In speaking of Australian Indigenous
cultures, knowledge, skills, achievements and aspirations I had best make
sure that you and I have a common understanding of certain terms.

Indigenous Peoples
The general conference of the International
Labour Organisation (June, 1989) stated that Indigenous peoples are peoples
in independent countries:
- whose social, cultural and economic conditions
distinguish them from sections of the national community and whose status
is regulated wholly or partially by their own customs or traditions
or by special laws or regulations; and
- who are regarded as indigenous on account of their
descent from the populations which inhabited the country or a geographical
region to which the country belongs, at the time of conquest or colonisation
or the establishment of present state boundaries and who irrespective
of their legal status, retain some or all of their own social, economic,
cultural and political institutions.
Aboriginal & Torres Strait Islander
Peoples
Self Identification as an Australian
Indigenous person is fundamental to determining who are Aboriginal and/or
Torres Strait Islander peoples.
In Australia, Aboriginal and/or Torres
Strait Islander, peoples are the generic terms used to describe the two
major categories of Australian Indigenous peoples. However, Aboriginal
and Torres Strait Islander people call ourselves by many different names
including Anangu, Koorie, Nunga, Murri, Yamatji and Noongar.
Today the Aboriginal flag, which first
came to international notice when flown at the Aboriginal tent embassy
established on the lawns of the Australian Parliament on 28 January 1972,
is a powerful uniting symbol for all Aboriginal peoples.
The black symbolises the Aboriginal peoples
of Australia. The red is the land and the blood shed in the struggle.
The yellow circle in the centre of the flag represents the sun. The sun
is symbolic of the hope for the future.
During the United Nations International
Year of the Worlds Indigenous Peoples, the Torres Strait Islander
flag was launched. The white Dari, which is traditionally worn by the
men during, dances, is accompanied in the centre of the flag by a five-pointed
star. The points of the star represent the major island groups of the
Torres Strait. Strips of green, blue and black stand for the land, sea
and people.
In Australia an Australian Indigenous
person is one who is a descendant of an Aboriginal or Torres Strait Islander
person, who identifies as an Australian Indigenous person and who is recognised
as an Australian Indigenous person by the members of the community in
which she or he lives.
We as Aboriginal people are examples
of what has happened to us. We have always spoken many languages. Today
we are reflective of the many colours of the strands of humanity, which
are white, red, yellow, brown and black.
Synopsis
In this paper, I will investigate current
theories and research concerning literacy and learning in Standard Australian
English, specifically for Australian Indigenous students. A focus of my
paper is understanding the Arts as forms of literacy. I invite you to
celebrate Australian Indigenous creators of media, print, spoken and visual
texts with me.
What is literacy?
Let us begin our analysis of the meaning
to an Australian Indigenous person of leading a literate life by defining
the term "literacy". Literacy commonly refers to the ability
to read and write a particular language and the ability to use language
proficiently. The next logical question then is; "what is language?
" We know that our ability to use language distinguishes us from
other animals and that Australias internationally recognised language
is Standard Australian English. However, no one here would say that Standard
Australian English is the only language of Australia. Our history is rich
with stories of those who have come from non-English speaking countries
to make Australia home. We are aware that there were hundreds of classical
Australian Indigenous languages before 1788. Some classical languages
survive with a few being revived. Aboriginal English and Torres Strait
Islander Kriol are modern Australian Indigenous languages, which have
come into being since 1788. Nevertheless, what is "language"
in relation to "literacy"? Most here, would agree that language
is a system for expressing thoughts and feelings by the use of spoken
sounds or conventional symbols. The skill to read, which means to understand,
such conventional symbols is therefore a significant strength of literacy.
Writing is a means of communicating ideas by making such symbols stand
for an idea, concept or thing. Thus, literacy is the ability to understand
and make symbols, which express thoughts, feelings, ideas, concepts and
things.
Please look at these overhead transparencies
and make a note of their meaning to you.
OHT 1 - A few ancient symbols
recur through the ages. One of these symbols, the heart, means many
things to different people. The heart symbol, as we know it today, was
popularised by the Victorian era over a hundred years ago. They loved
the romantic heart shape and embellished it in many ways. This is a
graphic representation of an abstract idea. The romantic heart shape
in other words symbolises an idea that has no direct visual equivalent,
because we cannot see it. Love is often symbolised by a heart - because
you cannot draw love. The heart in that context is an ideograph.
An ideograph requires not only recognition but also the mental connection
with the idea it represents.
OHT 2 - The second main type
of symbol is the mnemonic symbol, one that has no obvious visual
or ideological connection but triggers a recollection of some previously
learned information. Examples of mnemonic symbols are Roman alphanumeric
characters, Egyptian numerals and just about any company logo. Companies
logos or symbols are 'drummed' into the public through constant exposure
and association via advertising. Some of the World's most successful
icons, the Coca Cola swirl and Mickey Mouse's head are so universally
known that they can be distorted, sawn in half and recoloured and they
are still recognisable. A hypertext link is a mnemonic symbol too; we
know that because it has been explained to us at some stage. When we
see a piece of text on a computer screen and it is underlined, and maybe
in a different colour, we know that we can click on it and it takes
us off to some relevant item.
OHT 3- Symbolic art featured
in body designs, carved trees, ground drawings, rock art, bark paintings
and designs on objects such as message sticks, is called iconography
because the symbols literal represent things, as we see them, translated
into two-dimensional drawings. The word 'icon' has, traditionally, a
much deeper significance as it also describes a particular type of religious
painting representing much more than its 'face value'. The sacred heart
surrounded by the crown of thorns as it is used in Christian art is
an iconography because of its religious connotations.
To understand an iconography, we must
first recognise it. Recognition comes from matching the visual symbol
with a memory, or experience, stored in our brain. If the symbol is
poorly represented because of inept draughtsmanship or if its significance
is beyond the viewer's experience, then recognition fails. It can also
fail even if the representation is good and the viewer knows what it
is, if it is presented out of its usual context.
The art of Australias Indigenous
peoples is based on iconography. In the following summary of page 12 from
Jennifer Isaacs book "Arts of the Dreaming Australias
Living Heritage" the symbolism, - the iconography of classical Aboriginal
art and its relationship to language and literacy is stated.
" Aboriginal art is less representational
and more symbolic. Essentially, the symbols can be used for a number
of purposes, and members of other groups understand them in varying
degrees. A range of symbols is used, including arcs, concentric circles,
circles, bars, dots and wavy lines. The meanings of the symbols vary
in every painting, depending on the site shown, the religious inferences,
the degree of information the authors have been allowed to convey which
is judged according to their ritual status and the status of the intended
audience. The symbols can be used like an alphabet, but when put together
they create a meaning that is totally accessible only to the creators
and their immediate group. Even related clans or language groups may
guess at the meanings of the juxtaposition of arcs, circles and dots,
but without inside knowledge of the related mythology and ceremonial
information they cannot be sure of giving an interpretation that will
fully coincide with the intentions of the artists.
When the symbols are used together
to form the ground plan of a design, they map the landscape, showing
special features with important mythological relevance to the subject
matter depicted. They also tell stories. The symbols indicate
events that occurred in that landscape. For the artists the guardians
of the landscape depicted - the paintings embody their own spiritual
presence. Men trace the tracks and circles and sing the songs in the
process of creating the designs. Thus reproducing the designs becomes
a religious act, a reaffirmation of belief in the creation ancestors
and the absorption of some of their essential power."
Therefore, what is the meaning to an
Australian Indigenous person of leading a literate life? For me as an
Australian Aboriginal woman it is being educated and knowledgeable of
the cultures of Aboriginal Australia. It is about being able to use a
computer to process my thoughts and ideas into words and being able to
navigate the World Wide Web. Taking the term "literate" further
than just being able to read may include having knowledge of cultures
and being educated in the learning offered by the experiences of every-day
life. Leading a literate life then includes being able to read the road
when driving, being able to read the other persons non-verbals in a meeting,
being able to read between the lines and understanding the double entendre.
Leading a literate life for me is also about being able to read everything
from my childhood favourite of C.S Lewis, my adolescent companion Lee
Harper, my mature aged escapes with Marion Zimmer Bradley, through to
my thought provoking encounters with Paulo Freier and Edward de Bono.
It is also being able to view a piece of art. The art may be a live performance
or a three-d sedentary sculpture, a movie or words sung or written in
a genre such as haiku. For our world contains many forms of literacy.
Traditional, - classical forms of literacy stand side by side with the
contemporary and futuristic.

The literacy of the artist
Australias Indigenous creators
and makers of media, print, spoken and visual texts have for many years
received much recognition amongst the art circles of Europe and the United
States of America and Canada. In more recent years, such recognition has
begun to also come from Australian art circles. In wishing to cover the
spectrum of art as Australian Indigenous people have used it as an avenue
for expression, I will not speak further on the brilliant works of artists
seen as traditional. My reason for doing this is simple. I
wish to emphasis that those Australian Indigenous peoples who live beside
you in suburbia are as much an Australian Indigenous person as those who
live in Arnhem Land or the tri-state region.
David Unaipon, who today is depicted
on the Australian $50.00 note, was born at the Point McLeay Mission, in
South Australia, on the 28th of September 1872. He died on
the 7th of February in 1967. Unaipon was an Aboriginal preacher
and inventor, and one of Australia's first Aboriginal writers. He developed
and patented a modified handpiece for shearing in 1909 and made predictions
about the development of polarised light and helicopter flight. He worked
as a servant from 1885-90, at the Point McLeay Mission. In the lat 1890s,
he learned boot making and became a, storeman for an Adelaide boot maker.
Unaipon later became the bookkeeper, at the Point McLeay store.
In the early 1900s, he began collecting
subscriptions for the Aborigines' Friends' Association, combining this
work with lectures and sermons. He spent 50 years of his life, studied,
lecturing and published Aboriginal legends from the early 1920s. In 1924,
he began writing articles for the Sydney "Daily Telegraph". He assisted
the 1928-29 Bleakley inquiries into Aboriginal welfare. He received the
Coronation medal in 1953. Today he is commemorated by portraits in the
South Australian Museum, the national David Unaipon award for Aboriginal
writers, established 1988, and the annual Unaipon lecture in Adelaide,
established 1988. On the fifty-dollar note an extract from his writing
reads as follows;
" As a full blooded member of my
race I think I may claim to be the first but I hope not the last
to produce an enduring record of our customs, beliefs and imaginings."
David Unaipon has most definitely not
been the last Australian Indigenous person to record of our customs, beliefs
and imaginings.
If you go to the OzLit Writers
Database which can be found on the Internet at the URL http://home.vicnet.net.au/~ozlit/abowrits.html
you will find almost 150 Australian Indigenous writers listed.
Tracey Moffat is not listed there as
a writer simply because the form of communication she uses to express
herself is film, - both still and moving pictures. Rather than just tell
you about Tracey Moffat let her tell you about herself by me reading to
you and extract from a letter she wrote to Lynne Cooke, curator of Dia
Center for the Arts, New York, in advance of her show "Free Falling" which
was exhibited during 1997. The letter has been published on the web the
URL is included in my paper if you wish to read the full text from there.
http://www.diacenter.org/exhibs/moffatt/project/traceymoffatt.html
The extract begins;
I've very excited about having a
show at Dia Center for the Arts thanks Lynne for hauling me out of the
ghetto and discovering me. The thought of having my work showcased in
New York City for nine months is a dream come true.
The other day this older artist
I know made a niggardly comment about me having the show. I could tell
he was baffled as to why my work was being given a platform and me being
still not so old. It was words to the effect of "who would have thought
it would happen." Like it was all such a big surprise that out of the
blue I made something that would attract some attention.
Then I thought about how he works
or about how "little" he works at his own art -- how it has never advanced.
How he never reads about art or artists or even goes and sees anyone
else's shows -- so caught up in his own "genius." Scared to take in
anything new out of fear of being tainted -- a fear of not being completely
original.
This person has never realized that
the most interesting artists have always had a keen awareness of history
and of what was going on around them -- borrowing from this and that
and admitting to outside influences. For example I love how Martin Scorsese
constantly references other film directors and films. You see him in
interviews revelling in his love and knowledge of cinema. Then you look
at his films and see the power and originality.
I also like to do my homework, though
it is never work I should just call it "joy." Sometimes it's all I ever
do, I'm constantly in a book shop or chasing some obscure film.
Once a friend saw me sitting on
the floor in a local library staring at a child's picture book for a
long time -- I was very embarrassed.
Each year I seem to take on an obsession
with an artist, you can trace this in my book shelf. I adore biography
and usually of a woman artist.
For example, in 1984 it would have
been Zora Neale Hurston, in 1985 Diane Arbus, in 1986 Frida Kahlo, in
1987 Anaïs Nin, in 1988 Pauline Kael, in 1989 Carson McCullers,
in 1992 Maya Deren, in 1993 Anne Sexton, in 1994 Georgia O'Keeffe, in
1995 Leni Riefenstahl, and lately it has been the turn-of-the-century
Californian pictorialist photographer Anne Brigman.
Moffat is admitting here in her 1999
letter to Cooke that she is not only literate in the sense of being well
read but that she is also knowledgeable of other forms of literacy such
as motion pictures. Moffat enjoys using her literacy to access books and
expand her knowledge of her own passion, which are the visual arts. It
is through the visual arts that Moffat expresses herself, as an Indigenous
woman of Australia.
I had thought when originally planning
my paper that I would speak to you about a large number of Australian
Indigenous artists such as visual artists Albert Namatjira and Bronwyn
Bancroft, writers like Jack Davis and Oodergeroo Noonuccal, singers such
as Harold Blair and Mandwyu Yunupingu, performers like Justine Saunders
and Ernie Dingo. However, I believe that the essential qualities and extent
of their works are reflective of each other. In speaking of the contribution
that one Australian Indigenous artist has made to the cultural life of
Australia I have spoken of many. The inspiration and essence for each
is their Aboriginality and the unique vision that their Aboriginality
brings to their work. Australian Indigenous artistes are expressing themselves,
creating meaning using their Aboriginality. The audience must decode their
meaning. Such decoding or reading can only occur when the audience understands
the Australian Indigenous perspective. It is the Aboriginality of your
students, which you must respect and have knowledge of to ensure you are
equipping them with the skills to decode and read, to be literate in todays
society. I would like now to speak to you about the latest research undertaken
in the area of literacy for Australian Indigenous peoples.

Latest research
Education Strategic Initiatives Programs
(IESIP) Strategic Results Projects (SRP)
In
December 1997 Dr Kemp asked all Australian providers of education and
training for students K to 12 and VET; " What changes to education,
training and student support delivery practices will result in improved
Australian Indigenous student learning outcomes within a relatively short
period of time?" The outcome of the question was 83 submission-based
nationwide projects collectively referred to as the Indigenous Education
Strategic Initiatives Programs (IESIP) Strategic Results Projects (SRP)
or simply the SRPs. The SRPs covered
- arts education
- Australian Indigenous languages
- building skills in early childhood education
- home to school transition
- literacy in Standard Australian English
- numeracy
- older students re-entering education and training
- student mobility
- supporting students in secondary schooling
- training in the justice system.
- transition from primary to secondary
- using information and communication technologies
- vocational education and training (VET) in Colleges,
and
- VET in schools.
The
SRP results were
- 60 IESIP
SRP submitted final reports
- 20 projects
were completed but did not submit final reports
- 3 were
not completed
- 70%
achieved or exceeded their targets
- 20%
partially achieved or exceeded their targets
- 10%
did what they set out to.
The reason why the SRPs worked is people
chose to make them do so.
The
results were achieved by people working more intensively with strategies
that:
- are
widely familiar,
- could
be described as conventional good practice, and
- are
readily portable to other similar contexts
The
results were achieved by people working with:
- clear
targets and monitoring processes.
- adequate
resources.
- and
a firm belief in the prospect of success and a will to make it occur.
The
National Consultation and Evaluation Project (NCEP) Team of which I was
a member reported to DETYA on the SRPs and concluded that there are three
pillars for improving educational outcomes for Australian Indigenous students
and they are
- cultural
support, recognition and acknowledgment,
- skills
and
- participation.
In
the context of effective school-community partnerships and holistic approaches
cultural recognition, acknowledgment and support works with the pre-conditions
of
- good
personal relationships and mutual trust,
If
outcomes for Australia Indigenous students are to be improved the students
must
- see
culture and its relevant implications being respected,
The first pillar for improving outcomes
for Australian Indigenous students is cultural recognition, acknowledgement
and support. School must be a safe welcoming place. It must be a supportive
and inclusive place. School must be inclusive of its communitys
cultural needs and the community needs to be supportive of the school
to achieve this. We as teachers need to ask, " How aware are we really
of Australian Indigenous students?" and " What policies or attitudes
do we have for inclusivity?" In investigating and implementing development
of requisite skills, which literacy definitely is; teachers must teach
well and be inclusive of their students cultural needs. Teachers
must work at being good practitioners and being inclusive of Australian
Indigenous perspectives in their teaching. Processes to encourage adequate
participation and develop good relationships with caregivers must exist
and be acted upon.
The majority of Australian Indigenous
people are urban dwellers and our first or second language is Aboriginal
English or Torres Strait Islander Kriol. It must be acknowledged that
those who have not managed the language of learning will be disadvantaged.
In Australia, the language of learning - the language of power - is SAE.
Australian Indigenous peoples have said for many decades that we wish
our children to be proud and expressive of their Aboriginality
their Indigenous identity. However, we also wish them to be able to function
in the dominant culture. Language as a marker of culture and a factor
in educational success is thus a key to both our Aboriginality and successful
learning.
However, the language, which supports
Aboriginality, does not necessarily support successful learning. SAE literacy
and the speaking of SAE needs to be supported by learning strategies and
teaching methodologies which respect the culture and history of the individual
person.
Professor Paul Hughes AM, FACE was also
member of the National Consultation and Evaluation Project (NCEP) Team
and in the foreword to Langwij[1] comes to school (McRrae, 1995),
Professor Hughes states:
"The language our students bring
to the classroom is a valid form of communication and needs to be valued
linguistically if they are to acquire a deep knowledge and understanding
of the English language in all forms. This publication (Langwij) can provide
ideas and inform teachers about pedagogy they might use to provide the
best in language acquisition."
During the mid-1990s, the project team
of Howard Groome and Arthur Hamilton, who is the former manager of Aboriginal
education here in Tasmania, researched the needs of Aboriginal adolescents
in schools. A major outcome of the research was that if Aboriginal students
have a strong identity as an Indigenous person, their ability to succeed
in their schoolwork was increased.
This is not to say that a simple one
size fits all approach is possible. The Groome-Hamilton report (1995),
which relates to the current discussion on cultural identity and SAE language
and literacy acquisition, found that:
"Aboriginal people in Australia
today are constructing extremely diverse cultures under the umbrella of
Aboriginality. These cultures reflect the varying histories of individuals
and groups, and different aspirations and strategies within contemporary
experiences of Aboriginality. The constant background and modifier to
this process is the individual experience of racism. Aboriginal adolescents
are as fully engaged in this process of cultural construction as their
older relatives". (11)
An example of such regional diversity
is the Koorie English Literacy Project funded by the National Professional
Development Program in 1994, which is Victorian specific. An outcome of
the project was the development by the Goulburn Valley Aboriginal Education
Consultative Group Incorporated, of a kit. The kit is titled Deadly
Eh, Cuz! Teaching Speakers of Koorie English.
So, how are these complexities to be
tackled? Eight of the SRPs investigated a variety of strategies to develop
effective bi-lingualism and bi-dialectalism. One central strategy has
been to define and teach differences for example between light Kriols
and Aboriginal English on the one hand and SAE on the other. Programmes
designed to promote parity of esteem between languages have also been
implemented with efforts made to develop text material in each relevant
language/dialect. A particular SRP developed and delivered a course in
vernacular and SAE literacy. The course had a comparatively high completion
rate with excellent employment rates for graduates.
The maintenance or revival of classical
Australian Indigenous languages has also been a concern of about 15% of
SRP Projects. One project developed course materials for the teaching
and learning of two languages, which are currently in decline. A component
of one project has provided teaching of two home languages five
of which are in active use, two less so. These materials are all to support
teaching and learning. The provision of a cultural record and a purely
linguistically defined purpose are both catered for.
Many involved in Australian Indigenous
education and training believe that Aboriginal and Torres Strait Islander
languages need a strong, stand-alone focus not just an assumed inclusion
in Studies of Society and the Environment (SOSE) under the euphemism "culture".
Fortunately, there are some examples of Australian Indigenous languages
being included within LOTE. However, language maintenance and revival,
bilingual education as a choice and a right, the importance of Aboriginal
languages in LOTE programmes for language status must all take a higher
priority with the policy makers, practitioners and the providers of funding
and other resources.
Although Australian Indigenous languages
and SAE are essential given particular contexts, teaching methodology
differs from one to the other. Research into the methodology of vernacular
literacy teaching needs to be done so such work can be improved. It is
estimated that more then 15% of Australian Indigenous, people do not speak
English as their first language, and for many others SAE in the form required
by formal education and training is a second or third dialect.
For further information on the findings
of the SRPs with regards to literacy go to the National Consultation and
Evaluation Project (NCEP) Teams publications, What Works: Explorations
in improving outcomes for Indigenous students, and What Has Worked
(and will again). Published March 2000 by the Australian Curriculum
Studies Association and National Curriculum Services the publications
are copyright to the Commonwealth.
The reports were distributed widely throughout
Australia. However limited copies are still available by contacting Ms
Pat McDermott at the Indigenous Education Branch DETYA or can be accessed
via the following URL http://www.acsa.edu.au/indigenous/index.html
The Ambassadors Program
Community groups and individual Australian
Indigenous people who appreciate the importance of achieving in literacy
and Standard Australian English are working as volunteers with the Indigenous
Education Branch of Commonwealth DETYA to be ambassadors to school students
and professional groups. When with students, the ambassadors emphasise
the importance of doing well at school and when speaking to professional
groups such as your own they ensure that you understand that Australian
Indigenous people can achieve in formal education and to the greatest
part want to achieve well.
ACER Longitudinal Study of English
Literacy and Numeracy Development in Indigenous Students
The Australian Council for Educational
Research (ACER) Longitudinal Study of English Literacy and Numeracy Development
in Indigenous Students was commenced in 2000 and will conclude in 2002.
The researchers are tracking Australian Indigenous students in the first
three years of their formal schooling.
It has been found that schools where
the whole staff, - classroom teachers, teacher/librarians, principals
and other administrative staff as well as teacher aides and AIEWs (Aboriginal
and Torres Strait Islander Education Workers), make literacy in Standard
Australian English a priority, students are much more likely to achieve
the set standards and benchmarks. Teachers who work to align curriculum
with the standards to ensure that all students receive instruction that
matches the set requirements, are more likely to have students succeeding.
Schools were higher literacy standards
are achieved are synonymous with schools where the leadership skills of
the principals and literacy resources teachers as well as year level coordinators
are aptly applied. Schools that provide substantial, prolonged professional
development in reading, writing and all other aspects of literacy and
the teaching of English are also more effective. Effective teaching practices,
classroom management, classroom organization, and ongoing assessment are
topics which must be included in professional development aimed at better
equipping teachers for the task of teaching English and enabling students
to achieve literacy benchmarks. Exemplary teachers participate in programs,
which facilitate situations where they can share their competencies with
their fellow teachers.
Education Departments, which embrace
leading edge initiatives in the area of literacy and English teaching
that distribute and demonstrate such strategies via traditional professional
development and using the most up to date information communication technology,
are far in front in the race to achieve national literacy standards.
Schools, which have a two-hour literacy
block per day, are being successful. The literacy block includes: Guided
Reading, - activities that teach reading skills; Selected Reading students
make their own selections beyond the assigned reading; Writing; and Word
Study, a new term for spelling. Each student should write every day and
are strongly encouraged, to read to their caregivers, at least five books
outside of school during a term.
I encourage you to be on the look out
for the final report of the ACER Longitudinal Study of English Literacy
and Numeracy Development in Indigenous Students when it is due in 2003.
Conclusion
Rather than simply bore you with a report
about research, I have wanted to expand your thinking on what literacy
is and to ensure that in doing so I have given you an insight into contemporary
Australian Indigenous life. I have chosen to do this by looking at literacy
through the lens of art in its many forms. For a literate life is more
than simply reading and writing and using language proficiently. It is
being willing to, and open enough to read the symbols of other lives,
and of other cultures. People who live literate lives, live lives filled
with meaning and purpose. They live lives based on education, knowledge
and culture. By way of concluding, I invite you to have a more meaningful
and purposeful life. I invite you to make having a better understanding
of Australias Indigenous literacies a part of your educated, knowledgeable
and cultured life.
Thank you
Davina B Woods
* Langwij is one orthographic rendering
of 'language' in Aboriginal English or Torres Strait Islander Kriol. Aboriginal
and Torres Strait Islander people often use the word language
to mean something like our language, or the language
we use.
References
Aboriginal and Torres Strait Islander
members of the Australian Education Union; and Maori members of NZEI:
Te Riu Roa; Status report on Indigenous education in Australia and
Aotearoa/New Zealand - Report to: Education International Congress17
- 22 July, 1995, Not published publicly
Goulburn Valley Aboriginal Education
Consultative Group Incorporated, 1994, Deadly Eh, Cuz! Teaching
Speakers of Koorie English
Groome, H. & Hamilton, A., 1995,
Meeting the Educational Needs of Aboriginal Adolescents, Commissioned
Report No 35 of the National Board of Employment, Education and Training,
AGP, Canberra,
Horton, David; The Encyclopaedia of
Aboriginal Australia. Canberra, Aboriginal Studies Press for Australian
Institute of Aboriginal and Torres Strait Islander Studies, 1994
Isaacs, Jennifer; Arts of the Dreaming
- Australias Living Heritage. Sydney, Lansdowne, 1984
McRae, D., 1995 Langwij comes to School,
Social Change Media and the Curriculum Corporation, AGP, Canberra.
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