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AUDIENCE:
this resource is appropriate for all ages, but its tongue-in-cheek, satirical style of humour
would require detailed analysis for early high school children, and its meaning would
most likely be unclear to primary aged students.
AUTHOR/OWNER SHIP:
Leunig is credited as the creator, although it is unclear who has profited from this
particular piece of his work.
CONSULTATION/AUTHENTICITY:
Leunig is a non-Indigenous person and does not offer any information about
consultation or research of the experience/interaction this comic depicts. This comic
does depict an interaction that many Indigenous artists have spoken about, and is
anecdotally well known in artistic communities.
CULTURAL PROTOCOLS:
there is no information available, and this section is not as applicable for this resource.
Written REPRESENTATION of Aboriginal people:
This resource shows a single representation of Aboriginal people; the female traditional
artist/painter. While this resource does not represent the high levels of individual
LINGUSTIC CONSIDERATIONS
diversity that exists across Aboriginal Australia, it encapsulate a common power dynamic
that had been particularly prevalent in the art world, and applies the technique of
stereotyping highly effective to the white gallery owner/art critic. This resource also
does a nice job of exploring how contemporary and traditional worlds meet, and the
difficulties in negotiating this meeting in a respectful and considerate way.
EMPHASIS:
The emphasis of this piece is negative. This is shown very strongly by the ignorance,
paternalism and arrogance of the white gallery owner/art critic. The female artist does
not speak, but her facial expression and posture convey magnitudes. This resource
manages to convey in a few short words a wealth of information about power
relationships, industry and legitimacy, providing much for students to analyse and
explore.
TERMINOLOGY:
The short amount of text in this resource provides interesting terminology to analyse.
realistic style, nice, pleasing landscapes and proper artistic societies are encoded
with a variety of meanings. This short snippet of text provides an excellent example of
the trivialisation and oversimplification of indigenous knowledge and worldviews which
will be easily comprehensible for students
AUTHOR /AUTHORITY:
Leunig has drawn this cartoon from his imagination and the characters depicted within it
are not intended to represent actual people, so this section is not as applicable to this
resource.
VISUAL CONSIDERATIONS
CONTEXT:
The meaning of this carton would be influenced if it was published in the Sydney
Morning Herald or The Daily Telegraph (as Leunigs works often are). Where in the paper
it was publish (front page, middle, back) and what articles were positioned around it
could also change its meaning. This possible context could be explored and analysed for
meaning in class with students.
Visual REPRESENTATION of Aboriginal people:
this resource adroitly employs a variety of visual techniques to convey meaning. Leunig
has used the comparative size of the figures to emphasise power, colours to imply their
characters and very effectively used little detail in the background, but still strongly
implies the setting is an art gallery. Like all Leunigs work, this is an excellent example of
visual representation techniques to convey meaning.
WHERE/HOW WOULD/COULD YOU USE THIS RESOURCE:
USEABILITY
This would be a great resource to use for in-depth analysis in stage 4 & 5 or for a written
response stimulus in later stage 5 and stage 6. Leunig has a number of comics that
explore social justice and rights issues facing Indigenous Australia, and these could be
used together or to increase exercise complexity
NOTE: additional research may be necessary to answer these questions. If research is required
this should be noted. If information cannot be found, list as unknown this could affect the
suitability of the resource.