1.     Statement of Intention

This teaching and learning sequence addresses Unit 2 Area of Study 2 Cultural ownership and Design from the Visual Communication Design curriculum (Accreditation Period 2024 – 2028). The sequence I have devised demonstrates an emergent interpretation of the study designs’ key knowledge and skills. The structure of the sequence intends to parallel culturally appropriate methods of designing personal iconography with critical Indigenous design theory, ethics and policy. I had the opportunity to teach the sequence over the last three weeks of Term 3 2024, as part of my Learning Support work at a Private Secondary School in Outer East Naarm/Melbourne, and have made adjustments to the design of the sequence upon reflection.

As a pre-service teacher I am aware of the responsibility that I have to uphold the Australian Institute of Teaching and School Leadership (AITSL) Professional Standards, specifically in relation to the design and delivery of Aboriginal and Torres Strait Islander learning experiences. Standard 2.4 states that teachers must;

“Understand and respect Aboriginal and Torres Strait Islander people to promote reconciliation between Indigenous and non-Indigenous Australians; demonstrate broad knowledge of, understanding of and respect for Aboriginal and Torres Strait Islander histories, cultures and languages" (n.d)

As such, my approach to conducting this unit of study is framed from the experience of a non-Indigenous Australian; acknowledging the history of colonisation in Australia which continues to cause great challenges for Indigenous people. An investment in Indigenous history and contemporary discourse is paramount to teaching the unit with compassion and insight. The annotated links section of this sequence provides a foundation of resources with which to build upon; they provide a range of informative texts, but cannot speak to the plethora of experiences, stories and beliefs of Aboriginal and Torres Strait Islander peoples. It is the belief of this emerging Teacher, that empathy and understanding are key to the success of engaging students in culturally appropriate practices and conversations.

The learning sequence has been designed with all of the AITSL standards in mind. Standards 2.2 “organise content into an effective learning and teaching sequence” and 3.2 “Plan lesson sequences using knowledge of student learning, content and effective teaching strategies” (n.d) are demonstrated in the learning sequence lesson plans. Taught across three weeks, the intake of critical information combined with engaging practical tasks make for a jam packed unit. As per the study designs, the two outcomes of the unit are; “creation of personal iconography in a range of design exercises and an extended written response” VCAA, 2024 p.31. Students that I taught were tasked with a 100-word analysis, however this word count should be increased and the task description should be developed to meet the VCAA standard of extended written responses.

 Two of the Department of Education and Training’ (DET) High Impact Teaching Strategies (HITS) 2019 are at play in this teaching sequence. ‘Strategy 3: Explicit teaching’ can be used in the delivery of critical Indigenous theory and policy. I ran this conventional approach through a process of incremental note taking across the unit; whereby students were directed to write the emboldened text: key knowledge from the google slides into their notebooks (supplementary to the folio). Class time is split evenly with theory and practice. Prompted questions followed each focussed session assessing how well students had interpreted and remembered the information; “the teacher checks for understanding, and at the end of each lesson revisits what was covered and ties it all together”
(Hattie, 2009).
‘Strategy 5: Collaborative learning’ is fundamental to engaging students in a sense of communal responsibility; that all Australians play a role in supporting Indigenous people. It is also inherent to the way Indigenous people connect with each other and practise sharing through storytelling and making. The printmaking component of this unit is oriented toward this collaborative interaction. As such, students are tasked with orchestrating a printing circle; each printing their individual icon onto a shared tote bag. The process is repeated for every member of the class (11 students, 2 teachers = 13 bags) and relies on their ability to co-operate, communicate and support each other; “collaborative learning is supported by designing meaningful tasks. It involves students actively participating negotiating roles responsibilities and outcomes”.
It is important to note that the design outcomes produced by students were conducted through culturally appropriate practices and where necessary, mediated with a nuanced, progressive discussion that advocated for the respect of Indigenous Cultural Intellectual Property. Speaking to a Koori educator may be a port of call for teachers to ensure they conduct culturally appropriate teaching and learning experiences.

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2. Analysis of ICT and Website as Pedagogical Tools

The role of ICT in the delivery of this unit is supplementary; providing stimulus to guide students through theoretical components of the area of study and provide a platform of digital resources to assist their independent research. Google drive is used as a pedagogical tool to provide access to visual stimulus, task details and links presented in the google slides as well as provide a safe uploading and storing space for student work. This approach exhibits AISTL Professional Standard 3.4 which states “select and use resources; demonstrate a knowledge of a range of resources, including ICT, that engage students in their learning” (n.d). In addition to appropriate attribution practices, links in the google slide presentation are designed to extend student engagement in the deliverable content. For example, on slide 13, a link to a VR tour of the Walinynga (Cave Hill) Archaeological Site in Central Australia can be accessed to visually transport students into the land and knowledge of Indigenous Elders. In doing so, it aims to bridge connections with environments beyond students’ immediate and create visual connections that consider the litany of Indigenous and Non-Indigenous experiences nation-wide; broadening the scope of possible design outcomes. Clear distinctions between how students engage with and document critical Indigenous theory and policy (through explicit teaching; notetaking and dictation) and conduct culturally appropriate practices (through manual and digital folio work) in the development of their iconography is essential. Reiterating that learning about Aboriginal and Torres Strait Islander design is about cultural appreciation (through inquiry, respect and understanding) and not about cultural appropriation (making in the styles and methods of Indigenous people).

3. Learning Sequence 

The learning sequence outlined below reflects the decisions I made prior to teaching Unit 2 AOS 2 with adjustments to plans as classes unfolded. The unit was conducted over 8 classes across the 3 weeks; 3 x 80 minute periods a week. One class was missed due to a school event.

I sought to intertwine the delivery of key knowledge from the study design;

“Ethical and legal responsibilities impacting the work of the designer, such as issues of ownership and intellectual property.
Protocols for the creation and commercial use of Indigenous knowledge in design, including representations of Aboriginal and Torres Strait Islander culture.
Culturally appropriate design practices for the creation of personal iconography.” (VCAA, 2024 p.29)

with practical exercises like ICT-based research, divergent thinking strategies, and observational drawings to instil the value of a hybridised design practice: where making and researching are tools in a dual practice. I also sought to impart the importance of understanding and knowing the client or context before trying to address the design problem/opportunity; demonstrating the process of being an informed designer.

A google slides presentation accompanies verbal instructions across the delivery of the unit, as a means of tracking the class’ progress through key knowledge and learning tasks. I have attached the presentation in the submission folder of this assessment for reference. The learning sequence refers explicitly to slides from the presentation.

Weekly Content Breakdown

Weekly Slide Presentation (key content, activities and task descriptions)

4. Annotated Links to Support the Learning Sequence. CLICK LINKS TO OPEN

National Gallery of Victoria (NGV):
The NGV has extensive resources on Indigenous Art and Design and is committed to empowering the voices of contemporary Indigenous Artists and Designers. Their catalogue of Indigenous Art styles provides accurate information regarding the lineage of Aboriginal and Torres Strait Islander histories. Their collection of artworks and artefacts are a starting point to demonstrating the way Indigenous Australians have and continue to communicate through their visual language.

Marcus Lee Design:
Marcus Lee is a First Nations Art and Design firm catering to the First Nations Sector. Demonstrates the extensive portfolio of a business focusing on contemporary First Nations Design. Great exemplars for teaching Indigenous symbology and their relationship to region.

Freeing the Flag:
Origins of the Aboriginal Flag and the political discourse around its intellectual property.

Gilimbaa Design:
Creative agency specialising in “strategic and connected communication”. Extensive resources about connecting practitioners and community members with opportunities and information to support them.

First Peoples State Relations:
Government resources regarding cultural customs and practices, information on specific regions in the state, heritage listed sights or objects, land owners/managers and links to agencies, community groups and other programs designed to support Indigenous people.

David Unaipon:
Case study from the text book that accounts the significance of David Unaipon, famous Ngarrindjeri man, author, inventor and preacher – great example of cultural commemoration connecting Indigenous and Non-Indigenous people.

AIDC:CD:
The Australian Indigenous Design Charter: Communication Design (AIDC:CD) is a guide to self-regulating professional creative practices. It does not claim to comprehensively address appropriate representation of First Nations Cultures, instead it aims to help creatives make informed, authentic and respectful decisions. Provides clear values for working with Indigenous designers and their entitlement to intellectual property upon delivering and disseminating their design solutions.

First Nations Cultural and Intellectual Property in the Arts:
Excellent for corroborating information from the textbook. Positions the designer/artist first, advocates for the agency of the individual creator and visually demonstrates the way culturally appropriate practices should be conducted. ASL interpreter is also featured in video content.

Karen Briggs (Yorta Yorta Artist):
Exemplar of a contemporary Indigenous artist who decodes the symbology of her work in real time. Proficient digital design practice – bridges industry standard processes with context of learning.

First Nations Symbols:
Decodes the semiotic properties of Indigenous symbology – excellent tool in demonstrating the communication of identity/presence/physicality through simplified motifs.

Jeff Koons: Iconography and Art:
A supplementary resource to frame the creation of icons and bold, simplified imagery/objects through a non-Indigenous lens. The pop culture reference can provide students with a starting point for developing designs that represent their interests as a scaffold to communicating their identities.

References: 

Australian Institute for Teaching and School Leadership. (n.d.). Australian professional standards for teachers. https://www.aitsl.edu.au/standards 

Department of Education and Training (DET) 2019. High impact teaching strategies: Excellence in teaching and learning. 
https://www.education.vic.gov.au/Documents/school/teachers/support/high-impact-teaching-strategies.pdf

Roberts, R 2022, Target Learning: Visual Communication Design, Richard Roberts https://targetlearning.com.au/target-learning-vcd/faq/

SGNSW 2021, Aboriginal Arts and Culture Protocols, Department of Creative Industries, Tourism, Hospitality, Sport Create NSW, https://www.nsw.gov.au/arts-and-culture/engage-nsw-arts-and-culture/resource-hub/aboriginal-arts-and-culture-protocols

SGV (State Government Victoria) 2023, HITS (High Impact Teaching Strategies), Strategy 4 – The Worked Example, https://www.education.vic.gov.au/school/teachers/teachingresources/practice/improve/Pages/hits.aspx

VCAA (Victorian Curriculum and Assessment Authority) 2024, VCE Visual Communication Design, Study Design, https://www.vcaa.vic.edu.au/curriculum/vce/vce-study-designs/visualcommunicationdesign/Pages/Index.aspx