Wirnan Intergenerational Engagement and Learning Project

Wirnan Intergenerational Engagement and Learning Project: Impact Evaluation

August 2022

Make tomorrow better.

curtin.edu.au

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This evaluation study was undertaken by Dr Amma Buckley, a researcher from Curtin University for Waringarri Arts Aboriginal Corporation as the lead agency for the collaboration of six Aboriginal Art Centres across the Kimberley region.

Citation Information Buckley, A 2022 Wirnan Intergenerational Engagement and Learning Project: Impact Evaluation. Curtin University. Perth.

Contact Information Dr Amma Buckley Senior Research Fellow Media, Creative Arts and Social Inquiry Faculty of Humanities, Curtin University. a.buckley@curtin.edu.au

ACKNOWLEDGEMENTS The researcher gratefully acknowledges the willingness of Kimberley Aboriginal Arts Centres stakeholders, namely artists, arts-workers, managers and external agencies to contribute to the Wirnan Intergenerational Engagement and Learning Project Impact Evaluation. I wish to thank visited Centres for hosting me and remotely accessed centres for scheduling online interactions during what were often busy periods in Arts Centre calendars. In addition, I acknowledge and thank Cathy Cummins for her ongoing support, advice, and information and to Waringarri Aboriginal Arts Board for their oversight of the project.

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FINDINGS SUMMARY Impact evaluation of the Wirnan Intergeneration Engagement and Learning Project sought to establish if the collaborative model delivered by six Kimberley Art Centres has benefitted participants taking part in arts and cultural activities aimed at strengthening culture (and language) and improving wellbeing. The cross-agency collaboration involved: Waringarri Aboriginal Arts (Kununurra), Warmun Art (Warmun Community), Warlayirti Artists (Balgo), Mangkaja Arts Resource Agency (Fitzroy Crossing), Mowanjum Art and Culture (Derby), and Kira Kiro Artists, an outreach project of Waringarri Aboriginal Arts (Kalumburu). The Wirnan project which commenced in October 2019 has been guided by a Measurement and Evaluation (M & E) framework which established the parameters for data collection and impact measures.

In taking the Wirnan M & E framework as a starting point, the Curtin evaluation project, undertaken between May to August 2022, incorporates the analysis of activity data collected by the six Arts Centres for the period October 2019 to June 2022. In addition, 30 interviews were conducted involving artists, arts-workers, managers and external stakeholders for a more in-depth understanding of the benefits of being involved with related activities.

Scope and outcomes of Wirnan activities In total, there were 3387 participants involved in the 170 reported Wirnan activities from 2019 to 2022. These activities occurred in Kimberley Arts Centres, primary and secondary schools, on Country and in community settings. Participants included 1062 adults (31.4%), 1149 children under 15 years (33.9%), 539 elders (16.0%) and 496 young adult (14.6%). When an analysis was undertaken of the reported outcomes of these activities, the reoccurring descriptions in order of frequency included: cultural knowledge transfer/sharing, intergenerational learning and engagement, skills development/transfer or reskilling, connection to Country and improved wellbeing: all outcomes that align with intended impacts of the Wirnan project.

From 2021, activity reporting also included observational scoring as well as a rationale for assigned ranking of associated activities in the areas of cultural engagement and wellbeing improvement. A yearly aggregate of scores (2021 and 2022) revealed high rankings in both domains (cultural engagement and wellbeing improvement) that continued to improve over the life of the Wirnan project. Success factors for cultural engagement included: intergenerational exchange, transfer of knowledge and skills, performance opportunities, elder-led events and storytelling. For wellbeing

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improvements, indicators included: increased pride, happiness, greater connection among participants and reported mental and spiritual regeneration; all positive benefits noted from engagement in activities.

Another important outcome category was cross agency or regional engagement, which involved planning and discussing Wirnan activities and evaluation approaches on an ongoing basis. This was reported to have strengthened regional networks. These sessions were also seen as an important forum for strengthening and increasing the participation and input of current and emerging Aboriginal leaders.

Interview findings Findings from interviews have largely reinforced reporting associated with activities.

These are arranged with accompanying quotes and address the Aboriginal and Torres Strait Islander Suicide Prevention Evaluation Project (ATSISPEP) outcomes in keeping with the M & E framework. Outcome findings include: a) Building identity, social and emotional wellbeing and healing Interviewees reported the importance of their artistic practice as the basis for strengthening cultural identity, intergenerational connections and social interaction with key wellbeing benefits due to involvement in Arts Centres and Wirnan components. b) Culture being taught in Schools Children were well represented in Wirnan activities, with some of these activities undertaken in conjunction with schools. Interviewees identified the importance of next generation knowledge and engagement with Aboriginal culture. c) Programs to engage and/or divert (Connection and employment) Interviewees discussed connection to country, engagement with culture and connecting with Elders as strengths of Wirnan activities. In addition, employment within Arts Centres was considered an important way of skilling people within a culturally safe environment. d) Involvement of Elders, community managed and evaluated The role of Elders in Wirnan project was clearly emphasised as critical for cultural transmission. Elders also acknowledge their pivotal role in cultural maintenance.

This section also includes input by external stakeholders who provided some salient examples of change stories reinforcing the overall findings of the success of the Wirnan project.

Change stories Incorporated in the reporting are six text boxes, which recount stories of change. These stories include: using artistic practices to heal and support wellbeing; the role of Elders

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within a school setting, an account of five generations returning to Country; an intergenerational collaboration to create a community mural; developing and resourcing an alternative venue to the Arts Centre to improve access and wellbeing of emerging artists; and a story of the importance of respect between artists to support wellbeing.

In addition, there are some suggestions about the evaluation framework and possible approaches moving forward to integrate evaluation more fully into a feedback loop informing future Wirnan activities.

Overall, the evaluation study established the success of Wirnan project confirming that the range and scope of activities met the major objectives of Wirnan in relation to strengthening culture through intergenerational engagement while improving wellbeing of participants; positives that were reportedly amplified when activities were held on Country. Further, the study confirmed that the Wirnan project’s flexible and consultative approaches encouraged and supported Aboriginal decision making and governance.

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TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................................................................. ii FINDINGS SUMMARY ..................................................................................................................................................... iii SCOPE OF PROJECT.......................................................................................................................................................... 1 1.

2.

METHODOLOGY ...................................................................................................................................................... 2

1.1

1.2

Activity reporting .......................................................................................................................................... 2

Arts Centre Interviews ................................................................................................................................ 2

ETHICS......................................................................................................................................................................... 3

PART A .................................................................................................................................................................................. 3

ACTIVITY REPORTING OCTOBER 2019 TO JUNE 2022 ................................................................................... 3 Session numbers .......................................................................................................................................................... 3 Participation numbers ............................................................................................................................................... 4

Manager evaluation .................................................................................................................................................... 6

Effectiveness of cultural engagement.................................................................................................................. 6 Wellbeing improvement ........................................................................................................................................ 10

PART B ............................................................................................................................................................................... 13 INTERVIEW FINDINGS ................................................................................................................................................ 13

a) Building identity, social emotional, wellbeing and healing................................................................ 14

b) Culture being taught in Schools..................................................................................................................... 16

c) Programs to engage and divert ..................................................................................................................... 18

d) Involvement of Elders, community managed and evaluated........................................................... 24 e)

External Stakeholders’ Viewpoints.......................................................................................................... 25

FEEDBACK ON M & E GUIDE & EVALUATION TOOLS.................................................................................... 26 CONCLUSION ................................................................................................................................................................... 27 REFERENCES ................................................................................................................................................................... 28

APPENDIX A ..................................................................................................................................................................... 29

APPENDIX B ..................................................................................................................................................................... 32

APPENDIX C ..................................................................................................................................................................... 33

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List of Figures Figure 1: Number of Wirnan activities by year......................................................................... 4 Figure 2: Proportionality of identified activity outcomes by theme ............................................ 6 Figure 3: Average ranking for cultural engagement using 10-point scale (2021 and 2022) ........... 7 Figure 4: Word Cloud of responses to cultural engagement scoring (2021-2022) .......................10 Figure 5: Average ranking for wellbeing improvement using 10-point scale (2021 and 2022) .....11 Figure 6: Word Cloud of responses to wellbeing improvement scoring (2021-2022) ..................12

List of Tables Table 1: Wirnan overall participation numbers by age classification and year ...................................... 4 Table 2: Participation by representative role and Arts Centre+ ................................................................. 13 Table 3: Benefits and limitations of Most Significant Change methodology........................................ 26 Text Boxes Change Story 1: A healing process: “History beneath the beauty”……………………………….16 Change Story 2: Wirnan activities in the Ngalangangpum School, Warmun.…………….….….18 Change Story 3: Five generations return to Ngarinyin Country ………………………………….19 Change Story 4: Intergenerational painting of store murals……………………………………….20 Change Story 5: Outreaching to improve wellbeing and provide employment.…………….…...22 Change Story 6: Respect and wellbeing among artists ……………………………………………25

Images Image 1: Panel in the Kira Kiro Art Centre……………………………………………………….21 Image 2: Panel mounted on Uraru Store wall………………………………………………….....21

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SCOPE OF PROJECT Kimberley Art Centres have been collaborating in the Wirnan Intergenerational Engagement and Learning Project to deliver intergenerational cultural engagement activities as a strategy to strengthen culture and social/emotional wellbeing. Activities have been delivered independently by each of the six art centres engaged in the project in combination with collaborating to strengthen regional networks. Activities are focused on developing next generation, young adult and youth cultural resilience and well-being.

It is anticipated that participation in arts and cultural activities will lead to improved wellbeing and positive changes in communities. In order to measure how participants in arts and cultural activities has improved health and wellbeing, this study will draw on records and stories as well as gathering additional stories about project participants and the ways they are affected by these activities. Impact monitoring and evaluation seeks to provide better evidence about the importance of arts and culture for Aboriginal

communities.

Parts Objectives

Task

Methods

1

Gain ethics approval for the research

Ethics application Consent forms Participant information sheet

2

Establish health and well-being impacts through change stories

Draft and submit an ethics application for review by Curtin Human Research Committee Collect, compile, collate and analyse change stories from project participants, centre staff and managers

3

4

Integrate quantitative and qualitative data collected across the project Evaluate crosssector partnerships for impact and to establish a more complete story

Analyse manager reporting data, statistical data and extant stories Gather and/or assist to gather program partner feedback on the impact of the project

Seek input and provide advice and assistance on data collection tools and methods including multimedia Conduct and/or assist in conducting data collection for change stories with repeat participants (either online or inperson) Review existing data and integrate.

Desktop search and analysis of existing socio-wellbeing data.

Develop interview or survey tools, conduct interviews where possible/ appropriate (either online or in-person) and analyse results

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1. METHODOLOGY As identified in the Wirnan Project Scoping document, this evaluation project includes two approaches to data collection and analysis. The first is the examination, collation and analysis of activity reporting undertaken by the six Kimberley Aboriginal Arts Centres from 2019 to 2022. This involved a review of activity reports. The second is data collected in face-to-face and online interviews including some follow-up to capture and refine change stories.

1.1

Activity reporting

Kimberley Arts Centres developed Wirnan Intergeneration Learning Project Monitoring and Evaluation Guide for Arts Centre Managers (2020). While this framework identified a number of data collection approaches and methods, monitoring and evaluation data was largely submitted as individual reports for each activity.

These reports included: a) Session name and number b) Participant numbers and age demographics c) Activity descriptions and location details d) Identified outcomes e) Quantitative and qualitative activity evaluation data (2021 onwards).

The sample for analysis included 170 reports for activities undertaken from October 2019 to end of June 2022.

1.2

Arts Centre Interviews

A total of 30 interviews, ranging from 30 to 60 minutes in duration, inform the second aspect of the evaluation study. This involved 12 artists, 10 arts-workers, five managers or facilitators and three external stakeholders. Some 79 per cent of participants were Traditional Owners or First Nations peoples. The majority of interviews were face-toface conducted during visits to Kununurra, Fitzroy Crossing and Derby (22) in two separate trips. The remainder were online or telephone interviews (8). However, not all Arts Centres were involved in the interview process. Data was collected from May to August 2022. Interviews were recorded, transcribed, coded and then analysed against aspects of the Wirnan M & E Guide. A summary table of relevant framework components is provided at Appendix A. All interviews were conducted in accordance with Curtin University Human Ethics Committee (HREC) guidelines and approvals and were recorded with the consent of participants. Feedback was sought for interview questions and project documents from Waringarri Aboriginal Board and KAA Managers prior to the commencement of the study.

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2. ETHICS Curtin University complies with and endorses the National Statement on Ethical Conduct in Research (National Health and Medical Research Council, 2018) 1. As such, prior to commencing this evaluation, the researcher applied to the Curtin Human Research Ethics Committee (HREC) for permission to proceed. The HREC provided authorisation and the approval number is HRE2022-0193. This number should be quoted to Curtin in relation to any aspect of the ethics status of the research process.

PART A ACTIVITY REPORTING OCTOBER 2019 TO JUNE 2022 The six participating KAA centres reported on Wirnan Project activities from October 2019 to June 2022. Reported data has been arranged across four periods, October to December 2019, January to December 2020, January to December 2021 and January to June 2022. Wirnan activity summaries include participating centre, description of activity, dates and location of the activity, participant ages and a description of outcomes. From 2021, additional reporting areas included manager evaluation and feedback on the effectiveness of cultural engagement (rating scale and open-ended question) and wellbeing improvements (rating scale and open-ended question). These are summarised in the section below.

Session numbers Overall, there were 170 Wirnan Project activities reported during the period October 2019 to June 2022. There were 15 activities from October to end of 2019, 103 activities in 2020, 39 activities in 2021 and 12 activities to 30 June 2022. Most activities and the majority of attendances occurred in 2020, despite lockdown periods associated with COVID-19. The next year with the most sessions was 2021, again a year hampered by COVID-19 restrictions. In the first half of 2022, for the first time COVID was widespread in Western Australia, including the Kimberley. Session figures are illustrated in Figure 1.

Available at https://www.nhmrc.gov.au/about-us/publications/national-statement-ethicalconduct-human-research-2007-updated-2018 1

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120 100 80 60 104 40 20

39 15

0

12

2019

2020

2021

2022

n = 170

Figure 1: Number of Wirnan activities by year

Participation numbers These sessions involved a minimum total of 3387 participants during this timeframe 2. Of these, 539 (16.0%) were Elders, 1062 (31.4%) were adults, 496 were young adults (aged 15-24 years) (14.6%) and 1149 (33.9%) were children (under age 15 years). Others were totalled at 141 (4.1%), and referred to Arts Centre staff, school or outside organisations staff and visitors. These are set out in Table 1.

Table 1: Wirnan overall participation numbers by age classification and year 3 Elders

Adults

2019

10

Young adults (15-24 years) 117 52

2020

223

574

181

2021

258

288

2022

48 539

Children (under 15) 121

Other

Total

21

321

623

83

1684

223

392

0

1161

83

40

13

37

221

1062

496

1149

141

3387

2

In some activity reporting, particularly where there were a series of similar or associated activities, a range of participants was recorded, therefore the maximum number of attendees within this range are included as the total.

3 The total includes repeat participants - a stated aim of evaluation - in order to capture the richer perspectives of individuals who had attended a number of Wirnan activities.

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Descriptions of outcomes were reported by each of the six KAA centres for Wirnan project activities (see Appendix B for reporting template). Qualitative or descriptive outcomes data was compiled into a spreadsheet, coded for broad themes 4 and then calculated for frequency. As there were a number of outcomes per activity, frequency is indicative of the occurrence of these outcomes rather than providing a definitive assessment. These were then charted as a Hierarchy Chart (see Figure 2) which displays proportionality in terms of the Wirnan Project outcomes across the 2019-2022 timeframe.

The order of proportionality or frequency of stated outcomes includes: 1.

2.

3.

4.

5.

6.

7.

Cultural knowledge transfer/sharing Intergenerational learning and engagement Skills development/transfer or reskilling Connection to country Wellbeing Regional engagement Evaluation

This analysis confirms that the major objectives of Wirnan were met in associated activities, namely delivery focussed on community engagement and cultural activities that supports intergenerational engagement and cultural transmission often through connection to Country.

4

Utilising NVivo Qualitative Research Software

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Figure 2: Proportionality of identified activity outcomes by theme

Manager evaluation Reporting from 2021 onwards included manager assessments of the effectiveness of each activity as an addition to the previously discussed outcomes reporting. These are in relation to cultural engagement and wellbeing improvement. Included was a quantitative ranking question and a question seeking a description or rationale for the score provided.

A 10-point scale is used to rank both cultural engagement and wellbeing improvement, with a score of 1 being the lowest assessment of effectiveness and 10, the highest. This data is presented as an average while the rationale question responses are summarised in the following section, supported by relevant quotes.

Effectiveness of cultural engagement Ranking The result for cultural engagement ranking was a mean or average score of 7.9/10 for 2021 activities. Completion of this evaluation aspect in 2021 occurred for 87.5 per cent (35/40) of activities. For the January to June 2022 period, the effectiveness ranking

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increased, with an average score for cultural engagement of 8.8/10. Completion of this evaluation aspect was undertaken in 73% (11/15) of activities. (See Figure 3 below)

Effectiveness of cultural engagement (2021- 2022) 10 9 8

8.8 7.9

7 6 5 4 3 2 1 0

2021

2022

n = 35 (2021); n = 11 (2022)

Figure 3: Average ranking for cultural engagement using 10-point scale (2021 and 2022)

Reasoning behind cultural engagement scoring (2021-2022) Reasoning behind cultural engagement scores differed due to the variety of activities and contexts, for example, Arts Centre workshops, on Country activities, small groups, large groups, children and youth. The more dominant themes identified that these activities supported intergenerational exchange, facilitated skills and knowledge sharing, included cultural performances, as well as telling cultural stories through painting and other means both ‘on Country’ and within culturally safe spaces provided by Aboriginal Arts Centres. Some of the quotes have overlapping content, which demonstrates the interconnectedness between many aspects associated with the Wirnan Project.

Intergenerational exchange From associated comments, the most effective aspect of cultural engagement was intergenerational exchange, particularly ‘on Country’, emphasising the positive benefits of engagement in Wirnan activities between elders, adults, young adults and children. In a few activities, exchanges were also within these groups. Feedback examples include: Young people excited and happy. Old people contented. A spiritual trip. Fished in the water hole and caught perch. Young people taught [by elders] how to cook these and then crush for protein and dry out if going camping. Positive energy in the group. (Activity: Bush tucker tips, On Country, Warmun Arts)

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The opportunity to engage with Elders on country is vital for intergenerational learning. The trip was very productive, and it was exciting to see the enthusiasm from the children. (Activity: Three-day cultural excursion, Kupungarri, Mowanjum Aboriginal Art and Cultural Centre) The artists who are also parents and grandparents of the children assisted with encouraging the children’s creativity and design ideas. The children worked on a project with the elders to benefit the whole community. (Activity: Mural project, Kira Kiro Artists) This trip was enormously successful regarding cultural engagement. It’s hard to put into words the importance and success of the trip. From singing, to painting, hunting, storytelling to traditional healing; many cultural practices were a part of everyday for both youth and elders. (Activity: Connection to Country, Balgo to Canning Stock Route (return) trip, Warlayirti Artists) The collaboration provided an important opportunity for artists to work together and learn from mentors and each other. (Activity: Emerging Artists Collaboration, Waringarri Aboriginal Arts) For the students visiting, the cultural engagement is quite high. They are able to listen to Elders speak about how their artistic work connects with the stories of their lives, culture and country. For those Elders, having young people come through to listen is also very important. (Activity: High School visits, Fitzroy Crossing, Mangkaja Arts Resource Agency) Transfer of Skills and Knowledge Comments supporting effective cultural engagement also involved discussions about transfer of skills and knowledge often related to bushcraft activities such as harvesting bush tucker or materials for traditional artifacts. This also included discussions about transferring cultural stories to art designs and extending cultural knowledge to new medium. Comments included: … the opportunity (access to a vehicle) to get to the lake, be on the land, observe changes and tell stories while collecting grasses was very culturally engaging.

(Activity: Collecting grasses for weaving, Paraku (Lake Gregory), Warlayirti Artists) All the artists enjoyed the process of collecting the materials in the bush and making something that they learnt from their parents a long time ago. They have talked about wanting to resurrect this technique for a long time. (Activity: Bark Collecting, On country, Kira Kiro Art Centre) The women enjoyed being focused on sharing the cultural stories that inspire designs for textiles and ceramics. (Activity: Strong Women’s Workshop, Waringarri Art Centre, Waringarri Aboriginal Arts)

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This project allowed for some of Mangkaja senior artists to extend their skills around animation techniques. These skills often get used by our senior artists to create work that shares cultural knowledge and as well as to run workshops themselves with children that extends intergenerational learning. (Activity: Animation Workshop, Animation Studio, Mangkaja Arts Resource Agency) Transference of cultural knowledge, traditional fishing and bushcraft techniques.

Projects on country are important cultural activities with the Mowanjum community and the arts centre. (Activity: Three generations of Woddorda people return home, Mowanjum Aboriginal Art and Cultural Centre) A range of other themes emerged including the effectiveness of performance opportunities for cultural engagement (particularly corroboree), elder-led events, telling cultural stories through painting and other media as well as culturally safe spaces provided by Aboriginal Arts Centres.

Elders are reinvigorated whenever cultural dancing is performed. (Activity: Waringarri and Warmun Arts Centres’ Joonba Celebration, Waringarri Aboriginal Arts) Many of the participants do not have the opportunity to engage regularly in cultural practice and while this activity is not strictly a cultural learning activity it is delivered in the safe cultural space of the Arts Centre with other artists and cultural elders present. (Activity: Community Well-being Art Therapy Partnership with OVAHS, Waringarri Aboriginal Arts).

The value of regional meetings was also highlighted as effective for cultural exchange and in strengthening and increasing the voices of current and emerging leaders.

Comments included: Artists and Arts-workers travelling via road to the Regional Meeting were able to connect with each community’s cultural welcomes, elders and cultural arts expressions. (Activity: KAA Regional Meeting and Curators Trip, Mowanjum Aboriginal Art and Cultural Centre) The presence of Elders at regional meetings is critical to ensuring that project activity maintains cultural integrity. Elders bring so much knowledge to the table.

The increasing voice of emerging leaders and arts-workers also strengthens the cultural content of activities and ensures that non-ATSI managers and facilitators are bound to delivering culturally appropriate programming. (Activity: KAA Regional Meeting, Waringarri Aboriginal Arts) Where rankings were lower for cultural exchange, assessment included explanations that related to the lack of key players, fewer than anticipated participants, timetabling issues or impacting community or family matters. Figure 4 below is illustrative of the words frequently used to in relation to cultural engagement.

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Figure 4: Word Cloud of responses to cultural engagement scoring (2021-2022) (Criteria: Words with stems, 75 words, minimum 4 characters)

In summary, based on quantitative results and qualitative assessments, Wirnan activities were ranked and described as effective in providing opportunities for cultural engagement. Rankings improved over time.

Wellbeing improvement The result for wellbeing improvement ranking was a mean score of 7.8/10 for 2021 activities, with an evaluation participation rate of 87.5 per cent (35/40) for activities. For the January to June 2022 period, the wellbeing effectiveness increased with a score averaged at 9.2/10. Completion of this evaluation aspect was undertaken in 92% (11/12) of activities (see Figure 5 below).

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Wellbeing improvement (2021-22) 10 9 8

9.2 7.8

7 6 5 4 3 2 1

2021

2022 n = 35 (2021); n = 11 (2022)

Figure 5: Average ranking for wellbeing improvement using 10-point scale (2021 and 2022)

Reasoning behind wellbeing improvement scoring (2021-2022) Reasonings behind wellbeing improvement scores were largely based on observational assessments by managers. The most dominant assessments included increased pride, greater connection among participants, reported mental and spiritual regeneration, positive benefits from engagement in activities as well as observed enjoyment and happiness. Key words are illustrated in the Word Cloud at Figure 6 and are captured in quotes representative of wellbeing improvements associated with Wirnan activities.

These are not associated with any specific activities as quotes are representative of similar assessments across reporting.

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Figure 6: Word Cloud of responses to wellbeing improvement scoring (2021-2022) (Criteria: Words with stems, 75 words, minimum 4 characters)

The feeling of pride, warmth and happiness was felt amongst the group.

People seemed so happy, proud and grounded after being on country.

The young people were so happy, confident and proud.

There was significant sense of pride and happiness.

Positive social activity and creativity were apparent.

Bonding and quality time between generations.

Being on country is mentally and spiritually regenerating for the Elders.

A direct quote was provided by one of the Elders participating in a Wirnan activity: “I’m very happy. I’m happy for my families and my country. To see my family in those places, to see how it makes them happy and strong. Makes my heart feel good”.

Wellbeing improvement ranking scores were positive and also improved over time. This section has summarised findings in activity reporting and as discussed highlights that Wirnan activities have promoted positive wellbeing.

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PART B INTERVIEW FINDINGS As reported previously, 30 participants were involved in interviews as part of the evaluation. Table 2 below, provides summary information about participating Arts Centres for this aspect of the evaluation as well as interviewees’ representative roles.

Most interviews were conducted with artists, followed by arts-workers, managers and representatives from external organisations.

Table 2: Participation by representative role and Arts Centre+ ARTS CENTRE Artists

Arts workers

Managers (present and past)

External Total agency

Waringarri Aboriginal Arts

6

5

1

Mangkaja Arts

3

3

1

7

Mowanjum Art and Cultural Centre

1

1

1

3

Kira Kiro Arts Centre

1

1

1

3

Warmun Arts Centre

1

Totals

12

10

2

14

1

1

3

5

3

30

+Warlayirti Artists, Balgo did not participate in this aspect of the evaluation.

Interviews sought perspectives on a range of issues related with the Wirnan Intergenerational project and as a means of gaining an understanding of the context for each Aboriginal Arts Centre (Appendix C: Interview Schedules). The findings have largely been arranged to reflect the Aboriginal and Torres Strait Islander Suicide Prevention Evaluation Project (ATSISPEP) objectives as well as the KAA Wirnan measurements and outcomes (Appendix A), both featured within the Wirnan M & E Guide (2020). a) Building identity, social emotional, wellbeing and healing b) Culture being taught in Schools c) Connecting to country/culture/elders d) Involvement of Elders, Community managed and evaluated e) External stakeholders input

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However, first the results section commences with a discussion about the meaning of Wirnan.

Characterising Wirnan Wirnan, a Miriwoong term, is described as a ‘complex cultural narrative’ involving traditional cultural exchange or trade between clan groups (Waringarri Aboriginal Arts 2019). The meaning of the word “Wirnan” for participants in this study was about sharing stories, transferring knowledge—for some, deep cultural or sacred knowledge— as a process that occurred in the past with the old people and continues. As discussed: Wirnan is a word that is very significant in the East Kimberley and broader Kimberley. From my experience, it is a word that's loaded with meaning. And I remember the time when the program was starting, it was a point of very passionate discussion with the artists and the elders … we'd have meetings about the word “Wirnan” … we talked about it for weeks and weeks and weeks. (Arts Centre Manager) Yes, it is sharing, but not just sharing, it is about giving and caring. (Artist) Those involved in setting up the Wirnan Intergenerational project described it as not being prescriptive, having the capacity to include a range of perspectives and ideas from artists and arts workers, in encouraging and supporting Aboriginal agency: The program became very run by people on the ground, artists, board members, arts-workers, there were people who wanted to do things, and they would come and then do them. People had lots of agency in doing what they thought was going to be a great activity, something that they envisioned, and so, we had many good ones. It brought a lot of joy to many people. (Arts Centre Manager)

a) Building identity, social emotional, wellbeing and healing Artists and arts-workers in interviews discussed their engagement in artistic practice, intergenerational connections, social interactions and finding strength in culture as key benefits associated with engagement in Aboriginal Arts Centres and Wirnan activities.

Wellbeing, a key aspect of this evaluation, is described as the experience of “health, happiness and prosperity” or feeling happy, healthy, socially connected and purposeful (Davis 2019). In taking these factors into consideration, identified ways interaction with Arts Centres contributed to wellbeing for interviewees was by being occupied, feeling comfortable and safe, focussed, finding a spiritual and healing connection and financial rewards; all positive contributing factors to emotional, social, physical, spiritual and financial wellness. Quotes from various Aboriginal artist interviewees supporting these assessments include:

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Being busy and talking to artists. At the Arts Centre, when I'm there painting, it makes me happy. The old people make me happy.

We need nimble fingers to use the brushes, it makes our system work. When we are painting, we think about what we paint. For stories, what is behind the painting, we have the stories. So, concentration is one of those main things I love about art. I suppose it is like meditation. I am happy being in a world of my own.

Makes me relaxed and peaceful. I am really working hard and concentrating on my art. I feel better.

Being with other people in the Arts Centre, we do tell stories, where we've been, what we're going to do, or who we're going to help, that sort of thing.

Spiritually, I believe the spirit is making me do all these sorts of things, when I do images, it makes me feel even more strong. The Wandjina is the other thing that keeps me strong throughout my career in painting.

Spirit, it gives you good spirit. Also strengthens your mind.

The feeling is just happiness, just happy here, I look up [at the art]. Oh, it's lovely.

It is really good that I came here. I feel safe here, like people understand me and like me.

Just coming in, doing my art, it's more like a healing for me.

Similar views were also shared by managers about artists and arts-workers engagement and wellbeing impacts. Aspects such as regularity, routine, purpose and belonging were emphasised: For both artists and arts-workers, just coming here, some regularity, routine, provides a pretty calming space that has structure and is welcoming. It's also stimulating culturally as well as financially. Quite a few of our artists have verbally said, "I feel happy when I am here".

Absolutely, we are like a central point, a meeting place … there are some artists that come in every day.

The most important thing is that it's the artists place, it's the members' place. I think it is important that it is a welcoming place for people, that they feel comfortable to come here. A place not just to make art and do business. It’s very much a social place.

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Discussions about cultural pride were also mentioned in relation to wellbeing, this ranged from an individual’s pride in producing and selling their art through to being proud of their country and culture. The following are artists’ perspectives: I like it when someone buys my paintings. It makes me feel good. It makes me feel proud of my culture.

Proud of country and telling stories of country.

I feel proud to tell my father and my grandmother’s stories.

Change Story 1: A healing process: “History beneath the beauty” ‘I like talking about my story, it makes me stronger in a way. But it wasn't before, I would just burst out crying. I used to paint my dad's story, horses and bullocks in the station yard. When I did my dad's story, I could do it in any medium - every art type.

But when my dad passed away, that's when everything got lost from my hands, all the art that I could accomplish, just slipped away and I lost it, like I lost everything, it was like the world was closing in on me. I almost lost myself. I started losing my culture and mostly lost his footprint that guided me but that's when my mom told me to keep going with my art, it’s my culture, it's in my blood, and he didn't want me to stop. So, mum said “may as well do Granny story and lay your dad's story to rest for a while”. That's when I concentrated on Granny's story and I painted, "History beneath the beauty". It was like a healing thing for me too. When the black tracker came with the station manager, he wanted to collect Aboriginal people to build a station. My granny was young when she went to the billabong to collect bushtucker. The flower, the stem, the bulb plus mussels any other bushtucker that grows around the billabong, like bush cucumber and all other plants. When she saw the manager and the black tracker, she went and hid in the billabong. And the coloured lily pads represent all her emotions. But in another way, it's all my emotions about how I felt about my dad. The curved coloured lily pads represent when she entered the water; the straight line and the green lily pads, before she entered the water. Slowly but gradually, I think “History beneath the beauty” lifted me up. And that's the name of the painting’. (Artist, Waringarri Arts, May 2022)

b) Culture being taught in Schools Of the 170 projects, data indicates that around two-thirds involved children under age 15 or children of school age. Some activities, children attended as part of family or community groups, while other activities were specifically developed for children.

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Wirnan activities in conjunction with schools were conducted in the school/classroom setting, in Arts Centres or in some circumstances on Country. These variations occurred across Arts Centres and are discussed in interviews and quoted below:

We went to the schools and said, “we can offer these programs” but sometimes the school has come to us and said, “can you offer a program?”. They want to bring some boys here every week. That’s where they get their cultural engagement … at the Arts Centre. (Arts Centre Manager) Mostly, we've had the young people come up to the Arts Centre … we did try and get some of the artists down to the school, but it just didn't work. I think it's better to bring the students here [Arts Centre], then they're surrounded by the artwork and the artists. (Arts Centre Manager) The school is very easy to work with. But it takes a whole of community effort to make things work, […] it's about trust and relationship building. The Elders have this really strong relationship with the school and the way the school is run and is very open to Elder input, including taking the kids on country trips. So, there was a lot of that happening, the Elders take children and school staff out and teach them on country. This is managed by the school. (Arts Centre Manager) (The school’s perspective is provided in Change Story 2)

Some activities for school aged children are offered independently of schools as after school or vacation offerings.

We've got a young kids group that runs every week, where kids are in a safe environment, where they might do some painting, or they might go out bush and collect boab nuts. That sort of thing. (Arts-worker)

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Change Story 2: Wirnan activities in the Ngalangangpum School, Warmun A number of Wirnan sessions in Warmun have involved the Ngalangangpum School, where Gija Elders regularly work with students at school, in the Arts Centre and on Gija Country to learn traditional lessons through artwork, making boomerangs, carving boabs, listening to traditional dreaming stories, learning stories about the artwork and the history of Gija people. Children also learn dances and songs to perform at Joonbas.

The Elders engagement in Culture and Language lessons was reported by the school representative to be a very important way for Elders and students alike to develop strong relationships, as well as for students’ learning about Gija culture and history. According to this teacher, “these experiences encourage students to feel strong and proud of their culture, and traditional ways so that this knowledge can be treasured and passed on to future generations. These lessons keep the Gija culture strong. The benefits include that learning traditional ways assists young people to feel connected to country and culture, develop a strong sense of self, and connection to ancestors and their land. This has also increased attendance at school; on the days where students know cultural learning and shared activities are happening, the school sees a higher rate of attendance and engagement. The forming of these strong relationships supports students in feeling connected to the Elders and community, and teachers see a deepening of students’ respect and care for the Elders. Essential students learn about their culture, history and traditional ways so they gradually build on this learning and develop a deep and strong love for their culture and traditions”. (Teacher, Ngalangangpum School, Warmun, July 2022)

c) Programs to engage and divert This aspect of ATSISPEP outcomes includes connection to country/culture and elders as well as preparing for employment. Connections and employment opportunities are discussed below.

Connecting to country/culture/elders Connecting to Country As discussed, activities were delivered independently by each of the six Arts Centres engaged in the Wirnan project. Of the 170 activities, 40 per cent were undertaken on Country. Resoundingly these trips, camps or activities were described by interviewees as a highly positive aspect of the Wirnan project. Interviewees highlight that these trips strengthened culture and improved wellbeing, by providing intergenerational learning opportunities depicted as enjoyable and inspirational. The importance of going back on Country is illustrated in the following quotes, with COVID also providing the ideal opportunity to connect with country. This is also showcased in Change Story 3.

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It was really good when everyone just went out and enjoyed the bush. You get more inspiration, when we go back on Country, like sometimes you have dreams about different places and can paint about it. It opens up your whole spirit out there and your tuned into nature and things like the spirit of the land.

(Artist/Arts-worker) It makes me feel much, much better and even stronger, going back to country.

Just walking around, you see images, the landscape where your people once were … (Artist) I want to try and get people out on country. Country cleans people's minds. It's sort of like healing them holistically, the whole body. Mentally, physically, spiritually, emotionally. (Arts-worker) Back to country stuff is really important. For Aboriginal people, there are a lot of young kids nowadays, they never got an opportunity to learn from the old people about the bush tucker, the hunting and gathering and everything. Gathering together, doing corroboree together, we are teaching young people the old ways … (Arts-worker) Going back on country was reported as an important strategy during COVID. We actually used a lot of our Wirnan funding in that first part of 2020 to deliver programs on country. So, we delivered art supplies to all the communities that were in lockdown. That enabled us to run cultural programs on country. (Arts Centre Manager) Change Story 3: Five generations return to Ngarinyin Country Five generations of Ngarinyin people returned home (Mount Hart, Gibb River Road) for the sharing of “Wudu”, a cultural activity where smoking ceremonies are performed for babies. The trip included 28 Ngarinyin people comprising six elders, 16 adults, four young adults and two children. Associated activities included the telling and collecting of stories, passing on of songlines, customs and cultural protocols from senior elders to younger generations. Through hunting, fishing, gathering bush tucker and learning bushcraft, intergenerational transference of cultural knowledge, traditional techniques exchange and social connectedness occurred on Country. Projects “on Country” are important cultural activities for the Mowanjum community and the Arts Centre and vital for young people to engage with elders on country for intergenerational learning. The opportunity for five generations of Ngarinyin people to return home for a cultural exchange camp is a rare occurrence. The three-day trip allowed traditional stories and songlines to be collected and documented and created an opportunity for young men and women, their children and senior elders to be on country and interact with each other over cultural activities which is essential for the wellbeing of all generations.

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Connecting to culture Unsurprisingly, connecting to culture within the Wirnan project is strongly associated with intergeneration engagement. Participants talk about passing down or sharing knowledge, connecting across the generations involving children, youth and community through art and traditional activities. While this is a theme discussed in other sections of the report, the following quotes add further to this. In addition, Change Story 4 also emphasises the benefits of Wirnan funding for an intergenerational project.

I showed them what I did and that I got this from my father in the past. And tell them it passes down from fathers to sons, mothers to daughters. (Senior Artist) When we have school kids here, we do a range of activities. Some kids maybe like to do boab carving; other kids might be painting. We also do projects for the artists and we do community nights for the community. (Senior Artist) Sometimes I give other artists advice. Sometimes they give me advice. An exchange of views across the generations. (Artist) Yes, junba5. We teach the young how to paint themselves. (Senior Artist) So as a senior artist, she was really clear that we had to provide opportunities to engage younger people, there was also a really strong sense that there had to be more community. (Arts Centre Manager) Change Story 4: Intergenerational painting of Store murals ‘There was one big project that went for most of 2021, that was a mural for the local store, Uraru Store. The idea and some funding came from the Clinic Nurse, who was up here for a while with her family during COVID. Kira Kiro Arts worked on this with the artists and invited the community to come in, we didn't however get so much community uptake, but the local school were really interested. They bought groups in, so the children worked on the mural panels. The artists did the background designs, in particular our senior artist who drew the animals and then she had the tracks next to them and then the children came and coloured them in and added their touches. It was really beautiful, and educational as well.

We ended up working with all age groups; the little kindy link kids, the younger age groups, the high school groups, then the youth group came in one night and we worked on it. As well we took one of the panels to the Kalumburu Day event and the kids worked on it down there. So, the mural had lots of intergenerational input and it was a great project. It took a long time because during COVID, we couldn't get white ochre for a while and that really held us up. But finally, we got there, and the panels are up on the Uraru Store walls now. So that was really great project’. (Arts Development Manager, June 2022)

5

Alternative spelling for Joonba (corroboree)

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Image 3: Panel in the Kira Kiro Art Centre Photos sourced from Kira Kiro Arts

Image 4: Panel mounted on Uraru Store wall.

Connecting to Elders Elders comprised around 16 per cent of participants in Wirnan activities and have been an important aspect of both Arts Centre and on Country activities. As outlined in Change Story 2, the role and importance of Elders is pivotal and frequently acknowledged in Wirnan reporting and in interviews, and also illustrated in the following quotes.

I just sit there and listen to them. That's my job. As a young person to turn and listen to them. I don't force anything. Because in culture you have to respect the Elders. (Arts-worker) It is important that we watch (Elders) and learn from them. (Artist) Elders bring so much knowledge to the table. (Arts Centre Manager) Young people engaging with Elders on country is vital for intergenerational learning. (Arts Centre Manager) Preparing for Employment Preparing for employment was also a factor identified in ATSISPEP and was discussed during interviews. Employment and income opportunities within Aboriginal Arts Centres are mainly as an artist or arts-worker, with some study participants identifying fulfilling both roles. Arts-worker roles are diverse and specific to each centre. KAA manager interviewees estimated the number of artists (on their books) as ranging from 30 to 100, although not all are active; most on average employ 5-7 arts-workers. Wirnan funding also enabled employment for arts-workers and artists as cultural mentors, cultural advisers and other roles to support and facilitate program activities. Interview

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quotes below illustrate this: We branched out into developing a range of employment opportunities, mostly because the board have a strong aspiration for employment. It's in our constitution to provide employment. … Because this is a culturally safe space, there's a lot of people in the community who have never engaged with work.

Programs we offer, while not specifically funded through Wirnan, bring in community members through CDP programs, and give them a safe space to be and also the opportunity to be side by side with artists. (Arts Centre Manager) The Wirnan funding has actually enabled us to pay our mentors. Yeah, we've never got funding to be able to pay them before. So we are able to pay our cultural mentors to make sure that this place stays culturally safe. Absolutely critical, it helped us pay for drivers to pick people up and bring them to the Arts Centre. (Arts Centre Manager) I think people came to the Arts Centre because there was something else there, they want to learn more, be in a culturally supportive environment, not just about incomes and livelihoods. (Arts Centre Manager)

Arts Centres are an agent for facilitating employment opportunities as illustrated in Change Story 5, which captures the flexibility afforded by Wirnan funding.

Change Story 5: Outreaching to improve wellbeing and provide employment The Fitzroy Crossing Renal Hostel offers residential facilities for renal dialysis so that Aboriginal patients can access treatment close to home. Residents in the renal facility have their own room and most attend dialysis every other day, usually a total of four times a week. One of Mangkaja arts-workers is now doing studio work at the hostel, where her role has grown into cultural adviser. ‘I'm on dialysis, I had to move here (hostel). People here kept saying "Oh, we want something to do here. We just don't like looking at TVs and the four walls”. I thought you know; I'll ask the Art Centre Manager if we can paint here and he said, "Sure you can paint"’. At the renal hostel, there is now a group of emerging artists working together. According to the manager “Because almost everyone is painting, it’s hard to keep up with the demand for paint and canvases, but they're more tethered in a way. They can't just go to somewhere else; they need to be concerned about their health, be near a dialysis machine and near medical help. This initiative however is working well”. One of the emerging artists at the hostel confirmed this: “Before I did painting with [arts worker], I was just hanging around, not doing much. Doing art here (hostel) keeps me busy, makes my mind stronger, makes me remember things. When I come back from dialysis I go back to my room and rest. The next day, we come together and do painting, my spare time is now much better”. (Artist, Arts-worker, Manager, Mangkaja Arts, Fitzroy Crossing)

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CDP and changes to Arts Centre Participation Several Arts Centre noted that since COVID-19 the number of artists and arts-workers engaging with centres have declined. This coincided with changes in Community Development Program (CDP - a remote area Work for the Dole scheme) which is largely considered to have had a bigger impact on Arts Centre participation than COVID. According to the National Indigenous Australians Agency (NIAA), CDP supports job seekers in remote Australia to build skills, address barriers to employment and contribute to their communities through a range of flexible activities. It is designed around the unique social and labour market circumstances in remote Australia (NIAA 2022). In 2020, the Federal Government’s decision to made CDP a voluntary rather than a compulsory requirement for those receiving Centrelink unemployment benefits, meant that the requirement to undertake work at Arts Centres became optional. The consequences were reported as a drop in participation and an increase in social problem due to a lack of meaningful activities, as discussed in the following quotes.

Unfortunately, participation dropped off, so artists don't have to come here, and they'll still get paid Centrelink payments. I think there's a bonus of $20 a fortnight if they sign in sometime during that fortnight. When I first came a year or so ago, they were arriving at eight o'clock in the morning. They were working all morning. They were working hard. But now they come when they feel like it.

And sometimes we get a burst of lots of people coming and lots of energy, and then it drops off. It’s a bit quiet again now. (Arts Centre Manager) You know what has impacted, it is actually the Federal Government decision to cease Work for the Dole. And what that did up here was seriously bad. Because it means that it's actually a return to probably not healthy wellbeing activities for Aboriginal communities. Our leaders here, were right against that. It caused a whole lot of social problems, increased domestic violence, because they had nothing to do, whereas before they were coming every day. Seriously bad, because we had a whole lot of people on track. (Arts Centre Manager) I don't know why they changed it. I just know that we don't have any attendance here, probably since the last year or so. (Artist/arts-worker) First thing was a lot of people were really confused. When it changed, they just didn't come because they didn't know what they were supposed to do. Things haven’t really returned to the way they were. (Arts-worker)

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d) Involvement of Elders, community managed and evaluated The role and place of Elders or Senior Artists is at the heart of Arts Centres, particularly in relation to the governance of the Wirnan project. Interview participants talked repeatedly about the role and functions of Arts Centre management boards which chiefly comprised Aboriginal Elders and artists. There was a clear acknowledgement that Elders are critical in decision making about issues of culture, drivers of the ways that Arts Centres and their program offerings develop and and operate and for some are the essential backbone of Arts Centres in the Kimberley.

This place was started by Elders. So essentially, they're the drivers and how I work with elders is basically show them respect and listen to them, because they tell us what to do. Essentially, you have to listen to your Elders. (Arts Centre Manager) When I was at the Arts Centre, there was keen interest by the Elders, who are holding that space, and that is critical. They are really running the Arts Centre in that cultural way, they were there every day. … sometimes as a board member, sometimes as an artist, but just coming to the Arts Centre every day, saying “that's my job”. (Arts Centre Manager) My impression of what motivated people to work at the Arts Centre is to support their old people. The Arts Centre is very much seen as a place where people can come and learn from the old people. So, there's a very strong cultural importance associated with the Arts Centre. It's not just where I get a job or earn some money. It has great cultural value attached to it. (Arts Centre Manager) We have monthly board meetings, chairperson meetings. So, my chairperson is like the cultural advisor. (Artist)

Responsibility and advisory role as an Elder Responsibilities associated with being an elder were reflected upon by Elders themselves.

Acknowledged by Elders was the importance of their role, consciousness of what the role of cultural advisor or mentor entails and their willingness to fulfill this (see also Change Story 6 for the importance of respect among artists).

As an Elder, I also help the Elders in the committee. I'm sort of a special adviser to the board. I do some community guidance type work with the young and I provide support to some of the staff and they support me as well. (Senior Artist)

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We are senior artists, but we have a big role as an Elder. (Senior Artist) I proudly took on the role as a cultural advisor, I instruct, encourage and interpret the old ways and how it applies to these days. (Senior Artist) Change Story 6: Respect and wellbeing among artists ‘One of our male artists - senior, and well-established - prides himself on coming into the Art Centre every day and has this really strong work ethic. There’s a female artist who comes in regularly and she talks a lot about her mental health, and she has some pretty serious mental health concerns. But most of the time when she comes here, it is calming, and she is happy to be here. Both share the perspective that they are coming here to work and they take pride in that work. Over the course of the last year, I have seen that the respect that the senior male artist has for her has grown. They are both very different people, and they don't have much to do with each other. However, this male artist, who doesn't give away much, shows increasing regard for her. For artists having that respect shown due to the efforts that they're putting in, the outputs they're creating, and the accolades coming in from outside, I don't think it explicitly gets said but I think respect between artists is a really important contributor to wellbeing.’ (Arts Centre Manager, June 2022)

e) External Stakeholders’ Viewpoints While there were only a few opportunities to interview external stakeholders, these contributors provided some valuable feedback about their relationships and engagements with Kimberley Aboriginal Arts Centres. Two particular examples provided by external stakeholders include: first, Change Story 2 (p. 18) which showcases a school’s engagement with Aboriginal Elders in association with Warmun Arts Centre and second, an account of personal benefits for one young male due to Arts Centre engagement. In the latter, the external stakeholder outlined that his organisation had taken a group of its clients to Arts Centre activities. One younger male participant showed particular promise as an artist and is now independently attending the Arts Centre. The interviewee reported that not only had this client become much more socially and culturally connected, this young man has also recently travelled interstate as part of an Emerging Artists exhibition. In sum, external stakeholders reported that their involvement has been beneficial for their client group/s and that they saw Aboriginal Arts Centres as valuable culturally reinforcing resources.

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FEEDBACK ON M & E GUIDE & EVALUATION TOOLS Having an overarching framework informed by a Theory of Change methodology — namely a Program Logic (PL), evaluation plan and corresponding instruments evident in the Wirnan M & E Guide — encouraging the collecting of outputs and outcomes is a solid approach to evaluating a program. This aspect is well established within the Wirnan M & E Guide.

However, as the Wirnan M & E outcomes are benchmarked against a number of other measurement sources (e.g., ATSIPEP, Binarri-binyja yarrawoo in addition to Wirnan PL outcomes), this results in the need to align findings to multiple outcomes, making this a more complex process. It is suggested that the Wirnan M and E Plan be streamlined.

Some other suggestions moving forward: Limit open ended questions due to these creating a significant amount of qualitative data to manage and analyse. The evaluation findings from this study, specifically outcomes reported in individual activities, can be categorised into a list therefore those reporting can identify outcomes by using a tick box approach. (see Figure 2 as an example of listed outcomes) Participants require some process where they can self-assess their satisfaction with the activity. This doesn’t have to be a complex process and there are plenty of online examples of simplified feedback approaches.

Finally, that some consideration be given to using a participatory methodology such as Most Significant Change (MSC) 6. As an example, this participatory evidence-gathering technique involves collecting short stories from participants about what was the most significant aspect or change due to being involved in an activity. There only needs to be one per activity and then these are gathered using a five or six question format. This creates a first person rather than a third person account. Following this, a representative or chosen group reviews the collected stories and decides on the most significant stories and the reasons why. This sharpens the focus on impact and what matters to those involved. Below is a list of benefits and limitations of MSC. Table 3: Benefits and limitations of Most Significant Change methodology

6

Benefits of MSC

Limitations of MSC

It is good at identifying unexpected changes.

Initially it takes time, resources and skills to understand the method, gather the stories and identify what people think is important.

See for example https://www.betterevaluation.org/en/plan/approach/most_significant_change

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It can be challenging to involve different groups and to maintain their interest.

The people most directly involved collectively assess the impact.

It is also important to gather, share and use the stories with integrity and not for other purposes, such as promotional material without proper consent

It requires no special professional skills and can be done in-house, however good facilitation skills and ability to prioritise are important.

It is easy to communicate across cultures and everyone can tell stories about what is important to them.

It can build capacity to analyse data and understand impact.

CONCLUSION In conclusion, this evaluation study established that there is clear evidence that Kimberley Arts Centres collaborating in the Wirnan Intergenerational Engagement and Learning Project have delivered intergenerational cultural engagement activities strengthening culture and improving the social/emotional wellbeing of participants. The evaluation study established that activities delivered independently by each of the six Arts Centres with the same purpose in mind engaged a considerable number of age diverse participants in a broad range of activities. Activities focused on developing next generation, children and young adult in cultural activities enhancing skills and knowledge. Activity reporting and interview findings confirm the importance role that Aboriginal Arts Centres play in supporting Aboriginal culture and the flexibility that funding and programmatic opportunities like Wirnan offer.

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REFERENCES Davis, T. 2019 What Is Well-Being? Definition, types, and well-being skills, Psychology Today, accessed 29 June 2022, https://www.psychologytoday.com/us/blog/clickhere-happiness/201901/what-is-well-being-definition-types-and-well-being-skills National Indigenous Australians Agency (NIAA) 2022, The Community Development Program (CDP), accessed 9 August 2022, https://www.niaa.gov.au/indigenousaffairs/employment/cdp.

Waringarri Aboriginal Arts, 2019, Desert River Sea, accessed 1 July 2022, https://www.waringarriarts.com.au/our-projects/dawang-stories/desert-river-sea

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APPENDIX A WIRNAN INTERGENERATIONAL LEARNING PROJECT FACTORS AND INDICATORS INFORMING EVALUATION

Aboriginal and Torres Strait Islander Suicide Prevention Evaluation Project (ATSISPEP)

Binarri-binya Yarrawoo Indicators

KAA Wirnan Measurement Areas and Program Outcomes

Objective: Improved wellbeing Relevant Wirnan wellbeing areas

Objective: Progress in language and culture

Cultural elements – Building identity, social emotional, wellbeing, healing (Community)

Wirnan selected language and culture objectives

Objective: Revitalize cultural connections and creative intersections between communities ensuring the maintenance of cultural knowledge and identity for future generations.

Measurement areas Program outcomes

People have a proud Aboriginal identity

People have a proud Aboriginal identity

Connection to country

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Participation in cultural activities, rituals and ceremonies.

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Delivery focussed on community engagement and cultural activity (Intergenerational camps, Arts/Culture workshop, Community Cultural events)

30 Culture being taught in schools (School aged children)

Program to engage/divert

Connecting to country /Culture/Elders.

Providing hope for future; Preparing for employment (Youth)

Transmission of traditional knowledge Participation in cultural activities, ritual and ceremony Transmission of traditional knowledge Recognition knowledge and respect for country

Participation in cultural activities, rituals and ceremonies.

Connection to country

Participation in cultural activities, rituals and ceremonies.

Recognition knowledge and respect for country Connection to country

Involvement of Elders

Community managed and evaluation Community member workforce (Common elements)

Transmission of traditional knowledge Understanding of history knowledge and stories behind the art

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Transmission of traditional knowledge

Delivery of school cultural engagement activities

Delivery of activities that support: intergenerational engagement & cultural connection; future focused activity (i.e., employment, arts productivity) employment pathways engagement Youth focused arts activities/workshops Leadership learning

Activities engage Elders and community and community member workforce (Elders consulted, Elders as mentors, Elders feedback)

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Cross agency collaboration data collective collaboration dissemination of information (Common elements)

Participation in cultural activities, ritual and ceremony

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Participant numbers/age ranges, Activity feedback, Stories of change records, collation & evaluation of data)

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APPENDIX B REPORTING TEMPLATE FOR KSPT REPORT (2021-2022 version) WIRNAN INTERGENERATIONAL CULTURAL LEARNING PROJECT ABORIGINAL ART CENTRE:

DATE:

ACTIVITY #:

Activity Name: Description: Date/s: Location: Participants: Elders: ATSI Adults: Young Adults (Under 25): Children (Under 15): Outcomes: Manager Evaluation: 1. Rate the effectiveness of cultural engagement (to what extent did this activity improve cultural engagement?) 1= not at all, 10 = very much 1

2

3

4

5

6

7

8

9

10

Why did you give cultural engagement this score?

2. Rate the effectiveness of wellbeing improvement (to what extent did this activity improve participants’ wellbeing?) 1= not at all, 10 = very much 1

2

3

4

5

6

7

8

9

10

Why did you give well-being improvement this score?

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APPENDIX C INTERVIEW QUESTIONS ART CENTRE ENGAGEMENT – Questions for artists and arts-workers 1.

How long have you been coming to the Arts Centre?

2.

What are the best things about coming to the Arts Centre?

3.

What type of art activities do you do at the Arts Centre?

4.

What new skills have you learned since coming to the Arts Centre?

5.

In what ways do you work with other artists (elders, peers, young people, Arts Centre staff)?

6.

How does being involved with the Arts Centre keep you well? (psychosocial, emotionally, spiritually)

7.

As an artist is there the opportunity to sell your art? (financial wellbeing)

WIRNAN ACTIVITIES – Questions for artists and arts-workers 1.

Does the Arts Centre organise activities other than art-based?

2.

Tell me about your experience with Wirnan Project activities (i.e. back to county, cultural activities and knowledge exchange)

3.

What is the biggest learning for you from Wirnan?

4.

Tell me about the cultural activities you do?

5.

If you have visited other Arts Centres as part of Wirnan, can you talk about the differences (in art, in cultural practice, language differences)

6.

How do you think Wirnan activities helps strengthen your culture? (Need to first identify activities individual has been involved in)

7.

Are there opportunities to have a say about the Wirnan activities you are involved in?

8.

Are there any other things the Arts Centre or the Wirnan program could offer?

9.

Are there any other ways that the Arts Centre helps you or your family?

10.

In what ways is the Arts Centre or the Wirnan project helping your community?

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WIRNAN ACTIVITIES – Questions for external stakeholders 1.

What types of activities has your organisation undertaken with the Arts Centre?

2.

In what way to you think engagement with the Arts Centre and Wirnan activities have impacted culture for the participants (students etc)?

3.

What is the biggest learning for you from this exchange?

4.

As a mentor or community representative what do you think is important about these activities.

5.

Do you have any suggestions for the Art Centre to enhance this exchange?

ARTS CENTRE MANAGER QUESTIONS 1.

How long have you been involved with the Arts Centre?

2.

What type of art activities does your Arts Centre offer artists and art workers?

3.

How many artists and art-workers do you regularly engage with?

4.

Have activities or participation changed over time? If so, why?

5.

In what ways do you work with artists (elders, peers, young people) and artswork)?

6.

How do you think that involvement in the art centre keeps artists and artsworkers well? (psychosocial, emotionally, spiritually)

7.

What are the material or financial benefits for artists and arts workers? (financial wellbeing)

8.

What activities (non arts-based) do you offer artists and arts workers?

9.

What other supports do you offer artists and arts workers?

10.

What is your understanding of how and why the Wirnan project emerged?

11.

Can you give some examples of the ways that the Wirnan has strengthen culture for participants?

12.

What are the avenues for artist and art-centre workers input into Wirnan activities?

13.

Were some activities more effective than others?

14.

Do have stories of successful cultural transmission?

Wirnan Intergenerational Engagement and Learning Project: Impact Evaluation

(August 2022)

35

CRICOS Provider Code 00301J.

Wirnan Intergenerational Engagement and Learning Project: Impact Evaluation

(August 2022)