The idea of Indigeneity

In conjunction with the exhibition CROSSING CULTURES at the Hood Museum of Art, Dartmouth College, NH a symposium titled, “Together Alone: The politics of Indigeneity and Culture in Australia” discussed how the historic separation of art and anthropology justified a disciplinary monopolization of knowledge that stood apart from Indigenous Knowing. This raises critical issues surrounding the reception and recognition of Indigenous art and the politics of Indigeneity in an increasingly globalized world. The  idea of Indigeneity and Indigenous Knowing is fundamental to the contemporary Aboriginal art movement that originated  in the 1970s in the settlement of Papunya Tula where Aboriginal people first came into contact with acrylic paints and were encouraged to paint on canvas.  The introduction of non-indigenous media to Aboriginal communities across Australia has had huge impact on their social and cultural  identity. According to French anthropologist Francoise Dussart, “Scrutinising painters’ motivation to paint Dreaming stories for sale reveals how the production of acrylics provided a site where identity politics are negotiated among generations, between genders, and among painters, art coordinators and the Australian society at large.”  Indigenous art that uses Western materials and art markets  cannot be understood without analyzing  the effects of post colonial influences.

Participants at the Hood symposium included Brenda L. Croft from the Gurindji people, Senior Research Fellow at the National Institute for Experimental Arts, College of Fine Art, University of New South Wales, Sydney; Hetti Perkins, former curator Indigenous Art Art Gallery New South Wales; Stephen Gilchrist, Curator of Indigenous Australian Art at the Hood Museum of Art; Sonia Smallacombe from the Maramanindji people, Social Affairs Officer Secretariat of the Permanent Forum on Indigenous Issues at the United Nations; Christian Thompson, from the Bidjara people, visual and performance artist and doctoral candidate at Oxford University, United Kingdom.

Catherine Hickson, Assistant Curator

 

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