Relevant bibliographies by topics / Indigenous art

Academic literature on the topic 'Indigenous art'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Indigenous art"

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Caton, Steven C. "Possessions: Indigenous Art/Colonial Culture:Possessions: Indigenous Art/Colonial Culture." American Anthropologist 103, no. 4 (December 2001): 1211–13. http://dx.doi.org/10.1525/aa.2001.103.4.1211.

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Baudemann, Kristina. "Indigenous Futurisms in North American Indigenous Art." Extrapolation 57, no. 1-2 (January 2016): 117–50. http://dx.doi.org/10.3828/extr.2016.8.

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Cameron, Liz. "Celebrating Australian Indigenous Art." International Journal of the Arts in Society: Annual Review 6, no. 1 (2011): 185–92. http://dx.doi.org/10.18848/1833-1866/cgp/v06i01/35968.

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Smith, Sarah E. K. "Sakahàn: International Indigenous Art." Journal of Modern Craft 7, no. 2 (July 2014): 219–22. http://dx.doi.org/10.2752/174967814x13990281228567.

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Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism." Arts 8, no. 4 (December 6, 2019): 161. http://dx.doi.org/10.3390/arts8040161.

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Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.
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Grishin, Alexander. "A New History of Australian Art: Dialectic between Indigenous and Non-Indigenous Art." International Journal of the Humanities: Annual Review 6, no. 7 (2008): 97–104. http://dx.doi.org/10.18848/1447-9508/cgp/v06i07/42490.

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Bähr, Elisabeth. "Political Iconography in Indigenous Art." Zeitschrift für Australienstudien / Australian Studies Journal 27 (2013): 49–66. http://dx.doi.org/10.35515/zfa/asj.27/2013.05.

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Hewitt, Pat. "Viewpoint: resources for indigenous art." Art Libraries Journal 33, no. 2 (2008): 3–4. http://dx.doi.org/10.1017/s0307472200015261.

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Best, Susan. "Repair in Australian Indigenous art." Journal of Visual Culture 21, no. 1 (April 2022): 190–205. http://dx.doi.org/10.1177/14704129221088289.

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This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robert Andrew. McGregor’s work draws on possum skin cloak making, Harding has incorporated the stencil technique of rock art into his practice and Andrew uses a traditional pigment ochre and Yawuru language.
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Badoni, Georgina. "Indigenous Motherhood Art as Ceremony." Visual Arts Research 48, no. 2 (December 1, 2022): 37–41. http://dx.doi.org/10.5406/21518009.48.2.05.

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Dissertations / Theses on the topic "Indigenous art"

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Souliere, Rolande. "Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada." Phd thesis, University of Sydney, 2019. http://hdl.handle.net/2123/21193.

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The debate of Indigenous art as contemporary art in Western art discourse has been ongoing since the acceptance of Indigenous art as contemporary art in the early 1990s. This has resulted in a collision of four diverse fields; Western art history, Western art criticism, anthropology and Indigenous cultural material. The debate stems from the problematised way the term contemporary is defined by globalised Euro-Western art and its institutions. This thesis considers the value of applying the concept of the contemporary to Indigenous art practices and art, in particular as a mode for cultural self-determination in order to avoid the historical domination of Western art history, history and its discursive power arrangements. The term, concept or theory of the contemporary remains elusive, indefinable and widespread in Western art discourse. Various definitions exist and are based on notions of openness, newness or plurality. Criticism of the contemporary’s openness has led to speculation of the contemporary as a valid concept or theory and or as a field of art practice, particularly its claim to social or political engagement and its inability to historicise current art. This thesis contends that the openness of the contemporary concept provides a gateway in which to situate it in a much broader cultural analysis that embraces different historiographies and worldviews. Thereby directly contributing to the ongoing critical discourse of Indigenous art as contemporary art debate. This thesis contributes to addressing this debate by proposing a definition of the contemporary that bridges history, art history and contemporary art and explores the potential for administering a contemporary art practice within this view. It highlights the historical analysis of the journey of Indigenous art from the ethnographic to the contemporary art museum by examining Indigenous rupture and transformation through Western history and art history. The thesis examines Terry Smith’s recent contextualisation of contemporary theory, as Smith is the only art historian to include Indigenous art in the discussion on contemporary theory.[1] Richard Meyer’s theory on the contemporary is also examined as Meyer is unique in approaching contemporary theory from an artistic practice that embraces co-temporalities, art production and modes of trans-historicity. In ‘rendering the past as newly present’, this thesis proposes methods of contemporary art analysis in the examination of contemporary Indigenous artworks in the context that the socio-political and cultural use of contemporary art as a form of history production. Description of Creative Work An exhibition of one large installation took place at Sydney College of the Arts Galleries, Sydney in September 2016. Media included two- and three-dimensional artworks that were hung on the walls and placed on the floor. The installation used Indigenous forms, designs, processes and social, political, and cultural content as a result of the thesis research and demonstrated Indigenous artists are creating their Indigenous histories within the context of contemporary art. Photographic documentation is available in Appendix 3. [1] Terry Smith, What is Contemporary Art? (Chicago: University of Chicago Press, 2009), 133.
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Mengler, Sarah Elizabeth. "Collecting indigenous Australian art, 1863-1922 : rethinking art historical approaches." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709014.

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Foster, Susanne. "Contemporary indigenous art reflecting the place of prison experiences in indigenous life /." Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmf7541.pdf.

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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.
Coursework. "March 2005" Bibliography: leaves 179-190.
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Gigler, Elisabeth. "Indigenous Australian art photography an intercultural perspective." Aachen Shaker, 2007. http://d-nb.info/990542270/04.

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Dunham, Amy. "Towards Collaboration: Partnership Between Indigenous and Non-Indigenous Australians in Art from 1970 to the Present." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498911.

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Davhula, Mudzunga Junniah. "Malombo Musical Art in VhaVenda Indigenous Healing Practices." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/64353.

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The traditional healing practices of the Vhavenda people include one very important component, the malombo ritual healing practice. This healing practice has been conducted for centuries. It involves the use of music (including singing and the use of drums and shakers for rhythm), dance and elements of theatre performed by the person to be healed, the healer, invited malombe (community members who have been through the same ritual), as well as family members and supporters. The importance of this ritual as a healing process has long been acknowledged. Of interest in this study, however, is the role-played by the music itself in facilitating the healing process. The ritual cannot take place without the music; neither is the music used outside this specific ritual. Seven representative malombo songs have been partially notated by John Blacking and N. J. van Warmelo also as recorded texts. However, since this ritual is closed and seldom open to strangers, their research was, of necessity, limited. Through long-term fieldwork, and from an insider perspective, this thesis is based on participation in more than fifteen malombo rituals during the field research period (2005-2014). Songs and performances were recorded as possible and some are included on the accompanying CD. In addition, transcription was utilized as a tool to demonstrate the core melody of selected songs, with the acknowledgement that transcription in Western notation limits the demonstration of the creative mato1 process that is fundamental to the malombo ritual. This thesis argues that that music plays a vital role in this healing ceremony, and it is through the mato process that the ancestors are called to heal. The texts of the songs at times include words of the Tshikalanga language that is spoken by the Vhakalanga of Zimbabwe. Most significantly, music is seen as the bridge between the ancestral spirits and the patient and participants in the ceremony, thus underscoring its fundamental importance in Vhavenda culture.
Thesis (DMus)--University of Pretoria, 2017.
SAMRO
Music
DMus
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Kuizon, Jaclyn. "Fine Art and Clandestine Identity: American Indian Artists in the Contemporary Art Market." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.

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Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /." Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.

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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.

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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.
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Adsit, Melanie Hope. "Caught between worlds: urban aboriginal artists." Thesis, Boston University, 1997. https://hdl.handle.net/2144/27694.

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Books on the topic "Indigenous art"

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1964-, Croft Brenda L., ed. Indigenous art: Art Gallery of Western Australia. Perth, WA: Art Gallery of Western Australia, 2001.

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Hætta, Susanne. Mázejoavku: Indigenous collectivity and art. Kautokeino: DAT, 2020.

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Ken, Watson, Jones Jonathan, and Perkins Hetti 1965-, eds. Tradition today: Indigenous art in Australia. Sydney: Art Gallery of New South Wales, 2004.

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1964-, Croft Brenda L., National Gallery of Australia, Art Gallery of South Australia., Art Gallery of Western Australia., Queensland Art Gallery, and National Indigenous Art Triennial (1st : 2007 ; Canberra, A.C.T.), eds. Culture warriors: National Indigenous art triennial. [Canberra]: National Gallery of Australia, 2007.

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Chubb, Claudette. Indigenous art at the Australian National University. Melbourne, Australia: Macmillan, 2009.

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1947-, Winkel Dos, and Geoffroy-Schneiter Bérénice, eds. Vanishing beauty: Indigenous body art and decoration. Munich: Prestel, 2006.

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Claudette, Chubb, and Sever Nancy, eds. Indigenous art at the Australian National University. Melbourne, Australia: Macmillan, 2009.

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A.C.T.) National Indigenous Art Triennial (3rd 2017 Canberra. Defying emipire: 3rd National Indigenous Art Triennial. Canberra, A.C.T.]: National Gallery of Australia, 2017.

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Gigler, Elisabeth. Indigenous Australian art photography: An intercultural perspective. Aachen: Shaker Verlag, 2008.

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Spahan, Rose M. Smash: International indigenous weaving. Edited by Wherry Cathi Charles 1958- and Art Gallery of Greater Victoria. Victoria, BC: Art Gallery of Greater Victoria, 2010.

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Book chapters on the topic "Indigenous art"

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Phillips, Ruth B. "Indigenous art." In Global Art in Local Art Worlds, 255–61. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003128908-26.

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Smith, Hinekura. "Theorising Indigenous art practice, practicing Indigenous art theories." In Encountering Craft, 114–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003026136-7.

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Obiokor, Paul. "Art Education." In African Indigenous Knowledge and the Disciplines, 99–111. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-770-4_10.

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Butler, Sally. "Australian Indigenous Art and Literature." In FILLM Studies in Languages and Literatures, 107–16. Amsterdam: John Benjamins Publishing Company, 2017. http://dx.doi.org/10.1075/fillm.5.09but.

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Flores, Tatiana. "Art, Revolution, and Indigenous Subjects." In The Routledge History of Latin American Culture, 115–29. New York : Routledge, 2017. | Series: The Routledge Histories: Routledge, 2017. http://dx.doi.org/10.4324/9781315697253-9.

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Jhaveri, Krupa. "Healing Roots of Indigenous Crafts." In Craft in Art Therapy, 118–30. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003050513-10.

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Monani, Salma, Renata Ryan Burchfield, Danika Medak-Saltzman, and William Lempert. "Indigenous Media." In The Routledge Companion to Contemporary Art, Visual Culture, and Climate Change, 182–93. New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429321108-21.

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Baerg, Jason. "Indigenous Abstraction." In The Routledge Companion to Indigenous Art Histories in the United States and Canada, 371–80. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003014256-40.

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Chow, Ai Ming. "The Many Faces of Indigenous Art." In Marketing the Arts, 227–43. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003021766-15.

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Bessant, Judith. "The Digital, Indigenous Art and Politics." In Democracy Bytes, 229–60. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137308269_10.

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Conference papers on the topic "Indigenous art"

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Osasona, C. O. "Indigenous art and Nigerian contemporary residential architecture." In STREMAH 2007. Southampton, UK: WIT Press, 2007. http://dx.doi.org/10.2495/str070131.

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Wright, Rewa, and Simon Howden. "Nga manawataki o te koiora: biological rhythms, posthuman design and decolonial thought." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-35-short-wright-et-al-nga-manawataki-o-te-koiora.

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SHORT PAPER. Western science, in fields such as computational ecology, has grown to accept the truths that Indigenous culture have long known: that computational ecology accepts that ecological models are too complex to be summarised in computational form. Since this complexity evades the codification of mere indexing, how then, should we work with computational companions (code, algorithms, programs, platforms). What new ways of intra-acting can we develop alongside computational frameworks, which bring us one more step closer to sentient machines? Most importantly, how can ethical ways of thinking and doing motivate transformations in the computational space, in areas such as machine learning where extreme problems of bias are now embedded? This research does not answer these complex questions, for they are genuinely ‘wicked problems’ that reach toward wider issues of equity, sustainability, and economy. Our aim is to use creative practice to generate gestures and markings that tentatively trace a way forward. This research contributes to new modalities of human computer interaction that attempt to restore the dynamic pathways developed by Indigenous thinking, challenging artificial boundaries such as nature/culture, instead giving respect to concepts of interconnection. Examining some of the differences between Western epistemology and Indigenous thinking opens a pathway toward Indigenous Futures that are crafted in support of a decolonial ecology.
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Netto, Marinilse, Ana Maria Duarte, and Ketlin Hass Tibes. "Signification and resignification of kaingang indigenous art in contemporaneity: cultural resistance and survival." In III SEVEN INTERNATIONAL MULTIDISCIPLINARY CONGRESS. Seven Congress, 2023. http://dx.doi.org/10.56238/seveniiimulti2023-192.

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The present research has as its theme the Kaingang indigenous handicrafts in contemporary times, evidencing how the meaning and resignification of cultural elements occurs in processes involving trade for income generation and survival. The work presents a brief history of the Kaingang indigenous cultural universe with a focus on handicrafts, in order to understand its original context of production, including the materials commonly used, as well as the representation of symbolic elements. It records the perception of an indigenous Kaingang in the process of signification and resignification of the symbolic elements that make up the handicrafts sold in the streets of Chapecó and region, in the state of Santa Catarina, and, in this sense, exposes the apprehensions of a non-indigenous visual artist about the relations between art and indigenous crafts in processes of cultural resignification.
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Kadek, Kasiyan, Kadek Hariana, and Kasiyan Kasiyan. "Eco Art Education through the Indigenous Wisdom Concept of Tri Hita Karana." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.19.

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da Rocha Montanari, Matheus. "Ecologies of Thought: Generative Art as a Collaborative Research Methodology with Guarani and Kaiowá Indigenous Communities." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-18-short-da-rocha-montanari-ecologies-of-thought.

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SHORT PAPER. The Ecologies of Thought project aimed to reconceptualize the relationships between ecological and technical knowledge, seeking an epistemological understanding that pushed beyond nature vs. culture divides. More than a conceptual and theoretical proposal, which was based on the technodiverse notion of cosmotechnics, the project developed practical and experimental methodologies in collaboration with the Guarani and Kaiowá Indigenous communities of Brazil to further this investigation. With an international and interdisciplinary partnership, we researched relationships between sounds and plants in indigenous cosmology and the ways in which these relationships can help us to more deeply understand a notion of ecology that is based on the poetics of care. With that, we created a series of collaborative virtual reality experiments using generative art processes, which proved to be an interesting methodology of artistic creation as research.
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Tatevosyan, Ashot Henrikovich. "DECORATIVE AND APPLIED ART OF THE INDIGENOUS PEOPLES OF THE RUSSIAN ARCTIC." In Themed collection of papers from Foreign international scientific conference «Joint innovation - joint development». Part 1. Ьу НNRI «National development» in cooperation with PS ofUA. June 2023. Crossref, 2023. http://dx.doi.org/10.37539/230629.2023.28.34.027.

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This article is dedicated to the decorative and applied art of the indigenous peoples of the Russian Arctic, particularly the Saami people who reside on the Kola Peninsula and in the Murmansk region. The article provides a detailed description of Saami dwellings, including typical forms such as the tupa, vee, and log cabins, as well as structures of auxiliary and economic significance, such as barns and cellars. Special attention is given to the decorative and applied art of the Saami, including wood carving, embroidery, folk clothing, metal and leather adornments. The article is of interest to anyone interested in the culture and art of Russia's indigenous peoples, as well as to specialists in ethnography and folk arts.
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Botes, Maria Wilhelmina, and Arianna Rossi. "Visualisation Techniques for Consent: Finding Common Ground in Comic Art with Indigenous Populations." In 2021 IEEE European Symposium on Security and Privacy Workshops (EuroS&PW). IEEE, 2021. http://dx.doi.org/10.1109/eurospw54576.2021.00037.

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Nunez, Idalia. "Transnational and Indigenous Latinx Children's Art-Based Bilingual Writings: A Placemaking-Justice Pedagogy." In 2024 AERA Annual Meeting. Washington DC: AERA, 2024. http://dx.doi.org/10.3102/2093013.

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Woywod Veettil, Christine. "Renewed Understandings, Dialogue, and Reflective Practices: Engaging With Indigenous Experience and Worldviews Through Art." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1439497.

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Phyak, Prem. "Transforming Deficit Ideology: Building Critical Indigenous Awareness and Activism Through Yaakthung Language, Art, and History." In 2024 AERA Annual Meeting. Washington DC: AERA, 2024. http://dx.doi.org/10.3102/2109348.

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Reports on the topic "Indigenous art"

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Ramkumar, Bharath, and Rebecca Dias. Sustaining Indigenous Textile Artisans and Their Art in the North Eastern Region of India. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8330.

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Youdelis, Megan, Kim Tran, and Elizabeth Lunstrum. Indigenous-Led Conservation Reading List. Boise State University, Albertsons Library, November 2021. http://dx.doi.org/10.18122/environ.8.boisestate.

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This list compiles literature relevant to the bourgeoning Indigenous-led conservation movement, be that through Indigenous Protected and Conserved Areas (IPCAs, Canada), Indigenous and Community Conserved Areas (ICCAs, global), or various other forms of Indigenous-led governance or co-governance mechanisms that elevate Indigenous rights, responsibilities, and legal traditions. The introductory Colonial Conservation section is not exhaustive, but rather provides context for the main import of the collection, which is to highlight the possibilities, successes, and challenges associated with decolonizing conservation through Indigenous-led governance. The list is global in scope but has been shaped by the Indigenous Circle of Experts’ (2018) report, We Rise Together, which provides recommendations for facilitating IPCAs in Canada. The majority of the pieces are peer-reviewed, however some print media has also been included.
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Plant, Roger, and Soren Hvalkof. Land Titling and Indigenous Peoples. Inter-American Development Bank, August 2001. http://dx.doi.org/10.18235/0008860.

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This paper has the following main objectives: to review the actual or potential impact of land titling and cadastre programs on indigenous populations; to recommend actions that would minimize risk and ensure that land projects are tailored to the aspirations and needs of indigenous peoples; to outline a typology of indigenous landholding systems and to identify any areas requiring further research. The research done by the consultants draws from country and site visits, a review of Bank projects as well as those of other international agencies, and meetings with government authorities, representatives of indigenous organizations and other relevant actors. The countries visited were Colombia, Ecuador, Panama and Peru. In each visit, the consultants focused on both law and policy concerns and made extensive site visits to highland areas and tropical regions, including the Amazon basin. Though the study reflects this field experience, it is written as a policy paper aiming to have the widest possible relevance for Latin America as a whole.
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Renshaw, Jonathan. Guyana: Technical Note on Indigenous Peoples. Inter-American Development Bank, September 2007. http://dx.doi.org/10.18235/0009127.

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The aim of this note is to provide an overview of the situation of the Indigenous Peoples of Guyana. The note covers a range of issues, including land regularisation, environment - especially mining, logging and the establishment of protected areas - economic development, education, health care and local infrastructure. In line with the Bank's Policy on Indigenous Peoples, it stresses the need to ensure Indigenous Peoples are given the opportunity to participate in the discussions and decisions relating to all Bank operations that may affect them.
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Plant, Roger. Issues in Indigenous Poverty and Development. Inter-American Development Bank, December 1998. http://dx.doi.org/10.18235/0006795.

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The first part of this discussion paper attempts, within the inevitable data limitations, to present some picture of patterns of indigenous poverty over time. In addition, the first section examines some of the historical determinants that can explain the disproportionate poverty confronting Latin America's indigenous peoples today and provides an overview of diverse economic and survival strategies of indigenous peoples in Latin America today. The second section of the paper is concerned with measures to combat indigenous poverty through the policies and programs of governments and international actors including the IDB. As will be seen, there has been a tremendous growth in the attention given to issues of indigenous poverty and development over the past decade. Rather than a narrative account of policies and programs, the paper aims mainly to identify the main challenges and dilemmas that are now emerging.
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Bustelo, Monserrat, Verónica Frisancho, and Mariana Viollaz. Unequal Opportunities for Indigenous Peoples and African Descendants. Inter-American Development Bank, December 2023. http://dx.doi.org/10.18235/0005340.

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The indigenous peoples and African descendants in Latin America and the Caribbean are far behind the rest of the population in terms of access to education, health services, and financial services, something that is reflected in poor labor outcomes and high poverty rates. Indigenous peoples and African descendants achieve lower levels of education in their lifetime. In recent decades, the region has narrowed the years-of-education gap between the indigenous peoples and the non-indigenous population, but the differences are still large. The gaps in access to health services are clear in the maternal and infant mortality rates, which are higher for the indigenous peoples compared to the non-indigenous population, as well as in the deteriorated health indicators for children under the age of five. The labor situation is no better, with the indigenous peoples holding jobs in low-skilled occupations to a larger extent than the non-indigenous population. The poverty rates are alarming. In total, 43% of the regions indigenous persons and 25% of the African descendants are poor, and with very few exceptions, the poverty rates among African descendants and indigenous peoples are more than twice the rate of the white population.
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7

Rogers, Jessa, Kate E. Williams, Kristin R. Laurens, Donna Berthelsen, Emma Carpendale, Laura Bentley, and Elizabeth Briant. Footprints in Time: Longitudinal Study of Indigenous Children. Queensland University of Technology, October 2022. http://dx.doi.org/10.5204/rep.eprints.235509.

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The Longitudinal Study of Indigenous Children (LSIC; also called Footprints in Time) is the only longitudinal study of developmental outcomes for Aboriginal and Torres Strait Islander children globally. Footprints in Time follows the development of Australian Aboriginal and Torres Strait Islander children to understand what Indigenous children need to grow up strong. LSIC involves annual waves of data collection (commenced in 2008) and follows approximately 1,700 Aboriginal and Torres Strait Islander children living in urban, regional, and remote locations. This LSIC Primary School report has been produced following the release of the twelfth wave of data collection, with the majority of LSIC children having completed primary school (Preparatory [aged ~5 years] to Year 6 [aged ~12 years]). Primary schools play a central role in supporting student learning, wellbeing, and connectedness, and the Footprints in Time study provides a platform for centring Indigenous voices, connecting stories, and exploring emerging themes related to the experience of Indigenous children and families in the Australian education system. This report uses a mixed-methods approach, analysing both quantitative and qualitative data shared by LSIC participants, to explore primary school experiences from the perspective of children, parents and teachers. Analyses are framed using a strengths-based approach and are underpinned by the understanding that all aspects of life are related. The report documents a range of topics including teacher cultural competence, racism, school-based Aboriginal and Torres Strait Islander education activities, parental involvement, engagement, attendance, and academic achievement.
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8

Fryer, Michelle, Ursula Quijano, Patricia Sadeghi, Carla Calero, Salomon Garcia Villegas, and Sebastián Vargas. Implementation of the Strategy for Indigenous Development (GN-2387-5): Lessons from the Portfolio Review. Inter-American Development Bank, September 2012. http://dx.doi.org/10.18235/0010431.

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Analysis of the portfolio related to indigenous peoples in the context of the Indigenous Development Strategy (IDS) approved in 2006, shows that: (i) indigenous issues are less prevalent in Country Strategies from 2006 onward; (ii) the instrument most used to address indigenous issues is technical cooperation, followed by loan operations; (iii) there is limited evidence of a mainstreaming approach to the integration of indigenous issues in IDB operations; (iv) the number of loans with a proactive approach declined after approval of IDS; (v) the evaluability of operations related to indigenous issues is low; and (vi) the review period was marked by major institutional changes in the unit responsible for indigenous issues at the IDB. In light of the findings, the IDB should (i) ensure that analytical work is of high quality in those countries where the development of indigenous peoples represents a major challenge; (ii) strengthen IDB's existing information systems to ensure effective monitoring of its work on indigenous issues and fulfillment of the IDB-9 commitments; and (iii) strengthen research and evaluation in priority sectors for indigenous peoples to identify good practices and standards.
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9

Araujo, Susana, Araujo, Susana, Mariah Cannon, Megan Schmidt-Sane, Alex Shankland, Mieke Snijder, and Yi-Chin Wu. Key Considerations: Indigenous Peoples in COVID-19 Response and Recovery. Institute of Development Studies (IDS), March 2021. http://dx.doi.org/10.19088/sshap.2021.024.

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Indigenous peoples have experienced heightened vulnerability during the COVID-19 pandemic and face disproportionately high COVID-19 mortality. To better address these vulnerabilities, it is critical to adapt COVID-19 programmes to the particular needs of indigenous peoples, as articulated by indigenous voices. It is also vital to link up with responses already ongoing and led by indigenous peoples to mitigate this crisis. This SSHAP brief discusses key considerations for COVID-19 response and recovery, with a particular focus on the Amazon region of South America. The considerations in this brief are drawn from a review of evidence and insights provided by indigenous leaders and researchers from several different continents. The considerations are rooted in key principles for indigenous community engagement, as articulated by indigenous peoples and organisations. This brief may be of interest to health and development policymakers and practitioners working in indigenous communities and territories and can be read in conjunction with the SSHAP background report on ‘Indigenous Peoples and COVID-19.’
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10

Fu, Xiaolan, Carlo Pietrobelli, and Luc Soete. The Role of Foreign Technology and Indigenous Innovation in the Emerging Economies: Technological Change and Catching Up. Inter-American Development Bank, September 2010. http://dx.doi.org/10.18235/0008556.

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This article explores in depth the role of indigenous and foreign innovation efforts in technological change and catching up in emerging economies. It also looks at the interaction between indigenous and foreign innovation. The article presents original evidence and argues that, despite the potential offered by globalisation and a liberal trade regime, the benefits of international technology diffusion can only be delivered with parallel indigenous innovation efforts and the presence of modern institutional and governance structures and conducive innovation systems. This conclusion is compounded by the expected inappropriateness of Northern technology for countries in the developing South, which calls for greater efforts to develop indigenous innovation. In this sense, indigenous and foreign innovation efforts are complementary.
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