Rozprawy doktorskie: „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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2

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
Unrestricted

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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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Christopher, Jason James. "Beizam Triple Hammerhead Shark: Animatronic technology and cross-cultural collaboration in the Torres Strait". Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20360.

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Research into Beizam Triple Hammerhead Shark: Animatronic technology and cross-cultural collaboration in the Torres Strait, was to further establish and test institutional recognition of cross-collaborative inspired Indigenous/non-Indigenous art within the emergence of a multimillion-dollar Torres Strait Islander arts industry. The success of mainland Aboriginal artists paved the way for Torres Strait Islanders to develop their own contemporary art movement, largely responsible for the cultural revival in which Indigenous communities now participate. Amid this revival, there is limited information on non-Indigenous involvement among these artists and works. The research presented in this thesis expands this area of knowledge. The main premise of my argument questions institutional and Indigenous arts industry downplaying of cross-cultural collaborative engagement among the Torres Strait Islander contemporary art movement. This is supported by demonstrating a history of cross-cultural engagement within the constructs of contemporary art making and cultural practice predating Western influence. I demonstrate how my work with Dr Ken Thaiday Snr (Thaiday) serves to promote cross-cultural engagement and in line with Sasha Grishin’s article on the Defying Empire: 3rd National Indigenous Art Triennial[1], poses questions to curatorial and art market agendas that segregate Indigenous art from the broader context of contemporary Australian non-Indigenous art. One of the arguments I have had with the two earlier shows and continue to have with the present one is with the concept of race-based segregation as the underlying basis for an art exhibition. Is indigenous art in Australia still in need of affirmative action and a sheltered environment for it to grow and survive?[2] The thesis questions curatorial and art market agendas that have misinterpreted our cross-cultural collaborations, segregating them from the broader context of contemporary Australian art through the dismissal of my involvement in the works. An investigation of technology inspired artistic collaborations between Thaiday and myself over the research period of five years is used as a platform to raise questions on the peripheral complications of my non-Indigenous participation in the co-creation of works connected to Torres Strait Islander culture. Our artistic collaborations merge animatronic technologies and automated production systems that integrate with Thaiday’s material culture. Thaiday and I have developed an artistic engagement combining our art practices to produce hybrid, performative works of contemporary art. The aesthetic is a combination of both our styles of work. Thaiday provides the historical context, uniquely styled cultural content and the framework for the collaborative concept to build from based on his past dance machines and centuries of material culture. I provide a connection to a digital realm, introducing technology and the format of a new contemporary aesthetic borne from automated processes and references to my art practice. The newly formed work is digitised bringing the collaborations to life, the works are jointly enhanced by our shared knowledge of the marine environment. The research and collaborative works draw from long-lasting traditions, of collaborative engagement with outsiders including and incorporating new ideas and technologies into the fabric of their own traditional practice and cultural development. A brief historical account of this contemporary art movement and key artists creates the context for three major works undertaken by Thaiday and myself that were shown in prominent exhibitions locally and internationally. The final collaborative work, Beizam Triple Hammerhead Shark 2016 produced for the 20th Biennale of Sydney, forms the major work for the research. This research documents and discusses, the production and reaction, to publically displayed co-created works between Thaiday and me, focusing on perception and understanding of our Indigenous/non-Indigenous artistic collaborative engagement. The thesis advocates a platform that allows our collaborative works to continue contributing towards the promotion of Indigenous cultures, Australian contemporary arts and sharing of cultural ideas and knowledge between Indigenous and non-Indigenous Australians. [1] Grishin, Sasha. (June 7, 2017). Defying Empire: 3rd National Indigenous Art Triennial. Retrieved from https://www.smh.com.au/entertainment/art-and-design/defying-empire-3rd-national-Indigenous-art-triennial-20170606-gwlkgb.html [2] Grishin, Sasha. (June 7, 2017). Defying Empire: 3rd National Indigenous Art Triennial. Retrieved from https://www.smh.com.au/entertainment/art-and-design/defying-empire-3rd-national-Indigenous-art-triennial-20170606-gwlkgb.html

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Fesq, Harriet. "Wupun/Warrgadi: Ngan’gi fibre and the art of Peppimenarti". Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/15611.

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This dissertation examines the history and contemporary artistic practice of the Ngan’gi language groups of the Peppimenarti community (NT), within the greater context of Indigenous Top-End fibre art and acrylic painting. The dissertation endeavours to answer the question: “How does Ngan’gi fibre design and pattern construction reconceptualise cultural significance?” The research traces a ‘traffic’ of historical and contemporary Ngan’gi objects, and the succession of significances they have held for colonial and/or Indigenous makers, collectors and audiences. The dissertation also investigates cognate practices within Indigenous Australian textile and fibre art, illuminating the processes behind the construction of designs and the cultural, social and historical meanings they communicate. Finally, this study acts as a repositioning of the prevailing theories of significance within contemporary Indigenous art, arguing for a re-evaluation of pattern design within the woven and painted forms of the Ngan’gi.

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Robinson, David Wayne. "Landscape, taskscape, and indigenous perception : the rock-art of South-Central California". Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/284062.

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Genia, Erin(Erin M. ). "Wokiksuye : the politics of memory in Indigenous art, monuments, and public space". Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123559.

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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2019
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 121-135).
The powers of creativity and symbolism that art draws upon have been used in the public realm to uplift and also to oppress. Within this context, art, from Indigenous perspectives, can positively influence the collective imaginations and wokiksuye (memory) of society. Indigenous intervention into the practice of public art can powerfully contribute to the process of decolonization and Indigenization in America. Considerations embedded in notions of public space within a settler colonial society, such as the attempted erasure of Indigenous peoples and histories, and the supplanting of Western doctrines over Indigenous cultures, influence the production and reception of this work. Erin Genia, a Dakota artist, analyzes the politics of memory in public space by scrutinizing monuments celebrating the American colonial project and describes the impacts of Western imperialism on Indigenous arts and cultures. By presenting her own artwork, as well as that of prominent Indigenous artists working in the public sphere, she shows how understandings of place and relationship underpin Dakota/Indigenous methods, and argues that public art is an arena where an evolution of thought and practice in approaches to the world can come to fruition.
"Support of the Sisseton Wahpeton Higher Education Department, the American Indian Graduate Center, the Cobell Scholarship and Eloise Cobell, the MIT Program in Art, Culture and Technology, the MIT School of Architecture and Planning, the First Peoples Fund, the American Austrian Foundation, the Potlatch Fund, and the Longhouse Education and Cultural Center"--Page 5
by Erin Genia.
S.M. in Art, Culture and Technology
S.M.inArt,CultureandTechnology Massachusetts Institute of Technology, Department of Architecture

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Andrus, Raquel Malia. "A Maoli-Based Art Education: Ku'u Mau Kuamo'o 'Ōlelo". BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3899.

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Leaders in K-12 education in Hawai'i are increasingly advocating for and utilizing the culture and knowledge of the kānaka Maoli, the native people of these islands, as a context for learning in a variety of curricular disciplines and approaches (Benham & Heck, 1998; Kani'iaupuni, Ledward & Jensen, 2010; Kana'iaupuni & Malone, 2006; Kahakalau, 2004; Meyer, 2004). To expand upon this trend, this thesis uses a combination of autoethnographic and critical indigenous methodologies to present a personal narrative that looks specifically at approaching art education from a Maoli perspective. Through extensive participant/observer reflections, two place-based and culture-based art education experiences are juxtaposed with an experience working on a culturally-based collaborative mural project. Four significant kuamo'o, a concept which holds multiple meanings, including: "backbone, spine; road, trail path; custom, way," (Puku'i & Elbert, 1986), emerge as significant markers of meaningful Maoli-based art education: 1) mo'oku'auhau, genealogy and acknowledgement of those who have come before us, 2) mo'olelo, stories which belong to our place, 3) an idea that I am labeling pili ka mo'o, which literally means, the lizard is intertwined but can be translated through metaphor to mean someone who is intimate and deeply connected, and 4) aloha, a profound and honest love.

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Stair, Jessica J. "Indigenous Literacies in the Techialoyan Manuscripts of New Spain". Thesis, University of California, Berkeley, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13423818.

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Though alphabetic script had become a prevailing communicative form for keeping records and recounting histories in New Spain by the turn of the seventeenth century, pre-Columbian and early colonial artistic and scribal traditions, including pictorial, oral, and performative discourses still held great currency for indigenous communities during the later colonial period. The pages of a corpus of indigenous documents created during the late-seventeenth and early-eighteenth centuries known as the Techialoyan manuscripts abound with vibrantly painted watercolor depictions, alphabetic inscriptions, and vivid invocations of community elders’ speeches and embodied experiences. Designed in response to challenging viceregal policies that threatened land and autonomy, the Techialoyans sought to protect and preserve indigenous ways of life by fashioning community members as the noble descendants of illustrious rulers from the pre-Columbian past. The documents register significant events in the histories of communities, often creating a sense of continuity between the colonial present and that of antiquity. What is more, they provide the limits of the territory within a depicted landscape using a reflexive, ambulatory model. Representations of place evoke ritual practices of walking the boundaries from the perspective of the ground, enabling readers to acquire different forms of knowledge as they move through the pages of the book and the envisioned landscape to which it points. The different communicative forms evident in the Techialoyans, including pictorial, alphabetic, oral, and performative modes contribute to understandings of indigenous literacies of the later colonial period by demonstrating the diverse resources and methods upon which indigenous leaders drew to preserve community histories and territories.

The Techialoyans present an innovative artistic and scribal tradition that drew upon pre-Columbian, early colonial, and European conventions, as well as the contemporary late-colonial pictorial climate. The artists consciously juxtaposed traditional indigenous materials and conventions with those of the contemporary colonial moment to simultaneously create a sense of both old and new. Not only did the documents recount indigenous communities’ histories and affirm their noble heritages, they also proclaimed possession of an artistic and scribal tradition that was on par with that of their revered ancestors, thereby strengthening corporate identity and demonstrating their legitimacy and autonomy within the colonial regime.

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Arnett, Christopher Anderson. "Rock art of Nlaka'pamux : indigenous theory and practice on the British Columbia Plateau". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58026.

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The ethnographic and archaeological data on Nlaka’pamux Interior Salish rock art is among the richest of its kind in North America and offers a rare opportunity to study indigenous rock art in the historical and cultural context of its production. Direct historical and cultural continuity offer the advantage of foregrounding indigenous taxonomy and interpretation. With multiple sources available (ethnographic texts, historical texts, archaeological data and localized indigenous knowledge) Nlaka’pamux rock art can be detached from western theory and studied empirically (temporally and spatially) as a material signature of practice within a circumscribed territory. Nlaka’pamux rock painting, according to oral tradition, is an ancient practice. Many rock paintings visible today appeared on certain landforms after the arrival of Europeans and pathogens (smallpox) on the east coast of North America. Oral traditions state that Nlaka’pamux knew of European presence prior to face to face contact and took active measures to mitigate the impact using culturally prescribed means —speeches, dances and rock painting which occurred at 50 or so locations throughout the territory along travel corridors as early as the 16th century and into the 20th century. In all its phases, Nlaka’pamux rock painting is a pro-active historically contingent act of intervention with protection, demographic revitalization and intergenerational memory in mind.
Arts, Faculty of
Anthropology, Department of
Graduate

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McGregor, Carol Anne. "Art of the Skins: un-silencing and remembering". Thesis, Griffith University, 2019. http://hdl.handle.net/10072/388148.

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A major focus of my visual art practice has been to contribute to the un-silencing of family and Australian Indigenous community histories and heritage. Un-silencing is my term to describe the personal and political acts needed to undo colonial structures and thinking. As a part of this undoing or decolonising, I have sought to share knowledges and to pass on information and skills through reinvigorating the art of Indigenous possum skin cloak-making in South-East Queensland. Little research or writing about Australian Aboriginal possum skin cloak-making exists, which is partly because of the hiatus in the actual making of cloaks as garments of use and for ceremony due to the forced interruption of cultural practices by early dominating colonialists. There are now only fourteen known historical animal skin cloaks or fragments of cloaks in existence. I have closely examined two of these cloaks: one is held in the Smithsonian National Museum of Natural History in Washington DC, and the other in the Miles Historical Museum in Miles, Queensland. In order to continue the cultural practice of possum skin cloak-making in South-East Queensland, I facilitated (with fellow artist Glennys Briggs) a series of over fifty Indigenous community-based possum skin cloak-making workshops between 2014 and 2016. The outcome was the making of six community-owned possum skin cloaks that were displayed over six months in the exhibition Art of the Skins, State Library of Queensland, in 2016. Little-known historical references to the possum skin cloaks in this region were woven into the workshops to bring them to common knowledge and to emphasise the significance and importance of the continuum of this traditional cultural practice in South-East Queensland. The workshops informed my own practice-led research and making. The art on the skins documents biocultural knowledge of plants and place, drawn from guidance received from Elders and community members. Through this research, I hope to contribute to understanding particular aspects of the continuum of Australian Aboriginal cultural object making.
Thesis (PhD Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text

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Charles, Craig, i s9901040@student rmit edu au. "Telling the Stories: Art Making as a Process of Recovery, Healing and Celebration". RMIT University. Education, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070205.150934.

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I am a Latje Latje man born and raised in Mildura. I am a contemporary artist, a dancer and a father. I began dancing with the Latje Latje dance group when I was four. I come from river country. I spent the first six years of my life on the banks of the Murray River. The river runs right through my work. During the course of my Masters, I have been spending time in the north of Victoria, in central Victoria and in South Gippsland by the sea in Boonerwrung country. I a man of the river, but since the birth of my son, I have been developing a relationship with the sea. My relationship to the sea changed when my son moved to the sea. My spiritual connection to the sea has grown the more time I have spent there and the more spiritual knowledge I have gained of my ancestral country of the Boonerwrung. Within this research project, I explore the question: How can art-making generate a process of recovery, healing and celebration? In my Masters I have developed two series of paintings, one from the river and one from the sea. The first group of paintings were shown in a nine-month solo exhibition, 'City Style - Country Youth' at Bunjilaka, the Aboriginal Section of the Melbourne Museum. The second group were shown at another solo exhibition called 'Mungo Stories' held at the Australia Dreaming Art gallery in Fitzroy, Melbourne. Artefacts My Master of Arts includes the following artefacts: An Exhibition of Paintings selected from the 63 artworks I have undertaken during the course of my Masters An Exegesis in which I tell the story of my paintings and my research and in which I give an overview of the paintings I have done during my research degree A Digital Story which combines didgeridoo music with a selection of my images Two Audio Tracks, 'Paintings Talk' and 'Grinding the Ochre' A Short Film in which I describe my experience as a contemporary Indigenous artist.

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Carew, Colleen 'Co' M. "The Moccasin Project| Understanding a Sense of Place through Indigenous Art Making and Storytelling". Thesis, Lesley University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13428314.

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The purpose of this arts-based, and Indigenous research study was to explore how Native Americans understand ‘place-based imagery’ through an Indigenous art making and storytelling experience in order to illuminate perspectives and experiences of a ‘sense of place’. Storywork, an Indigenous research method directed the culturally grounded research project. The Native American moccasin was the symbolic cultural catalyst used to create a multimedia art piece to express and reflect traditional cultural knowledge rooted within this symbol. Native Americans representing five federally recognized tribes participated in the study. As a result of a pilot study, a definition of place-based imagery was developed. Place-based imagery is making or creating meaning of symbols, shapes, colors and designs, related to P-People, L-Land, A-Ancestry, C-Culture, E-Experiences that may foster, awaken and/or deepen one’s connection and understanding of self and a sense of place.

The research findings were examined and derived using an Indigenous paradigm. A culturally based understanding of a ‘sense of place’ was developed from the stories and imagery. Perspectives relating to unwavering support, interconnection of culture and land, intergenerational knowledge transfer, deepened cultural knowledge, balance, and an understanding of a felt sense of place, emerged as a result of the moccasin making and storytelling experience. Secondly, an approach was developed using ‘response art’ as a technique that may be used to mitigate secondary trauma. The study showed that Expressive Arts is an effective intervention used with Native Americans to inspire strength based cultural stories and images that encouraged self-understanding.

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Jones, Charlotte. ""THIS SACRED LAND IS OUR SHIELD": Deploying the Sacred in Indigenous Art and Activism". Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1206.

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My art historical and sociological thesis will take Cheyenne-Arapaho artist Edgar Heap of Birds’ Defend Sacred Mountains print series as the point of departure for examining the interventions of Native artists and grassroots activists in their decolonizing campaigns. Heap of Birds’ exhibition of sixty-four mono-prints, to be exhibited at Pitzer College Art Galleries in January 2018, calls attention to the ongoing injustices committed against four indigenous sacred sites across the United States: Bear Butte, South Dakota; Bear’s Lodge, Wyoming; San Francisco Peaks, Arizona; and Mauna Kea, Hawaii. Heap of Birds’ monoprints address and allude to indigenous struggles to undermine insensitive development, non-Native encroachment, and environmental despoliation on their sacred mountains. Consequently, one chapter will pay special focus to the case studies of contemporary legal and social battles occurring at these sites to counter land dispossession and reinforce tribal sovereignty. How tribal leaders and grassroots activists employ claims to these lands based on their sacred value and/or based on treaty rights will be explored on a case-to-case basis and guided by the theories of decolonization, survivance, and tribal sovereignty. Two other chapters will address Heap of Birds as a decolonial actor, one grounding his career in the theories of spatial politics and historical remembrance explored by other American Indian Movement era (AIM) indigenous artists such as George Longfish, Kay WalkingStick, Rebecca Belmore, and Demian DinéYazhi´; the second will consider the implications of Defend Sacred Mountains in relation to his wider oeuvre. In highlighting both grassroots and artistic responses to indigenous claims to these four sacred sites, this thesis hopes to explore the concrete and diverse interventions made in decolonial campaigns to reclaim tribal sovereignty and support cultural survivance.

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Peacock, Christine. "A novella of ideas : how interactive new media art can effectively communicate an indigenous philosophical concept". Queensland University of Technology, 2009. http://eprints.qut.edu.au/30391/.

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How interactive new media art can effectively communicate an indigenous philosophical concept. The sophistication and complexity of the philosophical concept concerning relationships between land and people and between people, intrinsic to the laws and customs of Australian Indigenous society, has begun to be communicated and accessed beyond the realm of anthropological and ethnological domains of Western scholarship. The exciting scope and rapid development of new media arts presents an innovative means of creating an interactive relationship with the general Australian public, addressing the urgent need for an understanding of Indigenous Australian concepts of relationship to land, and to each other, absent from Western narratives. The study is framed by an Indigenous concept of place, and relationships between land and people and between people; and explores how this concept can be clearly communicated through interactive new media arts. It involves: a creative project, the development of an interactive new media art project, a website work-in-progress titled site\sight\cite; and an exegesis, a Novella of Ideas, on the origins, influences, objectives, and potential of creative practices and processes engaged in the creative project. Research undertaken for the creative project and exegesis extended my creative practice into the use of interdisciplinary arts, expressly for the expression of philosophical concepts, consolidating 23 years experience in Indigenous community arts development. The creative project and exegesis contributes to an existing body of Indigenous work in a range of areas - including education, the arts and humanities - which bridges old and new society in Australia. In this study, old and new society is defined by the time of the initial production of art and foundations of knowledge, in the country of its origins, in Indigenous Australia dating back at least 40,000 years.

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Peacock, Eve Christine. "A novella of ideas : how interactive new media art can effectively communicate an indigenous philosophical concept". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/30391/1/Eve_Peacock_Thesis.pdf.

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How interactive new media art can effectively communicate an indigenous philosophical concept. The sophistication and complexity of the philosophical concept concerning relationships between land and people and between people, intrinsic to the laws and customs of Australian Indigenous society, has begun to be communicated and accessed beyond the realm of anthropological and ethnological domains of Western scholarship. The exciting scope and rapid development of new media arts presents an innovative means of creating an interactive relationship with the general Australian public, addressing the urgent need for an understanding of Indigenous Australian concepts of relationship to land, and to each other, absent from Western narratives. The study is framed by an Indigenous concept of place, and relationships between land and people and between people; and explores how this concept can be clearly communicated through interactive new media arts. It involves: a creative project, the development of an interactive new media art project, a website work-in-progress titled site\sight\cite; and an exegesis, a Novella of Ideas, on the origins, influences, objectives, and potential of creative practices and processes engaged in the creative project. Research undertaken for the creative project and exegesis extended my creative practice into the use of interdisciplinary arts, expressly for the expression of philosophical concepts, consolidating 23 years experience in Indigenous community arts development. The creative project and exegesis contributes to an existing body of Indigenous work in a range of areas - including education, the arts and humanities - which bridges old and new society in Australia. In this study, old and new society is defined by the time of the initial production of art and foundations of knowledge, in the country of its origins, in Indigenous Australia dating back at least 40,000 years.

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Coate, Bronwyn, i bronwyn coate@rmit edu au. "An Economic Analysis of the Auction Market for Australian Art: Evidence of Indigenous Difference and Creative Achievement". RMIT University. Economics, Finance & Marketing, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091127.160406.

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This thesis explores factors that determine the price for Australian art sold at auction. Using a large data set that comprises over 20,000 sale observations of Australian paintings sold between 1995 and 2003 characteristics associated with the artist, the work and auction are included in a series of hedonic models. In addition to modelling the overall market, differences within defined market segments for Indigenous and Non-indigenous art are explored. The role of artist identity and critical acclaim, the period in which art works are created and the event of an artist death are areas of specific focus within the analysis along with an investigation of the risks and returns associated with Australian art investment. It is found that artist identity is a crucial factor that drives price. Further, the most highly valued Non-indigenous art works are found to be created prior to 1900, although the market for Contemporary art produced post 1980 is associated with relatively high prices also. Distinctions emerge between Indigenous and Non-indigenous art as we consider the period in which works are created and the influence this has upon price. Almost 90 per cent of Indigenous art sold at auction has been created since 1970 and it is works from the 1970s that command the highest prices for Indigenous art sold at auction. This is not unexpected given the rise of Indigenous art in the early 1970s coinciding with the emergence of the Papunya Tula art movement. The death of an artist also proves to have a different influence upon price when we compared Indigenous and Non-indigenous art. For Non-indigenous art there is clear evidence of a death effect upon art prices, where prices typically rise around the time of an artists death before falling back somewhat with the passing of time. For Indigenous art the influence of a living artist's conditional life expectancy upon price proves to be of greater relevance in explaining price where as the artist ages and the term of their life expectancy reduces prices tend to rise. The analysis within this thesis finishes with the construction of a number of short term art price indices where it is found that returns to investment in Indigenous art are generally higher and less risky compared to Non-indigenous art. Australian art generally and Indigenous art in particular is found to have a relatively weak correlation with the stock market suggesting that Australian art has a role to play in a balanced investment portfolio especially taking into account the aesthetic utility that can also be derived as a result of holding art. The research contributes to understanding how the auction market for Australian art operates with emphasis paid to the distinctions and similarities observed within the sub-markets for Indigenous and Non-indigenous art. Insights from this research have the potential to inform public policy on a number of issues including the effect of resale royalties upon the operation of the auction market, and how indigenous economic development may be facilitated through a strong market for Indigenous art.

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Elatta, Taha Mohamed. "An analysis of indigenous Sudanese graphic imagery and implications for curriculum development in art education". Thesis, De Montfort University, 1990. http://hdl.handle.net/2086/4090.

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West, Sharon Ann, i sharon west@rmit edu au. "A pictorial historical narrative of colonial Australian society: examining settler and indigenous culture". RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.102857.

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This exegesis covers a period of research and art practice spanning from 2004 to 2007. I have combined visual arts with theoretical research practice that considers the notion of Australian colonialism via a post colonial construct. I have questioned how visual arts can convey various conditions relationships between settler and Indigenous cultures and in doing so have drawn on both personal art practice and the works of Australian artists of the 19th and 20th centuries. These references demonstrate an ongoing examination of black and white relations portrayed in art, ranging from the drawings of convict artist, Joseph Lycett, through to the post federation stance of Margaret Preston, whose works expressed a renewal of interest in Indigenous culture. In applying a research approach, I have utilised a Narrative Enquiry methodology with a comparative paradigm within a Creative Research framework, which allows for various interpretations of my themes through both text and visuals. These applications also express a personal view that has been formed from family and workplace experiences. These include cultural influences from my settler family history and settler historical events in general juxtaposed with an accumulated knowledge base that has evolved from my personal and professional experience within Indigenous arts and education. I have also cited examples from Australian colonial and postcolonial art and literature that have influenced the development of my visual language. These include applying stylistic approaches that incorporate various artistic aspects of figuration and the Picturesque and literal thematic mode based on satire and social commentary. Overall, my research work also expresses an ongoing and evolving process that has been guided and influenced by current Indigenous and non-Indigenous Australian postcolonial critical thinking and arts criticism, assisting within the development of my personal views and philosophies .This process has supported the formation of a belief system that I believe has matured throughout my research and art practices, providing a personal confidence to assert my own analytical stance on colonial history.

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Mullen, Emily. "Fighting against Indigenous Stereotypes and Invisibility| Gregg Deal's Use of Humor and Irony". Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10793926.

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Stereotypes of Indigenous peoples, formed according to Western notions of cultural hierarchy, as savage, exotic, and only existing in a distant past, are still prevalent in the popular imaginary. These stem from misunderstandings and misrepresentations of Indigenous peoples that developed after contact between Indigenous peoples and European settler communities, and exist in concepts such as the noble savage, the wild heathen, or the vanishing Indian. In this thesis I argue that contemporary artist Gregg Deal (Pyramid Lake Paiute) successfully challenges and disrupts such stereotypes by re-channeling their power and reappropriating them through his strategic use of humor and irony in performances, paintings, and murals. Through these tools, Deal is able to attract audiences, disarm them, and destabilize their assumptions about Indigenous peoples. I frame Deal’s use of humor and irony outside the trickster paradigm, drawing instead on Don Kelly’s (Ojibway) theorization of humor as a communicative tool for making difficult topics accessible, and Linda Hutcheon’s theorization of irony as a discursive strategy for simultaneously presenting and subverting something that is familiar.

In a second line of argument, I foreground Deal’s agency as an artist through analysis of his strategies to reach audiences and gain visibility for his art. Contemporary Indigenous artists are often excluded from mainstream art institutions, and can struggle to find venues to exhibit their work. I argue that Deal’s strategic use of public space and the internet to show and publicize his art is significant. It has helped him to reach audiences and gain recognition for his work. He now exhibits and performs in university and state museums. I argue that the authority of museum space, in turn, gives him a greater opportunity to disrupt stereotypes and educate people about misperceptions of Indigenous peoples.

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Bonney, Geoffrey, i Peter Alan Widmer. "Cherbourg time : young black and deadly art 2003-2007". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/34407/1/Geoffrey_Bonney_%26_Peter_Widmer_Thesis.pdf.

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Art is most often at the margins of community life, seen as a distraction or entertainment only; an individual’s whim. It is generally seen as without a useful role to play in that community. This is a perception of grown-ups; children seem readily to accept an engagement with art making. Our research has shown that when an individual is drawn into a crafted art project where they have an actual involvement with the direction and production of the art work, then they become deeply engaged on multiple levels. This is true of all age groups. Artists skilled in community collaboration are able to produce art of value that transcends the usual judgements of worth. It gives people a licence to unfetter their imagination and then cooperatively be drawn back to a reachable visual solution. If you engage with children in a community, you engage the extended family at some point. The primary methodology was to produce a series of educationally valid projects at the Cherbourg State School that had a resonance into that community, then revisit and refine them where necessary and develop a new series that extended all of the positive aspects of them. This was done over a period of five years. The art made during this time is excellent. The children know it, as do their families, staff at the school, members of the local community and the others who have viewed it in exhibitions in far places like Brisbane and Melbourne. This art and the way it has been made has been acknowledged as useful by the children, teachers and the community, in educational and social terms. The school is a better place to be. This has been acknowledged by the children, teachers and the community The art making of the last five years has become an integral part of the way the school now operates and the influence of that has begun to seep into other parts of the community. Art needs to be taken from the margins and put to work at the centre.

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Brand, Sally. "To exceed the boundaries of language: text in the visual art practices of contemporary artists Gordon Bennett, Shane Cotton and Tony Albert". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20669.

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This thesis addresses the use of text and language in the visual practices of three contemporary artists: Gordon Bennett (Australian, 1955–2014), Shane Cotton (New Zealand, b. 1964), and Tony Albert (Australian, b. 1981). In recent decades, local art histories in Australia and New Zealand have expanded globally as well as shifted internally to recognise, support and celebrate the work of Indigenous artists. The visual art practices of Bennett, Cotton and Albert, all contemporary international artists and Indigenous people, offer particular insights into this changing landscape. Quotational strategies and the re-use of images, objects and texts from both local and far-reaching sources are analysed and compared.

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Barnd, Natchee Blu. "Inhabiting Indianness : US colonialism and indigenous geographies /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307536.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed July 23, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 214-232).

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Carmichael, Elisa J. "How is weaving past, present, futures?" Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108051/1/Elisa_Carmichael_Thesis.pdf.

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This researcher is a descendant of the Quandamooka people from Minjerribah and Moorgumpin, North Stradbroke and Moreton Island. This practice-led research project explores the application of traditional weaving techniques in creating contemporary forms of fashion acknowledging the strength and structure of weaving practices across Australia. The resulting collection of the researchers woven garments is thus both a cultural expression and political statement. As a practicing Indigenous visual artist, this paper is a brief introduction to the researchers contribution to Indigenous Australian Fashion.

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Parkin, Stephanie. "The theft of culture and inauthentic art and craft: Australian consumer law and Indigenous intellectual property". Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205870/2/Stephanie_Parkin_Thesis.pdf.

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This thesis addresses the 2017 Parliamentary Inquiry into the ‘growing presence of inauthentic Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise for sale across Australia’. Inauthentic art and craft is Aboriginal ‘style’ souvenir products that are created without the involvement of an Aboriginal person. This thesis prioritises the evidence of Aboriginal and Torres Strait Islander people to the 2017 Inquiry, investigates intellectual property and consumer law and explores colonial influences and power dynamics that allow inauthentic art and craft to exist. This thesis answers the question: ‘How can the law protect Aboriginal cultural expression from exploitation?’

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Gibson, Celise M. "Disjecta: Material representations of an Indigenous and immigrant cultural legacy". Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/87001/1/Celise_Gibson_Thesis.pdf.

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This practice-led research explores family history and the on-going influence of cultural legacy on the individual and the artist. Homi Bhabha theorises that identity vacillates through society, shifting and changing form to create disjunctive historical spaces – spaces of slippage that allow for new narratives and understandings to occur. Using the notion of disjuncture that became apparent in this research, the practice outcomes seek to visualise my families' sometimes-occulted history at the intersection of euro-centric and Indigenous ideologies. Researched archival materials, government documents, interviews, collected objects and family photo-albums became primary source data for studio-based explorations. Scanners, glitch apps and photo-hacking were used to navigate through these materials, providing opportunities for photographic punctum and creating metaphors for the connections and disconnections that shape our sense of self.

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Anderson, Jane Elizabeth Law Faculty of Law UNSW. "The production of indigenous knowledge in intellectual property law". Awarded by:University of New South Wales. School of Law, 2003. http://handle.unsw.edu.au/1959.4/20491.

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The thesis is an exploration of how indigenous knowledge has emerged as a subject within Australian intellectual property law. It uses the context of copyright law to illustrate this development. The work presents an analysis of the political, social and cultural intersections that influence legal possibilities and effect practical expectations of the law in this area. The dilemma of protecting indigenous knowledge resonates with tensions that characterise intellectual property as a whole. The metaphysical dimensions of intellectual property have always been insecure but these difficulties come to the fore with the identification of boundaries and markers that establish property in indigenous subject matter. While intellectual property law is always managing difference, the politics of law are more transparent when managing indigenous concerns. Rather than assume the naturalness of the category of indigenous knowledge within law, this work interrogates the politics of its construction precisely as a ???special??? category. Employing a multidisciplinary methodology, engaging theories of governmental rationality that draws upon the scholarship of Michel Foucault to appreciate strategies of managing and directing knowledge, the thesis considers how the politics of law is infused by cultural, political, bureaucratic and individual factors. Key elements in Australia that have pushed the law to consider expressions of indigenous knowledge in intellectual property can be located in changing political environments, governmental intervention through strategic reports, cultural sensitivity articulated in case law and innovative instances of individual agency. The intersection of these elements reveals a dynamic that exerts influence in the shape the law takes.

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Tanoai, Tuafale. "Story telling as koha consolidating community memories : [an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design, 2009] /". Click here to access this resource online, 2009. http://hdl.handle.net/10292/783.

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This project will explore a fusion of Tangata Whenua and Pacific perspectives within a performance installation framework. I intend to juxtapose community narratives within a video art form. I will explore the recording and transmitting of indigenous stories and will create contemporary narratives linking the past to the present. Working within my communities, (Tangata Whenua1, Pacific2, artists from different disciplines, LGBT3, and extensive friends networks), this project will investigate aspects of performance installation using live sets amid recordings of conversations and develop an interviewing practice. The performances are temporary and the devices ad-hoc.

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HUNTER, Andrew, i a. hunter@ecu edu au. "Philosophical Justification and the Legal Accommodation of Indigenous Ritual Objects; an Australian Study". Edith Cowan University. Community Services, Education And Social Sciences: School Of International, Cultural And Community Studies, 2006. http://adt.ecu.edu.au/adt-public/adt-ECU2006.0029.html.

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Indigenous cultural possessions constitute a diverse global issue. This issue includes some culturally important, intangible tribal objects. This is evident in the Australian copyright cases viewed in this study, which provide examples of disputes over traditional Indigenous visual art. A proposal for the legal recognition of Indigenous cultural possessions in Australia is also reviewed, in terms of a new category of law. When such cultural objects are in an artistic form they constitute the tribe's self-presentation and its mechanism of cultural continuity. Philosophical arguments for the legal recognition of Indigenous intellectual `property' tend to assume that the value of Indigenous intellectual property is determinable on external criteria.

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Isaac, Jaimie Lyn. "Decolonizing curatorial practice : acknowledging Indigenous curatorial praxis, mapping its agency, recognizing it's aesthetic within contemporary Canadian art". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58182.

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For decades, Indigenous art, artifacts and objects have had a contested history within galleries and museums. This is because Indigenous material culture was collected, interpreted, displayed and described through a Western colonial ideology, without Indigenous consent, intellectual or cultural contributions. The history represented in galleries and museums was deficient and perpetuated harmful myths and systemic racism. In order to substantiate change and demand for Indigenous leadership, it is necessary to understand the reality of the Indian as a dehumanized population, whose voice and knowledge in historical narratives has been systematically undermined, undergrounded and dismissed. More than 150 years of ‘education’ in the residential school systems, and forcible separation from Indigenous cultural traditions in ceremony, life ways and language, has affected more than seven generations. In the late 60s and early 70s Indigenous peoples en masse united to confront the disconnection from their cultural knowledge and language, and became a time of cultural resurgence and Indigenous renaissance. Indigenous Curatorial Praxis developed to assert, advance and frame Indigenous art as contemporary and relevant. By providing an historical context for its development, my main thesis seeks to identify and acknowledge the agency and aesthetic of Indigenous curatorial praxis and methodology. Indigenous curatorial practice is a stream of contemporary curatorial practice and this research seeks to recognize Indigenous methods embodied within the larger practice. This thesis inquires what it means to decolonize and Indigenize museum, gallery, and exhibition spaces and demonstrate how Indigenous curatorial contributions have affected the Canadian artistic landscape. The contextual genesis of my philosophy is rooted in a framework of Indigenous knowledge, decolonizing methods and my Anishnaabe-Indigenous familial, curatorial and artistic knowledge.
Graduate Studies, College of (Okanagan)
Graduate

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Stevenson, Charles Blair. "Modern indigenous curriculum : teaching indigenous knowledge of handicraft at Sami colleges in Finland and Norway = Oddaaigasaš eamialbmoga oahppoplanat : arbevealuš diedu oahpaheapmis duoddji oahpaheapmi Sami allaskuvlaiid". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33931.

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The Sami people have struggled for centuries to maintain their culture in spite of pressures against it from colonialism. The formal education systems of Norway and Finland have acted in discord with Sami decision-making since their inception. In response to this lack of decision-making power, there is a dynamic internal process at work; Sami people have begun to take control of their own schooling.
This thesis qualitatively examines the processes of curriculum development and implementation for wood handicraft programs at the Sami colleges in Guovdageaidnu, Norway and in Anar, Finland, and details the most significant educational and political factors involved in the transmission and production of indigenous knowledge associated with Sami handicraft. Factors associated with the teaching of Sami handicraft in the form of increasing commercialization, generalization and mechanization in formal duodji education and the stereotyping of Sami cultural imagery pose potential risks to appropriate transfer of Sami cultural knowledge. This thesis will show that the teaching of Sami handicraft (duodji) is an educational and political tool that helps develop and define modern Sami culture. Accordingly, attempts by the Sami colleges to incorporate greater indigenous knowledge have resulted in the implementation of modern indigenous curriculum that promotes cultural knowledge through the teaching of Sami handicraft.

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Meekison, Lisa. "Playing the games : indigenous performance in Australia's Festival of the Dreaming". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670221.

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Klekottka, Anna. "Ngaromoana Raureti Tomoana : indigenous village artist, story teller and ahi kaa : [a thesis submitted in partial fulfillment [ie. fulfilment] of the requirements for the degree of Master of Arts in Art History /". Thesis, University of Canterbury. School of Humanities, 2009. http://hdl.handle.net/10092/3683.

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Ngaromoana Raureti Tomoana is a painter from the East Coast of the North Island. In more than 30 years she has produced and shown a large body of work, like many other women artists concurrently juggling motherhood and artistic performance. Over approximately the last 10 years, she has formalized her education completing the Advanced Diploma for Maori Visual Arts at Toihoukura in Gisborne as well as a Bachelor of Arts and a Masters of Maori Visual Arts at Massey University. The artist, who identifies as an Indigenous Village Artist, is hardly known outside her local area of Northern Hawkes Bay, and, apart from a short feature in Mataora , a picture in Te Ata , and various catalogue entries, little has been written about her work. This thesis introduces Ngaromoana Raureti Tomoana and explores the notion of an indigenous village art. I incorporate feminist and postcolonial discourses into a political and critical engagement with her art, which addresses issues of village and land based cultural identity as well as race and gender. I argue that her work is politically motivated and important in the context of contemporary Maori art. Furthermore, based on a holistic world view, it simultaneously reaches out into the wider, global community. Intertwining local and personal history, her oeuvre is the manifestation of a female path and a female perspective, of identification with her village and beyond.

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Baljkas, Ivana. "Empowerment through Art : Non-governmental organisations’ art projects’ contribution to empowerment ofmarginalised groups in Mexico City and San Cristóbal de Las Casas, Mexico". Thesis, Ersta Sköndal Bräcke högskola, Institutionen för socialvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:esh:diva-9112.

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This study explores the ways marginalised groups can be supported in their empowerment process, and specifically how art projects organised by non-governmental organisations can contribute in the process. The focus is on prisoners and indigenous children and adults in Mexico City and San Cristóbal de Las Casas, Mexico who are involved in the organisations’ projects. Results from qualitative interviews with organisations’ staff are presented and discussed covering organisations characteristics and relationship with the clients as factors in supporting the clients in their empowerment. Involvement in art projects influenced participants’ self-awareness, self-confidence, sense of achievement, gender roles and the way they cooperate with each other. The findings also show art projects as a possibility for marginalised groups to tell about their own lives and by doing so change stereotypes about themselves. The discussion focuses on interpreting these effects of working with art projects as empowering factors. It is suggested that working with art and in the non-governmental sector can complement the welfare system and serve as an inspiration to finding other ways of achieving empowerment. A closer look at how the non-governmental organisations work and relate to their clients, shows a more equal relationship than the one within the welfare systems, which opens up for more options of supporting marginalised individuals through their empowerment processes. The results of this research are based on the perception of the organisation’s employees, not the users themselves.Therefore it would be interesting to continue research on this topic, interviewing the users in order to get the marginalized people’s perspective on the issue.

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Griffin, Shannon L. "Traditional Navajo Sandpaintings and John Dewey's Concept of An Experience". OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1580.

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In Traditional Navajo Sandpainting and John Dewey's Concept of An Experience I argue that the traditional Navajo sandpainting ceremony and John Dewey's concept of an experience mutually inform each other. By looking at traditional Navajo sandpaintings one can understand the type of experience Dewey is talking about when he talks about an experience. By looking at Dewey's concept of an experience one can understand the kind of experience the Navajo have when they participate in the sandpainting ceremonies. These experiences are deeply embedded in the foundation and meaning of life. Dewey argues that art and life are not separate. The traditional Navajo sandpaintings illustrate this. Life and the aesthetic are interwoven and connected. Beauty is part of our everyday lives and fills it with meaning.

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Pearce, Laurie Elisabeth. "The Cowrie Shell in Virginia: A Critical Evaluation of Potential Archaeological Significance". W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625721.

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Herlich, Jessica Marie. "Shellfishing, Ceramics, and Gender: Shell Midden Ceramics from the Kiskiak Site". W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626649.

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Ogborne, Jennifer Honora. "Chickahominy Stylistic Expression: Preliminary Motif Analysis of Ceramics of the Chickahominy River Drainage". W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539626446.

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Nieves, Josue Roberto. "The Land Remembers: The Construction of Movement Possibility among Woodland Period Communities of the Virginia Peninsula". W&M ScholarWorks, 2015. https://scholarworks.wm.edu/etd/1539626787.

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De, Villiers Katerina Lucya. "The JH Pierneef collection of the City Council of Pretoria housed in the Pretoria Art Museum". Diss., University of Pretoria, 1997. http://hdl.handle.net/2263/27532.

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This study is based on the catalogue/checklist of Pierneef works in the Pretoria Art Museum collection. The artist’s life, social, political and artistic influences of the period, both local and international, may be deduced from works analysed and discussed. The Arts and Crafts movement was a powerful influence affecting ideas on national identity, folk art and the vernacular from the middle of the nineteenth century onwards. A world-wide romantic nationalism stimulated a search for identity and exploitation of the indigenous. It is argued that these trends may be identified in the artistic development of Pierneef who, through friends, wide reading and intensive study was alive to European developments but focused on the indigenous arts of Southern Africa. He was the first South African artist to recognize Busman art and that of the black peoples. They had a profound influence on his own development and the motifs of his art.
Dissertation (MA)--University of Pretoria, 1997.
Historical and Heritage Studies
unrestricted

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Hunter, Andrew G. "Philosophical justification and the legal accommodation of Indigenous ritual objects; an Australian study". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/71.

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Indigenous cultural possessions constitute a diverse global issue. This issue includes some culturally important, intangible tribal objects. This is evident in the Australian copyright cases viewed in this study, which provide examples of disputes over traditional Indigenous visual art. A proposal for the legal recognition of Indigenous cultural possessions in Australia is also reviewed, in terms of a new category of law. When such cultural objects are in an artistic form they constitute the tribe's self-presentation and its mechanism of cultural continuity. Philosophical arguments for the legal recognition of Indigenous intellectual `property' tend to assume that the value of Indigenous intellectual property is determinable on external criteria.

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Lepage, Andrea. "Arts of the Franciscan Colegio De San Andres in Quito : a process of cultural reformation". View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319103.

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Lambeth, Paul University of Ballarat. "If I Belong Here...How Did That Come To Be?" University of Ballarat, 2008. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12814.

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The purpose of this research is to contribute a non indigenous perspective to current discourse on sense of place in contemporary Australia. The research employs a number of strategies to investigate current responses to our geographic and historical time position. Within the exegesis there is a vers libre poem, written from the imagined viewpoint of members of the Burke and Wills’ expedition. The poem is supported by a superimposition of the Don Quixote story over that of the ill-fated inland Australian explorers. [...]
Master of Arts (Visual Arts)

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