Indigenous Art And Other Manifestations Of Indigenous Culture

The Australian Indigenous community hold extremely significant corrections to the land of Australia, of which they refer to as ‘Country.’ Indigenous people acquire deep meaning from the land, sea and the countless resources derived from them. This special relationship has formed for many centuries. To them ‘Country’ is paramount for overall wellbeing; the strong, significant, spiritual bonds embody their entire existence. Knowledge is continually passed down to create an unbroken connection of past,

foreign audiences alike when it won best short film in both the Melbourne International Short

Aboriginal art in Australia is both beautiful and meaningful. According to Perkins, Hetti and West (2007) Aboriginal art allows for reconciliation of the events of the past two centuries’ that is used as inspiration for their work. Whilst researching the Indigenous cultural heritage of Mount Barker, Western Australia I came across a well know Noongar artist from the region, Charlie Colbung. Colbung was born in Mount Barker in 1970 and still resides in the South West region where he is an Indigenous health worker as well as an Indigenous programs officer for the Great Southern TAFE (Design and Art Australia, n.d.). There are two prominent themes in Aboriginal art consisting of both country such as the land and kinship, the people (Perkins, Hetti

Aboriginal artwork is a physical depiction of the ancestor sprits, which are connected and linked throughout the artwork. Which is linked back to the begging of time. During the creation period when the ancestor sprits dwelled the land leaving behind their remains and part of themselves behind in forms of rock art, caves implanting themselves in the land and playing a significant role in aboriginal artwork. Mostly all aboriginal art can be connected to scenery with various paintings depicting the substantial relationship between various features within the land. All aboriginal art should be viewed and considered as important and significant because they are basically the representations of relationships which are seen as lessons that impact and guide how the land is perceived and understood today. Whenever an aboriginal painting displays or ever represents particular structures and characteristics of the land its main focus is to be presented in a story like manner. The paintings and artwork symbolizes the continuing link with the country the land and the responsibilities that are tied to it. Paintings are a display that is incredibly important and hold a significant meaning. Paintings are seen as a radical act to display and express to the world that the aboriginal people posses the land and the land posses

Art is a central part of Aboriginal life and is intrinsically connected to land, law, traditions, culture, education and religious belief. However, Aboriginal art in contemporary society has an increasingly social and political dimension. Narritjin Maymuru is an example of an indigenous artist using traditional practices. Maymuru’s 1978 artwork “Nyapililngu Ancestors at Djarrakpi” depicts the creation stories of his homeland, Djarrakpi, demonstrating the influence of his indigenous spirituality in his work. Fiona Foley is an example of an indigenous artist who uses post-modern practice in her film “Bliss” (2006). In keeping with the post-modern tradition, Foley has used contemporary art making practices to express political issues facing

The purpose behind the `poster is to demonstrate suitable Indigenous resources that can be utilised in the classroom. Students and educators are exposed to a wide range of indigenous resources through many different outlets and they can vary from videos, toys, instruments and written sources. Not all resources available are valid to Australian history and its traditional owners therefore Indigenous approved resources need to utilised in the classroom to ensure both Aboriginal and European perspectives are taught. It is critical that students are exposed to Indigenous history, their culture, life experiences and the devastating trauma they endured,(text book,p214). The activities included in this resource demonstrate authentic Indigenous teaching

For my first passport assignment for anthropology, my friend and I visited the Scottsdale Museum of Contemporary Art Museum (SMOCA). They had just revamped the place to represent woman artists from Aboriginal Australia. The exhibit was called “Marking the Infinite”. There were nine female artists in the exhibition who gave a glimpse into the diverse contemporary art practice of Aboriginal Australia. Their names are Nonggirrnga Marawili, Wintjiya Napaltjarri, Yukultji Napangati, Angela Pwerle, Carlene West, Regina Pilawuk Wilson, Lena Yarinkura, Gulumbu Yunupingu, and Nyapanyapa Yunupingu. They use their art to empower their all-around respective communities and speak to universal contemporary themes. From all over different areas of Australia,

The Aboriginals are the indigenous people from Australia, and they are the oldest living culture in the history of the world (Australian Government 2008). Their ability to adapt and change over time are one of the reasons why their culture has survived for so long (Australian Government 2008). The indigenous communities in Australia kept their culture alive for so long by passing down their knowledge of arts, rituals, and performances from one generation to another (Australian Government 2008). The speaking and teaching of languages are other key aspects of the Aboriginal culture as well as the protection of cultural materials, sacred and significant sites and objects (Australian Government 2008).

Dr. Marcia Langton, an anthropologist from Australia of Australian Aborigines descent, spoke at the Berndt’s lecture in 2011. Her article, Anthropology, Politics and the Changing World of Aboriginal Australians, focuses primarily on the works of an anthropologist couple Robert and Catherine Berndt. They had completed many ethnographic studies in various areas around Australia. Langton states that their work has been crucial in order to have a complete understanding of the Australian Aborigines’ society. The indigenous Australian’s society has been thoroughly researched by many social sciences through the decades. Artworks, religion, rituals, economy, politics, and even claims of UFO sightings have been recorded by a multitude of scholars.

The ancient artefacts in the exhibition include works widely separated by great periods of time, and works which have been altered by succeeding generations. For millennia the oldest works were simply ‘there’, and part of folklore. From the eighteenth century they began to be viewed as being of antiquarian interest; later they were taken into the care of professional organisations, and later still they began to be considered as a form of ‘art’.

Rock art is of unique heritage value and the Kimberley region of Western Australia has one of the greatest concentrations in the world. This archive is of international importance and of particular concern to local Aboriginal people. Given the number and variety of Kimberley rock art styles, we can analysis the details of the site whilst have an understanding of the meaning, the purpose and the significance of the rock art. The rock art of this region shows a sequence of distinctive figurative styles depicting changes and continuity in the natural and cultural environment. These include the Wanjina and Gwion Gwion (Bradshaw) as well as many other art styles.

I have chosen to do African tribal art. Tribal art has three primary categories african art, art of the Americas, and oceanic art. The designs can be woven into different fabrics or dyed into different colors. The threads are sewn to create patterns such as stripes. The time period from when it began was around the 19th century. The pattern was created in West Africa. At the end of the 19th century a machine was created to help make the cloths, but the machine would leave cracks, small lines and dots where the dye would seep through. I chose this culture because I liked the designs that they do, I like the details. Some interesting facts are that no two designs are ever the same, originally it started out as putting wax on cloth then dyeing

It has recently been estimated that there are over one million words in the English language. Impressively, The Oxford English Dictionary, Second Edition, contains roughly half a million entries. Of those entries, few are harder to define than religion. In fact, religion is so complicated that some scholars of religion are skeptical as to whether it can even be studied at all (Fisher, 2014, p. 3). Nevertheless, there is one goal that unites all of religion. That is, it “ties people back to something behind the surface of life-a greater reality, which lies beyond, or invisibly infuses, the world that we can perceive with our five senses” (Fisher, 2014, p. 2). Indigenous religions are no exception.

There are many indigenous styles of art these consist of rock painting, dot painting, rock engravings, bark painting, carvings, sculptures, weaving and string art.

“The sun never sets on the British Empire” is a phrase that is known all too well in regards to British Imperialism and colonization spanning over Africa, Asia, North America, Australia, and Europe. Over the years, England in particular, has had a major influence across the world as a global superpower by sharing its own technology, culture, religion and more. But as much as they have shared, they have also taken to enrich their own society with artifacts, designs, foods, and other aspects of the foreign culture. This dynamic between Great Britain and each colonized country has immensely shaped modern British museums by expanding the content in museums as it relates to imperialism, diversifying the artifacts collected from other countries, and the influences it has had on British society shown through museums collections. The old British Empire 's influence on modern museums also raised many issues for contemporary curators and audiences concerning museums glorifying imperialism, the ethically of keeping these collected artifacts, and if the museums have a subtle underlying imperialistic bias.