The Indigenous Community, Warmun, Was Established In The

On the caves in Tassili n’Ajjer, Algeria, around 6,000-4,000 B.C.E of the Neolithic Period, an artist created an example of parietal art called The Running Horned Woman. Although the artist remains unknown, most historians believe that the Running Horned Woman emerged from the Tuareg, the nomadic indigenous people of the region who farmed and shepherded. Through the artwork and the Tuareg culture, many historians suspect the land of Tassili n’Ajjer transformed from a region full of grasslands to a desert. The artist of the Running Horned Woman creates this piece with a variety of elements of art, such as line, color, and space, and principles of design, such as movement, proportion, and emphasis. By selecting these elements and principles, the artwork focuses on the woman of the piece as the main subject.

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

Lawrence Paul Yuxweluptun is a contemporary Indigenous artist from Kamloops British Columbia. (Griffin, 2016) He attended the Emily Carr School of Arts and Design, graduating with an honours degree in painting. (Yuxweluptun, 2016) Yuxweluptun’s paintings often deal with issues such as corporate greed, environmental destruction and colonialism in an abstract contemporary way. He was referred to in the Vancouver Sun as an artist who, “can speak truths many would rather not hear.” (Griffin, 2016) This is exactly what Yuxweluptun is trying to do with his artwork, reveal the brutal truth that is too often swept under the rug. Yuxweluptun believes that the passion he holds for all of the issues he bases his work on was influenced by his parent’s involvement in social activism while he was a child. In an article for Straight he shares: “they were

Throughout history, many different cultures illustrate their history and their beliefs through various artistic objects that they create. These artifacts allow historians to better gage their lifestyle, their beliefs, and how their society operated. One example of this is the “Drum Beater” sculpting created by Karoo Ashevak that is especially famous for its illustrations of the shamans and the spirits. In this research paper, Karoo Ashevak’s “drum beater” will be dissected and analysed; from the Inuit culture itself, to the physical features of the sculpting, as well as the significance and symbolism of the sculpting as it relates to the Inuit culture.

The traditional aboriginal art depicts places, events and dreaming ancestors, also incorporating actual events, whereas the temporary was only for initiation ceremonies and funerals. The aboriginal art opens up ways of communicating the close relationship between the ancestral beings and the laws, views, values, ceremonies and obligations of the people. They enable understanding and knowledge within a community and also partcially the outside world.

Aboriginal art has many inspiring aspects such as the link that it has to the past of Aboriginal people, kinship the dreaming, land and reconciliation. Charlie Colbung is the artist behind a large beautiful acrylic painting exhibited in the Plantagenet community resource centre, in Mount Barker Western Australia. Colbung’s painting is called ‘Past to Present’ and represents the journey to reconciliation of both Indigenous and non-Indigenous people. Full of depth, texture, colour and numerous artistic elements to entice audiences to engage and analyse his lovely art work as well as critically reflect on the art and the meaning behind the painting. Charlie Colbungs painting Past to Present is a beautiful example of Aboriginal art work.

The Navajo are centrally located in the Southwestern United States. Even though their culture is in America, it differs from the culture of Western America. The difference lies in everything from religion to personal expression. In fact, a significant portion of personal expression done by Navajo individuals is shown through their artwork. The artwork is a not only a representation of the Navajo lifestyle, but their significance to history. The Navajo artwork that will be discussed includes artforms such as sand painting, rugs, pottery, and silver making; these will be defined and the technique and/or creative process will be explained as well.

Alaskan Native American art is richly found in the State of Alaska and can range from beaded clothing and woven baskets to flintknapped arrow heads and metal ceremonial drums. The native American art culture found in the State of Alaska is rich in its depth for variety, renowned for its beauty, and praised for its originality. Artifacts that have been recovered from the native American culture of Alaska have been pronounced authentic works of art. The artifacts produced by the Alaskan cultures praised and sought by collectors and museum throughout the world. Cultures abilities to turn tools, weapons baskets, pots, figurines, and clothing into a beautiful art is amazing and interesting to the world.

The mural itself depicted the “Honey Ant story” (Frow and Morris, 1993), the Dreaming (Jukurrpa) associated with the creation of the Papunya lands, in Western Australia (Nicholls, 2003); This contained many symbols and insignia, pertaining to the Jukurrpa of the Warlpiri people (Nicholls, 2003). By the request of a Yuendumu community storekeeper’s request to paint a mural for his own supermarket, Coombe was “inspired” to paint the school doors, with the assistance of local and initiated Warlpiri elders (Jones, 2014), forming a collection of “30-40 ‘traditional dot’ paintings” (Nicholls, 2003), upon the Yuendumu School doors, in

Bonny Wyse is a Canadian Salish Aboriginal artist. The richness of her aboriginal ancestry is what gives her inspiration for her art. She dedicated years of her life to the creations of inspirational art and designs. She works with respected elders for guidance and further inspection. She has gained national recognition and her designs have been showcased at many different places. Her goal is to bring awareness to how the aboriginal culture is slowly fading and is trying to bring its revival through her art and programs.

‘Bush-fire II’ is one of Aboriginal artwork, which is come from Early Western Desert Paintings and made in 1972. During the period 1971-1974, a new, dynamic movement in painting palmer Pan Ya in indigenous communities in the centre of Australia. These Luritja Pintupi, collaborated with Anmatyerr man begin to create using the ship and canvas acrylic painting works of art from ancient story. These poignant representations of the Dreaming exploded onto the Australian art market. The painting is the strong statements on aboriginal culture. Every picture reference, this is the ancestor teach people a certain area of land and related laws. Artists use imagery of rituals, before in the holy sacrifice object, and the body design and protocol used in painting,

They are good artists and have done rock paintings in various parts of Australia.Aboriginal dot paintings are well known world wide.

An example of this “revolutionary conceptualism” (Ferell, 2012) is observed in Figure 2, a piece of artwork called “The Elders of the Tribe”, by Elizabeth Durack (1953). Overall, the image depicts the elders of a Warlpiri kinship group sitting around a distinctive ground pattern, representing their ancestral origin in Central Australia (Durack, 2015). The wavy and distinctive insignia convey the elders being “swept away by the wind” (Durack, 2015), in addition to the concentric circles, connoting to various spiritual events that occurred at various campsites within the Warlpiri community. Moreover, Durack (2015) further explains that the artwork represented a “conversion from red and white ochre to acrylic medium”, supporting the artistic transition from traditional Aboriginal ground art to Western-inspired acrylic paintings.

In “Untitled (dismay, displace disperse…)” six 30x30cm oil paintings individually detail a certain negative aspect of colonialism in a chronological fashion. “DISMAY” shows how the Aboriginal people are disregarded as human beings, the second image “DISPLACE” while accompanied by an image of British settlers setting down a flag comments on the British taking control, “DISPERSE” comments on how Indigenous people were moved out of their homes to make way from British development, “DISPIRIT” comments on how the continuation of settlement and lack of support for Aborigines left them to give up and lose motivation, “DISPLAY” comments on how Indigenous people were treated as animals and some were sold for entertainment purposes and finally “DISMISS” accompanied with a black image concludes this work by commenting on how British people have achieved their goal of settlement and as a result has had a detrimental impact on the well-being and culture of the Indigenous people. In “Possession Island” Bennett appropriates Samuel Calvert’s “Captain Cook taking possession of the Australian continent on behalf of the British Crown AD 1770” and comments on the chaos of colonialism and disregard for Indigenous people. He layers the painting with slashes and dots of red and yellow paint but leaves a central black skinned figure

Ochres and Fish have many parts that are traditional to Indigenous culture with animal imitation, the paint up and preparation with ochre and the representation of what the earth means to their culture. Bangarra Dance Theatre is important to Australia and to the Aboriginal and Torres Strait Islanders. Stephen Page has created many works with a fusion of contemporary dance and traditional movement. This is important because it’s apart of Australian heritage and our history. Bangarras distinctive