'We don't do dots - ours is lines' -- Asserting a Barkindji Style.
This paper offers an ethnographic exploration of the assertion of a 'Barkindji style' art: why this matters and to whom it matters. Focusing particularly on the Darling River area of Wilcannia and on the period from the 1980s to the present, the increasing interest in art-making by local Aboriginal...
| Publicado en: | Oceania Vol. 78; no. 3; pp. 280 - 299 |
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| Formato: | Artículo |
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Wiley-Blackwell
Nov2008
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=37588234&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 37588234 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00298077 OCA jtl: Oceania issn: 00298077 maglogo: Y pubinfo: dt: Nov2008 vid: 78 iid: 3 pid: 480 pub: Wiley-Blackwell artinfo: ui: 37588234 10.1002/j.1834-4461.2008.tb00042.x ppf: 280 ppct: 19 formats: fmt: @attributes: type: P size: 6.3MB tig: atl: 'We don't do dots - ours is lines' -- Asserting a Barkindji Style. aug: au: Gibson, Lorraine affil: Macquarie University su: Aboriginal Australian art Freedom & art Material culture Wilcannia (N.S.W.) Darling River (Qld. & N.S.W.) New South Wales Queensland Australia sug: subj: Darling River (Qld. & N.S.W.) New South Wales Queensland Australia Aboriginal Australian art Freedom & art Material culture Wilcannia (N.S.W.) keyword: Aboriginal Australians art Barkindji identity museums Wilcannia ab: This paper offers an ethnographic exploration of the assertion of a 'Barkindji style' art: why this matters and to whom it matters. Focusing particularly on the Darling River area of Wilcannia and on the period from the 1980s to the present, the increasing interest in art-making by local Aboriginal people is considered. Through a dialogue with artists, artworks, and others, the work examines the changing form, design and content of art and the rote of art in defining ideas of Barkindji Aboriginal culture and tradition. Invocations by key cultural brokers to produce work that is seen to 'belong to us' is explored in terms of the cultural, political, and personal work that this involves; particularly as this intersects with ideas of artistic freedoms versus artistic direction by cultural brokers. The paper discusses the personal considerations and tensions that come to bear in the processes connected with production of art and its making. In so doing, this paper engages with, and extends, the work of Tacon et al. (2003), Cooper (1994), Kleinert (1994) and Morphy (2001) as this pertains to art 'styles' and material culture from what is widely referred to as south-eastern Australia. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Oceania is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Oceania holder: Wiley-Blackwell dt: @attributes: year: 2008 holdings: @attributes: islocal: N |
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