Contemporary Indigenous Australian Art and Native Title Land Claim
This paper investigates a select number of examples in which largely non-literate First Nation peoples of Australia, like some First Nations peoples around the world, when faced with a judicial challenge to present evidence in court to support their land title claim, have drawn on their cultural mat...
Published in: | Arts |
---|---|
Main Author: | |
Format: | Text |
Language: | English |
Published: |
Multidisciplinary Digital Publishing Institute
2021
|
Subjects: | |
Online Access: | https://doi.org/10.3390/arts10020032 |
id |
ftmdpi:oai:mdpi.com:/2076-0752/10/2/32/ |
---|---|
record_format |
openpolar |
spelling |
ftmdpi:oai:mdpi.com:/2076-0752/10/2/32/ 2023-08-20T04:06:33+02:00 Contemporary Indigenous Australian Art and Native Title Land Claim Marie Geissler 2021-05-11 application/pdf https://doi.org/10.3390/arts10020032 EN eng Multidisciplinary Digital Publishing Institute Visual Arts https://dx.doi.org/10.3390/arts10020032 https://creativecommons.org/licenses/by/4.0/ Arts; Volume 10; Issue 2; Pages: 32 indigenous Australian art native title Mabo land title Eddie Mabo Yirrkala Bark Petition terra nullius Ngurrara Canvas Yirrkala Saltwater Collection Barunga Agreement Aboriginal Land Rights bark painting indigenous acrylic painting Arnhem land bark painting Papunya Tula cultural evidence human rights Yolngu culture Buku-Larrnggay Mulka First Nations Australians Dreaming and the Law indigenous Australian activism Text 2021 ftmdpi https://doi.org/10.3390/arts10020032 2023-08-01T01:41:33Z This paper investigates a select number of examples in which largely non-literate First Nation peoples of Australia, like some First Nations peoples around the world, when faced with a judicial challenge to present evidence in court to support their land title claim, have drawn on their cultural materials as supporting evidence. Specifically, the text highlights the effective agency of indigenous visual expression as a communication tool within the Australian legal system. Further, it evaluates this history within an indigenous Australian art context, instancing where of visual art, including drawings and paintings, has been successfully used to support the main evidence in native title land claims. The focus is on three case studies, each differentiated by its distinct medium, commonly used in indigenous contemporary art—namely, ink/watercolours on paper, (Case study 1—the Mabo drawings of 1992), acrylics on canvas (Case study 2—the Ngurrara 11 canvas 1997) and ochre on bark, (Case study 3—The Saltwater Bark Collection 1997 (onwards)). The differentiation in the stylistic character of these visual presentations is evaluated within the context of being either a non-indigenous tradition (e.g., represented as European-like diagrams or sketches to detail areas and boundaries of the claim sites in question) or by an indigenous expressive context (e.g., the evidence of the claim is presented using traditionally inspired indigenous symbols relating to the claimant’s lands. These latter images are adaptations of the secret sacred symbols used in ceremonies and painting, but expressed in a form that complies with traditional protocols protecting secret, sacred knowledge). The following text details how such visual presentations in the aforementioned cases were used and accepted as legitimate legal instruments, on which Australian courts based their legal determinations of the native land title. Text First Nations MDPI Open Access Publishing Ochre ENVELOPE(166.550,166.550,-78.233,-78.233) Tula ENVELOPE(-65.650,-65.650,-65.517,-65.517) Arts 10 2 32 |
institution |
Open Polar |
collection |
MDPI Open Access Publishing |
op_collection_id |
ftmdpi |
language |
English |
topic |
indigenous Australian art native title Mabo land title Eddie Mabo Yirrkala Bark Petition terra nullius Ngurrara Canvas Yirrkala Saltwater Collection Barunga Agreement Aboriginal Land Rights bark painting indigenous acrylic painting Arnhem land bark painting Papunya Tula cultural evidence human rights Yolngu culture Buku-Larrnggay Mulka First Nations Australians Dreaming and the Law indigenous Australian activism |
spellingShingle |
indigenous Australian art native title Mabo land title Eddie Mabo Yirrkala Bark Petition terra nullius Ngurrara Canvas Yirrkala Saltwater Collection Barunga Agreement Aboriginal Land Rights bark painting indigenous acrylic painting Arnhem land bark painting Papunya Tula cultural evidence human rights Yolngu culture Buku-Larrnggay Mulka First Nations Australians Dreaming and the Law indigenous Australian activism Marie Geissler Contemporary Indigenous Australian Art and Native Title Land Claim |
topic_facet |
indigenous Australian art native title Mabo land title Eddie Mabo Yirrkala Bark Petition terra nullius Ngurrara Canvas Yirrkala Saltwater Collection Barunga Agreement Aboriginal Land Rights bark painting indigenous acrylic painting Arnhem land bark painting Papunya Tula cultural evidence human rights Yolngu culture Buku-Larrnggay Mulka First Nations Australians Dreaming and the Law indigenous Australian activism |
description |
This paper investigates a select number of examples in which largely non-literate First Nation peoples of Australia, like some First Nations peoples around the world, when faced with a judicial challenge to present evidence in court to support their land title claim, have drawn on their cultural materials as supporting evidence. Specifically, the text highlights the effective agency of indigenous visual expression as a communication tool within the Australian legal system. Further, it evaluates this history within an indigenous Australian art context, instancing where of visual art, including drawings and paintings, has been successfully used to support the main evidence in native title land claims. The focus is on three case studies, each differentiated by its distinct medium, commonly used in indigenous contemporary art—namely, ink/watercolours on paper, (Case study 1—the Mabo drawings of 1992), acrylics on canvas (Case study 2—the Ngurrara 11 canvas 1997) and ochre on bark, (Case study 3—The Saltwater Bark Collection 1997 (onwards)). The differentiation in the stylistic character of these visual presentations is evaluated within the context of being either a non-indigenous tradition (e.g., represented as European-like diagrams or sketches to detail areas and boundaries of the claim sites in question) or by an indigenous expressive context (e.g., the evidence of the claim is presented using traditionally inspired indigenous symbols relating to the claimant’s lands. These latter images are adaptations of the secret sacred symbols used in ceremonies and painting, but expressed in a form that complies with traditional protocols protecting secret, sacred knowledge). The following text details how such visual presentations in the aforementioned cases were used and accepted as legitimate legal instruments, on which Australian courts based their legal determinations of the native land title. |
format |
Text |
author |
Marie Geissler |
author_facet |
Marie Geissler |
author_sort |
Marie Geissler |
title |
Contemporary Indigenous Australian Art and Native Title Land Claim |
title_short |
Contemporary Indigenous Australian Art and Native Title Land Claim |
title_full |
Contemporary Indigenous Australian Art and Native Title Land Claim |
title_fullStr |
Contemporary Indigenous Australian Art and Native Title Land Claim |
title_full_unstemmed |
Contemporary Indigenous Australian Art and Native Title Land Claim |
title_sort |
contemporary indigenous australian art and native title land claim |
publisher |
Multidisciplinary Digital Publishing Institute |
publishDate |
2021 |
url |
https://doi.org/10.3390/arts10020032 |
long_lat |
ENVELOPE(166.550,166.550,-78.233,-78.233) ENVELOPE(-65.650,-65.650,-65.517,-65.517) |
geographic |
Ochre Tula |
geographic_facet |
Ochre Tula |
genre |
First Nations |
genre_facet |
First Nations |
op_source |
Arts; Volume 10; Issue 2; Pages: 32 |
op_relation |
Visual Arts https://dx.doi.org/10.3390/arts10020032 |
op_rights |
https://creativecommons.org/licenses/by/4.0/ |
op_doi |
https://doi.org/10.3390/arts10020032 |
container_title |
Arts |
container_volume |
10 |
container_issue |
2 |
container_start_page |
32 |
_version_ |
1774717731612917760 |