“Te Maori”: New Precedents for Indigenous Art at The Met

2021 ◽  
Vol 56 ◽  
pp. 32-50
Author(s):  
Maia Nuku (Ngai Tai)
Keyword(s):  
Indigenous Art

scholarly journals Teaching the Whitefella—The Role of Cultural Tourism in Opening Remote Indigenous Art Centres to Non-Indigenous Visitors

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 135
Author(s):  
Chrischona Schmidt
Keyword(s):  
Indigenous Communities ◽  
Cultural Tourism ◽  
Tourism Industry ◽  
Small Scale ◽  
Indigenous Art ◽  
The Sustainable Development ◽  
Arts Festival ◽  
Grassroots Level ◽  
Territory Government

This article explores how a remote Aboriginal-owned and -run art centre, Ikuntji Artists in Haasts Bluff, has developed grassroots-level cultural tourism. While not many remote Indigenous art centres engage with the tourism industry, Aboriginal tourism engagement has only recently been identified by the Northern Territory Government as a major business development area. Steered by the member artists and the board, the art centre has been able to create a range of workshops and activities that can be offered to small-scale tour operators. Over the past five years, an arts festival and various workshops for university field students and other small tour operators have been hosted. Member artists, staff and the board as well as the community see cultural tourism as an opportunity to share their culture by way of teaching visitors about the Luritja language, culture and country. Thus, this article argues that art centres can engage meaningfully in cultural tourism and support remote Indigenous communities in the sustainable development of cultural tourism.

scholarly journals Are Indians in America's DNA?

2019 ◽  
Vol 8 ◽  
pp. 80-97
Author(s):  
Marina Tyquiengco ◽  
Monika Siebert
Keyword(s):  
North America ◽  
American Indian ◽  
National Museum ◽  
University Of Alabama ◽  
Indigenous Art

A conversation between Dr. Monika Siebert and Marina Tyquiengco on:   Americans National Museum of the American Indian January 18, 2018–2022 Washington, D.C.   Monika Siebert, Indians Playing Indian: Multiculturalism and Contemporary Indigenous Art in North America. Tuscaloosa: University of Alabama Press, 2015.

Museums, Decolonization and Indigenous Artists as First Cultural Responders at the new Canadian Museum for Human Rights

2019 ◽  
Vol 17 (2) ◽  
pp. 173-192 ◽  
Author(s):  
Stephanie B Anderson
Keyword(s):  
Human Rights ◽  
National Identity ◽  
Indigenous Peoples ◽  
Social Consciousness ◽  
Indigenous Art ◽  
Art Forms ◽  
Shared Authority ◽  
Global Movement ◽  
The Right ◽  
Dominant Narratives

The Canadian Museum for Human Rights (CMHR) is part of a global movement of human-rights–driven museums that commemorate atrocity-related events through exhibitions aimed to communicate a national social consciousness. However, museums in Canada are increasingly understood to contribute to the perpetuation of settler colonial memory regimes as dominant narratives of national identity. Through the analysis of theexhibit ‘Aborigina lWomen and the Right to Safety and Justice’, this article explores how museums in represent difficult knowledge and act as sites of decolonization, while suggesting how shared authority and nuanced Indigenous art forms might play a role in both. It posits that if museums in settler colonial societies are to evolve beyond the pretext of detached host, they must not only acknowledge past atrocities and injustices against Indigenous peoples, but also consistently examine the colonial logics and inventions that permeate colonizing and decolonizing exhibitions.

A Question of Technique

2020 ◽  
pp. 116-141
Author(s):  
K. Mitchell Snow
Keyword(s):  
Educational Program ◽  
Political Leadership ◽  
Indigenous Art ◽  
The Public ◽  
National School ◽  
European Heritage ◽  
Art Forms ◽  
Financial Challenges ◽  
Classical Ballet

Mexico’s lack of dance infrastructure was evident to its political leadership. As a new administration shifted the focus of Vasconcelos’ educational program from Mexico’s classical European heritage to that of its working urban and rural peoples, the Secretaría de Educación Pública’s educators sought to employ a still ill-defined Mexican dance as one of its tools to educate the public. Despite a failed first attempt centered on the classical ballet and the financial challenges of the international financial depression, the SEP persisted in its efforts. Abstract painter Carlos Mérida, whose modernism sought to capture the spirit of pre-conquest indigenous art forms, turned the programming of what would become the National School of Dance toward the remnants of “pure” indigenous dance.

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