indigeneity (qut)
TRANSCRIPT
BEING, KNOWING, DOING:
INDIGENEITY
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www.mwk16.com98
I see this age as the final period of human beings...You
could hollow out the body, make it a better host for the
new technology.
Stelarc
http://www.heise.de/tp/english/inhalt/co/2026/3.html
1
ARILLA IP
INDUSTRY APPLICATIONS/CLUSTERS
• Creative Industries – Visual Arts, Crafts
• Education/Training
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INTELLECTUAL PROPERTY
• Traditional Knowledge
• Copyright
• Patents
• Industry Knowhow
• Networks and Untraded Intangible Assets
ARILLA IP
INDUSTRY APPLICATIONS/CLUSTERS
• Creative Industries – Visual Arts, Crafts
• Education/Training
• Indigenous Cultural Industries
• Regional Development
• Retail
• Tourism
INTELLECTUAL PROPERTY
• Traditional Knowledge
• Copyright
• Patents
• Industry Knowhow
• Networks and Untraded Intangible Assets
„Economic
Rights‟Social-
Technical
Capital
Healing
Self
Reliance
Safety
Cultural
Maintenance
No More
Whitefeller
Welfare
2
While modern art got its first impetus through
discovering the forms of primitive art, we feel that its
true significance lies not merely in formal
arrangement, but in the spiritual meaning underlying
all archaic works.... That these demonic and brutal
images fascinate us today is not because they are
exotic, nor do they make us nostalgic for a past
which seems enchanting because of its remoteness.
On the contrary, it is the immediacy of their images
that draws us irresistibly to the fancies and
superstitions the fables of savages and the strange
beliefs that were so vividly articulated by primitive
man."
Mark Rothko - 13.10.43 ‘The Portrait Of The
Modern Artist’ WNYC - Radio interview with
Adolph Gottlieb.
“While modern art got its first impetus through
discovering the forms of primitive art, we feel that
its true significance lies not merely in formal
arrangement, but in the spiritual meaning underlying
all archaic works.... That these demonic and brutal
images fascinate us today is not because they are
exotic, nor do they make us nostalgic for a past
which seems enchanting because of its remoteness.
On the contrary, it is the immediacy of their images
that draws us irresistibly to the fancies and
superstitions the fables of savages and the strange
beliefs that were so vividly articulated by primitive
man.”
'Who's that bugger who paints like
me?'
Rover Thomas at the Venice
Biennale, 1990
Mark Rothko b. 1903, Dvinsk, Russia; d. 1970, New York City
Mark Rothko was born Marcus Rothkowitz on September 25, 1903, in
Dvinsk, Russia. In 1913, he left Russia and settled with the rest of his
family in Portland, Oregon. Rothko attended Yale University, New
Haven, on a scholarship from 1921 to 1923. That year, he left Yale
without receiving a degree and moved to New York. In 1925, he studied
under Max Weber at the Art Students League. He participated in his first
group exhibition at the Opportunity Galleries, New York, in 1928. During
the early 1930s, Rothko became a close friend of Milton Avery and
Adolph Gottlieb. His first solo show took place at the Portland Art
Museum in 1933.
Rothko’s first solo exhibition in New York was held at the Contemporary
Arts Gallery in 1933. In 1935, he was a founding member of the Ten, a
group of artists sympathetic to abstraction and Expressionism [more]. He
executed easel paintings for the WPA Federal Art Project from 1936 to
1937. By 1936, Rothko knew Barnett Newman. In the early 1940s, he
worked closely with Gottlieb, developing a painting style with
mythological content, simple flat shapes, and imagery inspired by
primitive art. By mid-decade, his work incorporated Surrealist techniques
and images. Peggy Guggenheim gave Rothko a solo show at Art of This
Century in New York in 1945.
In 1947 and 1949, Rothko taught at the California School of Fine Arts,
San Francisco, where Clyfford Still was a fellow instructor. With William
Baziotes, David Hare, and Robert Motherwell, Rothko founded the short-
lived Subjects of the Artist school in New York in 1948. The late 1940s
and early 1950s saw the emergence of Rothko’s mature style, in which
frontal, luminous rectangles seem to hover on the canvas surface. In
1958, the artist began his first commission, monumental paintings for the
Four Seasons Restaurant in New York. The Museum of Modern Art, New
York, gave Rothko an important solo exhibition in 1961. He completed
murals for Harvard University in 1962 and in 1964 accepted a mural
commission for an interdenominational chapel in Houston. Rothko took
his own life February 25, 1970, in his New York studio. A year later, the
Rothko Chapel in.Houston was dedicated
Rover Thomas Joolama c. 1926 – 98
Rover Thomas was born in about 1926 at Gunawaggi, Well 33 on the Canning
Stock Route in the Great Sandy Desert of Western Australia. A
Kukatja/Wangkajunga speaker, Rover's first father, Lanikan Thomas was
Wangkajunga, as was his second father, Sundown: his mother Ngakuyipa (Nita)
was Kukatja. From an East Kimberley perspective, Rover Thomas belonged to
the Joolama subsection or skin group.
Rover Thomas lived in the bush with his family until his mother died when he
was about 10 years old. Then he moved to Billiluna Station where he was
initiated into traditional law by a man from Sturt Creek and eventually worked as
a jackaroo. As a young man, he worked with a European fencing contractor in
Wyndham and later the Northern Territory. After two years, he returned to
Western Australia and worked as a stockman on Bow River Station where he
married for the first time. Later on, he worked on Texas Downs Station for nine
years, before moving to Old Lissadell Station and Mabel Downs Station, and
back to Texas Downs where he met his second wife, Rita. Then he worked in
Noonkanbah community, before moving to Warmun where he worked as a
carpenter's assistant, building new houses in the community.
Shortly after moving to Warmun early in 1975, Rover Thomas found or was
given the open ceremony of the Gurirr Gurirr (Kril Kril) which eventually
provided a stimulus for the production of art in the East Kimberley. To
complement specific verses of the Gurirr Gurirr song cycle, first performed in
Warmun in the late 1970s, pieces of plywood were painted with ochre and
carried on the shoulders of participants. Rover Thomas and his classificatory
uncle Paddy Jaminji painted many of these works on board which were seen by
various people including Mary Macha, the Manager of Aboriginal Traditional
Arts, Perth who began to market their work in about 1983 –84. A few years later
Rover began to paint for Waringarri Aboriginal Arts, Kununurra.
Rover Thomas was awarded the John McCaughey Prize for the best painting
Blancher country, displayed in 1990 at the Art Gallery of New South Wales,
Sydney. The following year he represented Australia at the Venice Biennale,
with Trevor Nickolls. The artist was the subject of the important solo exhibition
Roads Cross: The Paintings of Rover Thomas, National Gallery of Australia,
Canberra in 1994.
Mark Rothko b. 1903, Dvinsk, Russia; d. 1970, New York City
Mark Rothko was born Marcus Rothkowitz on September 25, 1903, in Dvinsk, Russia. In
1913, he left Russia and settled with the rest of his family in Portland, Oregon. Rothko
attended Yale University, New Haven, on a scholarship from 1921 to 1923.
That year, he left Yale without receiving a degree and moved to New
York. In 1925, he studied under Max Weber at the Art Students League. He
participated in his first group exhibition at the Opportunity Galleries,
New York, in 1928. During the early 1930s, Rothko became a close friend of Milton
Avery and Adolph Gottlieb. His first solo show took place at the Portland Art
Museum in 1933.
Rothko’s first solo exhibition in New York was held at the Contemporary Arts Gallery in
1933. In 1935, he was a founding member of the Ten, a group of artists sympathetic to
abstraction and Expressionism [more]. He executed easel paintings for the WPA Federal Art
Project from 1936 to 1937. By 1936, Rothko knew Barnett Newman. In the early 1940s, he
worked closely with Gottlieb, developing a painting style with mythological content, simple
flat shapes, and imagery inspired by primitive art. By mid-decade, his work incorporated
Surrealist techniques and images. Peggy Guggenheim gave Rothko a solo show at Art of
This Century in New York in 1945.
In 1947 and 1949, Rothko taught at the California School of Fine Arts, San Francisco, where
Clyfford Still was a fellow instructor. With William Baziotes, David Hare, and Robert
Motherwell, Rothko founded the short-lived Subjects of the Artist school in New York in
1948. The late 1940s and early 1950s saw the emergence of Rothko’s mature style, in which
frontal, luminous rectangles seem to hover on the canvas surface. In 1958, the artist began
his first commission, monumental paintings for the Four Seasons Restaurant in New York.
The Museum of Modern Art, New York, gave Rothko an important solo exhibition in 1961.
He completed murals for Harvard University in 1962 and in 1964 accepted a mural
commission for an interdenominational chapel in Houston. Rothko took his own
life February 25, 1970, in his New York studio. A year later, the Rothko Chapel
in.Houston was dedicated
Rover Thomas Joolama c. 1926 – 98
Rover Thomas was born in about 1926 at Gunawaggi, Well 33 on the Canning Stock Route in the
Great Sandy Desert of Western Australia. A Kukatja/Wangkajunga speaker, Rover's first father,
Lanikan Thomas was Wangkajunga, as was his second father, Sundown: his mother Ngakuyipa (Nita)
was Kukatja. From an East Kimberley perspective, Rover Thomas belonged to the Joolama subsection
or skin group.Rover Thomas lived in the bush with his family until his mother died
when he was about 10 years old. Then he moved to Billiluna Station where he was
initiated into traditional law by a man from Sturt Creek and eventually
worked as a jackaroo. As a young man, he worked with a European fencing
contractor in Wyndham and later the Northern Territory. After two years, he returned to Western
Australia and worked as a stockman on Bow River Station where he married for the first time. Later
on, he worked on Texas Downs Station for nine years, before moving to Old Lissadell Station and
Mabel Downs Station, and back to Texas Downs where he met his second wife, Rita. Then he worked
in Noonkanbah community, before moving to Warmun where he worked as a carpenter's assistant,
building new houses in the community. Shortly after moving to Warmun early in 1975, Rover
Thomas found or was given the open ceremony of the Gurirr
Gurirr (Kril Kril) which eventually provided a stimulus for the production of art in the East
Kimberley. To complement specific verses of the Gurirr Gurirr song cycle, first performed in
Warmun in the late 1970s, pieces of plywood were painted with
ochre and carried on the shoulders of participants. Rover Thomas and his classificatory
uncle Paddy Jaminji painted many of these works on board which were seen by
various people including Mary Macha, the Manager of Aboriginal Traditional Arts,
Perth who began to market their work in about 1983 –84. A few years later Rover began
to paint for Waringarri Aboriginal Arts, Kununurra. Rover Thomas was awarded the John
McCaughey Prize for the best painting Blancher country, displayed in 1990 at the Art Gallery of New
South Wales, Sydney. The following year he represented Australia at the Venice Biennale, with
Trevor Nickolls. The artist was the subject of the important solo exhibition Roads Cross: The
Paintings of Rover Thomas, National Gallery of Australia, Canberra in 1994.
3
"I'm not racist. Some of my best friends are white."
4
U N I L I N E A L I S M
Prehistoric
Preliterate
Primitive
Historical
Literate
Civilized
U N I L I N E A L I S M
Prehistoric
Preliterate
Primitive
Historical
Literate
Civilized
' ... a complex, utterly precise connection between person, knowledge and place ...
(which is) at the heart of Australian desert ontologies.'
Eric Michaels, Bad Aboriginal Art (p. 171)
From The Moon Bone Cycle
'Intellectual Property'
Individual Collective
Authorship Agency
Originality/novelty Insight/Revelation
Ownership Custodianship
Monetary exchange Social reciprocity
Economics Economics/politics/cosmol
ogy/epistemology/
ontology/social cohesion
The Japanangka Paradigm
Ways of Knowing
... It is more than just information or facts and is taught and learned in certain contexts, in certain ways and is purposeful only to the extent to which it is used ... Our Ways of Knowing are embedded in our worldview and are an equal part of this system, not (an) artefact of this. They are socially refined and affirmed, giving definition and meaning to our world. Without ‘knowing’ we are unable to ‘be’, hence, our Ways of Knowing inform our Ways of Being.
Ways of Being
We are part of the world as much as it is part of us, existing within a network of relations that are reciprocal and occur in certain contexts. This determines and defines for us rights to be earned and bestowed as we carry out rites to country, self and others – our Ways of Being ... Our Ways of Being evolve as contexts change. For instance relations change amongst people at particular times such as movement from one life stage to another, or with a birth or death of a member. Where once our Ways of Being were exercised within our country and group, since colonisation we engage with other Aboriginal people and groups more frequently and immediately set about establishing identities, interests and connections ... Through this, our Ways of Being shape our Ways of Doing. (cf. ‘kindredness', 'relationality', 'connectedness')
Ways of Doing
Our Ways of Doing are seen in our languages, art, imagery, traditions and ceremonies etc. and are a synthesis and an articulation of our Ways of Knowing and Ways of Being.
Karen Martin – Booran Mirraboopa
The Third PlaceSocial-
cultural
animationYarning and
singing up:
social poetics
and shifting
stories
Tacit & embodied knowledge
Phronesis
IP
Being/knowing/doing
Conviviality
Curriculum on the fly
Capability
REFERENCES
Flyvbjerg, Bent (2001), Making Social Science Matter. Cambridge: Cambridge University Press, Cambridge
Harries-Jones, Peter, Where Bonds Become Binds: the Necessity for Bateson's Interactive Perspective in Biosemioticshttp://www.semioticon.com/frontline/harries_jones.htm
Langton, M. (1993) Well I saw it on the television and I heard it on the radio. North Sydney: The Commission
Martin, Karen – Booran Mirraboopa (2001), Ways of Knowing, Ways of Being and Ways of Doing: Developing a theoretical framework and methods for Indigenous re-search and Indigenist research. Symposium B Session 1,The Power of Knowledge, the Resonance of Tradition – Indigenous Studies: Conference 2001, The Australian National University, Canberra, 18 – 20 September 2001
Moreton-Robinson, Aileen (2000), Talkin’ Up to the White Women. Brisbane: University of Qld Press
Katz, Arlene M, and Shotter, John (1999), Social Poetics as a Relational Practice: Creating resourceful communities, Paper prepared for the Workshop: Construction of Health and Illness, at Social Construction and Relational Practices Conference, University of New Hampshire, Sept 16th-19th, 1999 http://pubpages.unh.edu/~jds/js.ak.SOCPOENTS.htm
West, E. (2000), The Japanangka teaching and research paradigm: an Aboriginal pedagogical framework. Paper to Indigenous Research and Postgraduate Forum, Aboriginal Research Institute, University of South Australia, Sep. 2000
Wilson, Shawn (2001), What is indigenous research methodology? Canadian Journal of Native Education, Vol. 25, Issue 2, 175-17
