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Desert Lake is a book combining artistic, scientific and Indigenous views of a striking region of north-western Australia. Paruku is the place that white people call Lake Gregory. It is Walmajarri land, and its people live on their Country in the communities of Mulan and Billiluna. This is a story of water. When Sturt Creek flows from the north, it creates a massive inland Lake among the sandy deserts. Not only is Paruku of national significance for waterbirds, but it has also helped uncover the past climatic and human history of Australia. Paruku's cultural and environmental values inspire Indigenous and other artists, they define the place as an enduring home, and have led to its declaration as an Indigenous Protected Area. The Walmajarri people of Paruku understand themselves in relation to Country, a coherent whole linking the environment, the people and the Law that governs their lives. These understandings are encompassed by the Waljirri or Dreaming and expressed through the songs, imagery and narratives of enduring traditions. Desert Lake is embedded in this broader vision of Country and provides a rich visual and cross-cultural portrait of an extraordinary part of Australia.
The sun is a revered deity in Zuni Pueblo and many other Native American cultures. This book contains several sun face designs for you to color and design with your own ideas.
Ethics and Rock Art: Images and Power addresses the distinctive ways in which ethical considerations pertain to rock art research within the larger context of the archaeological ethical debate. Marks on stone, with their social and religious implications, give rise to distinctive ethical concerns within the scholarly enterprise as different perceptions between scholars and Native Americans are encountered in regard to worldviews, concepts of space, time, and in the interpretation of the imagery itself. This discourse addresses issues such as the conflicting paradigms of oral traditions and archaeological veracity, differing ideas about landscapes in which rock art occurs, the intrusion of "desired knowledge", and how the past may be robbed by changing interpretations and values on both sides. Case studies are presented in regard to shamanism and war-related imagery. Also addressed are issues surrounding questions of art, aesthetics, and appropriation of imagery by outsiders. Overall, this discourse attempts to clarify points of contention between Euro-American scholars and Native Americans so that we can better recognize the origins of differences and thus promote better mutual understanding in these endeavors.
Sunset. Fire. Rainbow. Drawing on such common occurrences of light, Navajo artists have crafted an uncommon array of design in colored glass beads. Beadwork is an art form introduced to the Navajos through other Indian and Euro-American contacts, but it is one that they have truly made their own. More than simple crafts, Navajo beaded designs are architectures of light. Ellen Moore has written the first history of Navajo beadwork--belts and hatbands, baskets and necklaces--in a book that examines both the influence of Navajo beliefs in the creation of this art and the primacy of light and color in Navajo culture. "Navajo Beadwork: Architectures of Light" traces the evolution of the art as explained by traders, Navajo consultants, and Navajo beadworkers themselves. It also shares the visions, words, and art of 23 individual artists to reveal the influences on their creativity and show how they go about creating their designs. As Moore reveals, Navajo beadwork is based on an aggregate of beliefs, categories, and symbols that are individually interpreted and transposed into beaded designs. Most designs are generated from close observation of light in the natural world, then structured according to either Navajo tradition or the newer spirituality of the Native American Church. For many beadworkers, creating designs taps deeply embedded beliefs so that beaded objects reflect their thoughts and prayers, their aesthetic sensibilities, and their sense of being Navajo--but above all, their attention to light and its properties. No other book offers such an intimate view of this creative process, and its striking color plates attest to the wondrous results. "Navajo Beadwork: Architectures of Light" is a valuable record of ethnographic research and a rich source of artistic insight for lovers of beadwork and Native American art.
Zuni designs to color or use as an artist's reference.
Photography, sculpture, woven work, folk art, painting, found art, and more.When Terry Graff and Alan Syliboy decided to investigate contemporary First Nations art in New Brunswick, they set out on a road trip. They visited the Mi'kmaq Nation communities and Wolastoqey Nation communities. The result was an exhibition and a book, a journal that captured the essence of the road trip through Graff's words and Syliboy's magnificent photographs.The book captures their high-octane meeting with heavy metal musician Eric Miller; Robert Pictou's model boats and surprising works of art; their poignant visit with John Seca Labillois, who conjured a drum from the trunk of a 600-year-old tree; Peter Augustine's collection of antlers; the sacred site of the Sundance ceremony at Big Cove; and the story of the Brooks family's efforts to repatriate the 200-year-old Grandfather Akwiten canoe. Ekpahak brings together a synthesis of cultural traditions and artistic practise that today serves as expressions of self-determination.Photographie, sculpture, travail tissA (c), art populaire, peinture, art trouvA (c), et d'autant plus.Lorsque Terry Graff et Alan Syliboy ont dA (c)cidA (c) d'enquAter sur l'art contemporain des PremiAres nations au Nouveau-Brunswick, ils ont entrepris un voyage sur la route. Ils ont visitA (c) les communautA (c)s de la nation Mi'kmaq et les communautA (c)s de la nation Wolastoqey. Le rA (c)sultat a A (c)tA (c) une exposition et un livre, un journal qui a capturA (c) l'essence du voyage sur la route A travers les mots de Graff et les magnifiques photographies de Syliboy.Le livre capture leur rencontre A haut indice d'octane avec le musicien de heavy metal Eric Miller ; les maquettes de bateaux et les Auvres d'art surprenantes de Robert Pictou ; leur visite poignante avec John Seca Labillois, qui a A (c)voquA (c) un tambour du tronc d'un arbre vieux de 600 ans ; la collection de bois de Peter Augustine ; le site sacrA (c) de la cA (c)rA (c)monie de Sundance A Big Cove ; et l'histoire des efforts de la famille Brooks pour rapatrier le canoA" Akwiten, vieux de 200 ans. Ekpahak offre une synthAse des traditions culturelles et des pratiques artistiques qui servent aujourd'hui d'expressions d'autodA (c)termination.
Ancient rock art is better known in western North America, but it is also an important feature in the historical landscape of eastern North America. This booklet reprints a report first published in 1934 by the Pennsylvania Historical Commission. Donald A. Cadzow, an archaeologist, surveyed the petroglyphs discovered on certain rocks in the lower Susquehanna River, between York County and Lancaster County. In addition, petroglyphs from other parts of the state are noted.
Easy-to-follow diagrams and simple instructions enable even beginners to create a host of striking Native American designs. Color-coded patterns for buffalo, kachinas, eagles and more will add delightful ornamental touches to T-shirts, vests and blouses, lend distinctive touches to handbags, headbands, and belts, and enhance cushion covers, table linens, and other household accessories. An inexpensive do-it-yourself book for successfully completing dozens of beautiful projects for yourself, family and friends.
A major new history of craft that spans three centuries of making and thinking in Aotearoa New Zealand and the wider Moana (Pacific). Paying attention to Pakeha (European New Zealanders), Maori, and island nations of the wider Moana, and old and new migrant makers and their works, this book is a history of craft understood as an idea that shifts and changes over time. At the heart of this book lie the relationships between Pakeha, Maori and wider Moana artistic practices that, at different times and for different reasons, have been described by the term craft. It tells the previously untold story of craft in Aotearoa New Zealand, so that the connections, as well as the differences and tensions, can be identified and explored. This book proposes a new idea of craft--one that acknowledges Pakeha, Maori and wider Moana histories of making, as well as diverse community perspectives towards objects and their uses and meanings.
Africa, telling A World proposes the works of 33 artists from the principal cultural areas of Sub-Saharan Africa. Contemporary African art - fuelled by the relations between pre-existing populations and immigrants of various origins, by the blend of religions, cultures, urban tribes, genres, ethnic groups and by the close relationship between nature, traditions and rituals - mirrors the depth of its own roots. Today it exhibits a strong impetus for research, knowledge and the phenomenological understanding of the core historical-religious and ethnical-anthropological problems that the continent faces. Text in English and Italian.
A collection of songs by the late Aboriginal singer Dougie Young, who began writing and performing around Wilcannia and western New South Wales in the 1950s and '60s. His songs tell of the life of Aboriginal people in Wilcannia -- and also explore Aboriginality in a way that was quite original for the time, touching on oppression, racism and land rights. Approximate running time: 35 minutes.
Fifty years ago, Canada celebrated its hundredth anniversary of Confederation. At Expo 67, in communities across the country, we celebrated our coming of age as a modern, bilingual, bicultural nation-a place where anyone from any culture could thrive. But beneath the applause and the cheerful music was a darker note. In his public address at the festivities, Chief Dan George lamented what Canada's centennial did not celebrate: the colonization and marginalization of Indigenous peoples who lived on these "good lands." Now in the year of Canada's 150th birthday, we honour a new understanding of our past. We have begun-at long last-to share in a process of national reconciliation and to come together to reimagine our contribution to a global future. Artists give form and meaning to both the land and the invisible landscape of the spirit, both the past and the future. The works of Canada's artists-both Indigenous and non-Indigenous, historical and contemporary-invite us to see our country and our place within it with new eyes. This book celebrates their visions, as well as the good lands we have shared and shaped for millennia that, in turn, have shaped us.
Art as Politics explores the intersection of art, identity politics, and tourism in Sulawesi, Indonesia. Based on long-term ethnographic research from the 1980s to the present, the book offers a nuanced portrayal of the Sa'dan Toraja, a predominantly Christian minority group in the world's most populous Muslim country. Celebrated in anthropological and tourism literatures for their spectacular traditional houses, sculpted effigies of the dead, and pageantry-filled funeral rituals, the Toraja have entered an era of accelerated engagement with the global economy marked by on-going struggles over identity, religion, and social relations. In her engaging account, Kathleen Adams chronicles how various Toraja individuals and groups have drawn upon artistically-embellished ""traditional"" objects - as well as monumental displays, museums, UNESCO ideas about ""word heritage,"" and the World Wide Web - to shore up or realign aspects of a cultural heritage perceived to be under threat. She also considers how outsiders - be they tourists, art collectors, members of rival ethnic groups, or government officials - have appropriated and reframed Toraja art objects for their own purposes. Her account illustrates how art can serve as a catalyst in identity politics, especially in the context of tourism and social upheaval. Ultimately, this insightful work prompts readers to rethink persistent and pernicious popular assumptions - that tourism invariably brings a loss of agency to local communities or that tourist art is a compromised form of expression. ""Art as Politics"" promises to be a favorite with students and scholars of anthropology, sociology, cultural studies, ethnic relations, art, and Asian studies.
mudging is the burning of herbs as a spiritual practice. In this new edition of her classic book on smudging, Harvest McCampbell explains and illustrates this integral part of traditional Native American life. She also offers valuable advice on how to reclaim your own traditions and find your personal healing rituals. Learn how to make smudge sticks and identify, collect, and grow a wide range of sacred plants for smudging. This expanded edition includes research techniques, sources of potent smudging herbs, new information on the use of sacred plants, and more.
Woven Identities presents the finest examples of classic era Native basketry (1870-1930) along with contemporary examples that exemplify the vibrant nature of the art today from the Southwest, California, Great Basin, Plateau, Northwest Coast and Arctic tribes.
The belief held by Aboriginal people that their art is ultimately related to their identity, and to the continued existence of their culture, has made the protection of indigenous peoples' art a pressing matter in many post-colonial countries. The issue has prompted calls for stronger copyright legislation to protect Aboriginal art. Although this claim is not particular to Australian Aboriginal people, the Australian experience clearly illustrates this debate. In this work, Elizabeth Burns Coleman analyses art from an Australian Aboriginal community to interpret Aboriginal claims about the relationship between their art, identity and culture, and how the art should be protected in law. Through her study of Yolngu art, Coleman finds Aboriginal claims to be substantially true. This is an issue equally relevant to North American debates about the appropriation of indigenous art, and the book additionally engages with this literature.
Long before the European discovered the riches of America, the Mexican Indians had developed and passed on unique artistic traditions. The Aztecs in particular inherited the Toltec and Mixtec cultures, as well as instilling their own experiences and beliefs into the local artwork. A broad spectrum of these bold and intricate patterns and motifs -- serpents, monsters, calendar stone designs, eagles, sun-designs, architectural ornaments, pottery decoration, et cetera -- is presented here.
African art -- with its powerful forms, complex symbolism, and formal inventiveness -- has only recently come to be recognized as one of the great artistic traditions of mankind. This rich tradition is showcased here in a remarkable selection of outstanding works. Nearly 1,600 objects are illustrated, each accompanied by scholarly information on style, usage, meaning, and cultural origin. Featured individually by section are the styles of Western Sudan, the West African Coastal Region, West Central Africa, Central Africa, and Eastern and Southern Africa. A thought-provoking introduction helps readers understand the significance of African art as a form of human creative expression, its relationships to contemporary Western art, and the controversies surrounding it in the world's museums. Newcomers to the field as well as professionals will find many questions answered in the text and captions. FThis comprehensive survey of some 230 styles of African art is an essential reference for scholars, teachers, students, curators, collectors, and dealers.
This is the first colouring book in the "Northwest Native Arts" series. You can learn about some of the real and legendary creatures revered by the natives of the west coast by using these templates to create spectacular pictures.
Shortlisted for the Katharine Briggs Folkore Award 2003Malanggan are among the most treasured possessions in the Pacific, yet they continue to confound anthropologists. Central to funerals in New Ireland, these 'death' figures are intended to decompose as symbolic representations of the dead. Wrapped in images that are conceived of as 'skins', they are both visually complex and intriguing. This book is the first to interpret these mysterious agents of resemblance and connection as having a cognitive rather than a linguistic basis.Found in nearly every ethnographic museum in the world, Malanggan collections have been left virtually untouched. This original study begins by tracing the history of the collections and moves on to consider the role these artefacts play in sacrifice, ritual and exchange. What is the relationship between Malanggan and memory? How can Malanggan be understood as a life force as well as a vehicle for thought? In an analysis of the cognitive aspects of Malanggan, Kuchler offers a highly original conceptualization of the centrality of the knot as a mode of being, thinking and binding in the Pacific."Malanggan: Art, Memory and Sacrifice "is a groundbreaking study. Based on fifteen years of fieldwork and collection research, it provides an incisive new take on one of the Pacific's classic puzzles, as well as a wealth of new information and resources for anthropologists, collectors and curators alike.
The first comprehensive overview of an important genre of American art, Souls Grown Deep explores the visual-arts genius of the black South. This first work in a multivolume study introduces 40 African-American self-taught artists, who, without significant formal training, often employ the most unpretentious and unlikely materials. Like blues and jazz artists, they create powerful statements amplifying the call for freedom and vision.
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