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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 postcolonial 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.
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.
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