Aboriginal Art, Identity and Appropriation

Coleman, Elizabeth

doi:10.4324/9781315263526

Cited by 10 publications

(6 citation statements)

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“…They are (in performance order): Despite the exclusively Australian nature of these animals, there has been no attempt to appropriate cryptids from Australian Aboriginal lore (Coleman, 2016). This is a matter of a non-indigenous composer showing respect to a culture that is not his.…”

Section: Cryptozoologicamentioning

confidence: 99%

Cryptozoologica: Developing the Child as Performer

White

Coyle

2022

Journal of General Music Education

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Music, movement, and imaginative play are essential for young children to explore and understand the world around them. It is important for educators of early primary students to consider how they can facilitate meaningful learning experiences that are practical, engaging, and allow children to investigate unfamiliar musical ideas in supportive, fun environments. This article introduces Cryptozoologica, a new work for flute, viola, and cello with Storyteller by Australian composer Jim Coyle, and describes how educators of young children can use music from a range of cultures and genres, including Western art music, to teach students to physically, cognitively, and imaginatively engage with sounds and stories. It includes the full score of Cryptozoologica and five lessons that encourage listening, movement, and play as a means of embodying musical understanding and knowledge.

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Section: Cryptozoologicamentioning

confidence: 99%

Cryptozoologica: Developing the Child as Performer

White

Coyle

2022

Journal of General Music Education

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“…It also raises the question of the responsibility of public institutions, state and territory and federal government in developing the Aboriginal art market and its values. Finally, although Aboriginal content in these collections is distinctive, it would be interesting to investigate whether a revolutionary move away from “dot and Dreaming” paintings towards work more in line with global contemporary art outputs (Burns Coleman, 2005; McLean, 2013) might result in these Australian corporate art collections having a less distinct Australian identity.…”

Section: Conclusion and Implications For Managementmentioning

confidence: 99%

Corporate Art Collections in Australia: The Influence of Aboriginal Art on Corporate Identity

Williams

Biggemann

2020

International Journal of Business Communication

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This study is the first to investigate the use of Aboriginal art for marketing purposes. Over 2000 major enterprises in Europe and North America collect art, but in Australia relatively few do. Research has established that art collections contribute to corporate identity, but this has not been studied in Australia. Using a qualitative case study approach, this exploratory study investigates how art collections are used to support the work of three Australian banking and law firms whose collections include Aboriginal art. We asked respondents from each firm how and why they collected Aboriginal art and their perception of the role of art in symbolizing their firm’s values and culture. Aboriginal art was found to contribute to a firm’s identity and corporate social responsibility, especially when collections included the work of emerging artists and more challenging political content. It also presented a friendly face to Aboriginal clients. For firms in overseas markets, Aboriginal art served to signal a firm’s Australianness.

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“…In contrast, cultural content, as distinct from cultural subjects and cultural objects, can be used and reused by appropriators and by those from whom the content has been appropriated. As Coleman (2005: 17) writes, ‘content is shared between a representation and reproductions of the representation’. Cultural content includes symbols and practices, as well as forms of especially traditional dress and physical presentation.…”

Section: The Parameters Of Cultural Appropriationmentioning

confidence: 99%

“…We are not, however, claiming that any reclaiming of valuable symbols or practices will suffice. On the one hand, there are many cases where members of a group were too busy fighting brutal oppression to reclaim cultural practices – the history of Indigenous art in Australia where non-Indigenous manufacturers mass produced ‘Aboriginal artefacts’ is one such case (Coleman, 2005). On the other hand, though, cultures are not static and can expand.…”

Section: The Parameters Of Cultural Appropriationmentioning

confidence: 99%

What is (the wrong of) cultural appropriation?

Lenard

Bálint

2019

Ethnicities

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Social media is full of accusations and counter-accusations of a wrong called ‘cultural appropriation’. Our goal in this article is to sift through these deliberations and identify what cultural appropriation is, what it is not, and what, if anything might be wrong with it. We begin by explaining why public discourse about cultural appropriation should matter to political theorists of multiculturalism, especially in the anti-immigrant mood that has engulfed many immigrant-receiving countries. We then place cultural appropriation under the umbrella of cultural engagement, before identifying two forms of problematic cultural engagement – cultural offence and cultural misrepresentation – that are often conflated with cultural appropriation. In the next section, we define cultural appropriation as the appropriation of something of cultural value, usually a symbol or a practice, to others. We go on to explain that two additional conditions must be present to define an act of cultural appropriation: the presence of significant contestation around the act of appropriation, and the presence of knowledge (or negligent culpability) in the act of appropriation. Although this account of cultural appropriation is normative, cultural appropriation is often wrong only in a trivial sense. One of the ways it can become more serious is through the presence of what we term ‘amplifiers’. The contextual conditions that can render acts of cultural appropriation more egregious include: the existence of a power imbalance between the cultural appropriator and those from whom the practice or symbol is appropriated; the absence of consent; and the presence of profit that accrues to the appropriator. Ultimately, we find that there are very few instances of seriously wrongful cultural appropriation, and that many of the actions decried as cultural appropriation may be wrongful, but not because they appropriate.

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Aboriginal Art, Identity and Appropriation

Cited by 10 publications

References 0 publications

Cryptozoologica: Developing the Child as Performer

Cryptozoologica: Developing the Child as Performer

Corporate Art Collections in Australia: The Influence of Aboriginal Art on Corporate Identity

What is (the wrong of) cultural appropriation?

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