Abstract
Contemporary economy – marked by a very intense globalization as well the new information and communication technologies – has achieved an incredible increase in competitiveness. Cultural and intangible meanings linked to products and services have become almost more important than their functionality. This is particularly – but not exclusively – true in sectors that comprise the so-called creative economy, as the design, visual arts, music, fashion, food etc. In contemporary societies, merchandises stand out for their uniqueness and for having both economic value and symbolic value. Having this scenario as background, this paper presents a case study based in Australia, which reveals how the segment of indigenous arts turned to be part of the creative economy in that country, allowing first nation people to have a culturally significant and economically positive occupation. Finally, the text illustrates the relevance of interdisciplinary approaches to analyze artistic-cultural practices and processes. Keywords: creative economy, indigenous arts, Australian aboriginal painting.
Highlights
Contemporary economy – marked by a very intense globalization as well the new information and communication technologies – has achieved an incredible increase in competitiveness
In 2012, Barrupu Yunupingu used to paint every day in the backyard of Bulku Larrngay arts centre, in Yirrkala, Arnhem Land
As all traditional bark painters, she painted with a brush made of her own hair and natural ochres
Summary
O adjetivo aboriginal, na Austrália, é usado para os povos que habitam o continente há cerca de 40.000 anos. As comunidades indígenas se concentram na imensa região desértica que cobre dois terços da Austrália, no centro e no oeste do país, e também no norte tropical voltado para a Ásia, sobretudo na região de Arnhem Land. Muitas das comunidades possuem centros de artes geridos por uma diretoria aborígene, assessorados por um ou dois funcionários brancos – especialistas em marketing, exportação, websites etc. Esta cooperativa também contrata sempre um ou dois funcionários brancos, com a verba que o governo federal disponibiliza para essa finalidade. Até 2012, quando faleceu, Barrupu Yunupingu pintava, diariamente, com pigmentos naturais e pincel de cabelo sobre entrecasca de eucalipto, no terraço do centro de artes Bulku Larrngay, no povoado de Yirrkala, Arnem Land. Until she passed away, in 2012, Barrupu Yunupingu used to paint every day in the backyard of Bulku Larrngay arts centre, in Yirrkala, Arnhem Land. As all traditional bark painters, she painted with a brush made of her own hair and natural ochres
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
