Abstract
The main claim of this study is that a dynamic repertoire of Indigenous linguistic conducts and judicial strategies exists in Yolngu (Australia) artworks misappropriation cases discussed before Australian courts, and that its examination helps to clarify Indigenous perspectives on the property of sacred art. This essay – covering an almost untouched field in the literature on “Indigenous intellectual property” – enlightens Yolngu judicial strategies as their answer to the conundrum between the risk of a loss of their cultural identity and the advantage potentially deriving from a state recognition of Indigenous “intellectual property” rights. This study mainly relies on Yolngu and other subjects’ affidavits released throughout five significant 1990s lawsuits. Affidavits clearly show the two-folded nature of Yolngu judicial discourse on sacred art and copyright, simultaneously insisting on and (implicitly) dismissing an interpretation of Indigenous paintings as “intellectual property”. La principal afirmación de este estudio es que hay un repertorio dinámico de conductas lingüísticas y estrategias judiciales indígenas en los casos de malversación de obras de arte yolngu (Australia) que se presentaron en juzgados australianos. El análisis de esos repertorios ayuda a esclarecer las perspectivas indígenas sobre la propiedad de arte sagrado. Este artículo –que cubre un campo casi inédito en la literatura sobre propiedad intelectual indígena– arroja luz sobre las estrategias judiciales de los Yolngu como respuesta al dilema entre el peligro de una pérdida de su identidad cultural y la posible ventaja derivada de un reconocimiento del Estado de los derechos de propiedad intelectual indígenas. Nuestro estudio se basa principalmente en las declaraciones juradas de miembros del pueblo Yolngu y de otras personas. Dichas declaraciones se realizaron durante cinco casos judiciales significativos de los años 90. Las declaraciones juradas demuestran la naturaleza dual del discurso judicial de los Yolngu sobre arte sagrado y derechos de autor, insistiendo simultáneamente en, a la vez que (implícitamente) rechazando una interpretación de las pinturas indígenas como “propiedad intelectual”.
Highlights
In the last two decades of 20th century, Australian Courts took on a significant number of copyright cases concerning unauthorized reproductions of Indigenous Australian1 artworks and ritual elements
Yolngu people of North East Arnhem Land2 were involved in such sustained judicial activity and filed claims for copyright infringement resulted in five lawsuits: Yangarriny Wunungmurra v Peter Stripes (1981), Bulun Bulun v Nejlam (1989), Yumbulul v Reserve Bank of Australia (1991), Milpurrurru v Indofurn Carpets (1994), and Bulun Bulun v R & T Textiles (1998)
What seems to be missing in the current literature is an investigation on how different perceptions of Indigenous artworks come together in intercultural negotiations – that is the nature of clashes between Yolngu culture and Australian property law in courts
Summary
In the last two decades of 20th century, Australian Courts took on a significant number of copyright cases concerning unauthorized reproductions of Indigenous Australian artworks and ritual elements. The main claim of this study is that a dynamic repertoire of Indigenous linguistic conducts and judicial strategies exists in the Yolngu copyright cases, and that its examination helps to clarify Indigenous perspectives on the property of sacred art. Yolngu judicial language has emphasized a number of fundamental differences between western and Indigenous norms surrounding sacred art, and its connection to land possession and cult. Affidavits – as statements about self-determination as well as assertions of entitlements – clearly show the two-folded nature of Yolngu judicial discourse on sacred art and copyright, simultaneously insisting on and (implicitly) dismissing an interpretation of Indigenous paintings as “intellectual property”. The analysis of affidavits is paired with an examination of Yolngu cosmology, normativity and language surrounding sacred art and land as presented in most significant ethnographic fieldworks on Yolngu population.
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