Indigenous Art Research Articles

Arts And Crafts Of The Singpho Tribe Of Assam: An Empirical Study

Each tribe has its unique style and traditions, contributing to the rich tapestry of global indigenous art and craft. In tribal societies, daily living, cultural identity, and arts and crafts are intricately entwined. These artistic manifestations frequently convey spiritual beliefs, narratives, and communal values in addition to having utilitarian functions. Natural dyes, textiles, wood and bamboo are among the materials that tribal obtain locally. Their relationship with nature is reflected in their connection to the environment. Generations of people pass along traditional skills, which include weaving, carving and making of bamboo basket. Every technique could have a unique cultural meaning. Numerous pieces of art have motifs and symbols that allude to social rank, tribal heritage, or spiritual beliefs. Crafts like clothes, baskets for carrying things all have useful applications. They combine practicality with artistic expression. Many tribal crafts are integral to rituals and ceremonies, such as textile used in dances or ceremonial clothing that signifies important life events. Arts and crafts foster a sense of community and belonging. This paper has been tried to explore the arts and crafts of the Singpho tribe of North-East India based on empirical study. The Singpho tribe, primarily lived in North-East India, particularly in Arunachal Pradesh and parts of Assam, has a rich tradition of arts and crafts that reflects their cultural identity and way of life. The findings revealed that arts and crafts of the Singpho tribe is a reflection of their rich cultural and heritage.

Symbolic Interpretations of Mah Meri Visual Art: A Conceptual Approach Using Peirce’s Semiotic Theory

This study examines the visual art heritage of the Mah Meri tribe through a semiotic analysis. Utilizing Charles Sanders Peirce's Semiotic Theory as the foundational framework, the research decodes the symbolism embedded in Mah Meri's artistic expressions. The aim is to understand and document the deep meanings behind these symbols and their impact on the cultural identity and historical narratives of the Mah Meri tribe. An ethnographic approach is employed for data collection, including field observations, photographic and videographic documentation, and qualitative interviews with community members. The findings reveal that Mah Meri's art is rich in symbolic meanings that reflect the tribe's cultural identity and history. The study also highlights the negative effects of modernization on traditional art forms, necessitating urgent preservation efforts. This research makes significant contributions to the field of visual anthropology by emphasizing the importance of semiotic analysis in understanding and preserving indigenous art. It calls for increased efforts in documenting and protecting the visual heritage of the Mah Meri tribe to ensure its transmission to future generations.

Indigenous art as decolonising truth-telling: Battle Mountain Memorial

Indigenous art as decolonising truth-telling: <i>Battle Mountain Memorial</i>

Integrating science on indigenous arts, culture, and law: A sine qua non for Africa’s true independence from colonialism and eurocentrism

Africa has been fighting against colonialism and Eurocentrism for a long time in an attempt to reverse the regime of oppression and socio-economic marginalization and exploitation, and take back control of its cultural identity and right to self-determination. This adventure requires the recognition and revitalisation of indigenous arts, culture, and law—all of which have been subjugated and ignored during colonial rule. Ironically, the situation has not improved much by the dominating presence of post-independent neo-colonial structures and perpetuated Eurocentric phenomenon that have been ingrained into the socio-cultural and economic fabrics of the African state. This research explores the critical need for integrating science on African indigenous arts, culture, and legal systems, as a way of globalizing as well as revitalizing these elements, towards the ultimate emancipation of the continent from the vestiges of colonialism and Eurocentricism. Relying on the postcolonial, and indigenous knowledge systems theoretical frameworks, the study engages the ethnographic, collaborative and interdisciplinary research approaches, subjecting data obtained to thematic analysis. Underscoring the profound interconnectedness of science, indigenous arts, and cultural heritage, the study argues that combining scientific methods with indigenous African epistemology provides a powerful framework for advancing Africa’s true independence from the protracted legacies of colonialism and Eurocentrism. The research concludes that a holistic integration of these elements therefore, is indispensable for fostering a decolonized and inclusive approach to knowledge production, self-determination and sustainable development, against the background of the rich insights and sustainable practices embedded within the African cultural traditions. Ultimately, the research recommends that embracing and integrating science on indigenous epistemologies can propel Africa towards an emancipated, truly independent, and culturally affirming future, transcending the enduring legacies of colonialism and Eurocentrism.

AN OVERVIEW OF DHOKRA ART (BASTAR) PROGRESSION FROM ART TO DESIGN

Tribal Art and Craft, the pluralism of our nation that results from its diverse cultures. Every region possesses a unique artistic aesthetic. Most regions feature tribal arts and crafts in rural and indigenous areas. Chattisgarh is distinguished among the states due to its distinct folk and tribal cultures. Folk and tribal art and craft are manifestations of the pastoral way of life, religious convictions, and unpretentiousness of the people. Baster as a region of Chhattisgarh is characterized by its diverse communities, cultures, and artistic expressions. An area inhabited by numerous tribes that is remote from the progression of human civilization. Tribal lifestyle, caste system, and social rituals are all distinguishing characteristics that set these communities apart from others. Dhokraas an indigenous art form originated as part of the tribal life, and culture and uniquely reflects their community, rituals, and beliefs. The purpose of this paper is to present an overview on original form of craft, changes over time, and how the craft is being used in the design. The craft originated as part of the life of the tribal culture and reflects their community, rituals, and beliefs, and maintains a unique character. Over time the craft had gone through changes because of various influencing factors e.g., new requirements within their community, source of livelihood, artists and designers became interested in the craft, reach to the market, and support received from the Govt. The changes in the craft can be seen from various perspectives, from form, size, material, subject matter, and technique. The intention is to highlight progressive visual imagery, product design, and impact on the art form.

Pasifika arts Aotearoa and Wikipedia

ABSTRACT This article is summary and reflections from Sophia Coghini and Lisa Maule on a pilot Wikipedia project in Aotearoa New Zealand in 2022. The pilot sought to examine out if Wikipedia was considered of value to a Pasifika community, to increase content about Pasifika arts in Wikipedia, and to teach Pasifika people to edit Wikipedia, Wikimedia Commons and Wikidata. The research describes the discoveries and reflections of people in the project. Difficulties for the new editors included a lack of writing about Indigenous artists in secondary sources to create Wikipedia articles. There was a questioning of how to bring Pasifika concepts of talanoa and Vā into a Wikipedia learning journey. The Pasifika arts communities of the project validated content to be in Wikipedia, but there was a sadness from older generations that notable artists were not easily able to be added.

Indigenous Arts and Crafts and Copyright Law: A Comparative Analysis of the United States and Australian Legal Frameworks

Indigenous Arts and Crafts and Copyright Law: A Comparative Analysis of the United States and Australian Legal Frameworks

Indigenous Gond Art in Art Therapy: A Nature-Based Creative Process

There is a growing interest in understanding the connection between Indigenous art, nature, and art therapy, however information on the health implications of Indian Indigenous art practices is scarce. This case study highlights the application of nature-based Indian Indigenous art form Gond and explores its therapeutic potential in art therapy. A workshop was organized, combining nature-based guided imagery visualization with Gond folktale narration, followed by Gond-inspired artmaking using natural pigments and repetitive patterns. Workshop participants’ responses indicated that this approach fostered engagement, intense concentration, present moment awareness, a relaxed meditative state, and personal expression. Sensitively adapting Indigenous knowledge, like Gond practices, can promote awareness about interconnectedness with nature, artmaking, and storytelling, offering therapeutic benefits for self-care in art therapy.

Not About U: Social Dissonance at a Land‐Grab University

AbstractMattin's durational concert Social Dissonance and concept of social dissonance offer compelling devices to understand a central tension within institutions of higher education in settler colonial contexts. As faculty and students increasingly enact and experience forms of decolonial pedagogy in their classrooms, the settler colonial origins and structures of the university remain unchallenged. In the specific case of the ‘Land‐Grant’ university system, created through the federal 1862 Morrill Act, the findings of a 2020 ‘Land‐Grab Universities’ report describes the extent of their founding on the forced expropriation of Indigenous land and life. This article mixes the settler author's repeated experiences of Social Dissonance at documenta 14, in both Athens, Greece, and its traditional home of Kassel, Germany, and how its institutional and pedagogical contexts translate to a sequence of teaching experiments in his classrooms at a ‘Land‐Grab’ university. These experiences and experiments are framed by two failures, both institutional and individual, that offer the author a concrete insight into the concept of social dissonance to understand how different levels of alienation operate through colonial intrusion into educational contexts by an exclusionary settler worldview. At the same time, the author attempts to harness this settler colonial noise‐as‐device by attuning to echoes of Social Dissonance in the vital work of living, Indigenous artists, and their alternative pedagogical initiatives.

Evidence about art-based interventions for Indigenous people: a scoping review protocol

IntroductionIndigenous people experience a unique set of health inequalities and social determinants that can negatively affect their physical health, mental health and wellness. This critical state of affairs is compounded...

Rewriting the Narrative of Modernisms

Abstract: After Modernism is a collection of essays that in multiple ways intends to decentralize the concept of modernism. The volume includes analyses of art and literature as well as history and philosophy. Through close readings and viewings, the authors re-imagine and re-position how modernity is constructed and conceptualized, with the result that modernity must be understood as modernities , and modernism as modernisms . The titular concept of after is used as "both repetition and difference, both homage and critique," which means that canonical works, such as Woolf's Mrs. Dalloway are read with both love and scepticism, and placed next to analyses of works that has previously been ignored—mostly the work of female Black or indigenous artists. The result is a multifaceted and fragmented volume, where the format mirrors the central argument: that there can be no single modernism, placed in a single space or time, but always multiple and moving modernisms.

TOWARD A TOOL KIT FOR CURATING INDIGENOUS ART: A NON-INDIGENOUS FACILITATOR’S PERSPECTIVE

This article explores the experiences of a non-Sámi project manager and educator working with a group of Sámi curators within a unique educational program designed for the Sámi community. Based on artistic research, this study focuses on the challenges and learning opportunities encountered, emphasizing the importance of cultural exchange and understanding in the field of Indigenous art and curating. It discusses strategies applied by the non-Sámi project manager, language barriers, and the role of hands-on activities in facilitating collaboration. The research provides insights into the broader context of Indigenous curatorial practices globally and highlights the need for mutual respect and adaptation for effective collaboration in educational programs. The study’s findings contribute to discussions on navigating cultural diversity within the context of Indigenous art and curating.

Bandolier Bags and Indigenous Modernism

This is a material culture-based case study of two bandolier bags dated to the late nineteenth or early twentieth century in the Agnes Etherington Art Center collection in Kingston, Canada. The floral motifs that decorate these two bags are not made from porcupine quills, nor are all of them bilaterally symmetrical as in “traditional” Indigenous art. Instead, they are made from glass beads, and most of the floral designs are asymmetrical. The bags’ surface patterns and materials were made possible through international trade, which facilitated the merging of European and other global designs, materials, and forms with Indigenous visual and material culture. Contemporary Western anthropological discourse framed these Indigenous objects as “hybrids” and alleged that they distorted the original meaning of such styles in a European context while simultaneously “corrupting” traditional Indigenous art and culture. Such art forms were denied a place in modernity due to their supposed inauthenticity. Ironically, “authentic” Indigenous art and material culture was likewise barred from being considered “modern” due to its hand-made, “preindustrial” nature. Connecting North American historical developments with discourse on Indigenous modernisms, I argue that on the contrary, these bags evince their makers’ conscientious engagement with modernity and can be considered modern Indigenous art.

Indigenous knowledge and creativities online: TikTok as a relational tool within the Indigenous art process

This article explores the potential of TikTok videos as a method of relational engagement for Indigenous artists. The concept of relationality is the foundation of Indigenous artistic practices, through which Indigenous art is representative of an ongoing process of knowledge sharing and connection rather than a final product. Within this process, art is given meaning through the extensive relationships that inform its stories and symbolism such as the artist’s connections, ancestral knowledges, and both Indigenous and non-Indigenous audiences. The ways that Indigenous artists share their art on platforms such as TikTok play a key role in the Indigenous art process. Using data produced through content analysis of three TikTok videos, this article highlights the various ways that Indigenous artists use TikTok videos and its functions as a means of sharing knowledge, locating their identities, and maintaining extensive relationalities with themselves, community, Country, and ancestors.

RECYCLING ART AND THE NIGERIAN ECONOMY

Using recycled materials to create beautiful artworks has become a bulging trend especially in modern times. Many Nigerian artists now rely on this medium to create award winning art works that also provide them regular income in the process. This paper focuses on the meaning of recycling and analysis of its relevance to modern art. It emphasizes the degree of value its usage has added to the enhancement and acceptance of indigenous art works in Nigeria. In addition, it enables the researcher to enumerate the economic benefits of adopting recycled materials for the creation of artworks by the indigenous artists, government, and the society in general. It further suggests ways of improving on its usage. Finally, the paper suggests ways of ameliorating government’s efforts in making waste recycling business more lucrative especially to artists who use them as their medium of creation.

Chicago Area Archaeological Collections at the Field Museum

Abstract From surface finds to excavated collections, the Field Museum cares for thousands of archaeological items from the Chicago area. The collections reflect those put together by several key antiquarians in the nineteenth and early twentieth centuries, materials recovered by early archaeologists starting in the 1920s using the Chicago Field Method, and material resulting from a pre–cultural resource management salvage excavation in the 1950s. The collections also include donations in the twentieth century by private individuals. This article contextualizes the history of these archaeological collections and their impact on recent studies and descendant communities, including the Hočąk, Baxoje, Nutachi, Jiwere, Myaamia, Kickapoo, Kaskaskia, and Potawatomi. In so doing, we outline how the provenance of these collections reflects temporal trends of museum archaeology and curation and how various epistemologies are being brought to bear by recent work of archaeologists and Indigenous artists and craftspeople.

Honoring the Ancestors and Creator

Abstract Contemporary feminist scholars problematize the difficulties of creating meaningful political alliances between Indigenous and diasporic communities in settler states such as Canada and the United States. This essay uses a relational framework to trace how two feminist artists, one Indigenous and one diasporic, creatively resist the ongoing and uneven conditions of settler colonial capitalism. The essay examines artwork by Tannis Nielsen, a midcareer Indigenous artist with Métis, Anishnawbe, and Danish ancestry, and Rosa Sungjoo Park, an emerging diasporic Korean artist with landed status in Canada. Taken together, the artists’ works offer fruitful opportunities to think through difficult questions about power, history, and representation on Turtle Island. Both Nielsen and Park engage “pedagogies of the Sacred” to honor ancestral traditions and spiritual practices while disrupting binary narratives of tradition vs. modernity. I contend that their creative use of digital media draws on lived experience, embodied knowledge, and spirituality to refuse colonialism’s hyper-individualism and imagine alternative worlds.

Replacing Settler Spaces: The Transformational Power of Indigenous Public Art

Similar to 19th-century steamship travel, 21st-century cruise ships link far-flung communities for visitors to the Pacific Northwest Coast. Contemporary Indigenous artists, like their ancestors before them, have transformed touristic curiosity into economic, educational and cultural opportunities for their communities. Public art has become an increasingly important site for engaging visitors who have only a few hours to spend on shore. This paper compares two public art projects—Juneau, Alaska’s Kootéeyaa Deiyí (Totem Pole Trail) and Vancouver, British Columbia’s Blanketing the City—to explore the multivalent ways in which public art expresses Indigenous sovereignty.

Indigenizing Blankness in the Works of Leanne Betasamosake Simpson, Gerald Vizenor, and Jordan Abel

ABSTRACT The article examines the strategic use of blankness in the literary works of Indigenous authors Leanne Betasamosake Simpson (Michi Saagiig Nishnaabeg), Gerald Vizenor (White Earth Nation Anishinaabe) and Jordan Abel (Nisga’a). The study begins by tracing the broader tradition of blank books, blank works of art, and blank pages in English language literature, discussing the techniques that have evolved to make blankness speak. We then trace the potential implications of blanks in work specifically by Indigenous artists, where it can be made to speak as a commentary on erasure, genocide and epistemicide. However, in our readings of all three writers, we discover that each uses strategies of blanking to take the audience through such a trauma-centered reading, but also to go beyond it. By emphasizing the creative renewal that blankness embodies, each author uses it as a (literal) space of healing and imagination. This space is then linked via various narrative associations, most importantly by invoking the ancient art of petroglyphs, to Indigenous land sovereignty and survivance.

“Meeting Martha”: An Affrilachian Performance Aesthetics In Martha Redbones’ Bone Hill

Abstract: Musician Martha Redbone is an Appalachian-born Black Indigenous woman with wide visibility, whose artistry highlights how race, place, indigeneity, and class inform what it means to be American. This essay on Martha Redbone, highlights the artists’ activism on stage across cultures, Black, Indigenous, and Appalachian, showcasing the nuances of Black belonging in the region. Redbone’s Bone Hill: The Concert is a musical that tells the stories of her female ancestors growing up in Appalachia. Artistically, Redbone embeds an awareness of region and race within her musical compositions, a strategy I am naming as explicitly Affrilachian. Martha Redbone’s aesthetic interventions as a Black Indigenous artist creating national touring productions about her roots in the region highlights the ongoing influence of Black artistry in America as well as offers historical perspectives on Black and Indigenous experiences in the Appalachian region.