Suchergebnisse

In the course of their modern emergence, the historical states of Europe established a law of nations, or jus gentium, regulating recourse to war & the dispositions of peace. Usually presented as resulting from the good will of sovereign states, the law of nations is in fact an outgrowth of the colonial conquest of empires. Empire-building involved the subjection and, in some cases, extermination of the native peoples giving rise to a doctrine known as "aboriginism," which in turn established the categories upon which jus gentium is based. Adapted from the source document.

The representation of the aborigines, whether due to aboriginal artists or based on an outside perspective, is an integral part of the construction of an identity, in particular when the act of creation is conceived as a mode of cultural transmission (in order to find their ancestral spirits). The first step to approaching the works of the aboriginal artists consists of multiplying points of view on the question of the cultural identity (the political dimension of self-affirmation) and the questioning of their intent to be considered an artist. The fact that the aboriginal artist regards himself as an artist, had already been attempted in the non-aboriginal community. However, this position has not been without controversy. After the ethnographical turn (contextual turn into specific identity), the aboriginal artist is obliged to think about his/her status, the way to create and the reason why (s)he would become an artist. The approach chosen by the four artists studied here has not led them to learn anything (act of construction or building of themselves) ; it is rather a question of unlearning, in order to associate with the cultural juxtaposition and the simultaneity of the others in the global and mobile world. Therefore, the artist as an aborigine-traveler causes a short-circuit in the interpretations. In this perspective, each presentation at the museum builds a relationship with the 'visitor-viewer' in a temporary or parallel space as it relates to the real space.This research is based at the same time on the analysis of the socio-cultural situation of the four artists (Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man), the aesthetic analysis of their works and the historical analysis of the context of production, diffusion and exhibition of the aboriginal works in general between 1895 and 2017. By relying on a sociocultural and artistic representation, our research is designed to build a strategic vision for the post-colonial studies between art and ethnography. Developing a practice of the ...

The representation of the aborigines, whether due to aboriginal artists or based on an outside perspective, is an integral part of the construction of an identity, in particular when the act of creation is conceived as a mode of cultural transmission (in order to find their ancestral spirits). The first step to approaching the works of the aboriginal artists consists of multiplying points of view on the question of the cultural identity (the political dimension of self-affirmation) and the questioning of their intent to be considered an artist. The fact that the aboriginal artist regards himself as an artist, had already been attempted in the non-aboriginal community. However, this position has not been without controversy. After the ethnographical turn (contextual turn into specific identity), the aboriginal artist is obliged to think about his/her status, the way to create and the reason why (s)he would become an artist. The approach chosen by the four artists studied here has not led them to learn anything (act of construction or building of themselves) ; it is rather a question of unlearning, in order to associate with the cultural juxtaposition and the simultaneity of the others in the global and mobile world. Therefore, the artist as an aborigine-traveler causes a short-circuit in the interpretations. In this perspective, each presentation at the museum builds a relationship with the 'visitor-viewer' in a temporary or parallel space as it relates to the real space.This research is based at the same time on the analysis of the socio-cultural situation of the four artists (Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man), the aesthetic analysis of their works and the historical analysis of the context of production, diffusion and exhibition of the aboriginal works in general between 1895 and 2017. By relying on a sociocultural and artistic representation, our research is designed to build a strategic vision for the post-colonial studies between art and ethnography. Developing a practice of the qualitative analysis, we wish to focus on three fundamental questions : How were the works of the aboriginal artists represented and « framed » in a control of identity discourse? How does the aboriginal artist consider the traceability of his/her feeling of belonging (like a trackable identity) through his/her representation? How does this representation introduce a short circuit of the cultural interpretations in the different modes of expression, perception, evolution and reception? ; La représentation des aborigènes qu'elle soit due à des artistes aborigènes ou à un regard extérieur fait partie de la construction d'une identité, notamment lorsque l'acte de création est pensé comme un mode de transmission culturelle (afin de retrouver leurs esprits ancestraux), la première étape pour aborder les œuvres des artistes aborigènes consiste à multiplier les points de vue sur la question de l'identité culturelle (la dimension politique d'affirmation de soi) et à remettre en question leur intention d'être artiste. Le fait que l'artiste aborigène se pense comme artiste dénote déjà une tentative d'inscription dans un monde social non aborigène. Cette posture ne va cependant pas sans tensions. Après le tournant ethnographique (tournant contextuel et identitaire), l'artiste aborigène s'est obligé à réfléchir à son statut, à sa manière de créer et au pourquoi de ce choix de devenir un artiste. La voie choisie par les quatre artistes étudiés ici ne les a pas conduits à apprendre des choses (acte de construire ou se construire). Il s'agit plutôt d'un effort de désapprendre, afin d'exprimer la juxtaposition culturelle et la simultanéité de l'Autre dans un monde global et mobile. En conséquence, l'artiste en tant qu'aborigène-voyageur provoque un court-circuit des interprétations. Dans cette perspective, chaque présentation au musée noue une relation avec le visiteur ou le spectateur dans un espace temporaire ou parallèle à l'espace réel.Cette recherche s'appuie à la fois sur l'analyse de la situation socio-culturelle de quatre artistes aborigènes ( Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man ), l'analyse esthétique de leurs oeuvres et l'analyse historique du contexte de production, de diffusion et d'exposition des œuvres aborigène en général entre 1895 et 2017. Elle tente de cerner une vision post-coloniale entre l'art et l'ethnographie et de développer une pratique de l'analyse qualitative bâtie sur trois questions fondamentales : comment les oeuvres des artistes aborigènes ont-elles été représentées et « encadrées » dans un discours identitaire ? Comment l'artiste aborigène met-il en lumière la traçabilité de son appartenance (comme identité traçable) à travers sa représentation ? Comment cette représentation introduit-elle un court-circuit des interprétations culturelles dans les modes de réception ?

The representation of the aborigines, whether due to aboriginal artists or based on an outside perspective, is an integral part of the construction of an identity, in particular when the act of creation is conceived as a mode of cultural transmission (in order to find their ancestral spirits). The first step to approaching the works of the aboriginal artists consists of multiplying points of view on the question of the cultural identity (the political dimension of self-affirmation) and the questioning of their intent to be considered an artist. The fact that the aboriginal artist regards himself as an artist, had already been attempted in the non-aboriginal community. However, this position has not been without controversy. After the ethnographical turn (contextual turn into specific identity), the aboriginal artist is obliged to think about his/her status, the way to create and the reason why (s)he would become an artist. The approach chosen by the four artists studied here has not led them to learn anything (act of construction or building of themselves) ; it is rather a question of unlearning, in order to associate with the cultural juxtaposition and the simultaneity of the others in the global and mobile world. Therefore, the artist as an aborigine-traveler causes a short-circuit in the interpretations. In this perspective, each presentation at the museum builds a relationship with the 'visitor-viewer' in a temporary or parallel space as it relates to the real space.This research is based at the same time on the analysis of the socio-cultural situation of the four artists (Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man), the aesthetic analysis of their works and the historical analysis of the context of production, diffusion and exhibition of the aboriginal works in general between 1895 and 2017. By relying on a sociocultural and artistic representation, our research is designed to build a strategic vision for the post-colonial studies between art and ethnography. Developing a practice of the qualitative analysis, we wish to focus on three fundamental questions : How were the works of the aboriginal artists represented and « framed » in a control of identity discourse? How does the aboriginal artist consider the traceability of his/her feeling of belonging (like a trackable identity) through his/her representation? How does this representation introduce a short circuit of the cultural interpretations in the different modes of expression, perception, evolution and reception? ; La représentation des aborigènes qu'elle soit due à des artistes aborigènes ou à un regard extérieur fait partie de la construction d'une identité, notamment lorsque l'acte de création est pensé comme un mode de transmission culturelle (afin de retrouver leurs esprits ancestraux), la première étape pour aborder les œuvres des artistes aborigènes consiste à multiplier les points de vue sur la question de l'identité culturelle (la dimension politique d'affirmation de soi) et à remettre en question leur intention d'être artiste. Le fait que l'artiste aborigène se pense comme artiste dénote déjà une tentative d'inscription dans un monde social non aborigène. Cette posture ne va cependant pas sans tensions. Après le tournant ethnographique (tournant contextuel et identitaire), l'artiste aborigène s'est obligé à réfléchir à son statut, à sa manière de créer et au pourquoi de ce choix de devenir un artiste. La voie choisie par les quatre artistes étudiés ici ne les a pas conduits à apprendre des choses (acte de construire ou se construire). Il s'agit plutôt d'un effort de désapprendre, afin d'exprimer la juxtaposition culturelle et la simultanéité de l'Autre dans un monde global et mobile. En conséquence, l'artiste en tant qu'aborigène-voyageur provoque un court-circuit des interprétations. Dans cette perspective, chaque présentation au musée noue une relation avec le visiteur ou le spectateur dans un espace temporaire ou parallèle à l'espace réel.Cette recherche s'appuie à la fois sur l'analyse de la situation socio-culturelle de quatre artistes aborigènes ( Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man ), l'analyse esthétique de leurs oeuvres et l'analyse historique du contexte de production, de diffusion et d'exposition des œuvres aborigène en général entre 1895 et 2017. Elle tente de cerner une vision post-coloniale entre l'art et l'ethnographie et de développer une pratique de l'analyse qualitative bâtie sur trois questions fondamentales : comment les oeuvres des artistes aborigènes ont-elles été représentées et « encadrées » dans un discours identitaire ? Comment l'artiste aborigène met-il en lumière la traçabilité de son appartenance (comme identité traçable) à travers sa représentation ? Comment cette représentation introduit-elle un court-circuit des interprétations culturelles dans les modes de réception ?

En 1957, la Junta de Bienestar Original (la organización responsable de Los aborígenes en el estado de Nueva Gales del Sur) comenzaron a preguntarse sobre los méritos de medidas legislativas restrictivas y discriminatorias contra de los aborígenes , a quienes pensó podrían contradecir su política oficial de asimilación. Entonces decidió organizar una encuesta para obtener la opinión de todos aquellos que estaban estrechamente asociados con el bienestar y la conducta Aborígenes , y en particular la policía. La Junta no simplemente preguntó al la policía para dar su opinión sobre el asunto, pero también para proporcionar algunas cifras sobre la población aborigen en su área de intervención. El artículo propone Una revisión crítica de estas estadísticas y lo que nos dicen sobre las relaciones entre los aborígenes y la policía, antes de mostrar cómo, poco a poco, nuevos Las interpretaciones de los datos en cuestión han surgido en el debate público, particularmente en a través del aumento de las demandas de los aborígenes contra la discriminación. ; En 1957, l'Aboriginal Welfare Board (l'organisation qui avait la charge des populations aborigènes de l'État des New South Wales) commençait à s'interroger sur le bien-fondé des « mesures législatives restrictives et discriminatoires à l'encontre des Aborigènes », dont il pensait qu'elles pouvaient entrer en contradiction avec sa politique oficielle d'assimilation. Il décida donc d'organiser un sondage ain d'obtenir l'opinion de tous ceux qui étaient « étroitement associés au bien-être et à la conduite des Aborigènes », et en particulier la police. Le Board ne demanda pas simplement aux policiers de donner leur avis sur la question, mais aussi de fournir quelques chiffres au sujet de la population aborigène dans leur secteur d'intervention. L'article propose un examen critique de ces statistiques et de ce qu'elles nous apprennent des relations entre les Aborigènes et la police, avant de montrer comment, peu à peu, de nouvelles interprétations des données en question ont émergé dans le débat public, en particulier à travers la montée des revendications des Aborigènes contre les discriminations. ; Victims or Criminals? Shifting Interpretations of the Over-representation of Aborigines in the Criminal Justice System. In 1957, the Aboriginal Welfare Board (the authority in charge of the Aboriginal population in the State of New South Wales) questioned the soundness of one section of the Aboriginal Protection Act (apa, 1909-43) it administered. It therefore it launched a major survey in order to obtain the view on the question of all those « closely associated with aboriginal welfare and conduct », and in particular the members of the police. The Board did not just ask the police to state their opinion on the issue, but also to provide some igures about the Aboriginal population in their Patrol. The article analyses the construction of those igures, and it attempts to show how new interpretations emerged during the 1960s, especially through the rise of the political movement in favour of Aboriginal Rights.

This article presents a brief overview of Australian history. First, it stresses the time-old presence of the Aborigines so as to recall that the history of the continent-island did not start with the arrival of Captain Cook in 1770. Then, it considers the formation, in the 19th century, of a British settlers' colony and its transformation, in the 20th century, into an English-speaking nation state. It also criticizes a certain historiographical trend that tends to relegate the Aborigine people to the pre-colonial past. Adapted from the source document.

Australia has long defined itself culturally as a Western -- and more specifically British -- country and has remained blind to its own specificity, notably regarding the Aborigines, while also cultivating a real phobia toward Asia. Yet, for a few decades, under the influence of political, economic and demographic changes, it has come to term with its geographic reality and has accepted to incorporate in its own culture the non British components it had rejected for so long (mainly the Aborigine and Asian elements). By becoming cosmopolitan and composite, Australian culture has greatly gained in vigor and diversity. Adapted from the source document.

O. Iu. Artemova, Traditional society of Australian Aborigines in Soviet anthropology.
Data on Australian traditional Aboriginal culture were and still are frequently used in Soviet anthropology as one of the main sources for reconstruction of early stages of human history (prehistory). In the early 1920's-carly 1950's, the research tradition traceable back to the nineteenth century centered mostly on such issues as systems of kinship, kin groups, family and marriage patterns. The 1930's and 1940's were the years of decline in the Soviet Australian Aboriginal studies mostly because of the dogmatic approach to L.H. Morgan's scheme of early social evolution.
The early 1970's saw a renewal of scholarly interest in kinship systems and in uni lineal kin structures with the resultant discussion of the so-called Australian "controversy."
In 1970's-1980's the themes of Soviet Australian Aboriginal studies grew more varied; they included Aboriginal religion, arts and folklore, as well as the role of personality, the correlation between individual behavior and traditional normative system.
Today, the picture of traditional social life of Australian Aborigines as reflected in Soviet anthropology appears to be much more complicated than in the previous years. In particular the concept of primitive egalitarianism is replaced by the recognition of some forms of status differentiation (group and individual) and status hierarchy as well as certain forms of individual specialization.

Multiculturalism was introduced in 1973 by Gough Williams' Labour government. It follows the Canadian model and advocates an active and welcoming acceptance of immigrants and a consideration of the specific needs of ethnic communities, including the Aborigines. It has become one of the driving force in the construction of Australian national identity. Although criticized, it is always presented as a priority by all the right wing or left wing governments. Yet, it seems to have lost much of its original substance and even to be on the verge of being abandoned. Adapted from the source document.