Interpreting Indigenous Culture in Art: A History

Interpreting natal kitchen-gardening in Art A HistoryMahealani SubadAbstractArt has been a historical company for legion(predicate) agri husbandrys, much(prenominal) as endemical finish, as they protect the history of communities and allows for the new generation of the community to withdraw of their then(prenominal) through blind hightail it and documentaries. However, due to mis missions from dodgework much(prenominal) as paintings, sculptures, films, innate individuality can be represented by assorts prep ard by non- natal craftists who understand endemic culture into their own deviceworks, which they presented to family. Although with the mis federal agencys atomic number 18 yet present in todays parliamentary law, modern autochthonic impostureists drive home emerged, for which they presented autochthonous cunning that represents autochthonal identicalness where the subterfugeistry is themed based on native cultural values, such as family, and the realities original mess face deep down society. indoors this research paper, it pull up stakes discuss how modern native artisan can diminish the stereotypes that have been produced by non- innate artists through their interpretation of native culture.IntroductionThroughout history, art has been a historical connection in many cultures as it allows for those in the community to protect their cultural identity inwardly history and to create a connection between the old and new generation to learn somewhat their heritage. However, Indigenous art has been known to show misinterpretations of Indigenous multitude made by non-Indigenous artists who presented their perspectives of Indigenous culture and shown it to society without any prior(prenominal) knowledge of Indigenous culture. Now, within modern day society, Indigenous art still holds a fascination with occidental culture, moreover presents Indigenous art in a new perspective as Indigenous artists argon emerging representing their culture to society. These modern coetaneous Indigenous art pieces are based on Indigenous cultural themes and values such as family, connections to their land territory, and to present the realities Indigenous people confront with in todays society.Within this research paper, it pass on discuss the differences of Indigenous artistic production throughout history, for which it will answer the question of how modern contemporary Indigenous artwork, such as paintings and films, has diminished the stereotypes of Indigenous people which had been produced through Indigenous artwork make by non-Indigenous people. Examples, such as Emily Carr who was mostly known for her work in Group of Seven, was one of the artists that had been inspired by Indigenous culture and produced autochthonal art to display to society with the belief that indigenous culture was vanishing (Morra, 2005). With perspectives of Indigenous culture such as Emily Carrs many indigenous artworks th at were produced in the one-time(prenominal) may have contributed to the stereotypes that many see in society today. terra firmaIndigenous culture has always been a fascination between Western culture throughout history, for which many artists looked upon Indigenous communities as devotion for their artwork. Non-Indigenous artists, such as Emily Carr, have been known for their Indigenous artwork within Canada as they created their art pieces within Indigenous communities to recreate authentic representations of Indigenous culture. notable for her work in the Canadian artist group, Group of Seven, Emily Carr focused on landscape artwork throughout the duration of her career. Although known for her work in the Group of Seven, Emily Carr was too known for her Indigenous artwork that focused on Indigenous material culture (Morra, 2005). Upon working on her indigenous art pieces, Carr often focused her inspirations on native villages, totem poles, and poetry (Halkes, 2006). As Carr t ook inspiration of Indigenous culture for her art work, she believed that her work served as a per watchworda to preserve Indigenous culture through her work (Morra, 2005). While tour indigenous communities to capture their culture through her work, Carr had the belief that by showcasing Indigenous material within her art it would bring awareness to Western society that Indigenous communities that were vanishing (Morra, 2005).Although Carr had the notion that by documenting Indigenous culture through her artwork, Hollywood films began to emerge, but with a dominant culture delivering as the heroes (Stoddard, Marcus, Hicks, 2014, p.9). In case study, it analyzed two Indigenous films that were prominently made by non-Indigenous filmmakers, in which, they found both used white male characters to tell apart the film and the main target audience for the films are white and upper-middle-class (Stoddard, Marcus, Hicks, 2014, p.15-16). Majority of these films cater to these audience s as Hollywood films choose to represent those who are apart of Western society, which they present them as the dominant society within these films (Stoddard, Marcus, Hicks, 2014, p.17). Nonetheless, with Indigenous films made by non-Indigenous filmmakers are prone to cater to white audiences with a white male character as the main role, this also presents itself to younger generations such as students, where they may be subjected into believing that the representation of Indigenous people within the films are realistic, therefore adding on to the stereotyping Indigenous identity through films.Comparison to Emily Carrs work, modern contemporary Indigenous art work creates a more prominent view of Indigenous cultures as it expands to different sources of media such ass paintings, sculptures, and films. At the internal Gallery of Canada, they hosted an order called Sakahan, International Indigenous Art which showcased Indigenous artwork done by Indigenous artists from around the wo rld (Davidge, 2013, p.83). With the art exhibition being the eldest exhibition devoted indigenous contemporary art from around the world, it attempts to go the views of Indigenous culture as it seeks to expand the meaning of indigenous, setting indigenous culture into a global perspective, and to demonstrate that the Indigenous artists are among the spark advance contemporary artists in the world (Davidge, 2013, p.83). Along with the Sakahan exhibit, Kristen Dowell (2006) discusses the intake of modern Indigenous arts as indigenous filmmakers are receiving recognition for their work. In 2005, the take art galleries in the U.S hosted several international indigenous filmmakers to present their work to highlight international cinemas (Dowell, 2006, p.376). The productions that indigenous filmmakers present vaunt documentation of indigenous cultural traditions and opposing of misrepresentation of Indigenous people (Dowell. 2006, p.376). Indigenous films such as toilet Signals (Ey re et al. 1998), opposed the misrepresentations of Indigenous people as it comically follows the family life within an indigenous reserve focusing the father and son relationship within the film (Dowell, 2006, p.378).DiscussionThe differences between the time periods of Indigenous art, such as of Emily Carrs time and of modern day society, they are aquiline on the artists interpretation and the perspective of Indigenous culture. During Emily Carrs time period, absolute majority of society had not been exposed to Indigenous culture, for which made the culture very challenge to artists such as Emily Carr, who chose to look at Indigenous communities as a rarity due to colonialism. Carr viewed indigenous communities and the artefacts she found as a globe art of intense ritualistic formalism, (Stacton, 1950, p.500). With Carr observing Indigenous culture with save the perspective of the formal art they have created, Carrs art does not portray a credible representation of how Indige nous communities live. By having a non-Indigenous artist present art work that is inspired by Indigenous culture to a society who has no knowledge of Indigenous communities, it promotes a stereotype to society that is maintained today due to these types of art pieces as the majority of society are not educated or aware about Indigenous culture. This notion that without prior knowledge of indigenous culture creates indigenous stereotypes is also inclusive with Indigenous films made by non-Indigenous filmmakers as the majority of their target audiences is toward a white and middle-class audiences (Stoddard, Marcus, Hicks, 2014, p.15-16). With producing a film that misrepresents Indigenous people and their culture, it reflects a persona that society will identify Indigenous culture with as majority of the films present this type of representation frequently.As for modern contemporary indigenous art, it can be seen as a revelation as more indigenous artists are gaining the recognition by various art organizations for their work. Majority of Indigenous artwork has been done by Indigenous people as the film, Smoke Signals (Eyre et al., 1998), was the first film to feature an all Indigenous cast and crew, in which, Indigenous people wrote, directed, and have in the film (Dowell, 2006). It is also noted that the Sakahan exhibit that was held in the National Gallery of Canada was the first exhibition to be devoted to contemporary art created by indigenous people from around the world (Davidge, 2013). Todays modern contemporary artists allow for indigenous representation to be reliable as the artwork portrays the artists culture, for which many of the indigenous filmmakers include themes within their work that represent indigeneity such as family values, traditional stories, the realities indigenous people face within society, and the connection of land and territories for indigenous communities (Dowell, 2006, p.377).Although many misrepresentations of Indigenous peop le are still active today, modern Indigenous artists, make attempts to diminish the stereotypes of Indigenous people made by those in the past who were attempting to share Indigenous culture with society during that time period. During that period, modern Indigenous artists have made come on establishing Indigenous identity within society as many have created artwork such as films, painting, and sculptures, to showcase Indigenous culture or to bring awareness to realities indigenous people face within todays society.ConclusionWith the initial question of trying to answer if modern indigenous artists diminish the stereotypes of Indigenous people, which was formed by previous indigenous art work done in the past, it can be considered that modern Indigenous artist have made progress with trying to diminish the stereotype, but more needs to be done to gain a true(p) representation of indigenous culture and identity. Although there has been progressed made to diminish the stereotypes o f Indigenous identity, many non-indigenous filmmakers are still producing misrepresentations of Indigenous culture. In trying to counteract the misrepresentation of Indigenous culture, prior to filming or starting an art project, the consultation of Indigenous people must be included when creating a project or film inspired or based on Indigenous culture to respectful of indigenous communities they are basing their artworks on.ReferencesDavidge, M. (2013). Sakahn, international indigenous art. Border Crossings,32 (4), 83-85Dowell, K. (2006). Indigenous media gone global Strengthening indigenous identity on and offscreen at the First Nations/first features film showcase. American Anthropologist, 108 (2), 376-384.Eyre, C. (Director), Eyre, C., Alexie, S., Rosenfelt, S., Estes, L., Skinner, D., Bressler, C., . . . Bornia, C. (Producers), Alexie, S., Capener, B., Berdan, B., Smith, B., Otis, R., Brown, R., . . . OSullivan, P. (Writers). (1998). Smoke signals Video file.Halkes, P. (200 6). Emily Carr. Border Crossings, 25 (4), 91-93Morra, L. (2005). Canadian art according to Emily Carr The search for indigenous expression. Canadian Literature, (185), 43Stacton, D.D. (1950). The art of Emily Carr. Queens Quarterly,57, 499-509.Stoddard, J., Marcus, A., Hicks, D. (2014), The burden of historical representation The case of/for indigenous film. History Teacher, 48(1), 9-36