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The Australian identity
The Australian identity
Introduction from a report on Australian identity
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Australia has been depicted through several different artforms – paintings, songs, poems – in order to reflect the multicultural national identity of Australia. These artforms in particular, had influenced the nation and advanced thought provoking ideas during the era of the oppressed indigenous people. Indigenous authors enlightened the hardships they faced, through artforms such as poems and contributed greatly to the Australian national identity. Oodgeroo Noonuccal, was the first Aboriginal woman to be a published author, and her poem “No More Boomerang,” highlights the impact the white settlers had on the indigenous community by showing the contrast in their daily lifestyles and the affect of the loss of their culture. These are revealed, through poetic techniques, imagery and symbolism, in order to deliver the subject matter to the audience. The message of the forced cultural differences the indigenous people faced was emphasised boldly and marked the white settlers as thieves of their land and culture. …show more content…
In the first stanza, for instance, “No more boomerang / No more spear; / Now all civilised - / Colour bar and beer.” The loss of their weapons, symbolises the deprivation of their culture caused by the settlers. The line ‘now all civilised’ brushes off with a monotonous tone, and comes across sarcastic, depicting the ignorant insight of the white settlers’ views on their culture. “No More Boomerang” tells a story of the white settlers marking the land as theirs, and forcing the Indigenous people to live with their white standards and lifestyle. Throughout the poem, the poet constantly juxtaposed both standards of living and cultures, in order to communicate the deprivation of the
Indigenous Australian artist Gordon Bennett re-contextualises the work of Colin McCahon by borrowing and transforming key visual features. Bennett’s work challenges the viewer and gives them an alternative perspective of the culture and identity of Indigenous Australians. The quote by The National Gallery of Victoria states, “Often describing his own practice of borrowing images as ‘quoting’, Bennett re-contextualises existing images to challenge the viewer to question and see alternative perspectives.” This quote is clear through analyzing the visual features as well as the meaning behind the work of Gordon Bennett’s appropriated artwork ‘Self-portrait (but I always wanted to be one of the good guys)’ (1990) and comparing it to Colin McCahon’s
One of the many factors that have contributed to the success of Australian poetry both locally and internationally is the insightful commentary or depiction of issues uniquely Australian or strongly applicable to Australia. Many Australian poets have been and are fascinated by the issues relevant to Australia. Many in fact nearly all of these poets have been influenced or have experienced the subject matter they are discussing. These poets range from Oodgeroo Noonuccal Aboriginal and women’s rights activist to Banjo Patterson describing life in the bush. Bruce Dawe is also one of these poets. His insightful representation of the dreary, depressing life of many stay at home mothers in “Up the Wall” is a brilliant example of a poem strongly relevant to Australia.
So, on Australia Day we often neglect the very different experience of Indigenous people whose land was invaded and cultural integrity stolen by ignorant ideologies of white supremacy. Their perspectives expressed through literature powerfully protests the silenced voices. From evaluation, Dawe’s Beggars’ Choice elicits a colloquial and relaxed mood, as the message is indirect and addressed in a satirical manner, while Sykes’s Ambrose is direct; its shorter sharper sentences underlining its provocative tone. Ultimately, this alters the mood of the poems even though both share the theme of the loss of tradition, depreciation of life and the social ramifications foisted on our indigenous people by their white
2002 The Post-Colonial Virtue of Aboriginal Art Zeitschrift für Ethnologie , Bd. 127, H. 2, pp. 223-240 http://www.jstor.org/stable/25842867
A Comparison of Civilization by Oodgeroo Noonuccal and Beds Are Burning by Peter Garrett In the Australian culture, there have been many debates about the rightful ownership of Australian land and about whether the Aborigines have the right to retain the land taken from them. Further more, indigenous writers have expressed anger and protest towards the loss of their culture to white civilization. Peter Garrett and Oodgeroo Noonuccal are two artists who seek to raise the issues of the native land title and the oppression of Australian Aborigines. "Civilization" by Oodgeroo Noonuccal is a poem, which comments on the effects of white civilization on Aboriginal people and "Beds are Burning" by Peter Garrett comments on the issue of native land title. Throughout the two texts, various poetic techniques such as imagery, irony, tone and point of view, as well as poetic form are used to express deeply held views about the values and issues raised.
Aboriginal art is widely associated with the primitive and primordial nature of the Australian Indigenous culture. However, as it has become more popular globally, one must consider the authenticity of the Aboriginal art sold on the contemporary market. Eric Michaels essay, ‘Bad Aboriginal Art’ (Michaels, 1988) exposes his concerns with how we define certain art as being genuinely ‘Aboriginal’ and questions what external influences exploit and influence the validity and authenticity of Aboriginal art. The essay summons readers to question what they identify with Australian culture and whether or not White Australians have disordered the meaning of Indigenous art.
Australian indigenous culture is the world’s oldest surviving culture, dating back sixty-thousand years. Aboriginals and Torres Strait Islanders have been represented in a myriad of ways through various channels such as poetry, articles, and images, in both fiction and non-fiction. Over the years, they have been portrayed as inferior, oppressed, isolated, principled and admirable. Three such texts that portray them in these ways are poems Circles and Squares and Grade One Primary by Ali Cobby Eckermann, James Packer slams booing; joins three cheers for footballer and the accompanying visual text and Heywire article Family is the most important thing to an islander by Richard Barba. Even though the texts are different as ….. is/are …., while
In the late eighteenth century prior to the arrival of the first European settlers, Australia was once believed to be a terra nullius, an uninhabited “nothing land.” The European colonizers of Australia sought to make something of this land they believed they had discovered. Operating under this false notion, colonizers systematically invaded and conquered Australia, imposing their own ways onto the land and its original custodians, the Aboriginal people. The introduction of western settlements disrupted much of Aboriginal life. In a publication titled, Is it in the Blood? Australian Aboriginal Identity, author Myrna Ewart Tonkinson discusses Western imperialism and its implications on Aboriginal identity.
The Telstra National Aboriginal and Torres Strait Islander Art Awards is Australia's longest running Indigenous art award (Telstra Award, 2016). The award was established in 1984 by the Museum and Art Gallery of the Northern Territory in Darwin. It is open to all Aboriginal and Torres Strait Islander artists working in all forms and mediums. The Telstra Award is a cash prize of $50000. As an Aboriginal Artist, Bell used his artwork ‘Aboriginal Art – It’s a White Thing’ to project his perspective on key issues important to many Indigenous artists. These issues include the notion of appropriation and control of Aboriginal arts and culture, the commercial exploitation of Aboriginal art and artists as a colonial process and the ethnocentric ideas that characterise Aboriginal art as artefacts rather than contemporary work from an Australian Indigenous arts movement (Bell, 2002). Bell, (2002) suggests that ‘Aboriginal Art is a "movement" and as yet has not graduated to ‘ISM’ status by being "named”. Rather, Aboriginal culture and art is predominately portrayed as a collective expression of an objectified group of people that reflect colonial stereotypes of an unchanging culture caught in the ethnographic present (Hastrup, 1990). Aboriginal art is a product and expression of a living dynamic culture that reflects the accumulated knowledge, traditions, experiences, values, history, lifeways, kinship, country and economics of thousands of generations of Indigenous Australians (McCulloch,
The two texts No more boomerang and Municipal gum written by Kath Walker use language and poetry to construct similar representations of Australian indigenous culture and how invasion of the European force them to give up their culture and land. Both authors give negative representations and thoughts to the European civilized culture, which take over their aboriginal culture. In no more boomerang the author simply contrast difference between two culture and give us examples. It mention what they did before and after the invasion of European. In municipal gum, the author represent that European wants to control everything and change their identity, which affect their life in a negative way.
Aboriginals are “artistic, there is always an urge to express their doctrines, myths, desires and experiences, when painting their body in design” (Ballard 2007 pg 6) Educators, as part of the curriculum in-corporate art especially dot painting of stories from the
Some of the issues raised include; appreciation for the Australian landscape, and the female form, political power, changing social values, and drug addiction. His works are a poignant representation of the Australia and encapsulate the dominant attitudes of our society. Particularly the piece ‘The Arrival’ (1988) as it explores issues even now still current to Australia, such as white dominance over the Indigenous. Whiteley’s love for the landscape is repeatedly demonstrated in his works, encouraging an appreciation in audiences for the natural Australian setting. Whiteley remained completely loyal to the Australian scenery, from as early as ‘Sofala’ (1958) to ‘Far North Queensland - Port Douglas’ (1992), the latter providing a birds eye view of Queensland, creating an immersion of the audience into the piece. Whiteley has impacted on audience’s by pushing the boundaries of erotic art. His representation of his wife’s body as sensuous has allowed for erotic art to become more unrestrained. Drug addiction and feelings of disconnection are also motifs of Whiteley’s work. The piece, ‘Art, life and that other thing’, has especially generated great thought within audiences towards how drug addiction can destroy a person’s sense of self. The piece itself, explores Whiteley’s fragmented identity, his disconnection because of drug addiction. The screaming baboon, pierced by nails has
The voices of individuals in shaping the perspective on Australian issues are presented in Bruce Dawe’s poetry. Dawe's ability to express the drama and beauty of everyday life has made his work readily accessible to the general public. Bruce Dawe’s primary purpose in his poetry was to depict the unspoken social issues, concerning the typical Australian suburban residents. His concern for these matters is evident through his mocking approach to the issues he presents in his poems. The poem “___” and the related text help shape our perspective on Australian issues through Dawe's use of techniques and context.
Despite its European origins, Australian literature has developed a unique identity of iconic bushmen, social and racial politics and awe-inspiring landscapes (Australian Government). However, within these tales, the tenets of many English literary movements are still present (Smith and Pierce). This is especially prevalent within, Henry Kendall's lyrical poem, "Bell-birds" as his emotive tributes to the Australian landscape (The Development Of Australian Literature In The 19Th Century 7) adapt Romantic ideals to suit Australian iconography. In turn, Kendall not only gives homage to his predecessors, but pioneers a national identity (The Development Of Australian Literature In The 19Th Century 32). Thus, establishing Australian literature conventions (The
Aboriginal art has come to represent Aboriginal people and their culture (Myers, 2002). Art Curators of Aboriginal Art are aware of the political weight which surrounds Indigenous art. Many paintings are filled with political statements regarding civil rights, land rights, political equality, social equality, and education about Aboriginal culture and history. Indigenous artist primarily paint country and land rights are a politically charged topic in Australian politics. In the last couple of decades many artist have focused on political empowerment advocating for political and social equality within Australia. Works inspired by the events of the stolen generation confront the general populations of the acts that were committed in recent history. (Foo, 2005 pg. 79) Art teaches the shared history of Aboriginals and White Australia in regards to the mission times, the killing times and the stolen generation. (Foo, 2005 pg. 79) As well as shining a light on the continuous miss treatment of aboriginals in the Australian Legal System. Drawing attention to the problems and educating the general population will lead to improvements and cultural change. Addressing the problems that Aboriginals face in their daily lives and throughout their community starts a discussion on possible solutions. Art creates a dialog that otherwise may never happen it can reach individuals on an emotional