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American Misconceptions About Australian Aboriginal Art

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American Misconceptions About Australian Aboriginal Art AMERICAN MISCONCEPTIONS ABOUT AUSTRALIAN ABORIGINAL ART A thesis submitted To Kent State University in partial Fulfillment of the requirements for the Degree of Master of Arts By Gina Cirino August 2015 © Copyright All rights reserved Except for previously published materials Thesis written by Gina Cirino B.A., Ohio University, 2000 M.A., Kent State University, 2015 Approved by ___________________________________ Richard Feinberg, Ph.D., Department of Anthropology, Masters Advisor ___________________________________ Richard S. Meindl, Ph.D., Chair, Department of Anthropology _____________________________________ James L. Blank, Ph.D., Dean, College of Arts and Sciences TABLE OF CONTENTS.……………………………………………………………………..….iv LIST OF FIGURES.……………………………………………………………………………..vii LIST OF TABLES..…………………………………………………………………………….viii ACKNOWLEDGMENTS..………………………………………..………………………....…..ix CHAPTER I. RELEVANCE OF THIS STUDY………………………………………………………...1 Introduction………………………………………………………………………………..1 Objectives of thesis……………………………………………………………………..…2 Contents of thesis…………………………………………………………………...……..4 Persecution of Aboriginal groups……………………………………………………...….5 Deception of the Australian Government…………………………………………7 Systemic discrimination and structural Violence………………………………....9 Correlations between poverty and health………………………………………...13 Human Development Index (HDI)………………………………………………………14 Growing responsibilities of anthropologists……………………………………………..17 II. OVERVIEW OF ABORIGINAL ART …………………………………………………20 Artworld Definitions……………………………………………………………………..20 The development of the Aboriginal art movement ………………………………….......21 The meanings of Aboriginal art………………………………………………………….27 Country, the Dreaming, and the creation period…………………………………28 Political aspirations of Aboriginal art……………………………………………29 Art as an expression of corporate identity…………………………….…………30 Factors influencing the efficacy of the Aboriginal art movement………..……………...32 Hegemonic forces and Western interpretations…………………………….……32 Americans and the idea of “ownership”………………………...……………….34 Categorization of Aboriginal art……………………………..…………………..37 Impact of prior exposure to Aboriginal people and art………………..…………38 III. THE KLUGE-RUHE: OBJECTIVES AND ART …………………………………...….41 Objectives of the Kluge-Ruhe reflect its founders……………………………………….41 Art on Display at the Kluge-Ruhe……………………………………………………….44 Arnhem Land…………………………………………………………………………….45 Western Arnhem Land………………………………………….……….……….47 Eastern Arnhem Land………………………………………………….………...47 Central Arnhem Land…………………………………………..…….………….49 Arnhem Land Summary……………………………………………….………...54 Central and Western Desert……………………………………………………………...56 Sand drawings and the unifying nature of haptics ……………………....………57 The interconnection of art, land, body, and skin………………………………...59 Tiwi Islands………………………………………………………………..……………..63 iii Conclusion………………………………………………….………………………………….66 IV. KLUGE-RUHE PATRONS………………………………………………...…….……...67 Demographics of Kluge-Ruhe Patrons…………………………………………………..67 Aesthetic vs. Ethnographic………………………………………………………...…….72 Other Western Categorizations………………………………………………….…….…77 Visual similarities lead to the fallacy of isomorphism…………………………..77 Descriptions of Aboriginal People and Cultures…………………...……………………81 Aboriginal art is viewed as “primitive”………………………………………….84 Comments on future learning….…………………………………………………………88 Comments about why it is important to have a museum dedicated to Australian Aboriginal art…………………………………………………………………….89 Summary…………………………………………………………………………………92 V. ANALYSES: DATA CORRELATIONS AND OMISSIONS…………………………..94 Education correlations…………………...…………………………………….………...95 Importance of Having an Aboriginal Art Museum in the United States………..…….....96 Travel correlations………………….………………………………………...………….98 Entering Identity correlations…………………………………………………………..100 Omissions from patrons’ comments………………………………………………........104 Corporate identity through shared stylistic elements………………………...…105 Diffusion and syncretism……………………………………………………….106 The tradition of art-making……………………………………………..............108 Haptic responses…………………………………………………………..........110 How commercialization changed the art and people……………………...……111 General changes………………………………………………………………...114 Negative social changes…………………………………………...……………115 Positive social changes…………………………………………………………117 Conclusion…………………………………………………………...............................120 VI. THE REFLECTION OF AMERICANISM ON PATRON RESPONSES…………….121 Systemic discrimination and White Privilege………………………………….……….122 Class trends…………………………………………………………………….……….125 The Perfect Storm: Hungry businesses and absent minded consumers………...………127 Museum curation and protection from reality………………………………………….129 Aboriginal art as a way to increase status………………………………………………130 Impact of geography……………………………………………………………………132 VII. CONCLUSIONS………………………………………………………...................…137 Paradoxes and resolutions…………………………………………………..………..…138 Aesthetics only view…………………………………………………………....139 Postmodern considerations……………………………………………………..139 Renewing humanism in anthropology……………………………………………….…141 Grass-roots advocacy in action……………………………………………...………….145 Museum visitor experience and meaning development ………………………………..147 Role of anthropologists…………………………………….…………………...148 iv Phenomenological touch……………………………….………….……………149 Potential benefits of increased Aboriginal contribution..………….…………...152 APPENDIXES A. APPENDIX A. INTERVIEW QUESTIONS ………………………………………….154 B. APPENDIX B. PAPER AND ONLINE SURVEY QUESTIONS……………...….......155 REFERENCES…………………………………………………………………………………157 ENDNOTES …………………………………...………………………………………………174 v LIST OF FIGURES Figure 1. Australian languages (Olegzima 2007)…………………………………...………4 Figure 2. Charlie Egalie Tjapaltjarri, Wallaby Dreaming, 1973…………………………...29 Figure 3. States and Territories of Australia June 12 1931 to Present (Golbez 2006)…….43 Figure 4. Aboriginal Regions (NordNordWest 2009)…………………………………..….44 Figure 5. Australia climate map (Nobletripe 2012)……………………………...……...…45 Figure 6. Anchor Gulunba, Anteater (Echidna), 1972……………………………...…...…48 Figure 7. Lipundja, Wagilak Sisters, 1960s………………………………………………...50 Figure 8. Wandjuk Marika, Wagilag Ceremony, 1962-1964…….………………………...52 Figure 9. Paddy Dhathangu, Wititj (Olive Python) with Eggs, 1988-1990……………..….53 Figure 10. Namiyal Bopirri Liyagalawumirr and Tony Djikululu Gupapuyngu, Itchy Caterpillars, 1990……………………………………..………………………....54 Figure 11. Attributed to Paddy Dhathangu, Dhapalany (Itchy Caterpillars), 1972……...…55 Figure 12. Dini Campbell Tjampitjinpa, Tingari Dreaming at Tjpurritjarra (Jupiter Well), 1993………………………………………………………………………………60 Figure 13. Women’s Ceremony- Photo by Bill Bachman…………………………….…......61 Figure 14. Sarah Napanangka, Kimayi, near Lappi Lappi in the Tanami Desert, 1997….…62 Figure 15. Australia Melville Island (Edkins 2006) (Tiwi Islands) ………………….…..…64 Figure 16. Pedro Wonaeamirri, PWOJA-PUKUMANI BODY PAINT DESIGN, 2005...…...64 Figure 17. Pwoja……………………………………………………………………….........65 Figure 18. Timothy Cook, KULAMA CEREMONY, 2010…………………………….…….66 Figure 19. The Art-Culture System (Clifford 1988)……………….………………...………73 Figure 20. Conrad Tipungwuti, KULAMA CEREMONY, 2012…………………...….….….78 Figure 21. Fgjkflleee (Bleumeziani 2010)…………………………………………………...78 vi LIST OF TABLES Table 1. Levels of education for Kluge-Ruhe patrons…………………….………………68 Table 2. Number of countries visited …………………..………………..………………..69 Table 3. The importance of having a museum dedicated to Australian Aboriginal art in the United States, categories A-F……………………………………………………91 Table 4. Education levels - category B……………………………………………..……..96 Table 5. Education levels - category F…………………………………………………….97 Table 6. Correlations between level of education and number of countries visited………99 Table 7. Correlations between number of countries visited and categories B and F…….100 Table 8. Comparison between “Explorers,” “Hobbyists,” and everyone interviewed..…101 vii Acknowledgments I would like to express my sincere appreciation to the Kluge-Ruhe Aboriginal Art Collection and Dr. Margo Smith, who graciously allowed me to conduct research there and who provided accommodations for the duration of my data collection. I would like to acknowledge the Kluge-Ruhe’s superb staff for helping me to be as efficient and effective as possible. Thank you to Lauren Maupin for many months of correspondence and planning, and for her leadership and direction during the research. Thanks to Nicole Wade for taking the time to teach me about the entire collection and painstaking measures the Kluge-Ruhe makes for its preservation; and Megan Plant for her feedback and suggestions. I would also like to thank the interns at the Kluge-Ruhe for helping to recruit interviewees; and all the patrons that I interviewed or surveyed who took time out of their day to participate in this study. A special thanks goes to the Department of Anthropology at Kent State University and to my thesis committee. Dr. Spurlock has been an inspiration, a teacher, a mentor, and a friend. She has provided me with countless recommendations, enthusiasm, and encouragement throughout graduate school and through writing my thesis. Also to Dr. Fotiou for agreeing to be on my thesis committee on short notice, and for providing feedback that significantly enhanced the content and the argument of my thesis. I would like to acknowledge Caroline Tannert for her constant patience, thorough explanations, and assistance throughout graduate school. Being a graduate student in the Department of Anthropology has been
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