NOTE TO USERS This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BEYOND THE DREAMINGS: IDENTITY AND REPRESENTATION IN AUSTRALIAN ABORIGINAL URBAN ART By Sandra Maya Joss Submitted to the Faculty ofthe College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy In Anthropology Chair: Brett Williams / ~ ~4=::1~-<:.-e Dean the College of Arts and Sciences 2004 American University Washington, D.C. 20016 AMERICAN UNIVERSITY LIBRARY Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3127796 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. 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BEYOND THE DREAMINGS: IDENTITY AND REPRESENTATION IN AUSTRALIAN ABORIGINAL URBAN ART BY Sandra Maya Joss ABSTRACT In the context of the socio-political relations of the art world, how do Australian Aboriginal urban artists form their identities, and how do circulators and consumers represent Aboriginal art? Aboriginal urban artists are of mixed Aboriginal heritage, often estranged from some ideal of"authentic" traditions and belief systems oftheir culture. But identity formation in this art world is fraught with complexities and ambiguities. I draw on three research techniques: First, past studies and statistical information for socio­ economic data; second, participant observation of artists, informal and structured interviews with art galleries, and a brief survey of buyers; and third, the life story to gain further insight into the female Aboriginal urban artist's world. The social and political interactions of producers, circulators, and consumers can both constrain and create opportunities for artists and their identity formation. Most artists say stereotypical images continue to reinforce binary representations of Aboriginality, such that the "authenticity" of their life ways and their art forms is questioned. Most say racist attitudes towards Aboriginal people continue. But artists do seem to have opportunities to freely form their identities. They're "copying" traditional symbols and putting their own meanings on these symbols. Also, they don't seem to be shifting from their life stories and cultural traditions to meet specific art market standards. Most artists seem to form their identities by drawing on their social, cultural, political, and economic histories and experiences in Australia. They're moving beyond the myopic views of others to develop a comfort level with their own understandings of their Aboriginality. But a few artists essentialize ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. "traditional" life ways and art forms. They see this as a way for them to authenticate their Aboriginality. But all artists are challenging the ways Aboriginal people are perceived and the misconceptions about the type of subject matter usually expected of Aboriginal artists. Their art forms teach us, the outsiders, what they have been through and who they are. Also, to a large degree, circulators and consumers seem to appreciate Aboriginal art forms which show the ways artists draw from their unique histories and experiences. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I thank the men and women artists in Australia- from Tobwabba Art in Forster, in the mid­ north coast ofNew South Wales, Eora Arts Centre and Long Bay Correctional Centre in Sydney, and independent artists in Forster and Sydney- for their willingness to be part of this research. I want to especially thank "Katina" and Pamela Brandy-Hall who shared their life stories with me, and Azalia Ahmat, who graciously opened her home and took me under her wing. I am also grateful to the staff at Tobwabba Art, and members of the Forster Local Aboriginal Land Council (FLALC), particularly Cal Davis and Auntie Mae (Simon), who provided support during my field work. I'm indebted to John Weate, who responded with such enthusiasm to my initial idea of research with Tobwabba Art, and who continued to ensure access to varied opportunities to enrich the research. I would also like to thank Les Ahoy, Anthony (Ace) Bourke, Gavan Flick, Caroline Friend, Jenny Heller, Peter McKenzie, Adrian Newstead, Sue Paull, Rick Shapter, and Ken Watson who graciously agreed to be part of this research. And I thank the buyers of Aboriginal art who responded to my survey. I thank my Committee Chair, Brett Williams and Members Joan Gero (American University, Washington, D.C.) and Claire Smith (Flinders University, Adelaide, Australia) who provided critical and insightful commentary on the form and substance of this dissertation. I also thank Dianne Austin-Broos, Gaynor MacDonald, and Terry Smith (University of Sydney) who gave insight into current research on Australian indigenous people and their art. I'm grateful to David Hirschman and Elizabeth Sheehan who provided counsel and encouragement in the early phases of this research at American University. 1 also want to thank Judith Strupp Green (in San Diego) who provided invaluable assistance with the draft dissertation. And I thank the World Bank in Washington, DC, my previous employer, and the Independent Scholars of San Diego (SDIS) who helped fund the research. I'm indebted to family and friends in Sydney, Washington, D.C., and California - especially my husband J. Wemyss Joss, my late brother Colin Percival, and my father H. J. Percival- for their unrelenting support and encouragement. iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT ..................................................................................................................................................... ii ACKNOWLEDGEMENTS ............................................................................................................................. iv LIST OF TABLES ........................................................................................................................................ viii LIST OF ILLUSTRATIONS ........................................................................................................................... ix Chapter 1. INTRODUCTION .............................................................................................................................. l Research Problem Research Design and Objective Methodology Research Sites Background and Preparation for Field Work Relevance of Research PART I. ABORiGINAL AUSTRALIA, ITS ART, AND IDENTITY 2. CONTEXTUALIZING ABORIGINAL AUSTRALIA ................................................................... 23 Aboriginal "Traditional" Life Impact of Colonisation in New South Wales Aboriginal Art Locating Aboriginal Urban Art Scholarship on Aboriginal Identity and Art 3. FORMING IDENTITIES ................................................................................................................. 34 Identity Historical and Social Context for Identity Formation in Aboriginal Australia Racial and Ethnic Identity Formation Theoretical Framework of Postcolonialism v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PART II. THE SOCIO-POLITICAL RELATIONS OF THE ABORIGINAL URBAN ART WORLD Chapter 4. THE SITE OF PRODUCTION ....................................................................................................... .52 Production of Contemporary Aboriginal Art in Australia Binary Representations of Aboriginality and the Question of"Authenticity" Tourist Art and the Indigenous Image Art and Identity Relationship 5. THE SITE OF CTRCULATTON ...................................................................................................... 78 Co-optation of Aboriginal Culture Patterns of Circulation Circulators and Representations of Aboriginality 6. THE SITE OF CONSUMPTION ................................................................................................... 85 Devouring of "The Exotic" Patterns of Consumption Consumers and Representations of Aboriginality 7. COMPLEXITIES FOR ARTISTS' IDENTITY FORMATION ..................................................... 89 Stereotypical Images of Aboriginality Racist Attitudes