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Langscape Magazine is an extension of the voice of Terralingua. It supports our mission by educating the minds and hearts about the importance and value of biocultural diversity. We aim to promote a paradigm shift by illustrating biocultural diversity through scientific and traditional knowledge, within an appealing sensory context of articles, stories, and art. ABOUT THE COVER PHOTOS Front: “Grandmother, How Do I Learn?” by Rose Thater Braan-Imai (Tuscarora), 2016 Back: One Square Meter photographed in nature by sunset in Extremadura, Spain. Photo: Ana Trejo, 2017 Terralingua thanks the Reva and David Logan Langscape Magazine is a Foundation and Kalliopeia Foundation for their generous support. Terralingua Publication Editor: Luisa Maffi Editorial Assistant: Coreen Boucher Web Developer: Phil Rees Graphic Design: Imagine That Graphics Printing: Contour Grafix Learn about Terralingua: www.terralingua.org Receive Langscape Magazine by subscribing or by purchasing single copies. Details at www.terralinguaubuntu.org Learn about Langscape Magazine: www.terralinguaubuntu.org/langscape/home.htm ISSN 2371-3291 (print) ISSN 2371-3305 (digital) © Terralingua 2017 . LANGSCAPE MAGAZINE nature language culture VOLUME 6, ISSUE 1, Summer 2017 Through a Different Lens: The Art and Science of Biocultural Diversity Table of Contents Editorial ......................................4 Dispatches Of Cassowaries and Men: Mapping Indigenous Knowledge Ideas People and Plants: Networks to Empower Biocultural Sustaining Agrobiodiversity Conservation in New Guinea Knowing How You Are Through Art and Science in Zimbabwe William Thomas with Chris Leberknight ...70 Related to All Creation: Saori Ogura .......................................... 37 A Sculpture Garden of One Square Meter: Native Science and Learning Gloriously Entwined: Wool Art Honors the Biocultural Nature and Culture, Art and Agriculture Diversity of Mobile Pastoralists Rose Thater Braan-Imai ........................... 8 Eliza Smith ............................................ 41 Liza Zogib, Divya Venkatesh, Repairing the When Art Beats Science: Sandra Spissinger, & Concha Salguero ....74 Broken Arrow: Saving Tree Kangaroos with Song Rebuilding Cultural Identity and Dance in Papua New Guinea Through Art and Language Jean Thomas ......................................... 46 Barbara Derrick .................................... 12 Web Extras Listening to Country: In Praise of Negentropy: Language, Art, and Conservation Video: “Anna and Eliza,” Art and the Micropolitics in Coastal Queensland, Australia an extension of Eliza Smith’s article, at of Biocultural Diversity www.terralinguaubuntu.org/Langscape/ Colleen Corrigan ................................... 51 Volume_6/langscape-6-1-Smith Rosa Caterina Bosch Rubio .................... 17 We Feed the World: Photo gallery: Reflections Photographing Traditional Knowledge in “People Mapping” photos, the Kalix Communities of Northern Sweden At the Edge of the Region: complementing Barbara Dovarch’s Francesca Price and Clare Benson ......... 55 article, at www.terralinguaubuntu.org/ Where Science and Art Meet in Langscape/Volume_6/langscape- a Storied North Queensland Landscape Action 6-1-Dovarch Michael Davis ........................................ 22 People Mapping: Educational Intelligence: Visualizing Sense of Place Learning About Place and Country for Decision Making Through Aboriginal Art and Barbara Dovarch .................................. 60 Activism in Sydney, Australia Pipelines and Stephen Houston ................................... 27 the Poetics of Place: Thinking Like Fire: Bringing a Fuller Set of Values into The Biocultural Art of Firelighting Environmental Assessments Hilary Vidalakis ..................................... 33 Nigel Haggan ........................................ 65 VOLUME 6 ISSUE 1 | 3 EDITORIAL CFullOMING Circle Luisa Maffi ver twenty years ago, I was sitting in a and action that I felt was needed to tackle one of the Oconference room on the campus of the foremost challenges of our times. I saw the campus University of California at Berkeley, along with some of this “new university” in my mind’s eye. Not thirty other people—academics as well as Indigenous separate buildings like so many silos scattered on an knowledge holders and activists. It was October 1996, agricultural landscape, but a single one. Not a square, and we had gathered there for the international but a circle. No walls, but open windows. No ivory symposium “Endangered Languages, Endangered tower, but wide passageways leading to and from Knowledge, Endangered Environments,” which the “real world” outside. No sitting in classrooms, would launch Terralingua and help catapult the idea but walking as in ancient Aristotelian times. No of biocultural diversity onto the global scene. labyrinthine corridors, but only one ring running around the building for people to circulate round We had been sitting in that room for three long and round. And no departments, but doors wide and intense days, delving into the links between open across the sciences, technology, the humanities, language, knowledge, and the environment. We had and the arts, for everyone to go on a walking quest explored the causes and consequences of what Dave to learn about the interconnectedness of reality and Harmon, a Terralingua co-founder, had called the of ideas and about our place as humans: as a part of “converging extinction crisis”—the simultaneous and nature, not apart from and dominant over it. interrelated loss of biological, cultural, and linguistic diversity. And we had discussed the urgency of From the stunned silence and then the rousing action to stem the erosion of all three manifestations applause that followed that impromptu speech, I of the diversity of life on earth and sustain vitality figured I must have said something that resonated and resilience of the planet and its peoples. with all present—something that in some way reflected how other people, too, had come to feel It was perhaps the first time ever that such a through those three full-immersion days. Perhaps, heterogeneous group of individuals—linguists, for that moment, we all shared the same mind and anthropologists, ethnobiologists, ethnoecologists, saw the same vision: a vision of integrated knowledge cognitive psychologists, philosophers, natural transcending the boundaries of disciplines and scientists, conservationists, natural resource managers, knowledge systems, of engaged and ethical economists, Indigenous rights advocates, Indigenous knowledge not separate from action but responding language and culture champions—had been talking to a desire to work together for a better, more just, in the same room, discovering connections, building more sustainable world. I do know that we felt all the bridges. When it came to the “converging extinction more strongly motivated to do just that. crisis,” we realized, we were all in it together, and needed to work together to understand and to act. It was only sometime later that I was struck by how similar my out-of-the-blue vision was to Indigenous Suddenly, a vivid image formed in my mind, views of knowledge and learning, and above all, and without premeditation I opened my mouth to to the idea of the Circle of Life, where everything share it. It was an image of what I thought of as “the is related to everything else, and thus everything new university”: a place of learning that would be depends on everything else and must be treated with suitable for forging the kind of integrated knowledge reverence, respect, and reciprocity. In my vision, I 4 | LANGSCAPE MAGAZINE SUMMER 2017 had intersected something that was there all along— The contributions to this Langscape issue if one’s inner eyes would open wide enough to see! demonstrate all these varied but converging approaches—and more. In the “Ideas” section, three With this Langscape issue’s theme, then, “The Art amazing women artists use art to convey concepts and Science of Biocultural Diversity,” we’re coming full of Indigenous science, traditional knowledge and circle in more ways than one: by going back to the idea wisdom, and the behavior of life and biocultural of integrating knowledge across disciplinary boundaries diversity. Rose Thater Braan-Imai (Tuscarora) takes and bridging science and the arts; and by joining hands us on a non linear journey through art, science, and in a big circle with all those who share a deep sense that, learning that “reflects a world in innate relationship and to again use Dave Harmon’s words, “there is a basic known through feeling”—a world and an experience interconnectedness which defines existence” (Langscape embodied by a Sculpture Garden of Native Science Magazine 5:1, Summer 2016). As Dave puts it, the and Learning. The Garden is an inter-tribal collective idea of biocultural diversity is “a framework in which art project, now underway, that is meant to use the [people] can come to their own understandings about expressive power of Indigenous art to communicate the significance of diversity in nature and culture.” Native Science: at its core, the powerful concept Over the past two decades, we have indeed seen described in the Cree language as wahkohtowin, those kinds of understandings emerge and spread “knowing how you are related to all creation.” in multiple forms—in science, policy, activism, and Likewise, Barbara Derrick (Tsilhqot’in) uses her on-the-ground work. But, at times, the concept of art as a way to “repair the broken arrow”—the arrow biocultural

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