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Dissertations / Theses on the topic 'Indigenous art'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Souliere, Rolande. "Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada." Phd thesis, University of Sydney, 2019. http://hdl.handle.net/2123/21193.

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The debate of Indigenous art as contemporary art in Western art discourse has been ongoing since the acceptance of Indigenous art as contemporary art in the early 1990s. This has resulted in a collision of four diverse fields; Western art history, Western art criticism, anthropology and Indigenous cultural material. The debate stems from the problematised way the term contemporary is defined by globalised Euro-Western art and its institutions. This thesis considers the value of applying the concept of the contemporary to Indigenous art practices and art, in particular as a mode for cultural se

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2

Mengler, Sarah Elizabeth. "Collecting indigenous Australian art, 1863-1922 : rethinking art historical approaches." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709014.

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3

Foster, Susanne. "Contemporary indigenous art reflecting the place of prison experiences in indigenous life /." Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmf7541.pdf.

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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.<br>Coursework. "March 2005" Bibliography: leaves 179-190.

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4

Gigler, Elisabeth. "Indigenous Australian art photography an intercultural perspective." Aachen Shaker, 2007. http://d-nb.info/990542270/04.

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5

Dunham, Amy. "Towards Collaboration: Partnership Between Indigenous and Non-Indigenous Australians in Art from 1970 to the Present." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498911.

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6

Davhula, Mudzunga Junniah. "Malombo Musical Art in VhaVenda Indigenous Healing Practices." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/64353.

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The traditional healing practices of the Vhavenda people include one very important component, the malombo ritual healing practice. This healing practice has been conducted for centuries. It involves the use of music (including singing and the use of drums and shakers for rhythm), dance and elements of theatre performed by the person to be healed, the healer, invited malombe (community members who have been through the same ritual), as well as family members and supporters. The importance of this ritual as a healing process has long been acknowledged. Of interest in this study, however

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Kuizon, Jaclyn. "Fine Art and Clandestine Identity: American Indian Artists in the Contemporary Art Market." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.

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8

Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /." Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.

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9

Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.

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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permane

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10

Adsit, Melanie Hope. "Caught between worlds: urban aboriginal artists." Thesis, Boston University, 1997. https://hdl.handle.net/2144/27694.

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Christopher, Jason James. "Beizam Triple Hammerhead Shark: Animatronic technology and cross-cultural collaboration in the Torres Strait." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20360.

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Research into Beizam Triple Hammerhead Shark: Animatronic technology and cross-cultural collaboration in the Torres Strait, was to further establish and test institutional recognition of cross-collaborative inspired Indigenous/non-Indigenous art within the emergence of a multimillion-dollar Torres Strait Islander arts industry. The success of mainland Aboriginal artists paved the way for Torres Strait Islanders to develop their own contemporary art movement, largely responsible for the cultural revival in which Indigenous communities now participate. Amid this revival, there is limited inform

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Fesq, Harriet. "Wupun/Warrgadi: Ngan’gi fibre and the art of Peppimenarti." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/15611.

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This dissertation examines the history and contemporary artistic practice of the Ngan’gi language groups of the Peppimenarti community (NT), within the greater context of Indigenous Top-End fibre art and acrylic painting. The dissertation endeavours to answer the question: “How does Ngan’gi fibre design and pattern construction reconceptualise cultural significance?” The research traces a ‘traffic’ of historical and contemporary Ngan’gi objects, and the succession of significances they have held for colonial and/or Indigenous makers, collectors and audiences. The dissertation also investigates

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13

Robinson, David Wayne. "Landscape, taskscape, and indigenous perception : the rock-art of South-Central California." Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/284062.

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14

Genia, Erin(Erin M. ). "Wokiksuye : the politics of memory in Indigenous art, monuments, and public space." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123559.

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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2019<br>Cataloged from student-submitted PDF version of thesis.<br>Includes bibliographical references (pages 121-135).<br>The powers of creativity and symbolism that art draws upon have been used in the public realm to uplift and also to oppress. Within this context, art, from Indigenous perspectives, can positively influence the collec

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Andrus, Raquel Malia. "A Maoli-Based Art Education: Ku'u Mau Kuamo'o 'Ōlelo." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3899.

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Leaders in K-12 education in Hawai'i are increasingly advocating for and utilizing the culture and knowledge of the kānaka Maoli, the native people of these islands, as a context for learning in a variety of curricular disciplines and approaches (Benham & Heck, 1998; Kani'iaupuni, Ledward & Jensen, 2010; Kana'iaupuni & Malone, 2006; Kahakalau, 2004; Meyer, 2004). To expand upon this trend, this thesis uses a combination of autoethnographic and critical indigenous methodologies to present a personal narrative that looks specifically at approaching art education from a Maoli perspective. Through

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Stair, Jessica J. "Indigenous Literacies in the Techialoyan Manuscripts of New Spain." Thesis, University of California, Berkeley, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13423818.

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<p> Though alphabetic script had become a prevailing communicative form for keeping records and recounting histories in New Spain by the turn of the seventeenth century, pre-Columbian and early colonial artistic and scribal traditions, including pictorial, oral, and performative discourses still held great currency for indigenous communities during the later colonial period. The pages of a corpus of indigenous documents created during the late-seventeenth and early-eighteenth centuries known as the Techialoyan manuscripts abound with vibrantly painted watercolor depictions, alphabetic inscript

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Arnett, Christopher Anderson. "Rock art of Nlaka'pamux : indigenous theory and practice on the British Columbia Plateau." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58026.

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The ethnographic and archaeological data on Nlaka’pamux Interior Salish rock art is among the richest of its kind in North America and offers a rare opportunity to study indigenous rock art in the historical and cultural context of its production. Direct historical and cultural continuity offer the advantage of foregrounding indigenous taxonomy and interpretation. With multiple sources available (ethnographic texts, historical texts, archaeological data and localized indigenous knowledge) Nlaka’pamux rock art can be detached from western theory and studied empirically (temporally and spatially

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McGregor, Carol Anne. "Art of the Skins: un-silencing and remembering." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/388148.

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A major focus of my visual art practice has been to contribute to the un-silencing of family and Australian Indigenous community histories and heritage. Un-silencing is my term to describe the personal and political acts needed to undo colonial structures and thinking. As a part of this undoing or decolonising, I have sought to share knowledges and to pass on information and skills through reinvigorating the art of Indigenous possum skin cloak-making in South-East Queensland. Little research or writing about Australian Aboriginal possum skin cloak-making exists, which is partly because of the

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Charles, Craig, and s9901040@student rmit edu au. "Telling the Stories: Art Making as a Process of Recovery, Healing and Celebration." RMIT University. Education, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070205.150934.

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I am a Latje Latje man born and raised in Mildura. I am a contemporary artist, a dancer and a father. I began dancing with the Latje Latje dance group when I was four. I come from river country. I spent the first six years of my life on the banks of the Murray River. The river runs right through my work. During the course of my Masters, I have been spending time in the north of Victoria, in central Victoria and in South Gippsland by the sea in Boonerwrung country. I a man of the river, but since the birth of my son, I have been developing a relationship with the sea. My relationship to t

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Carew, Colleen 'Co' M. "The Moccasin Project| Understanding a Sense of Place through Indigenous Art Making and Storytelling." Thesis, Lesley University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13428314.

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<p> The purpose of this arts-based, and Indigenous research study was to explore how Native Americans understand ‘place-based imagery’ through an Indigenous art making and storytelling experience in order to illuminate perspectives and experiences of a ‘sense of place’. Storywork, an Indigenous research method directed the culturally grounded research project. The Native American moccasin was the symbolic cultural catalyst used to create a multimedia art piece to express and reflect traditional cultural knowledge rooted within this symbol. Native Americans representing

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Jones, Charlotte. ""THIS SACRED LAND IS OUR SHIELD": Deploying the Sacred in Indigenous Art and Activism." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1206.

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My art historical and sociological thesis will take Cheyenne-Arapaho artist Edgar Heap of Birds’ Defend Sacred Mountains print series as the point of departure for examining the interventions of Native artists and grassroots activists in their decolonizing campaigns. Heap of Birds’ exhibition of sixty-four mono-prints, to be exhibited at Pitzer College Art Galleries in January 2018, calls attention to the ongoing injustices committed against four indigenous sacred sites across the United States: Bear Butte, South Dakota; Bear’s Lodge, Wyoming; San Francisco Peaks, Arizona; and Mauna Kea, Hawai

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Peacock, Christine. "A novella of ideas : how interactive new media art can effectively communicate an indigenous philosophical concept." Queensland University of Technology, 2009. http://eprints.qut.edu.au/30391/.

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How interactive new media art can effectively communicate an indigenous philosophical concept. The sophistication and complexity of the philosophical concept concerning relationships between land and people and between people, intrinsic to the laws and customs of Australian Indigenous society, has begun to be communicated and accessed beyond the realm of anthropological and ethnological domains of Western scholarship. The exciting scope and rapid development of new media arts presents an innovative means of creating an interactive relationship with the general Australian public, addressing th

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Peacock, Eve Christine. "A novella of ideas : how interactive new media art can effectively communicate an indigenous philosophical concept." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/30391/1/Eve_Peacock_Thesis.pdf.

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How interactive new media art can effectively communicate an indigenous philosophical concept. The sophistication and complexity of the philosophical concept concerning relationships between land and people and between people, intrinsic to the laws and customs of Australian Indigenous society, has begun to be communicated and accessed beyond the realm of anthropological and ethnological domains of Western scholarship. The exciting scope and rapid development of new media arts presents an innovative means of creating an interactive relationship with the general Australian public, addressing th

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24

Coate, Bronwyn, and bronwyn coate@rmit edu au. "An Economic Analysis of the Auction Market for Australian Art: Evidence of Indigenous Difference and Creative Achievement." RMIT University. Economics, Finance & Marketing, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091127.160406.

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This thesis explores factors that determine the price for Australian art sold at auction. Using a large data set that comprises over 20,000 sale observations of Australian paintings sold between 1995 and 2003 characteristics associated with the artist, the work and auction are included in a series of hedonic models. In addition to modelling the overall market, differences within defined market segments for Indigenous and Non-indigenous art are explored. The role of artist identity and critical acclaim, the period in which art works are created and the event of an artist death are areas of spec

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Elatta, Taha Mohamed. "An analysis of indigenous Sudanese graphic imagery and implications for curriculum development in art education." Thesis, De Montfort University, 1990. http://hdl.handle.net/2086/4090.

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West, Sharon Ann, and sharon west@rmit edu au. "A pictorial historical narrative of colonial Australian society: examining settler and indigenous culture." RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.102857.

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This exegesis covers a period of research and art practice spanning from 2004 to 2007. I have combined visual arts with theoretical research practice that considers the notion of Australian colonialism via a post colonial construct. I have questioned how visual arts can convey various conditions relationships between settler and Indigenous cultures and in doing so have drawn on both personal art practice and the works of Australian artists of the 19th and 20th centuries. These references demonstrate an ongoing examination of black and white relations portrayed in art, ranging from the drawings

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Mullen, Emily. "Fighting against Indigenous Stereotypes and Invisibility| Gregg Deal's Use of Humor and Irony." Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10793926.

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<p> Stereotypes of Indigenous peoples, formed according to Western notions of cultural hierarchy, as savage, exotic, and only existing in a distant past, are still prevalent in the popular imaginary. These stem from misunderstandings and misrepresentations of Indigenous peoples that developed after contact between Indigenous peoples and European settler communities, and exist in concepts such as the noble savage, the wild heathen, or the vanishing Indian. In this thesis I argue that contemporary artist Gregg Deal (Pyramid Lake Paiute) successfully challenges and disrupts such stereotypes by re

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Bonney, Geoffrey, and Peter Alan Widmer. "Cherbourg time : young black and deadly art 2003-2007." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/34407/1/Geoffrey_Bonney_%26_Peter_Widmer_Thesis.pdf.

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Art is most often at the margins of community life, seen as a distraction or entertainment only; an individual’s whim. It is generally seen as without a useful role to play in that community. This is a perception of grown-ups; children seem readily to accept an engagement with art making. Our research has shown that when an individual is drawn into a crafted art project where they have an actual involvement with the direction and production of the art work, then they become deeply engaged on multiple levels. This is true of all age groups. Artists skilled in community collaboration are

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Brand, Sally. "To exceed the boundaries of language: text in the visual art practices of contemporary artists Gordon Bennett, Shane Cotton and Tony Albert." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20669.

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This thesis addresses the use of text and language in the visual practices of three contemporary artists: Gordon Bennett (Australian, 1955–2014), Shane Cotton (New Zealand, b. 1964), and Tony Albert (Australian, b. 1981). In recent decades, local art histories in Australia and New Zealand have expanded globally as well as shifted internally to recognise, support and celebrate the work of Indigenous artists. The visual art practices of Bennett, Cotton and Albert, all contemporary international artists and Indigenous people, offer particular insights into this changing landscape. Quotational str

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Barnd, Natchee Blu. "Inhabiting Indianness : US colonialism and indigenous geographies /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307536.

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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed July 23, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 214-232).

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Carmichael, Elisa J. "How is weaving past, present, futures?" Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108051/1/Elisa_Carmichael_Thesis.pdf.

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This researcher is a descendant of the Quandamooka people from Minjerribah and Moorgumpin, North Stradbroke and Moreton Island. This practice-led research project explores the application of traditional weaving techniques in creating contemporary forms of fashion acknowledging the strength and structure of weaving practices across Australia. The resulting collection of the researchers woven garments is thus both a cultural expression and political statement. As a practicing Indigenous visual artist, this paper is a brief introduction to the researchers contribution to Indigenous Australian Fas

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Parkin, Stephanie. "The theft of culture and inauthentic art and craft: Australian consumer law and Indigenous intellectual property." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205870/2/Stephanie_Parkin_Thesis.pdf.

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This thesis addresses the 2017 Parliamentary Inquiry into the ‘growing presence of inauthentic Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise for sale across Australia’. Inauthentic art and craft is Aboriginal ‘style’ souvenir products that are created without the involvement of an Aboriginal person. This thesis prioritises the evidence of Aboriginal and Torres Strait Islander people to the 2017 Inquiry, investigates intellectual property and consumer law and explores colonial influences and power dynamics that allow inauthentic art and craft to exist. Thi

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Gibson, Celise M. "Disjecta: Material representations of an Indigenous and immigrant cultural legacy." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/87001/1/Celise_Gibson_Thesis.pdf.

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This practice-led research explores family history and the on-going influence of cultural legacy on the individual and the artist. Homi Bhabha theorises that identity vacillates through society, shifting and changing form to create disjunctive historical spaces – spaces of slippage that allow for new narratives and understandings to occur. Using the notion of disjuncture that became apparent in this research, the practice outcomes seek to visualise my families' sometimes-occulted history at the intersection of euro-centric and Indigenous ideologies. Researched archival materials, government

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Anderson, Jane Elizabeth Law Faculty of Law UNSW. "The production of indigenous knowledge in intellectual property law." Awarded by:University of New South Wales. School of Law, 2003. http://handle.unsw.edu.au/1959.4/20491.

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The thesis is an exploration of how indigenous knowledge has emerged as a subject within Australian intellectual property law. It uses the context of copyright law to illustrate this development. The work presents an analysis of the political, social and cultural intersections that influence legal possibilities and effect practical expectations of the law in this area. The dilemma of protecting indigenous knowledge resonates with tensions that characterise intellectual property as a whole. The metaphysical dimensions of intellectual property have always been insecure but these difficulties co

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Tanoai, Tuafale. "Story telling as koha consolidating community memories : [an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design, 2009] /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/783.

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This project will explore a fusion of Tangata Whenua and Pacific perspectives within a performance installation framework. I intend to juxtapose community narratives within a video art form. I will explore the recording and transmitting of indigenous stories and will create contemporary narratives linking the past to the present. Working within my communities, (Tangata Whenua1, Pacific2, artists from different disciplines, LGBT3, and extensive friends networks), this project will investigate aspects of performance installation using live sets amid recordings of conversations and develop an int

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36

HUNTER, Andrew, and a. hunter@ecu edu au. "Philosophical Justification and the Legal Accommodation of Indigenous Ritual Objects; an Australian Study." Edith Cowan University. Community Services, Education And Social Sciences: School Of International, Cultural And Community Studies, 2006. http://adt.ecu.edu.au/adt-public/adt-ECU2006.0029.html.

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Indigenous cultural possessions constitute a diverse global issue. This issue includes some culturally important, intangible tribal objects. This is evident in the Australian copyright cases viewed in this study, which provide examples of disputes over traditional Indigenous visual art. A proposal for the legal recognition of Indigenous cultural possessions in Australia is also reviewed, in terms of a new category of law. When such cultural objects are in an artistic form they constitute the tribe's self-presentation and its mechanism of cultural continuity. Philosophical arguments for the leg

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Isaac, Jaimie Lyn. "Decolonizing curatorial practice : acknowledging Indigenous curatorial praxis, mapping its agency, recognizing it's aesthetic within contemporary Canadian art." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58182.

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For decades, Indigenous art, artifacts and objects have had a contested history within galleries and museums. This is because Indigenous material culture was collected, interpreted, displayed and described through a Western colonial ideology, without Indigenous consent, intellectual or cultural contributions. The history represented in galleries and museums was deficient and perpetuated harmful myths and systemic racism. In order to substantiate change and demand for Indigenous leadership, it is necessary to understand the reality of the Indian as a dehumanized population, whose voice and know

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Stevenson, Charles Blair. "Modern indigenous curriculum : teaching indigenous knowledge of handicraft at Sami colleges in Finland and Norway = Oddaaigasaš eamialbmoga oahppoplanat : arbevealuš diedu oahpaheapmis duoddji oahpaheapmi Sami allaskuvlaiid." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33931.

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The Sami people have struggled for centuries to maintain their culture in spite of pressures against it from colonialism. The formal education systems of Norway and Finland have acted in discord with Sami decision-making since their inception. In response to this lack of decision-making power, there is a dynamic internal process at work; Sami people have begun to take control of their own schooling.<br>This thesis qualitatively examines the processes of curriculum development and implementation for wood handicraft programs at the Sami colleges in Guovdageaidnu, Norway and in Anar, Finland, and

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Meekison, Lisa. "Playing the games : indigenous performance in Australia's Festival of the Dreaming." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670221.

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Klekottka, Anna. "Ngaromoana Raureti Tomoana : indigenous village artist, story teller and ahi kaa : [a thesis submitted in partial fulfillment [ie. fulfilment] of the requirements for the degree of Master of Arts in Art History /." Thesis, University of Canterbury. School of Humanities, 2009. http://hdl.handle.net/10092/3683.

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Ngaromoana Raureti Tomoana is a painter from the East Coast of the North Island. In more than 30 years she has produced and shown a large body of work, like many other women artists concurrently juggling motherhood and artistic performance. Over approximately the last 10 years, she has formalized her education completing the Advanced Diploma for Maori Visual Arts at Toihoukura in Gisborne as well as a Bachelor of Arts and a Masters of Maori Visual Arts at Massey University. The artist, who identifies as an Indigenous Village Artist, is hardly known outside her local area of Northern Hawkes B

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Baljkas, Ivana. "Empowerment through Art : Non-governmental organisations’ art projects’ contribution to empowerment ofmarginalised groups in Mexico City and San Cristóbal de Las Casas, Mexico." Thesis, Ersta Sköndal Bräcke högskola, Institutionen för socialvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:esh:diva-9112.

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This study explores the ways marginalised groups can be supported in their empowerment process, and specifically how art projects organised by non-governmental organisations can contribute in the process. The focus is on prisoners and indigenous children and adults in Mexico City and San Cristóbal de Las Casas, Mexico who are involved in the organisations’ projects. Results from qualitative interviews with organisations’ staff are presented and discussed covering organisations characteristics and relationship with the clients as factors in supporting the clients in their empowerment. Involveme

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De, Villiers Katerina Lucya. "The JH Pierneef collection of the City Council of Pretoria housed in the Pretoria Art Museum." Diss., University of Pretoria, 1997. http://hdl.handle.net/2263/27532.

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This study is based on the catalogue/checklist of Pierneef works in the Pretoria Art Museum collection. The artist’s life, social, political and artistic influences of the period, both local and international, may be deduced from works analysed and discussed. The Arts and Crafts movement was a powerful influence affecting ideas on national identity, folk art and the vernacular from the middle of the nineteenth century onwards. A world-wide romantic nationalism stimulated a search for identity and exploitation of the indigenous. It is argued that these trends may be identified in the artistic d

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Griffin, Shannon L. "Traditional Navajo Sandpaintings and John Dewey's Concept of An Experience." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1580.

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In Traditional Navajo Sandpainting and John Dewey's Concept of An Experience I argue that the traditional Navajo sandpainting ceremony and John Dewey's concept of an experience mutually inform each other. By looking at traditional Navajo sandpaintings one can understand the type of experience Dewey is talking about when he talks about an experience. By looking at Dewey's concept of an experience one can understand the kind of experience the Navajo have when they participate in the sandpainting ceremonies. These experiences are deeply embedded in the foundation and meaning of life. Dewey ar

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Pearce, Laurie Elisabeth. "The Cowrie Shell in Virginia: A Critical Evaluation of Potential Archaeological Significance." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625721.

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Herlich, Jessica Marie. "Shellfishing, Ceramics, and Gender: Shell Midden Ceramics from the Kiskiak Site." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626649.

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Ogborne, Jennifer Honora. "Chickahominy Stylistic Expression: Preliminary Motif Analysis of Ceramics of the Chickahominy River Drainage." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539626446.

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Nieves, Josue Roberto. "The Land Remembers: The Construction of Movement Possibility among Woodland Period Communities of the Virginia Peninsula." W&M ScholarWorks, 2015. https://scholarworks.wm.edu/etd/1539626787.

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Hunter, Andrew G. "Philosophical justification and the legal accommodation of Indigenous ritual objects; an Australian study." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/71.

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Abstract:

Indigenous cultural possessions constitute a diverse global issue. This issue includes some culturally important, intangible tribal objects. This is evident in the Australian copyright cases viewed in this study, which provide examples of disputes over traditional Indigenous visual art. A proposal for the legal recognition of Indigenous cultural possessions in Australia is also reviewed, in terms of a new category of law. When such cultural objects are in an artistic form they constitute the tribe's self-presentation and its mechanism of cultural continuity. Philosophical arguments for the leg

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Lepage, Andrea. "Arts of the Franciscan Colegio De San Andres in Quito : a process of cultural reformation." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319103.

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50

Lambeth, Paul University of Ballarat. "If I Belong Here...How Did That Come To Be?" University of Ballarat, 2008. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12814.

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Abstract:

The purpose of this research is to contribute a non indigenous perspective to current discourse on sense of place in contemporary Australia. The research employs a number of strategies to investigate current responses to our geographic and historical time position. Within the exegesis there is a vers libre poem, written from the imagined viewpoint of members of the Burke and Wills’ expedition. The poem is supported by a superimposition of the Don Quixote story over that of the ill-fated inland Australian explorers. [...]<br>Master of Arts (Visual Arts)

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