941
Views
0
CrossRef citations to date
0
Altmetric
Articles

Tjanpi Desert Weavers and the Art of Indigenous Survivance

References

  • Altman, Jon. 2017. “Elders, Altman call for apology, end to intervention,” National Indigenous Times, September 6. https://nit.com.au/elders-altman-call-apology-end-intervention/.
  • Amnesty International. 2013. The NT Intervention and Human Rights: Indigenous Peoples Rights in Australia Today: Where do you Stand? Accessed February 20, 2019. https://www.amnesty.org/download/Documents/SEC010032010ENGLISH.PDF.
  • Anaya, James. 2010. Observations on the Northern Territory Emergency Response in Australia. United Nations Special Report on the Situation of Human Rights and Fundamental Freedoms of Indigenous People.
  • Atkinson, Judy. 2012. Educaring a Trauma Informed Approach to Healing Fenerational Trauma for Aboriginal Australians. We Al-li. http://fwtdp.org.au/wp-content/uploads/2013/08/Judy-Atkinson-Healing-From-Generational-Trauma-Workbook.pdf. Accessed April 7, 2019.
  • Austin-Broos, Diane. 2011. A Different Inequality: The Politics of Debate about Remote Aboriginal Australia. Crows Nest: Allen and Unwin.
  • Bennett, Jill. 2012. Practical Aesthetics: Events, Affect and Art after 9/11. London: IB Tauris.
  • Biddle, Jennifer L. 2016. Remote Avant-Garde: Aboriginal Art under Occupation. Durham: Duke University Press.
  • Biddle, Jennifer L. 2007. Breasts, Bodies, Canvas: Central Desert Art as Experience. Sydney: UNSW Press.
  • Biddle, Jennifer L., and Tess Lea. 2018. “Hyperrealism and Other Indigenous Forms of ‘Faking it with the Truth.’.” Visual Anthropology Review 34 (1): 5–14. doi: 10.1111/var.12148
  • Butler, Roma and Tjawina Roberts. 2014. In Tjanpi Desert Weavers Kuka Irititja. Recordings made by Jo Foster with transcription and translation by Linda Rive for Tjanpi Desert Weavers installation in the Australian Pavilion in Venice, Venice Biennale 2015, 23–26 September. Wingellina (via Mutitjulu), Western Australia, Amata and Ernabella, Western Australia, Northern Territory and South Australia.
  • Carty, John. 2010. “Drawing a Line in the Sand: The Canning Stock Route and Contemporary Art.” In Yiwarra Kuju: The Canning Stock Route, edited by the National Museum of Australia, 23–31. Canberra: National Museum of Australia Press.
  • Cumpston, Nici, and Una Rey. 2017. “Collisions: The Martu Respond to Maralinga.” Artlink June 1: 1–15.
  • Derrida, Jacques. 1998. Archive Fever: A Freudian Impression. Chicago: University of Chicago Press.
  • Dickie, Annie. 2015. “Fiona Hall in conversation.” Ocula, April 6 https://ocula.com/magazine/conversations/fiona-hall/.
  • Fanon, Franz. 1961. The Wretched of the Earth. New York: Gove Press.
  • Gilmore, Ruth Wilson. 2006. Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California. Berkeley: University of California Press.
  • Ginsburg, Faye, and Fred Myers. 2006. “A History of Aboriginal Futures.” Critique of Anthropology 26: 27–45. doi: 10.1177/0308275X06061482
  • Ginsburg, Faye, and Rayna Rapp. 2013. “Disability Worlds.” Annual Review of Anthropology 42 (12): 4.1–4.16.
  • Grishen, Sascha. 2016. “Fiona Hall's Wrong Way Time is Strong, Disturbing and Subversive.” The Canberra Times, April 29.
  • Hirsch, Marianne. 1994. “Maternity and Re-Memory: Toni Morrison’s Beloved.” In Representations of Motherhood, edited by Donna Bassin, Margaret Honey, and Meryle Mahrer Kaplan, 92–112. New Haven: Yale University Press.
  • Kaika-Burton, Nyurpaya. 2013. In Kaika-Burton, Nyurpaya, Mary Katatjuku Pan and Niningka Lewis, Artist Talk for String Theory (exhibition). Recordings made by Linda Rive with transcription and translation by Linda Rive, August 17. Sydney: Museum of Contemporary Art.
  • Kulitja, Rene Wanuny. 2016. Tjukurpa tjituru-tjituru – Tragedy, Grief and Sadness. Recordings made by Linda Rive with transcription and translation by Linda Rive, 26 August. Alice Springs: Desert Knowledge Centre.
  • Lewis, Niningka. 2014. In Tjanpi Desert Weavers Kuka Irititja. Recordings made by Jo Foster with transcription and translation by Linda Rive for Tjanpi Desert Weavers installation in the Australian Pavilion in Venice, Venice Biennale 2015, 23–26 September. Wingellina (via Mutitjulu), Western Australia, Amata and Ernabella, Western Australia, Northern Territory and South Australia.
  • Mbembe, Achille. 2003. “Necropolitics.” Public Culture 15 (1): 11–40. doi: 10.1215/08992363-15-1-11
  • Mignolo, Walter D. 2011. “Geopolitics of Sensing and Knowing: On (De)Coloniality, Border Thinking and Epistemic Disobedience.” Postcolonial Studies 14 (3): 273–283. doi: 10.1080/13688790.2011.613105
  • Mirzoeff, Nicholas. 2011. The Right to Look: A Counterhistory of Visuality. Durham and London: Duke University Press.
  • Mirzoeff, Nicholas. 2017. The Appearance of Black Lives Matters. Miami: Name Publications.
  • Munn, Nancy. 1971. “The Transformation of Subjects Into Objects in Walbiri and Pitjantjatjara Myth.” In Australian Aboriginal Anthropology; Modern Studies in the Social Anthropology of the Australian Aborigines, edited by Ronald M. Berndt, 141–162. Nedlands: University of Western Australia Press.
  • Nagam, Julie. 2011. “(Re)Mapping the Colonized Body: The Creative Interventions of Rebecca Belmore in the Cityscape.” American Indian Culture and Research Journal 35 (4): 147–166. doi: 10.17953/aicr.35.4.473083132022555l
  • Nixon, Rob. 2011. Slow Violence and the Environmentalism of the Poor. Boston: Harvard University Press.
  • Palmer, Kingsley. 1990. “Dealing with the Legacy of the Past: Aborigines and Atomic Testing in South Australia.” Aboriginal History 14 (2): 197–207.
  • Pan, Mary Katajuku. 2014. In Tjanpi Desert Weavers Kuka Irititja. Recordings made by Jo Foster with transcription and translation by Linda Rive for Tjanpi Desert Weavers installation in the Australian Pavilion in Venice, Venice Biennale 2015, 23–26 September. Wingellina (via Mutitjulu), Western Australia, Amata and Ernabella, Western Australia, Northern Territory and South Australia.
  • Patrick, Steven Wanta Jampijinpa, and Jennifer L. Biddle. 2018. “Not Just Ceremony, Not Just Dance, not Just Idea: Milpirri as Hyper-Realism, a key Word Discussion.” Visual Anthropology Review 34 (1): 27–35. doi: 10.1111/var.12150
  • Perkins, Hetti. 2014. “Art And Soul Series 2.” Australian Broadcasting Commission TV. Hibiscus Films Pty. Ltd.
  • Phil and Teds. 2017. The History of the Stroller – From Then to Now. https://philandteds.com/news/2017/07/history-stroller-now/ Accessed March 5, 2018.
  • Povinelli, Elizabeth. 1993. Labour’s Lot: The Power, History and Culture of Aboriginal Action. Chicago: University of Chicago Press.
  • Purich, Thisbe. 2007. “Runkunyi, Runkunyi, Runkunyi.” In Recoil: Change and Exchange in Coiled Fibre Art, edited by Margie West, 29–38. Darwin: Artback.
  • Roberts, Tjawina, Yangi Yangi Fox and Angkaliya Nelson. 2014. In Tjanpi Desert Weavers Kuka Irititja. Recordings made by Jo Foster with transcription and translation by Linda Rive for Tjanpi Desert Weavers installation in the Australian Pavilion in Venice, Venice Biennale 2015, 23–26 September. Wingellina (via Mutitjulu), Western Australia, Amata and Ernabella, Western Australia, Northern Territory and South Australia.
  • SBS News. 2014. “Backgrounder: Why was Maralinga Used for Secret Nuclear Tests?” Accessed January 22, 2019. https://www.sbs.com.au/news/backgrounder-why-was-maralinga-used-for-secret-nuclear-tests.
  • Scott, Rosie, and Anita Heiss, eds. 2016. The Intervention: An Anthology. Sydney: New South.
  • Simpson, Audra. 2007. “On Ethnographic Refusal: Indigeneity, ‘Voice’ and Colonial Citizienship.” Junctures, No. 9: 67–80.
  • Simpson, Audra. 2017. “The Ruse of Consent and the Anatomy of ‘Refusal’: Cases From Indigenous North America and Australia.” Postcolonial Studies 20 (1): 1–16. doi: 10.1080/13688790.2017.1334283
  • Slade, Lisa. 2016. “Tjanpi Desert Weavers & Fiona Hall.” In Sappers & Schrapnel: Contemporary Art and the Art of the Trenches, edited by L. Slade, 169–186. Adelaide: Art Gallery of South Australia.
  • Slater, Lisa. 2014. “Sovereign Bodies: Australian Indigenous Cultural Festivals and Flourishing Lifeworlds.” In Festivalisation of Culture, edited by Andy Bennett, Ian Woodward, and Jodie Taylor, 131–146. London: Ashgate.
  • Stanner, W. E. H. 1965. “Religion, Totemism and Symbolism.” In Religion in Aboriginal Australia: An Anthology, edited by Maxwell John Charlesworth, 207–237. Brisbane: University of Queensland Press.
  • Tapaya, Tjungkaya. 2018. Minyma Tjanpi. English translation of film subtitles edited down into story version for Obsessed (exhibition) by Linda Rive. December, 2017. Ernabella, South Australia.
  • Tello, Veronica. 2016. Counter-Memorial Aesthetics: Refugee Histories and the Politics of Contemporary Art. London: IB Tauris.
  • Tjanpi Desert Weavers. 2009. Kuru Alala Eyes Wide Open: Artworks made in Response to a Series of Bush Trips and Artist’s Camps held in the Ngaanyatjarra and Pitjantjtjara Lands of Central Australia 2008–2009, edited by M. F. Cardoso, and A. Clouston. Surfers Paradise: Gold Coast City Art Gallery.
  • Tjanpi Desert Weavers. 2012. Tjanpi Desert Weavers. Compiled by Penny Watson for Ngaanyatjarra, Pitjantjatjara Yankunytjatjara Women’s Council. South Yarra: MacMillan Art Publishing.
  • Tjanpi Desert Weavers. 2014. Kuka Irititja (Animals from another time). Recordings made by Jo Foster with transcription and translation by Linda Rive for Tjanpi Desert Weavers installation Kuka Irititja in the Australian Pavilion in Venice, Venice Biennale 2015, 23–26 September, Wingellina (via Mutitjulu), Amata and Ernabella, Western Australia, Northern Territory and South Australia.
  • Vizenor, Gerald. 2008. “Aesthetics of Survivance: Literary Theory and Practice.” In Survivance: Narratives of Native Presence, edited by Gerald Vizener, 1–24. Nebraska: University of Nebraska Press.
  • West, M. 2007. “Strings Through the Heart.” In Recoil: Change and Exchange in Coiled Fibre Art, 13–28. Darwin: Artback.
  • White, Patrick. 1970. The Vivesector. Harmondsworth: Penguin Books.
  • Films
  • Night Cries: A Rural Tragedy. Directed by Tracey Moffat. AUS: Ronin Films, 1990.
  • Samson and Delilah. Directed by Warwick Thornton. AUS: Scarlett Pictures, 2009.
  • Minyma Tajnpi. Directed by Tjunkaya Tapaya. Art work and film made in Ernabella for Obsessed exhibition Object Gallery, Sydney. Subtitles translated by Linda Rive, 2018.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.