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Original Articles

A Dialogue to Find Ourselves and Others

The Reception of Emily Kngwarreye in Japan

Pages 22-27 | Published online: 18 May 2015

  • Margo Neale, ‘Introduction’, Emily Kame Kngwarreye: Alhalkere: Paintings from Utopia (Brisbane: Queensland Art Gallery; Melbourne: Macmillan, 1998), 7.
  • Unsigned feature article, Kurowassan Premium, April 2008, 134.
  • This subject incited interesting cross-cultural debate in the catalogue of an Asian-American art exhibition: Jeffrey Wechsler, ed., Asian Traditions/Modern Expressions: Asian American Artists and Abstraction, 1945–1970 (New Jersey: Jane Voorhees Zimmerli Art Museum, 1997).
  • Nakai Yasuyuki, ‘Dorīmingu to iu na no kaiga: seiou bunka ken'nai ni okeru hi-seiou bunkaken kara umare deta shukufuku sareta hyōgen’ [Paintings named dreaming: The blessed expressions born out of a non-Western cultural sphere within a Western cultural sphere], in Emily Kngwarreye ten: aborijini ga unda tensai gaka/Utopia: The Genius of Emily Kame Kngwarreye (Tokyo: Yomiuri Shinbun, 2008), 70. In the catalogue, the English title of this essay is ‘Painting the Dreaming: Sacred Expressions from a Non-Western Cultural Sphere within a Western Culture’. The catalogue includes English translations of the essays originally written in Japanese but I have not used them here, except for one case (see note 9), because of the word-to-word analysis required in this article.
  • Ibid., 71.
  • Ibid., 73.
  • Tatehata Akira, ‘Inpossiburu modanisuto’ [Impossible modernist], trans. Christopher Stephens, in Emily Kngwarreye ten, 85.
  • Margery Fee, ‘Why C. K. Stead Didn't Like Keri Hulme's The Bone People: Who Can Write as Other?’, Australian and New Zealand Studies in Canada, no. 1 (1989), 11.
  • Nishino Hanako, ‘Egakareta yume to daichi’ [The dream and the Earth depicted], in Emily Kngwarreye ten, 58. (In the catalogue, the English title is ‘Images of Utopia’.)
  • Daniel Thomas, ‘Taking Charge: The Art of Emily Kame Kngwarreye’, in Earth's Creation: The Paintings of Emily Kame Kngwarreye (Melbourne: Malakoff Fine Art Press, 1998), 2.
  • A 1989 research report indicates that there were about 2,700 Ainu in the Tokyo metropolitan area, whereas a 2006 census counts 23,782 living in Hokkaido. However, the actual numbers are believed to be much larger. The Ainu population in Hokkaido is thought to be ‘several times as many’ as the official number, and around Tokyo it is also estimated to be approximately 10,000. (Asahi Shinbun, 9 April 2008; Hokkaido Ainu Minzoku Bunka Kenkyu Senta Dayori [Hokkaido Ainu Culture Research Center newsletter], no. 17 (2002), http://www.pref.hokkaido.lg.jp/ks/abc/abc/hacrc/hp/0500317.htm.)
  • Howard Norman, in an interview, in Contemporary Authors: A Bio-bibliographical Guide to Current Authors and Their Works, vol. 137 (Detroit: Gale, 1992), 332.

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