On this episode of Free Range, UVA Law Professor Mike Livermore speaks with Henry Skerritt, Curator of Indigenous Arts of Australia at the Kluge-Ruhe Aboriginal Art Collection at the University of Virginia.
Skerritt begins by introducing the Kluge-Rhue and how this collection of over 3,000 works of Indigenous Australian Art ended up at the University of Virginia. He explains that while aboriginal Australian art is the longest continuous artistic tradition in the world, it is also a contemporary movement that was used for political representation in the 20th century (0:49 - 4:50).
They discuss the connection between art and politics, explaining how aboriginal art has played a role in asserting property rights for indigenous peoples. Skerritt discusses Milirrpum v Nabalco, the first significant case for indigenous land rights in Australia, which was initiated by the Yirrkala bark petitions in the 1970s. Ultimately, the political movement spurred by the bark petitions led to the Aboriginal Land Rights Act of 1976 and continues to have substantial influence today (4:50 – 11:00)
Livermore and Skerritt then discuss an aboriginal painting called “Djambarrpuyŋu Mäna” or “Shark of the Djambarrpuyŋu Clan” by Wilson Manydjarri Ganambarr.
Link: https://madayin.kluge-ruhe.org/experience/pieces/djambarrpuynu-mana-shark-of-the-djambarrpuynu-clan/
Skerritt discusses the relationship between the patterns and designs in the work and the cultural stories and traditions that they reference. (11:30 - 16:17). Livermore and Skerritt then discuss the relationship between contemporary Aboriginal Australian art and traditional art practices. (16:20 - 22:51).
Skerritt and Livermore then turn to the diversity of cultural traditions that inform Indigenous Australian art. He explains that these paintings have ancestral narratives, called songlines, that serve a deep narrative and cultural function, connecting people from different clans and places. He describes the songlines as the world’s most beautiful GPS system that talks about ownership and belonging (22:58 - 26:55).
They then analyze a work by Dr. Djambawa Marawili titled “Journey to America.”
Link: https://madayin.kluge-ruhe.org/experience/pieces/americalili-marrtji-journey-to-america/
They discuss the main story of Bäru, the crocodile man who brings his ancestral fire into the world. He explains that the overall message of the painting is that if the Aboriginal Australians put their art into the world, it can give them power and political representation (27:00 - 36:10).
The question is raised over the relationship between political representation versus appropriation and the difficult challenges this sometimes raises (36:11 - 43:10).
They analyze another piece by artist Noŋgirrŋa Marawili, one of the oldest painters working today.
https://madayin.kluge-ruhe.org/experience/pieces/baratjala-baratjala-2/
Her works bring up questions of tradition and innovation: it both grabs the attention of the contemporary art world and maintains connection to traditional designs and practices, speaking to two different audiences at the same time (43:12 - 49:30).
They discuss how artists today have to engage with a globally connected world, that every great artwork has to speak both to its own place and the world around it. Skerritt discusses how Aboriginal artists do not sacrifice their own unique identity to produce their works and that they insert their identities into larger dialogues of art and politics without giving up power of where they come from (49:31 - 52:13). Skerritt describes the movement as an extraordinary cross-cultural gift that teaches us the lesson that even though we may not all have the same culture or speak the same language, artists can find common ground and communicate in their own unique ways (52:15 - 57:32).