Podcasts about indigenous art

It's the portrait of Gina Rinehart that launched 1,000 memes, went viral globally and became Australia's Mona Lisa. But it's also a symbol of how wealth intersects with other areas of life, including art and sport. How does Rinehart use her money to control her image – and what would she rather you don't see? This episode of Gina is about power and control, and the colonial history of Australia. It contains references to outdated offensive language and events that Aboriginal and Torres Strait Islander people may find distressing. It also contains the names of Indigenous Australians who have died. Listen with care

The first annual Southern California Indigenous Culture and Art Festival is coming up in Escondido. Plus, where to find the best in Asian cinema and your weekend preview.

Renowned artist Marie Watt, a proud member of the Seneca Nation, invites us into her vibrant world of Indigenous art, where tradition meets innovation. With an extraordinary mix of text, textiles, beadwork, sculptures, and neon, Marie shares her journey from her early days at Willamette University to her transformative experiences at the Institute of American Indian Arts. Her art is a profound reflection of her Seneca identity, especially through the symbolic use of blankets, deeply rooted in her cultural heritage and personal narrative. Marie offers insights into the communal traditions reflected in her art, drawing from her experiences within the urban Indian community of the Pacific Northwest.Join us as we uncover the magic behind Marie's sewing circles, a practice that blossomed from necessity into a rich community-building exercise. These gatherings brim with storytelling and intergenerational exchange, emphasizing the connection between traditional beadwork and modern neon as evolving storytelling mediums. The episode also navigates the contemporary landscape of Indigenous art in prestigious collections, with language playing a crucial role in Marie's work. Themes such as "turtle," "island," and "companion species" challenge us to reconsider our relationships with nature, while cultural narratives and Marvin Gaye's music inspire reflections on motherhood and community. Marie's narrative beautifully intertwines language and art, reshaping how we perceive familial and communal ties.

Were you wowed by the stunning graphics for Invictus Games 2025? Two experts discuss the creative partnership behind that memorable Indigenous visual identity. Learn more at https://carterhales.com/work/invictus-games-2025 Carter Hales Design Lab City: Vancouver Address: https://carterhales.com Website: https://carterhales.com

Currently based in Guelph, Ontario, Emily Laurent Henderson is a Kalaaleq (Greenlandic Inuk) and Settler curator and writer. A 2020 University of British Columbia graduate in Anthropology, Emily's work and writing centres Inuit and Indigenous self-determination in the arts. Her writing has appeared in titles such as the Inuit Art Quarterly, Azure, Studio Magazine, and more. Her debut collection of poetry, "Hold Steady my Vision", was published in 2024 by Publication Studio Guelph.When Emily Henderson got her first museum job—working in a gift shop—she thought it was the first step towards her dream of being a museum curator. And she was right - only her dream was so much closer to being realised than she expected. She thought it might take decades, but six years later, she's an Associate Curator of Indigenous Art at the McMichael Canadian Art Collection with a once in a lifetime exhibition opening tomorrow."I applied for jobs I was in no way qualified for," Emily laughs, revealing her unconventional early career strategy. Her fearless approach opened doors at the Inuit Art Quarterly, Indigenous Curatorial Collective, and Art Gallery of Ontario before landing at the McMichael, where she's currently preparing to open "Worlds on Paper," an exhibition featuring 215 drawings by 40 Kinngait (formerly Cape Dorset) artists. The groundbreaking show explores how Inuit artists documented their rapidly changing world between 1959-1990—a period of profound transition as communities were moved from semi-nomadic existence to permanent settlements. What makes this exhibition possible is the recent digitisation of all 90,000 drawings, creating unprecedented access to works that were often filtered out by Southern tastes and editorial committees. Henderson shares how Indigenous sovereignty in the arts (giving Indigenous people control over their own representation) is the "crux" of everything she does. She elaborates on what Indigenous sovereignty can look like in institutions that were built to further colonize.For aspiring curators, Emily offers practical wisdom: apply widely regardless of qualifications, seek publishing opportunities, and embrace mentorship. Her journey proves there's no single path to curatorial work—just the courage to start somewhere and grow through continuous learning. Connect with us:Madison Beale, HostCroocial, ProductionBe a guest on The Artalogue Podcast

Join us for a captivating exploration of Indigenous art and innovation with the multi-talented Tai Leclaire – actor, comedian, and director. Tai takes us through his creative journey, beginning with his powerful short film "Headdress" that wowed audiences at Sundance. Drawing from his own experiences with microaggressions and casual racism, Tai shares how his improvisational skills have been pivotal in navigating his career. From his role in "Rutherford Falls" to his ability to harmonize comedy and serious themes, Tai's stories offer a profound look into the nuances of Indigenous representation on screen and the artistry behind it.As we turn the page, a former JCrew art director joins the conversation, highlighting the strides made in Indigenous representation in the entertainment world and advocating for even more diverse voices. Their insights reveal the rich humor and cultural significance embedded in Native-created content, from amusing anecdotes on the "Rutherford Falls" set to vibrant performances at Upright Citizens Brigade Theater. We even spice things up with a lighthearted debate on the merits of pineapple on pizza and tease some exciting projects on the horizon for 2025. This episode is a thoughtful blend of humor, advocacy, and anticipation that will leave you inspired and curious for more.

Peppers, cannoli's, and Saffron. What could they all possibly have in common? And how would that relate to arts and culture? Amy Amantea gives us the answers. The City of Peterborough has a new addition to its public art collection. Celebrated Indigenous Artist, Vanessa Dion Fletcher, will tell us about her piece, Resonant Harmony. And Polar vortex got you shivering? Chef Mary Mammoliti has the coziest comfort food ideas to warm you right up! #blind #AI #indigenous #art #tech #trends #TikTok #newyear #podcast #KellyCo #accessiblemedia Find Kelly & Company on YouTube!About AMIAMI is a not-for-profit media company that entertains, informs and empowers Canadians who are blind or partially sighted. Operating three broadcast services, AMI-tv and AMI-audio in English and AMI-télé in French, AMI's vision is to establish and support a voice for Canadians with disabilities, representing their interests, concerns and values through inclusion, representation, accessible media, reflection, representation and portrayal.Find more great AMI Original Content on AMI+Learn more at AMI.caConnect with Accessible Media Inc. online:X /Twitter @AccessibleMediaInstagram @AccessibleMediaInc / @AMI-audioFacebook at @AccessibleMediaIncTikTok @AccessibleMediaIncEmail feedback@ami.ca

Today we're joined by Travis Cardona, the Director of First Nations at NIDA. Travis gave Matty his first media job, so today we share the story of how our own Matty Mills got discovered! Plus how First Nations stories are now becoming more prevalent in film + TV, and how NIDA is helping share more First Nations stories. As well as how Travis experienced typecasting during his career as an actor, and why diversity is so important. Nova Entertainment acknowledges the traditional custodians of the land on which we recorded this podcast, the Gadigal People of the Eora Nation. We pay our respect to Elders past and present. LINKS Follow @itsmattymills on Instagram Follow @brooke.blurton on Instagram Follow Travis' Story here: https://www.nida.edu.au/profile/travis-cardona/ Find out mora about NIDA here: https://www.nida.edu.au/ Follow @novapodcastsofficial on Instagram CREDITSHosts: Brooke Blurton and Matty MillsGuest: Travis CardonaExecutive Producer: Rachael HartManaging Producer: Ricardo Bardon Listen to more great podcasts at novapodcasts.com.auSee omnystudio.com/listener for privacy information.

Episode 72: Predicting Economic Trends, Indigenous Art, and the Revival of Mercantilism In this week's episode of Trade Splaining, Rob and Ardian explore the latest quirks and complexities of global trade and economics, with a special focus on cultural preservation.

In 2012, photographer Matika Wilbur sold everything in her Seattle apartment and set off to document the 562 federally recognized indigenous tribes in the country. Over a decade and hundreds of thousands of miles later, she released a book called “Project 562.” We talked to Wilbur in June 2023 about her journey, her book, and her mission to provide Native Americans images that are more “useful, truthful, and beautiful.” The Native American sketch comedy group, the 1491s, initially said "no" when the Oregon Shakespeare Festival approached them about writing a play. But eventually the five-member group relented, and tackled Native American history with humor in the play "Between Two Knees" in October of 2019. We listen back to a conversation from that time with Bobby Wilson, a member of the 1491s, and Robert Franklin, the Native American Student and Community Center at PSU, which sent students down to Ashland to see the play.    

Jeanne Armstrong spoke to Emma Hassencahl-Perley, curator of Indigenous Art at the Beaverbrook Art Gallery, about a beadwork exhibition opening at the gallery.

Host Shayla Ouellette Stonechild interviews Lauren Good Day, a multi-award-winning Indigenous artist and fashion designer. They discuss the significance of matriarchy in Indigenous cultures, Lauren's journey into fashion, and the essence of her brand, which honours cultural heritage through art and design. Lauren shares her creative process, the challenges she faces as an Indigenous entrepreneur, and offers advice to young Indigenous creatives. Together, they highlight the importance of cultural appreciation and the future of Indigenous fashion. Lauren Good Day “Good Day Woman” is an Multi- award winning Arikara, Hidatsa, Blackfeet and Plains Cree artist & sought after fashion designer. She is an enrolled member of the Three Affiliated Tribes (Mandan, Hidatsa, Arikara Nation) of the Ft. Berthold Reservation in North Dakota, USA and also a registered Treaty Indian with the Sweet Grass Cree First Nation in Saskatchewan, Canada. She has shown her artwork at the world's most prestigious Native American juried art shows such as the Santa Fe Indian Market in Santa Fe NM, Heard Guild Museum Market in Phoenix AZ, Autry American Indian Arts Marketplace Los Angeles CA, Eiteljorg Museum Indian Market Indianapolis IN, Cherokee Indian Market in Tulsa OK, Red Earth Fine Arts Festival in Oklahoma City OK and the Northern Plains Indian Art Show in Sioux Falls SD. Her Awards include many First Places in Tribal Arts, Traditional Arts, Cultural Arts, Diverse Arts, Beadwork, Drawings, Textiles and the prestigious Best of Tribal Arts award. Lauren's artwork has been part of numerous solo and group exhibitions at galleries and museums across the Country. Being a sought after artist and designer her work is in numerous public and private collections throughout the United States, Canada and the World, including the The National Museum of American Indian Washington DC and New York City, The Heard Museum, Phoenix AZ, Buffalo Bill Center of the West, Plains Indian Museum Cody Wyoming, and Red Cloud Heritage Center Pine Ridge SD. You can find her work and mentions in publications such as Vogue, InStyle Magazine, New York Times, Fashion Magazine, Cowboys & Indians Magazine, Cosmopolitan and numerous national and international publications. Find out more about Lauren Good Day: https://laurengoodday.com/pages/about-the-artist  https://www.instagram.com/laurengoodday/ Thanks for checking out this episode of the Matriarch Movement podcast! Leave comments and a thumbs up for us on YouTube, or leave a five star review on your favourite podcast app! Find Shayla Oulette Stonechild on Instagram: https://www.instagram.com/shayla0h/ Find more about Matriarch Movement: https://matriarchmovement.ca/ Watch this episode on YouTube: https://www.youtube.com/@matriarch.movement This episode is produced by Sarah Burke and the Women in Media Network. Special thanks to the Indigenous Screen Office for supporting this podcast! Hiy Hiy! Chapters: (00:00) Introduction to Indigenous Art and Culture (01:55) Understanding Matriarchy in Indigenous Cultures (05:00) The Journey into Fashion and Art (09:14) The Essence of the Lauren Goodday Brand (16:05) Creative Process and Cultural Significance (19:59) Challenges of Being an Indigenous Entrepreneur (28:10) Advice for Young Indigenous Entrepreneurs (30:59) Cultural Appreciation and Future of Indigenous Fashion Learn more about your ad choices. Visit megaphone.fm/adchoices

Dana Tiger's websiteLoren Waters website

Dartmouth College students put on the sixth annual Indigenous Arts and Fashion Show Thursday night at the Hood Museum of Art. It's part of an ongoing observation of Indigenous Peoples' Month.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land.

History and art have major influences on fashion, but when does it go too far? Indigenous multidisciplinary artist Brit Ellis and Indigenous Fashion Arts creator Sage Paul discuss an ongoing Canadian debate on how we define Indigenous art and fashion as being culturally appropriated or celebrated. See omnystudio.com/listener for privacy information.

A new exhibition of Indigenous art at the Baltimore Museum of Art (BMA) is called Preoccupied: Indigenizing the Museum.  Dare Turner and Leilia Grothe are the curators of the huge show. Turner is a member of the Yurok Tribe and Curator of Indigenous Art at the Brooklyn Museum. Grothe is the Associate Curator of Contemporary Art at the BMA. They joined Tom Hall to discuss the importance of including native and indigenous perspectives in contemporary art. (Artwork by Luiseño/Puyukitchum, Ipai, and Mexican American)Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

The 2024 Aztec Indigenous Arts Festival features local Indigenous artists, performers and culture on Saturday, September 14. This version of the festival features the largest variety of entertainment in its history. With headlining acts scheduled throughout the day, the 2024 Aztec Ruins Cultural Indigenous Arts Festival plans to move attendees in all manner of motif. Featured performers include renowned hoop dancer JaiP'o Harvier, musician Levi Platero and Diné storyteller Sunny Dooley, among others. By Connor Shreve.  Watch this story at www.durangolocal.news/newsstories/indigenous-arts-festival-returns  This story is sponsored by Distill Beer Wine Spirits and M&R Plumbing. Support the show

Crystal Worl, an artist of Tlingit and Athabaskan heritage, captivates us with stories of her artistic journey and the cultural threads that weave through her work. Raised in Fairbanks, Alaska, she learned the intricate crafts of beading and sewing from her mother and grandmother, embedding her pieces with the rich symbolism of clan crests and the duality of raven and eagle moieties. Her art, a vibrant fusion of traditional form line designs and modern techniques, invites us to explore the balance and responsibility inherent in Tlingit society.Crystal's path has been profoundly shaped by her mentorship with the esteemed Haida artist Robert Davidson. Through his tutelage, she mastered the technical skills of form line design and embraced the essential philosophies of balance, patience, and visualization. These lessons have deepened her work, allowing her to modernize clan stories and examine the relationships between people, land, and animals. Crystal's reflections on the importance of mentors and the enduring wisdom they impart offer valuable insights into the intersection of tradition and contemporary art practices.The episode also highlights Crystal's impactful public art ventures, including a significant mural of Elizabeth Peratrovich in Juneau. She shares the rewarding yet challenging journey of creating large-scale public art, emphasizing the power of community support and collaboration. With exciting future projects on the horizon, such as pop-up shops and a major commission at the Seattle airport, Crystal continues to innovate and inspire through her storytelling and artistry, showcasing the dynamic evolution of Indigenous art in the modern world.

Seven students in Indigenous Arts at CBU went to the Victoria University of Wellington in New Zealand.

Mainstreet's Alex Guye spoke with the course instructor, Marcia Ostashewski, and four of the seven students who went of the educational trip.

I really believe that we carry the spirit of the land wherever we go. In the Western canon, they say that once you leave home, you can never return, but in the Indigenous canon, home never leaves you. I remember Sandra Laronde contacting me when I was running the Inter-Arts Office at Canada Council in early 2000 asking me where Red Sky Performance fits in the Council's suite of programs and silos. Claude, you know, I combine indigenous dance, theatre, music, media and more but rarely the same way. The Council and Red Sky figured things out. I've always been amazed by Sandra's imagination, spirit, entrepreneurship and her skills as a connector.We've crossed paths many times of the years, on assessment committees, at festivals and at Indigenous arts gatherings. For example, I have fond memories of having been invited by a group of Indigenous women arts administrators and leaders, including Sandra, to gatherings where we sang, danced, held talking circles and listened to each other's needs and offerings and listened to the world around us. Our conversation on June 18, 2024 in her backyard in Tkaronto focused on her debut novel, ‘She Holds Up the Stars', which was published by Annick Press in August 2022. I wanted to know more about this story of a young Indigenous girl searching for a sense of home who finds strength and courage in her gifts, her deepening connection to the land, and her own cultural awakening. Sandra admitted to me that it is mostly based on her own life and talks about the origins of this book during the episode this way:I wanted something that had humor and saw the world as a positive reflection of who we are as Indigenous people and as a sensitive kid. My world wasn't just focused on humans, it was really more spirit-centric. It was really about everything that is alive in the world, whether that be rivers and trees, or the wind or the lake, or a bird. All of these beings are alive and well. We also spoke about the launch of Aki Creators the night before our conversation, which is a portal of stories rooted in Indigenous wisdom, arts, and a shared love of the land.I asked her, as I always do, about the role of art in the ecological crisis : I think art helps us to connect or reconnect spiritually, emotionally and even intellectually to the environment and world around us and each other. Artists have a kind of an antenna to them where they're often foreseeing what's going to happen next. … Artists are the antenna of the world. Some of these movies that are sci-fi  movies or books have elements of truth in them and there's warnings.We also spoke about the use of artificial intelligence by indigenous artists ;The big concern in the AI space and in the digital space is that in the hands of very few people. Very few are prompt engineering. There's a lot of big companies and the dominant voice in the digital sphere is still a white privileged male voice. Only 14% of women are in AI. As an Indigenous person, my mind wonders if this could potentially be another robust form of colonization if we don't get in there and sway, change and transform the narrative. You know, if we just leave it, I think this is a great peril and not only to us, but to the world.There are many examples of artistic use of AI on Aki Creators. As we sipped a bit of rose wine in her backyard in Tkaronto, planes and helicopters passed by but we also heard and were present with the whisper of trees and birdsong as we talked about how we humans are a part of nature and how art helps us look up at the stars and wonder what was and could be. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

NAIDOC week is a time to celebrate the history, culture, and achievements of First Nations peoples. - NAIDOC week adalah waktu untuk merayakan sejarah, budaya, dan pencapaian masyarakat First Nations.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Al abrazar sus tradiciones orales, los pueblos aborígenes e isleños del Estrecho de Torres han utilizado el arte como medio para transmitir sus historias culturales, creencias espirituales y conocimientos esenciales sobre la tierra.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Պահպանելով իրենց բանաւոր աւանդութիւնները, Ապօրիճին և Թորրես Նեղուցի Կղզեցի ժողովուրդներ արուեստը օգտագործած են որպէս միջոց փոխանցելու համար իրենց մշակութային պատմութիւնները, հոգեւոր դաւանանքը և հողի վերաբերեալ էական գիտելիքները:

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Fidèles à leurs traditions orales, les peuples aborigènes et insulaires du détroit de Torres ont utilisé l'art comme moyen de transmettre leurs histoires culturelles, leurs croyances spirituelles et leurs connaissances essentielles de la terre.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - आफ्ना सांस्कृतिक कथा, आध्यात्मिक विश्वास र पृथ्वीका आवश्यक ज्ञानहरू एक पुस्ताबाट अर्को पुस्तासम्म लैजान, एबोरिजिनल तथा टोरेस स्ट्रेट आइल्यान्डर मानिसहरू कलालाई एक माध्यमको रूपमा प्रयोग गर्छन् । अस्ट्रेलिया बुझ्नुहोस्‌को यो भागमा हामी एबोरिजिनल मानिसहरू र टोरेस स्ट्रेट द्विप समूहका बासिन्दाहरूले कला विभिन्न रूपहरू प्रयोगमा ल्याएर आफ्नो मौखिक परम्पराहरू कसरी अङ्गालेका छन् भनेर बुझ्ने प्रयास गर्नेछौँ।

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - I popoli aborigeni e delle isole dello Stretto di Torres hanno usato l'arte come mezzo per tramandare la loro cultura, le credenze spirituali e la conoscenza del territorio. Con l'espressione "arte aborigena" ci si riferisce ad un'ampia gamma di stili e di tecniche che cambiano da zona a zona tra i popoli delle First Nations.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - ቃለ ልማዶችን ሞገስ በማላበስ፤ የአቦርጂናልና ቶረስ መሽመጥ ደሴት ሰዎች ሥነ ስዕልን ባሕላዊ ወጎቻቸውን፣ መንፈሳዊ እምነቶቻቸውንና ስለ መሬታቸው ያላቸውን መሠረታዊ ዕውቀቶች የማሸጋገሪያ ተግባቦት አድርገው ተጠቅመውበታል።

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Kukumbatia mila zao zaku simulia hadhithi, watu waki Aboriginal na wanavisia wa Torres Strait wame tumia sanaa kama mbinu yaku changia hadithi za utamaduni wao, imani za kiroho na maarifa muhimu ya ardhi.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Aborygeni i mieszkańcy wysp w Cieśninie Torresa wykorzystują sztukę jako medium pośrednie, czerpiąc wiedzę z przekazów ustnych na temat tradycji kulturowych, doświadczeń duchowych i podstawowej wiedzy o swoim kraju. Sztuka to okno, dzięki któremu możesz zajrzeć głębiej i odkryć elementy kultury i tradycji Pierwszych Narodów.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Lurlur ciɛ̈ɛ̈ŋ ka keya luel kɔc thook, Aboriginal ku kɔc Torres Strait Islander ɣa ka cik giit luöi be kek anyiköl ciɛɛ̈ŋden ya luɛ̈l, yëëthken ku ŋiëëc tɛ ŋïcke tiäämden.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - In Anlehnung an ihre mündlichen Überlieferungen haben die Aborigines und die Torres Strait Islander Kunst als Medium genutzt, um ihre kulturellen Geschichten, spirituellen Überzeugungen und ihr grundlegendes Wissen über das Land weiterzugeben.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Prihvatajući svoje usmene tradicije, Aboridžini i otočani moreuza Torres koristili su umjetnost kao sredstvo za prenošenje svojih kulturnih priča, duhovnih vjerovanja i osnovnih znanja o zemlji na kojoj žive.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Придерживаясь устных традиций, Коренные народы и жители островов Торресова пролива традиционно использовали искусство как средство передачи своих культурных преданий, духовных верований и основных знаний о Земле.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - O le opogiina o tala tu'u ma fagogo a tagata muamua Aboriginal ma tagata atumotu Torres Straits, e aofia ai le taleni ma le tomai tusiata.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - 원주민과 토레스 해협 섬 주민은 구전 전통을 바탕으로 예술을 매체로 활용해 문화적 이야기, 영적 신념, 땅에 대한 필수 지식을 전달해 왔다.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Для Корінних жителів та народів островів Торресової протоки мистецтво завжди було засобом передачі своєї культури, духовних цінностей і знань про землю.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - مردم بومی و جزیره‌نشینان تنگه‌تورس با پذیرش سنت‌های شفاهی خود، از هنر به‌عنوان وسیله‌ای برای انتقال داستان‌های فرهنگی، باورهای معنوی و دانش اساسی خود از سرزمین، استفاده کرده‌اند.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - 口承の伝統を守り続けてきたアボリジナルとトレス海峡諸島民は、アートを通じて文化的なストーリーやスピリチャルな信念、土地の重要な知識などを伝えてきました。

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - ชาวอะบอริจินและชาวเกาะช่องแคบทอร์เรสใช้ศิลปะเป็นสื่อกลางในการถ่ายทอดวัฒนธรรม ความเชื่อทางจิตวิญยาณ และความรู้เกี่ยวกับดินแดนของพวกเขา เรื่องราวของการเล่าขานประเพณีผ่านศิลปะในหลากหลายรูปแบบของชนพื้นเมืองออสเตรเลีย

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - 原住民和托雷斯海峡岛民拥抱他们的口头艺术传统，将艺术作为媒介来传承他们的文化故事、精神信仰和对土地的基本知识。 艺术也是一个窗口，通过它，人们可以更深入地了解他们独特的文化和创造性传统。 本集将探讨原住民和托雷斯海峡岛民如何通过不同的艺术形式拥抱他们的口头艺术传统。（点击音频收听详细内容）

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - حفاظاً على القصص المنقولة شفهياً، لجأ السكان الأصليون وسكان جزر مضيق توريس إلى الفن كوسيلة لنقل قصصهم الثقافية، ومعتقداتهم الروحية، ومعارفهم العميقة بالأرض.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Bi kevneşopiyên xwe yên devkî, gelên Aborijinî û Girava Torres Strait huner wekî navgînek bikar anîn da ku çîrokên xwe yên çandî, baweriyên giyanî, û zanîna bingehîn ya axê ragihînin.

Embracing their oral traditions, Aboriginal and Torres Strait Islander peoples have used art as a medium to pass down their cultural stories, spiritual beliefs, and essential knowledge of the land. - Người Thổ dân và người dân đảo Torres sử dụng nghệ thuật như một phương tiện để trao lại những câu chuyện văn hóa, tín ngưỡng tâm linh và kiến thức thiết yếu về quê hương. Nghệ thuật đóng vai trò như một cánh cửa, qua đó người ta có thể đánh giá sâu sắc hơn về nền văn hóa độc đáo và truyền thống sáng tạo của người Thổ dân.

Art Gallery of Hamilton - 500 Year ItchShelley Niro's Website

Kiwi Fulbright scholar Bonita Bigham is researching how laws to prevent trade in endangered species are impacting indigenous art.

How do bureaucratic documents create and reproduce a state's capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused? Settler Colonial Ways of Seeing: Documentation, Administration, and the Interventions of Indigenous Art (Fordham University Press, 2023) by Dr. Danielle Taschereau Mamers investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Dr. Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialise identity categories in the service of colonial governance. Her analysis of bureaucratic artefacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L'Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined. By integrating art-led inquiry with media theory and settler colonial studies approaches, Dr. Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorising decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada's complex and violent relationship with Indigenous peoples. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How do bureaucratic documents create and reproduce a state's capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused? Settler Colonial Ways of Seeing: Documentation, Administration, and the Interventions of Indigenous Art (Fordham University Press, 2023) by Dr. Danielle Taschereau Mamers investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Dr. Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialise identity categories in the service of colonial governance. Her analysis of bureaucratic artefacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L'Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined. By integrating art-led inquiry with media theory and settler colonial studies approaches, Dr. Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorising decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada's complex and violent relationship with Indigenous peoples. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

Researchers in Michigan modeled a prehistoric land bridge and used AI to predict where caribou–and humans–might have traveled along it. Also, artist Sarah Rosalena uses Indigenous weaving, ceramics, and sculpture practices to create art that challenges tech's future.Using AI To Help Find Ancient Artifacts In The Great LakesAt the bottom of Lake Huron there's a ridge that was once above water. It's called the Alpena Amberley Ridge and goes from northern Michigan to southern Ontario. Nine thousand years ago, people and animals traveled this corridor. But then the lake rose, and signs of life were submerged.Archaeologists were skeptical they'd ever find artifacts from that time. But then John O'Shea, an underwater archaeologist based at the University of Michigan, found something. It was an ancient caribou hunting site. O'Shea realized he needed help finding more. The ridge is about 90 miles long, 9 miles wide and 100 feet underwater.“Underwater research is always like a needle in a haystack,” said O'Shea. “So any clues you can get that help you narrow down and focus … is a real help to us.”That's where artificial intelligence comes in. He teamed up with computer scientist Bob Reynolds from Wayne State University, one of the premier people creating archaeological simulations. And Reynolds and his students created a simulation with artificially intelligent caribou to help them make predictions.An Artist Combines Indigenous Textiles With Modern TechWhen multidisciplinary artist Sarah Rosalena looks at a loom, she thinks about computer programming. “It's an extension of your body, being an algorithm,” she says.Rosalena, a Wixárika descendant and assistant professor of art at the University of California Santa Barbara, combines traditional Indigenous craft—weaving, beadmaking, pottery—with new technologies like AI, data visualization, and 3D-printing. And she also works with scientists to make these otherworldly creations come to life. She involved researchers at the NASA Jet Propulsion Lab to make 3D-printed pottery with simulated Martian clay. And she collaborated with the Mount Wilson Observatory to produce intricately beaded tapestries based on early-1900s glass plates captured by the observatory's telescope, which women mathematicians used to make astronomical calculations.And that's also a big focus for Rosalena: spotlighting the overlooked contributions women made to computer science and connecting it to how textiles are traditionally thought of as a woman-based craft. When she first started making this kind of art, Rosalena learned that the Jacquard loom—a textile advancement in the 1800s that operated on a binary punch card system which allowed for mass production of intricate designs—inspired computer science pioneer Ada Lovelace when she was developing the first computer program. “[They] have this looped history,” she says. “And when I weave or do beadwork, it's also recalling that relationship.”But for Rosalena, there is tension and anxiety in her decision to combine new and ancient mediums. “We're at this point of the technological frontier and that's actually terrifying for a lot of people, especially for people from my background and my Wixárika background,” she says. “It's progress for some, but it's not for all.”Part of Rosalena's work is anticipating future forms of colonization, especially amid rapid change in our planet's climate and the rise of AI. “What happens when we bring traditional craft or Indigenous techniques with emerging technology to think about current issues that we are facing? Digital technologies are always chasing after ways that we could simulate our reality, which also produces this way that we could re-envision our reality,” she says.SciFri producer and host of our podcast Universe Of Art D. Peterschmidt sat down with Rosalena to talk about how she approaches her work, why she collaborates with scientists, and how she hopes her art makes people consider today's technological advancements through an Indigenous lens.Transcripts for each segment will be available after the show airs on sciencefriday.com. To stay updated on all things science, sign up for Science Friday's newsletters.