Aboriginal Art Style Souvenirs

1. Aboriginal Art Style Souvenirs Analysis of a cultural product Topic Overview: Aboriginal iconography is invoked in Australian culture to symbolise and represent an authentic ‘Australianness’ (Ashendennp). These aesthetics are included on souvenirs and sold to tourists as a product with a truly Australian identity. While these items in some way have the potential to incorporate non-Aboriginal people into an Aboriginal worldview, if not consumed in dialogue with Aboriginal people they have the potential to perpetuate negative representations and harmful stereotypes (Langton 100, Hall 259). This study seeks to examine the conditions under which these items are produced and consumed, how the product is represented and what identities are associated with it, and what mechanisms regulate the industry. Image Source: http://www.australiagift.net/ Image Source: http://www.didjshop.com/AboriginalCulture_ExploitationForEconomicPurposes.html

2. Representation • Souvenirs construct representations of Aboriginality: • in dialogue with Aboriginal people (Utopia Australia) • produced by non-Aboriginal people • (Johnson ‘House of Aboriginality’, Australiangiftshop) • Historical and social context of colonial representations and power • relations • Representations created by non-Aboriginal people often • rely on stereotypes that portray Aboriginal people as an • exotic ‘other’ (Hall 258) • Identity • Aboriginal style souvenirs are used to promote an ‘authentic’ Australian identity • At the same time create an idea of Aboriginality which invokes a symbolic order that excludes Aboriginal people from the • mainstream concept of Australian identity • This identity is attached to the past and therefore excluded from contemporary Australian society • (Bolt “White fellas in the black”) • Effects of this can be seen in the comments section of the following blog: • http://blogs.news.com.au/heraldsun/andrewbolt/index.php/heraldsun/comments/id_rather_a_namatjira/ • (Bolt “I’d rather a Namatjira”) • Production • Aboriginal identity is often linked with the production of these souvenirs • Design is sometimes attributed to an individual Aboriginal artist or • community • Souvenirs often mass-produced without any specific links to Aboriginal • people or communities Image Source: http://www.artabase.net/exhibition/1790-octopus-9 (Artist: Tony Albert “exotic OTHER”) Image Source: http://www.artslaw.com.au/enewsletter/SEP10/SEP10-AITB1.html

3. Consumption • Consumed in different ways (Belk and Groves): • to learn about another culture • for aesthetics (searching for a product represented Australia) • can confirm or reinforce negative perceptions or stereotypes • Regulation • There have been many cases of non-Aboriginal people creating • and selling ‘Aboriginal art’ • Some cases have been found to violate Australian Trade Law • (Gosfordnp, Johnson “The Case of Isabelle”, Alder, Chappell and Polk) • These products regulate Aboriginal identity as they influence what is perceived as authentic Aboriginality • Challenges/Further Questions • This topic can be approached from many different perspectives so it will be important to make sure the evidence and • arguments come from a cultural studies perspective • Is it legitimate to discuss Aboriginal art (bark paintings/canvases etc.) as a kind of souvenir/cultural product? • Issues surrounding the historical and social context of production and regulation will be included, however, it will be important to keep these focused from a cultural studies point of view. • References • Alder, Christine, Duncan Chappell and Kenneth Polk. “Frauds and fakes in the Australian aboriginal art market.” Crime, Law, Social Change. 56 (2011): 189-207. Print. • Ashenden, Dean. “On capturing Australianness.” The Australian 22 Nov. 2008. Web. 20 May 2012. • Australiagiftshop. “Corporate Gifts - Aboriginal Art from Australia for Corporate Events.” Youtube, 2011. Web. 15 May 2012. • Belk, Russell W. and Ronald Groves. “Marketing and the Multiple Meanings of Australian Aboriginal Art.” Journal of Macromarketing. 19 (1999): 20-32. Print. • Bolt, Andrew. “White fellas in the black.” Herald Sun 21 Aug. 2009. Web. 29 April 2012. • Bolt, Andrew. “I’d rather a Namatjira.” Herald Sun, 16 Apr. 2011. Web. 29 April 2012. • Gosford, Bob. “Where to buy fake ‘authentic’ Aboriginal art.” Crikey, 2010. Web. 15 May 2012. • Hall, Stuart. Representation : cultural representations and signifying practices. London: Sage, 1997. Print. • Johnson, Vivien. “The Case of Isabelle.” European Network for Indigenous Australian Rights, 2009. Web. 10 May 2012. • Johnson, Vivien. “The House of Aboriginality.” Macquarie University, 1999. Web. 15 May 2012. • Langton, Marcia. “Aboriginal art and film: the politics of representation.” Race & Class. 35.4 (1994): 89-106. Print. • Utopia Australia. “Our History.” Utopia Australia, 2012. Web. 15 May 2012. Image Source: http://romantichoteldeals.com/search/580-nanjing-west-road-market/