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#aboriginal dot art
newguineatribalart · 1 year
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Wind Story by Mick Namarari Tjapaltjarri
Aboriginal art tells stories called dreamings or songlines here is one of them
The painting depicts the wind story. The spirit of the wind lives in a cave at Mount Liebig. It shows the wind coming out of the cave and blowing strongly to the north-west.
When his birthplace, Marnpi, Namarari often mentioned a spiralling desert wind. Though this is one of many narratives attached to this site, it is one that he returned to throughout his practice as an artist. In this early example, Namarari has adopted a simple yet hypnotic composition to draw the eye into the vortex of an ancestral wind. The force and spread of the wind, shown here by the banded arms that reach out across the landscape. The wind shapes and creates natural features of rocky outcrops and prominent sandhills.
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probsdontrememberme · 2 years
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Aboriginal river design
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craftyladybug · 4 months
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Aboriginal dot art key fobs
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mulberrydesigns · 5 months
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my-kelde · 1 year
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Dino Wilson. Warnarringa (Sun), 2021.
natural ochres on linen
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de-mykel · 7 months
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Kathleen Petyarre. Mountain Devil Lizard, n.d.
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kabbalicgay · 1 year
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Sometimes I think about the way non-Aboriginal people - and yes that's a broad category because it isn't just whitefellas - view ''Aboriginal art'' and I want to fucking riot
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raleksd · 5 months
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(via "AMAZING AUSTRALIAN ABORIGINAL FLAG ART EXPRESSION WITH SMALL FRAGMENTS SHAPES" Graphic T-Shirt for Sale by Frantz CIALEC)
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elyserie · 7 months
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Fate's Refusal to Honour (or at least properly research) Depictions of Non-Japanese Figures 2: Electric Bogaloo ft. Wandjina from the Current JP Summer Event
Disclaimer: While I am an Australian, I am NOT of Aboriginal or Torres Strait Islander descent. Therefore, I am coming at this issue from an outsider's perspective. If there is an Aboriginal person, or more specifically of the Mowanjum people from the Kimberly regions, please PLEASE correct me if I am wrong on any front.
The culprit behind the events of the current Summer story in the JP servers has recently been revealed to be Wandjina, a creator Dreamtime figure from the Mowanjum people's culture.
In any other context, I would be thrilled to have an Australian figure in FGO, but the problem here is the figure they use.
Wandjina are sacred to the Mowanjum people, and therefore one needs to go through Aboriginal Law to obtain the right to use the Wandjina's image.
In Australia, this resulted in an actual conflict between a non-indigenous artist and aboriginals. You can read more here, but one quote to note is from an Aboriginal man of the Darug people, Chris Tobin: "Aboriginal law is very specific on what you can and can't do with wan[d]jinas." Another quote on this topic is made by the owner of an Aboriginal art gallery, Adrian Newstead: "Only a few Aboriginal artists ever win the right to depict wan[d]jina, and only then after years of initiations and ceremonies..."
I am NOT attaching an image of FGO's iteration of Wandjina due to this. Not only is her appearance only Aboriginal on a surface-level with her 'dot art' aesthetic (dot art* is only a recent addition to Aboriginal culture, created back in the 1970s), having no resemblance to an Aboriginal person (note, that while many Aboriginal people are white/pale, FGO continually chooses to depict people of colour as light skinned as possible. And yes, I know she's blue, not white. There is literally no records of her being blue skinned; is this because Wandjina's are associated with rain????) but she is also not very Wandjina looking? These figures do not have mouths, have large eyes meant to resemble the eye of a storm and are typically depicted with elaborate headdresses. That little glowing boomerang on her head is not exactly elaborate. And WHY does she have a boomerang??? Because she's Australian???? By that logic, every Japanese figure needs to have a katana. #GiveMurasakiaKatana2023.
There is also the issue of Cnoc na Riabh. While it is funny to think that she's a foreigner because of an Australian influence, Yaraan-doo is also another Aboriginal figure. And it is slapped onto a white girl for a fan service event. I'd just rather Fate leave Aboriginal culture alone and just do, like, Ned Kelly or something if they're going to continue like this.
More resources and info under the read more!
You'll have noted in the quotes that I've edited an 'n' into wanjinas. This is so I didn't confuse anyone: both can be the correct spelling! I just stuck to what I thought FGO was using for their Wandjina.
Here's an overview of what wandjinas are and their inappropriate use in art: https://www.creativespirits.info/aboriginalculture/arts/what-are-wandjinas
Here's another page about an inappropriate use of Wandjinas (note: it's only a short synopsis about a documentary that covered the incident, I'm uncertain if you would be able to get access to the documentary outside of Australia): https://www.creativespirits.info/resources/movies/who-paintin-dis-wandjina
It should also be noted that the two websites I've linked above are from the website Creative Spirits. While it is run by a non-Indigenous person, the person behind it is currently transitioning it to be an Aboriginal owned and run resource. You can read more about how this site is run in his About page.
*If you want to know about dot art's origin, here and here are some resources on them. However, this article brings up something interesting that I would like to bring back to FGO Wandjina's dot art aesthetic. It notes that "the term 'dot painting' stems from what the Western eye sees when faced with contemporary Aboriginal acrylic paintings" (emphasis mine). All three articles note that dots were used to obfuscate sacred symbols and artifacts so that those who were not initiated into their cultures could not see what these figures were. In that case, what the hell is the dot art seen on Fate's Wandjina supposed to represent? In this article, it talks about the symbolism in Indigenous art. Fate's Wandjina has none.
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mybeingthere · 6 months
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Clifford Possum Tjapaltjarri (c 1932 - 2002) was born in Tjuirri, an area north west of Alice Springs also known as Napperby Station. His father was born at Ngarlu, a location west of Mt. Allan, and his mother from Warlugulong, an area southwest of Yuendumu. This broad stretch of territory defined the diversity of subject matter in Clifford's paintings. Clifford enjoyed a traditional bush upbringing and was given the name Possum by his paternal grandfather. In the 1940's, Clifford and his family re-located to Jay Creek, where he became a stockman, working at several stations throughout the area.
Clifford Possum was said to be a true master artist, his character, charisma, and total dedication to his art and dreamings, as well as his tireless promotion of his and his family's work has set a high standard in establishing this movement from its inception to the present day. Art lovers and collectors, both here and around the world, have held the Desert Masters in high regard, because of the efforts by individuals such as Clifford.
Clifford passed away in Alice Springs on the 21st June 2002, after recently being recognised for his contribution to Australian Art and culture, by being made an "Officer of the Order of Australia". His final days were spent at the Hetty Perkins Nursing Home in Alice Springs, where he passed away surrounded by close family and friends. He will be sadly missed by those who worked with and knew him well, as well as art collectors and dealers around the world.
He worked extensively as a stockman on the cattle stations in and around his traditional country. During this time he developed an encyclopaedic knowledge of the Dreaming Trails that criss-cross the area to the north of the western McDonnell Ranges, which he depicts in painting his Dreamings.
His career as an artist began in the 1950's when he carved snakes and goannas. By the 1970's he was one of the most accomplished carvers in Central Australia. His first opportunity to paint came when one of Albert Namatjira's sons gave him acrylic paints and the master began his work. Clifford, living at the Papunya Community, was one of the first artists to be involved with the Aboriginal Art Movement.
The art of Clifford Possum is notable for its brilliant manipulation of three-dimensional space. Many of his canvasses have strong figurative elements which stand out from the highly descriptive background dotting. In the late 1970's he expanded the scope of Papunya Tula painting by placing the trails of several ancestors on the same canvas in the fashion of a road map. Within this framework, he depicted the land geographically. This laid the foundation for traditional Aboriginal Iconography to be placed on canvas. The other artists working with him took his lead and removed any elements of European Art from their work. In doing so Clifford, as well as the other artists involved with the Papunya Tula Movement, helped to develop the true definition of Aboriginal Art, an art revolving around a culture, The Jukurrpa.
In some of his stories Clifford attempts to give a visual impression of sunlight, cloud, shadow and earth to denote specific times of the day. His paintings show superlative skill, incredible inventiveness of form and are visually spectacular.
Clifford's work is contemporary but essentially Aboriginal in inspiration. To appreciate its full richness it is imperative that it is seen not only by its colour, composition and balance, but by its mythological detail. One of the extraordinary qualities of Clifford's work and other Western Desert artists is that they are a visual writing and speak to the Aboriginal as books do to Europeans.
When asked why he became an Artist, he answered,
"That Dreaming been all the time. From our early days, before European people came up. That Dreaming carry on. Old people carry on this law, business, schooling for the young people. Grandfather and grandmother, uncle and aunty, mummy and father, all that, they been carry on this, teach 'em all the young boys and girls. They been using the dancing boards, spear, boomerang all painted. And they been using them on body different times.
Kids, I see them all the time, painted. All the young fellas they go hunting and the old people there, they do sand painting. They put down all the story, same like I do on canvas. All the young fella they bring 'em back kangaroo. Same all the ladies, they been get all the bush fruit, might be bush onion, plum, might be honey ants, might be yala, all the kungkas (women) bring them back. Because everybody there all ready waiting. Everybody painted. They been using ochres all the colours from the rock. People use them to paint up. I use paint and canvas that's not from us, from European people. Business time we don't use paints the way I use them, no we use them from rock, teach 'em all the young fellas."
Clifford is one of the most renown Aboriginal Artists of his time. He was the chairman of the Papunya Tula Artists from the 1970's to the 1980's. His work is featured in many of the main galleries and collections around Australia and internationally. Collections include the National Gallery of Australia in Canberra and the New South Wales Art Gallery in Sydney. His work has travelled extensively around the world, including 'Dreamings - The Art of Aboriginal Australia' in New York, Chicago, Los Angeles and St Louis. He has had a book published dedicated to him and his paintings, 'The Art of Clifford Possum Japaltjarri', by Vivien Johnson. He is and has always been regarded as the leading figure in Australian Aboriginal Art.
Copyright Kate Owen Gallery May 2022
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newguineatribalart · 1 year
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Wind Story by Mick Namarari Tjapaltjarri
Aboriginal art tells stories called dreamings or songlines here is one of them
The painting depicts the wind story. The spirit of the wind lives in a cave at Mount Liebig. It shows the wind coming out of the cave and blowing strongly to the north-west.
When his birthplace, Marnpi, Namarari often mentioned a spiralling desert wind. Though this is one of many narratives attached to this site, it is one that he returned to throughout his practice as an artist. In this early example, Namarari has adopted a simple yet hypnotic composition to draw the eye into the vortex of an ancestral wind. The force and spread of the wind, shown here by the banded arms that reach out across the landscape. The wind shapes and creates natural features of rocky outcrops and prominent sandhills.
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ghelgheli · 2 months
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The Stuff I Read in January 2024
bold indicates favourites
Novels
Death's End, Cixin Liu
The Maze Runner/The Scorch Trials/The Death Cure, James Dashner
Echopraxia, Peter Watts
Other Long-Form
Against the Gendered Nightmare, baedan [anarchist library]
Imperialism: The Highest Stage of Capitalism, Lenin
What Is To Be Done, Lenin
Yuri/GL
Ring My Bell, Yeongol
Dallae, Choonae
Now Loading! Mikanuji
Even If It Was Just Once, I Regret It / Ichido Dake Demo, Koukai Shitemasu, Miyako Miyahara
Maka-Maka, Torajirou Kishi
Blooming Sequence, Lee Eul
Love Bullet, inee
Honey Latte Girl, Ayu Inui
I'm Sorry I Know / Wakatte Iru No Ni Gomenna, Ayu Inui
Night and Moon / Yoru to Umi, Goumoto
Handsome Girl and Sheltered Girl / Ikemen Onna to Hakoiri Musume, Mochi au Lait & majoccoid
The Forbidden Peach / Suimitsutou Ha Shoujo Ni Kajirareru, Iroha Amasaki
Goodbye, My Rose Garden, Dr Pepako
Blood Lust, yoshimired [link]
Palestine
The Grim Reality of Israel's Corpse Politics, Jaclynn Ashly [jacobin]
Mohammed El-Kurd and Ahmad Alnaouq on the complicity of mainstream media in Israel’s genocidal attack on Gaza [link]
Inside Israel's torture camp for Gaza detainees, Yuval Abraham [archive]
The Work of the Witness, Sarah Aziza [link]
Who profits from keeping Gaza on the brink of humanitarian catastrophe? Shir Hever [archive]
Misreading Palestine, Max Ajl [link]
A Pediatrician's Two Weeks Inside a Hospital in Gaza, Isaac Chotiner [link]
A Palestinian Meditation in a Time of Annihilation, Fady Joudah [link]
Gender/Sexuality
Assigned Faggot: Gender Roles, Sex, and the Division of Labour, Sophia Burns [link]
Gendered Bodies: The Case of the 'Third Gender' in India, Anuja Agrawal [doi]
Paola Revenioti: The Greek transgender activist on blowing up sexual taboos in the name of art, Hannack Lack [link]
Wages Against Housework, Silvia Federici [pdf]
My Words to Victor Frankenstein above the Village of Chamounix: Performing Transgender Rage, Susan Stryker [pdf]
Race
This is Crap, Hannah Black [link]
Social Constructions, Historical Grounds, Shay-Akil McLean [link]
White Psychodrama, Liam K. Bright [doi]
‘I don’t think you’re going to have any aborigines in your world’: Minecrafting terra nullius, Ligia López López, Lars de Wildt, Nikki Moodie [doi]
Singular Purpose: Calculating the Degree of Ethno-Religious Over-representation in the US No-Fly List, Matteo Garofalo [doi]
Iran
Samad Behrangi's Experiences and Thoughts on Rural Teaching and Learning, M. H. Fereshteh [jstor]
The "Westoxication" of Iran: Depictions and Reactions of Behrangi, al-e Ahmad, and Shariati, Brad Hanson [jstor]
Geographies of Capital and Capital of Geographies: Reckoning the Embodied City of Tehran through Cosmetic Surgeries, Marzieh Kaivanara
Economics
China in Africa: A Critical Assessment, Ahjamu Umi [link]
Small Scale Farmers and Peasants Still Feed the World, Report by ETC Group [link]
16 Million and Counting: The Collateral Damage of Capital [link]
The Keynesian Counterrevolution, Mike Beggs [jacobin]
Jobs For All, Mike Beggs [jacobin]
Other
How This Climate Activist Justifies Political Violence, David Marchese interviewing Andreas Malm [NYT]
Against Domestication, Jacques Camatte [marxists dot org]
The Annihilation of Caste, B. R. Ambedkar, [archive]
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craftyladybug · 4 months
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Mina mina dreaming aboriginal dot art hair Scrunchies.
https://craftyladybug18.etsy.com/listing/1027873935
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mulberrydesigns · 3 months
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kenyizsuartblog · 7 months
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The Rainbow Serpent's Herald
Grayscale version (x)
Kenyizsu's First Law: Everything that receives my undivided attention shall be redesigned into a fantasy setting sooner or later.
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It is rare the Rainbow Serpent crosses the veil to the mortal realm from the Dreamtime, even rarer for her to choose a champion among penguins. Once chosen, the champion must face all manners of supernatural foes and challenges to keep the Dreamtime eternal, the worlds in balance and their fellow penguins safe. Given the Dreamtime's timeless nature, peeking into the past, other parts of the present, or into the future, or even temporary time-traveling can indeed happen, usually in the most inopportune moments possible. Whether or not the champion experiences this sudden shift in life duties as a blessing or a curse, is entirely up to the penguin himself.
Personally, Rory absolutely loves the ride!
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So! Once again a fantasy redesign! Because why not? :D I have literally zero plans with this idea beyond this picture, but by all that is holy, I researched the heck out of it as much as I could.
This is also the first picture I have colored with the Gradient Map technique, and a bit of a paintover as the final touch. Please let me know how it turned out, the good and the bad! Thank you! :blowkiss:
Trivia
Rory is from Bells Beach, Australia, which used to belong to the Wathaurong nation, as I have found out. In their art they don't really use dots, mostly crosshatching and circles, hence I opted to leave out dot-like decoration off the weapons entirely (Rory's design has them already, I'm not changing that).
The beaked boomerang (looking like a big 7) was one type of non-returning boomerang mostly used for melee fighting, acting as a hooked weapon. They also used it for cutting meat and digging, and should the beak break off, they just chiselled it down and used it as a regular non-returning boomerang. Originally Rory had a spear, but once I found this type of boomerang, I knew this would be his main weapon, certainly. The spear still made it onto the picture because I found a hella awesome looking aboriginal spear in a museum on Google! :D
The Rainbow Serpent's head shape and darker coloring compared to the rest of her body is based on the inland taipan. The design would have been either that, or the largest snake in Australia, the scrub python. But given how the inland taipan has the most potent venom in the entire goddamn world (cuz it's Australia, babyyy!), the choice became obvious. Her frills on her head come from some interpretations of the Serpent where it is drawn with horns or some kind of feathers (?) growing out of the two sides of his head, behind the eyes.
I haven't actually found any Rainbow Serpent-related myths within the Wathaurong or the Kulin alliance circles, they mostly believed in a creator spirit called Bundjil in the form of a wedge-tailed eagle. I guess the Serpent wasn't worshiped around those parts of Australia. Still, the general composition of Rory standing with a Rainbow Serpent was very strong in my mind, so I did not let that one go.
Originally the Serpent would have been absolutely massive, but I struggled to come up with a composition that would feel right to me. I probably could have done so eventually, but by pulling away from that and making it a more personal composition helped me progress finally. Maybe one day I will do the other idea!
I love my hobbies, honestly. I learn about so many awesome things. Hope you guys like the picture, let me know! ^^ Take care!
2023.08.29.
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t-jfh · 5 months
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Painting by Kaapa Mbitjana Tjampitjinpa
Aboriginal artist of the Papunya Tula art movement, Central Australia.
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Painting by Mick Wallankarri Tjakamarra
Aboriginal artist of the Western desert art movement, Central Australia.
Aboriginal art symbols and meaning
Aboriginal art meaning varies from area to area.
The symbols in Aboriginal art are design specific. Symbols have different meanings depending on which design is being painted.
A design made up of different symbols tells the story of a mythical ancestral heroe’s journey to their final resting place.
The individual symbols map out that mythical journey. The arranged symbols represent features of that ancestor journey. They also represent the place his spirit now resides.
The design as a whole also represents the spirit of a specific mythical ancestral hero called an Alcheringa.
Different Alcheringa spirits reside in different sacred sites. Each has its own specific design.
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Painting by Anatjari Tjakamarra
Aboriginal artist of the Western desert art movement, Central Australia.
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Wooden Churinga from Central Australia.
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Stone Churinga from Central Australia.
Australian Aboriginal Churinga and Aboriginal art meaning
Sacred Churingas have the same designs as found in early paintings. These designs were not painted but incised into flat oval-shaped pieces of wood or stone. Churingas are not art they are sacred spiritual objects.
Traditional aboriginal art and early aboriginal paintings have a sacred design that depict Alcheringa (Dreamtime/Spirit).
Understanding Alcheringa and the designs found on sacred Churinga is the key to comprehending aboriginal art.
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