Week Six reading- 'Thinking beyond abstraction' by Felicity Fenner.

Felicity Fenner's article comments on the values placed on Aboriginal art from both Indigenous and Non-Indigenous audiences. She argues that contemporary non-Indigenous artists are far more influenced by Indigenous artists as they have the ability to travel and research influences. Consequently Aboriginal artists are often confined to their own rural town, with no foreign influences to inspire their work. These artists are rarely exposed to contemporary western art, often due to cultural reasons and differences. Fenner argues,

"Western artists tend to paint solely for personal, intellectual fulfilment, the process of painting for Aboriginal artists is also more socio-politically orientated. It is a method of keeping alive traditional cultures otherwise threatened by assimilation." She further argues that Indigenous artists are unaware of their influences on contemporary western work, and are often unimpressed. 

I feel that this is their response to the loss of Indigenous culture through the mis-use of religious and culture icons. Fenner references W.J.T Mitchell through the quote, "the strangeness of buying other people's religious images and putting them onto the wall demands consideration". I agree with this statement as the reproduction of cultural symbols loses significant value through over exposure and mass production. The art becomes an item rather than an icon. However, I also feel that it is ignorant to dismiss western audiences from appreciating Indigenous art. If it is their way of preserving their culture from assimilation, they must showcase their art with pride rather than hiding it from world. Restrictions on the replication of Indigenous art must be maintained for this culture to survive. Additionally, it is a means for Indigenous Australians to bring forth political and social issues. I feel that if non-Indigenous Australians are not exposed to Indigenous art, they will never understand their culture and thus will create further differences between the two races.

Video of Tracey Moffatt's 'Night Cries' Part Two

Part two of Tracey Moffatt's short film, 'Night cries - A rural tragedy'

http://youtu.be/xqdK7gryXp0

The second part of the film showcases a deeper understanding of the complex relationship between the mother and daughter, through the inclusion of many symbolic elements that are to be discussed. Furthermore, symbolism is used to illustrate Moffatt’s social commentary on the commercialization of Indigenous art, as well as the colonization of these artists. Indigenous singer, Jimmy Little is filmed at the beginning and end of the film singing Christian lyrics reminiscent of the chants that were taught in mission schools. Moffatt uses Little as a, “cultural mediator between the two worlds constituting her aesthetic, white and Aboriginal.”[1] He is dressed and groomed in a traditional western custom, demonstrating the effects of colonization. This is further exemplified through Moffatt’s references to Albert Namatjira’s landscape paintings used for the film’s backdrop. The highly stylized landscapes symbolize Namatjira’s position in Indigenous society functioning, “as a bridge between the Aboriginal landscape and its Western appropriation. In short, Moffatt shapes the Australian outback with the artificiality of a stage setting or a canvas.”[2] It is Moffatt’s intent to reject Western culture’s ‘dominant obsession’ with using real photographs as a landscape.[3] Once again the audience is confronted with symbolism and social commentary, gaining wider knowledge of Indigenous issues involving colonization and cultural loss.

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[1] Alessandra Senzani, “Dreaming back: Tracey Moffatt’s bedeviling films”, Post Script, http://www.freepatentsonline.com/article/Post-Script/176371862.html, (accessed 18/08/2011).

[2] Ibid, (accessed 18/08/2011).

[3] Ibid, (accessed 18/08/2011).

Video of Tracey Moffatt's 'Night Cries' Part One

Part one of Tracey Moffatt's 'Night Cries- A rural tragedy'.

http://youtu.be/Tv1IN-i1t5Q

Part one of the film establishes of the controversial plot, and displays the tension between the two characters. 'Night Cries' has widened my understanding of Indigenous art, most prominently of contemporary Indigenous artists. Moffatt weaves symbolism into her work enabling a number of political issues to surface including assimilation, the commercialization of Indigenous art and the complex relationships of a mixed race family. Yet her social commentary is laced with ambiguity, allowing the film to avoid being labeled a ‘protest’ against history. This tactic has become a signature feature of her work, forcing the audience to construct their own conclusions.[1] Further research into the history of Indigenous assimilation highlighted that Moffatt herself, was raised by a Caucasian family. Many of her works have incorporated scenarios from her own life, with stories merging as her own social commentary. This technique has changed my perspective of Indigenous art, previously being only exposed to work from the Central and Western Deserts region. This style of art involves the use of dotting, which has become misinterpreted as the only art form of Indigenous culture.

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[1] Catherine Summerhayes, “The moving images of Tracey Moffatt”, http://trfineart.com/pdfs/reviews/0000/0186/Moving_Images_of_Tracey_Moffatt_reduced.pdf, pg 22.

'Night Cries: A rural tragedy' by Tracey Moffatt

A barren and arid landscape under a sun burnt sky opens a complex story in Tracey Moffatt’s 1989 short film, ‘Night cries’. Howling wolves set an unsettling tone as the audience is introduced to the film’s two main characters, a middle-aged Indigenous woman and her dying Caucasian mother. Moffatt depicts a bittersweet relationship between a mother and daughter, touching upon issues of mixed race families and the Assimilation Policy of the sixties. This legislation enforced Indigenous children to be adopted into white families, which is illustrated by Moffatt’s use of symbolism to demonstrate colonization.[1] The daughter faces a battle between the love and loyalty she has for her mother, overshadowed by evocations of a childhood nightmare.[2] The daughter feels obliged to fulfill her duty as a caretaker, yet longs for her own independence in a distant place. Flashbacks and dreams into the future confuse the character, forcing the viewer to become empathetic with her situation. The viewer questions whether the daughter feels trapped and willing to define her own independence, or whether she is longing for her true Indigenous family. 

Moffatt's short film touches upon controversial subject matter, but does it artistically and subtly. Her work incorporates a degree of ambiguity, forcing the viewer to construct their own conclusions. This is an effective tool that has allowed her to explore social and political issues, without appearing to construct a protest.  The film brought to my attention the effects of the Assimilation policy, and the complications that it caused for many mixed race families. 

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[1] National Museum of Australia, “States agreed on a policy of assimilation at the 1961 Native Welfare Conference”, National Museum of Australia, http://www.indigenousrights.net.au/document.asp?iID=946, (accessed 16/08/2011).

[2] Janet Watson, “Fractured Realities, Fractured Truths in Tracey Moffatt’s Nice Coloured Girls and Night Cries: A Rural Tragedy”, Deakin University, http://www.doubledialogues.com/archive/issue_nine/watson.html, (accessed 16/08/2011).