Ulli Beier, the Aboriginal Arts Board and Aboriginal Self-Determination

IF 0.1 0 ART
Marie Geissler
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引用次数: 1

Abstract

‘The dawn is at hand’, declared Kath Walker (Oodgeroo Noonuccal). This declaration served as the title of a poem and of her book of poems published in 1966. The dawn at hand was her dream of a postcolonial Australia. In the mid-1960s, her poems struck such a chord with the Australian public that they helped make her Australia’s bestselling poet. More extraordinarily, an Aboriginal person was articulating a rising Australian consciousness—a groundswell of hope that united many Australians around the idea that amends could be made for the nation’s original sin against the country’s Indigenous peoples. This groundswell culminated in the ninety-one per cent vote for constitutional change in the 1967 Referendum, which had been called by the Holt Liberal government. By including Aboriginal and Torres Strait Islander people in the population of the nation, the passing of the referendum gave them the legal rights of other Australians to self-determination. Preparation for Australia’s journey of national deliverance began immediately after the referendum and was put into full swing with the election of the Whitlam Labor government in December 1972. The Whitlam government launched a veritable cultural revolution, of which the Aboriginal Arts Board (AAB), which is the subject of this essay, was just one small aspect of its path to delivering Indigenous self-determination and also a new Australian cultural consciousness. Translating constitutional change into social practice, however, was an altogether more difficult task. If the ideal of self-determination provided a clear and noble vision, its practical realisation inadvertently created numerous new problems. There were many reasons for this. Because the nation had been founded on the exclusion, if not extermination or extinction, of the Indigenous population, a racist mindset penetrated the deepest recesses of its psyche, social habits, and ideological practices. As the Aboriginal activist Gary Foley discovered, government departmental regulations honed by years of institutional racism and
乌尔丽·贝尔、原住民艺术委员会与原住民自决
凯思·沃克(Oodgeroo Noonucal饰)宣称:“黎明就在眼前。”。这一宣言是1966年出版的一首诗和她的诗集的标题。黎明就在眼前,这是她对后殖民时代澳大利亚的梦想。20世纪60年代中期,她的诗歌引起了澳大利亚公众的共鸣,使她成为澳大利亚最畅销的诗人。更奇怪的是,一位土著人表达了一种日益高涨的澳大利亚意识——这股希望的浪潮将许多澳大利亚人团结在一起,认为可以弥补国家对土著人民的原罪。这一浪潮最终导致霍尔特自由党政府在1967年的全民投票中以91%的选票支持宪法改革。通过将原住民和托雷斯海峡岛民纳入国家人口,公民投票的通过赋予了他们其他澳大利亚人自决的合法权利。澳大利亚拯救国家之旅的准备工作在公投后立即开始,并随着1972年12月惠特拉姆工党政府的选举而全面展开。惠特拉姆政府发起了一场名副其实的文化革命,本文的主题是土著艺术委员会(AAB),这只是其实现土著自决道路的一个小方面,也是一种新的澳大利亚文化意识。然而,将宪法变革转化为社会实践是一项更为艰巨的任务。如果自决的理想提供了一个明确而崇高的愿景,那么它的实际实现无意中产生了许多新问题。原因有很多。由于这个国家建立在对土著人口的排斥(如果不是灭绝或灭绝的话)之上,种族主义心态渗透到了其心理、社会习惯和意识形态实践的最深处。正如土著活动家加里·福利所发现的那样,多年的制度性种族主义和
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16
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