Stone AXE! To whom do they belong?

Detalhes bibliográficos
Autor(a) principal: Araujo, Yara Rondon Guasque
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: por
Título da fonte: DATJournal
Texto Completo: https://datjournal.anhembi.br/dat/article/view/576
Resumo: This text approaches different experiences concerning the shared custody of indigenous artifacts in museums abroad and in Brazil. Discusses how the responsibility to preserve indigenous artifacts is transformed in the responsibility of collecting indigenous participants stories about the use of those objects. The lack of a more disseminate indigenous protocols in Brazil are already a reality in countries as the USA, Canada, Australia, and New Zealand. Following the recent developments of this debate, I tried to reflect on how the search for auto identity and auto-determination of ancestors folks posits within the indigenous contemporary art a new stake for placing some artists in the protagonism.
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spelling Stone AXE! To whom do they belong?¡HACHAS de piedra! ¿A quién pertenecen?MACHADOS de pedra! A quem pertencem?ArteMuseuAmarras coloniaisProtocolos indígenasArtMuseumColonial bondsIndigenous protocolsArteMuseoAmarres ColonialesProtocolos IndígenasThis text approaches different experiences concerning the shared custody of indigenous artifacts in museums abroad and in Brazil. Discusses how the responsibility to preserve indigenous artifacts is transformed in the responsibility of collecting indigenous participants stories about the use of those objects. The lack of a more disseminate indigenous protocols in Brazil are already a reality in countries as the USA, Canada, Australia, and New Zealand. Following the recent developments of this debate, I tried to reflect on how the search for auto identity and auto-determination of ancestors folks posits within the indigenous contemporary art a new stake for placing some artists in the protagonism.Este texto aborda diferentes experiencias de custodia compartida de objetos indígenas en instituciones museísticas fuera y dentro de Brasil. Discute cómo la responsabilidad de preservar los objetos indígenas también se transforma en la responsabilidad de recopilar las narrativas de los participantes indígenas sobre el uso de dichos objetos. La ausencia de un protocolo indígena más difundido en Brasil ya es una realidad en países como Estados Unidos, Canadá, Australia y Nueva Zelanda. Siguiendo los desarrollos recientes de este debate, traté de reflexionar sobre cómo la búsqueda de la identidad y la autodeterminación de los pueblos ancestrales colocan un nuevo hito en el contexto del arte indígena contemporáneo, lanzando a algunos artistas al protagonismo.Este texto aborda diferentes experiências de guarda compartilhada de objetos indígenas em instituições museológicas fora e dentro do Brasil. Discute como a responsabilidade de preservar objetos indígenas se transforma também na responsabilidade de coletar narrativas de participantes indígenas sobre o uso de tais objetos. A ausência de um protocolo indígena mais disseminado no Brasil é já uma realidade em países como os Estados Unidos, Canadá, Austrália e Nova Zelândia. Seguindo os recentes andamentos deste debate, procurei refletir como a busca identitária e autodeterminação dos povos ancestrais colocam um novo marco no contexto da arte indígena contemporânea lançando alguns artistas ao protagonismo.Universidade Anhambi Murumbi2022-03-23info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://datjournal.anhembi.br/dat/article/view/57610.29147/datjournal.v7i1.576DAT Journal; Vol. 7 No. 1 (2022): Art, Design and Technology + UFAM Dossier; 122-144DAT Journal; Vol. 7 Núm. 1 (2022): Arte, Diseño y Tecnología + Dossier UFAM; 122-144DAT Journal; v. 7 n. 1 (2022): Arte, Design e Tecnologia + Dossiê UFAM; 122-1442526-178910.29147/datjournal.v7i1reponame:DATJournalinstname:Universidade Anhembi Morumbi (ANHEMBI)instacron:ANHEMBIporhttps://datjournal.anhembi.br/dat/article/view/576/398https://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessAraujo, Yara Rondon Guasque2022-03-28T18:51:36Zoai:ojs.datjournal.anhembi.br:article/576Revistahttps://datjournal.anhembi.br/datPUBhttps://datjournal.anhembi.br/dat/oai||ppgdesign@anhembi.br2526-17892526-1789opendoar:2022-03-28T18:51:36DATJournal - Universidade Anhembi Morumbi (ANHEMBI)false
dc.title.none.fl_str_mv Stone AXE! To whom do they belong?
¡HACHAS de piedra! ¿A quién pertenecen?
MACHADOS de pedra! A quem pertencem?
title Stone AXE! To whom do they belong?
spellingShingle Stone AXE! To whom do they belong?
Araujo, Yara Rondon Guasque
Arte
Museu
Amarras coloniais
Protocolos indígenas
Art
Museum
Colonial bonds
Indigenous protocols
Arte
Museo
Amarres Coloniales
Protocolos Indígenas
title_short Stone AXE! To whom do they belong?
title_full Stone AXE! To whom do they belong?
title_fullStr Stone AXE! To whom do they belong?
title_full_unstemmed Stone AXE! To whom do they belong?
title_sort Stone AXE! To whom do they belong?
author Araujo, Yara Rondon Guasque
author_facet Araujo, Yara Rondon Guasque
author_role author
dc.contributor.author.fl_str_mv Araujo, Yara Rondon Guasque
dc.subject.por.fl_str_mv Arte
Museu
Amarras coloniais
Protocolos indígenas
Art
Museum
Colonial bonds
Indigenous protocols
Arte
Museo
Amarres Coloniales
Protocolos Indígenas
topic Arte
Museu
Amarras coloniais
Protocolos indígenas
Art
Museum
Colonial bonds
Indigenous protocols
Arte
Museo
Amarres Coloniales
Protocolos Indígenas
description This text approaches different experiences concerning the shared custody of indigenous artifacts in museums abroad and in Brazil. Discusses how the responsibility to preserve indigenous artifacts is transformed in the responsibility of collecting indigenous participants stories about the use of those objects. The lack of a more disseminate indigenous protocols in Brazil are already a reality in countries as the USA, Canada, Australia, and New Zealand. Following the recent developments of this debate, I tried to reflect on how the search for auto identity and auto-determination of ancestors folks posits within the indigenous contemporary art a new stake for placing some artists in the protagonism.
publishDate 2022
dc.date.none.fl_str_mv 2022-03-23
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://datjournal.anhembi.br/dat/article/view/576
10.29147/datjournal.v7i1.576
url https://datjournal.anhembi.br/dat/article/view/576
identifier_str_mv 10.29147/datjournal.v7i1.576
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://datjournal.anhembi.br/dat/article/view/576/398
dc.rights.driver.fl_str_mv https://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv https://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Anhambi Murumbi
publisher.none.fl_str_mv Universidade Anhambi Murumbi
dc.source.none.fl_str_mv DAT Journal; Vol. 7 No. 1 (2022): Art, Design and Technology + UFAM Dossier; 122-144
DAT Journal; Vol. 7 Núm. 1 (2022): Arte, Diseño y Tecnología + Dossier UFAM; 122-144
DAT Journal; v. 7 n. 1 (2022): Arte, Design e Tecnologia + Dossiê UFAM; 122-144
2526-1789
10.29147/datjournal.v7i1
reponame:DATJournal
instname:Universidade Anhembi Morumbi (ANHEMBI)
instacron:ANHEMBI
instname_str Universidade Anhembi Morumbi (ANHEMBI)
instacron_str ANHEMBI
institution ANHEMBI
reponame_str DATJournal
collection DATJournal
repository.name.fl_str_mv DATJournal - Universidade Anhembi Morumbi (ANHEMBI)
repository.mail.fl_str_mv ||ppgdesign@anhembi.br
_version_ 1797239922178916352

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