Stone AXE! To whom do they belong?
Autor(a) principal: | |
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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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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 |
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1797239922178916352 |