Bad Aboriginal Art : Tradition, Media, and Technological by Eric Michaels

By Eric Michaels

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Additional resources for Bad Aboriginal Art : Tradition, Media, and Technological Horizons (Theory Out of Bounds, Vol 3)

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The agreement involved a number of features that further em­ powered the Warlpiri. One was that Warlukurlangu Artists, itself named after an aspect of the fire ceremony ritual, invested in production along with the other fund­ ing bodies, in order to obtain a legal interest in the representation of the Snake Dreaming and because the documentary would be a powerful accompaniment to a particularly significant acrylic art piece soon to be exhibited internationally. This led to the beneficial copyright being assigned to the War­ lukurlangu Artists.

These may be rituals, songs, dances, graphic designs, and perhaps oblique references to knowledge thus encoded. 2. Violation of mortuary restrictions that may prohibit reproduc­ tion of a now deceased person's body, image, or voice in the presence of his (or her) relatives. Restrictions may also include his name, words thought to sound like the deceased's name, and sometimes songs, stories, designs, dances, or things associ­ ated with that person. 3. , most fights, interi­ ors of humpy camps, certain ceremonies).

A c k n owl e d g m e n t s This page intentionally left blank A Pri m e r of Restrict i o n s o n Pict u reTak i ng in Trad iti o nal A reas of A b o rigi n a l A u s t ra l i a [ 1 9 8 6 ] Introduction: Photography as Spirit Theft ' first encounters with photography sometimes lead them to conclude that the camera is a dangerous, magical instrument capable of stealing some essential part of their being, causing illness or death. Generally such anec­ dotes are not explained but get filed away with other exotic superstitions held by curious primitives, leaving these people to sort out their own relationship to cam­ eras, photographs, film, and now video.

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