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Introduction

Michelle Harris, Bronwyn Carlson

Abstract


Historically, research on Indigenous peoples and cultures has been the reserve of anthropologists and outsiders to Indigenous communities, and has largely been an extension of colonialist epistemologies that depend on motifs of authenticity and its oppositional twin, contamination, or some sort of combination of the two such as acquisition, evolution, adaptation. If art and other cultural artifacts relaying the complexities of Indigenous world experiences are studied within the academic context, they often adhere to older academic notions, standards, or expectations of what is appropriate to study: literature, painting, music, and traditional Indigenous art forms—carvings, weavings, pottery, and sacred/ceremonial objects. Less attention is given to the everyday life of contemporary Indigenous peoples and communities as consumers of popular culture and the popular pleasures in which we all engage.


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