Arts, Architecture, and Native Creativity

  • Joy Hendry


The quotation at the start of this chapter is a wonderfully optimistic view of the possibilities art holds for intercultural communication, and in this chapter I hope to show that it is at least to some extent justi­fied. We have already seen in chapter 1 how displays of contemporary art are used in museums to demonstrate the continuing existence of the peoples whose ancient work is on show. In chapter 2 we discussed the ways travelers to different parts of the world seek examples of per­forming art to watch, and material objects to buy and bring back with them as souvenirs of their visit, thus depositing some of their external funds in the local economy. We have also seen how works of art are used as teaching aids, both for children to learn of their own cultural background, and for people of all ages to learn about each other. The quotation was taken from a brochure of Desart, the Association of Central Australian Aboriginal Art and Craft Centres, which lists no fewer than 31 centers in that so-called desert region of Australia, all Aboriginally owned and governed. Desart also helps the Aboriginal artists working at these centers to market and sell their work.


Clay Corn Europe Income Sandstone 


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References and Further Readings

  1. Eidelson, Meyer, 1997, The Melbourne Dreaming —A Guide to the Aboriginal Places of Melbourne, Canberra: Aboriginal Studies Press.Google Scholar
  2. Hakiwai, A., 1990, “Once Again the Light of Day? Museums and Maori Culture in New Zealand,” Museum XLII(1): 35–38.Google Scholar
  3. Kasarhérou, Emmanuel, 1991, “The New Caledonian Museum,” in S.M. Eoe and P. Swadling (eds.), Centres in the Pacific, Port Moresby: Papua New Guinea National Museum.Google Scholar
  4. Morphy, Howard, 1991, Ancestral Connections: Art and an Aboriginal System of Knowledge, Chicago and London: University of Chicago Press.Google Scholar
  5. O’Biso, C., 1987, First Light, Auckland: Reed.Google Scholar
  6. Puketapu-Hetet, Erenora, 1999, Maori Weaving, New Zealand: Pearson Education.Google Scholar
  7. Wells, Kathryn (ed.), 2003, Crossing the Strait, Tasmania to the South Coast, Canberra: Aboriginal and Torres Strait’s Islanders Commission.Google Scholar
  8. Wright, Felicity (ed.), 1999, The Art and Craft Centre Story: Volume One: Report, Canberra: Aboriginal and Torres Strait’s Islanders CommissionGoogle Scholar
  9. Wright, Felicity and Frances Morphy (eds.), 2000, The Art and Craft Centre Story: Volume Two: Summary and Recommendations, Canberra: Aboriginal and Torres Strait’s Islanders Commission.Google Scholar

Copyright information

© Joy Hendry 2005

Authors and Affiliations

  • Joy Hendry

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