Oral Presentation # 1

Using the “Reply” Function and entering your name, please upload your abstracts  or introduction according to the following format:

Title of Paper

Name (if you wish–this will be public, so you are absolutely free not to post your name here)

Abstract/Introduction

Please come to the presentation with questions prepared for all of the people who are also presenting on the same day as you. Don’t forget to see if you can link any of the papers to readings we did at the beginning of the course.

3 thoughts on “Oral Presentation # 1

  1. The role of Inuit Art in Challenging the Contemporary World
    Kathryn
    Introduction: In 1996, a solo exhibition by Inuk artist, David Ruben Piqtoukun, marked the emergence of a new generation of Inuit artists. Between Two Worlds exposed sixty-two works made by Piqtoukun which offered an authentic view of Piqtoukun’s complex realities. The exhibition revealed Piqtoukun’s efforts to balance his traumatic past of residential school with his life in the contemporary world. Inuit artists such as Zacharias Kunuk, Annie Pootoogook and Tanya Tagaq will follow Piqtoukun’s lead, trying to take control of their Inuit art and identity and finding a balance between their cultures and the contemporary world. Piqtoukun, with this exhibition, was actively challenging the cultural appropriation of Inuit art by Canadian government and commences. Many Inuit artists followed Piqtoukun’s initiative, using traditional and modern means to promote cultural diversity. In this paper, I will argue that Inuit contemporary art is a symbol of cultural diplomacy between the traditional and modern world. Inuit artists are actively challenging Canada’s cultural appropriation by taking control of Inuit art and identity through traditional and contemporary means. Furthermore, Inuit artists are actively using technology to present vast audiences a discourse that is authentically Inuit. Inuit artists are, therefore, creating a new “transnational” culture through their hybrid use of Inuit traditions and contemporary means to promote Inuit art.

  2. Aboriginal Art in Contemporary Canada
    Abstract

    This paper examines the importance of art in current Aboriginal communities across Canada. It will consider the positive effects of art on native communities as well as the negative impact of art. This paper will do so by establishing a relationship between art education, art therapy, culture and its presence on our society today. The main purpose of this paper is to understand the positive affects of the presence of native art in contemporary Canada but oppositely observe and analyses the negative aspect of this presence, ultimately establishing clear flaws in the research that has been conducted by various scholars and the direction into which we area headed with native art.

    Key Words: Aboriginal, art, therapy, Western, economy, museum, community

  3. Indigenous Cinema and Resistance
    Yana Iossel
    ABSTRACT: Cinema has long been an industry that caters to white consumers. As such, the films released often portray minorities through stereotypes. This paper examines Hollywood’s depiction of Indigenous characters in relation to Indigenous life at the time. By highlighting the covert discrimination in Robert J. Flaherty’s 1922 “ethnography” Nanook of the North, and the overt discrimination in the Western genre, this paper examines the oppressive nature of White-produced cinema when discussing minorities. This paper discusses Indigenous writings and films like Inuuvunga – I Am Inuk, I Am Alive, a National Film Board of Canada produced film directed by eight Inuit high school students, filmed in the same location as Flaherty’s film (Moose Factory). This paper examines similarities and differences between Flaherty’s and the students’ films in an effort to demonstrate the importance of Indigenous cinema.

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