Our Voices II

Rebecca Kiddle, Patrick Reid Stewart, Kevin O'Brian

Description

Our Voices II: the DE-colonial Project will showcase decolonizing projects which work to destable and disquiet colonial built environments. The land, towns, and cities on which we live have always been Indigenous places yet, for the most part our Indigenous value sets and identities have been disregarded or appropriated. Indigenous people continue to be gentrified out of the places to which they belong and neo-liberal systems work to continuously subjugate Indigenous involvement in decision-making processes in subtle, but potent ways. However, we are not, and have never been cultural dopes. Rather, we have, and continue to subvert the colonial value sets that overlay our places in important ways.

Sujets

• Colonialism
• Architecture

Informations

• Publié par: ORO Editions
• Date de parution: 15 juin 2021
• Nombre de lectures: 0
• EAN13: 9781954081604
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

Our Voices II: the de-colonial project



ORO Editions
Publishers of Architecture, Art, and Design
Gordon Goff: Publisher
www.oroeditions.com
[e-mail]
Published by ORO Editions
Copyright © Indigenous Architecture and Design Publishing Collective 2021
Text and Images © Indigenous Architecture and Design Publishing Collective 2021
E ko copyright © Josephine Ruiha Clarke
All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photocopying of microfilming, recording, or otherwise (except that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press) without written permission from the publisher.
You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer.

Graphic Layout and Design: Pablo Mandel of Circular Studio
Text and Images: Indigenous Architecture and Design Publishing Collective 2021
ORO Project Coordinator: Kirby Anderson
10 9 8 7 6 5 4 3 2 1 First Edition
Library of Congress data available upon request. World Rights: Available
ISBN: 978-1-943532-56-8
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Printed in China.
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Our Voices II: the de-colonial project
By Rebecca Kiddle, luugigyoo patrick stewart, and Kevin O’Brien




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OUR VOICES II: THE DE-COLONIAL PROJECT


Table of Contents


Foreword: Frontier Conflict – Fiona Foley
Mayem [welcome] : Introduction
The Ethics of writing and producing a book on De-colonisation – Rebecca Kiddle, luugigyoo patrick stewart, and Kevin O’Brien
kopat [everybody together] (section 1): People and Community
Song **: E ko – Earthfeather (aka Josephine Clarke)
Chapter 1.1: Sacred Superwoman – Linda Lavallee
Chapter 1.2: Decolonizing one child at a time – luugigyoo patrick stewart
Chapter 1.3: Island Child and Heroic Work for Homeless Families – Diane Menzies
Chapter 1.4: Ngā Mahi ā Te Whare Pora: The unravelling of ‘colonial’ Christchurch through the creative practices of wāhine – Keri Whaitiri
Chapter 1.5: The Contemporary Indigenous Village: Decolonization Through Reoccupation and Design – Daniel J. Glenn
Chapter 1.6: Seeking Cultural Relevancy in Dine Communities – Richard Begay
meta [house] dewer [to build] (Section 2): Architecture and Building
Poem **: Not Dead Yet – Timmah Ball
Chapter 2.1: Blak Box – Kevin O’Brien
Chapter 2.2: The Whare Māori and Digital Ontological Praxis – Reuben Friend
Chapter 2.3: Rangi’s Turn - Elisapeta Hinemoa Heta
Chapter 2.4: Niimii’idiwigamig Anishinaabe Roundhouse – Eladia Smoke
Chapter 2.5: Tipi Tectonics: Building as a Medicine - Krystel Clark
Chapter 2.6: The Indigenous Peoples Space: Architecture as Narrative – Eladia Smoke, David Fortin and Wanda Dalla Costa
meriba ged [our land] (Section 3): Country and City
Poem **: K’alii’aks – luugigyoo patrick stewart
Chapter 3.1: Rebuilding Renewal – Jason De Santolo
Chapter 3.2: Designing with Country - Dillon Kombumerri and Daniele Hromek


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Chapter 3.3: Contested Ground – Weaving stories of spatial resilience, resistance, relationality and reclamation – Daniele Hromek
Chapter 3.4: Covered by Concrete – Uncovering latent Aboriginal narratives concealed in urban contexts – Michael Hromek, Sian Hromek and Daniele Hromek
Chapter 3.5: Urban Manaakitanga as Counter-Colonial Mahi – Amanda Yates
dirsir [to prepare, fix, make] (section 4): Principles and Action
Poem **: Lineage – Kristi Leora Gansworth
Chapter 4.1: An Architecture of Twenty-Five Projects – Michael Mossman
Chapter 4.2: Navigating the gaps in Architectural education – Fleur Palmer
Chapter 4.3: Designing Māori Futures - Ngā Aho, Māori Design Professionals – Desna Whaanga- Schollum & Ngā Aho
Chapter 4.4: Developing Indigenous design principles – lessons from Aotearoa – Edited by Jade Kake and Jacqueline Paul
Chapter 4.5: Guiding Decolonial Trajectories in Design: An Indigenous Position – Brian Martin and Jefa Greenaway
Chapter 4.6: #dickdesigner – How not to be one: Colonisation, and therefore decolonisation, is in the detail - Rebecca Kiddle
mop pe dike [talk at end] : Conclusion – Rebecca Kiddle, luugigyoo patrick stewart, and Kevin O’Brien
Acknowledgements


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OUR VOICES II: THE DE-COLONIAL PROJECT


Foreword : Frontier Conflict
Fiona Foley
Badtjala


In Bruce Pascoe’s most recent publication titled, Salt , he states, “Any nation’s artists and thinkers set the tone and breadth of national conversation.” That national conversation at some point must take into account the invasion and subsequent frontier wars of Australia and reparations to the sovereign Aboriginal nations of this continent.
As a five-year old child, I remember looking across to Fraser Island and experiencing a deep sense of loss. It was a loss for my country, for my culture and for my old people. From an early age I wanted to know more because I have an intellect and am curious. That is not a crime. I became a racialised person – not from my family, but by other’s, when I entered the school gates at Urangan, Hervey Bay. My parents faced much racism in the 1970s and at one point were forced to leave Hervey Bay and move to Mt. Isa to escape the pressures of race hatred because of their mixed marriage. By then I was in third grade.
Racism in this country is a topic we like to avoid discussing but it manifests itself everywhere, including in architectural process and practice, the focus of this book. It is a societal burden I’ve learned to carry. That gaze wrapped up in judgment from a white society and white individuals. For me it manifests itself in everyday educational environments, including my present-day status as an academic at Griffith University, with “Dr” in front of my name.
As an adult, I reflect on the fact that many in Australia carry deep psychological scars from what Judy Atkinson terms intergenerational trauma. Aboriginal people were not allowed to bury our dead after massacres had taken place. I believe this country carries deep wounds from the trauma of these frontier wars. We carry it inside our souls whether we are conscious of it or not. This brutality, in turn, has also affected the perpetrators and their descendants.
I did not know I was destined to be an artist in life but that has sustained me for the past 35 years. While studying in the sculpture department at Sydney College of the Arts I created a sculpture in 1986 Annihilation of the Blacks that speaks to this trauma. I was told about a massacre on my country along the Susan River by my late mother, Shirley Foley. Indeed, many such oral histories are carried, in the living memory, of Aboriginal people. That image stayed with me, the image of the Badtjala


people being maimed, killed or fleeing on foot. It was a powerful history to carry and to make of it – something. A kind of decolonial act.
Art and politics have had an uneasy relationship in this country. Many years later after the initial purchase of my sculpture, Annihilation of the Blacks courted controversy from the conservative, John Howard government. The sculpture, and what it symbolised played a role in the history wars unfolding nationally contributing to the non-renewal of Dawn Casey’s contract as the Director of the National Museum of Australia, as a case in point. Dawn Casey, an Indigenous Australian, oversaw the “democratisation of museums” and fore fronted Indigenous challenges, working under a regime that was antagonistic to Indigenous worldviews.
Fast forward to another Canberra institution, the National Gallery of Australia. People may be familiar with my work titled, Dispersed . This work was created after reading a number of publications by historians such as Rosalind Kidd, Jonathan Richards, Raymond Evans and Tony Roberts. Reading about what really took place in Queensland has been a lifetime passion of mine to find out the truth, attitudes held by the colonial man and woman, a guerrilla war with strategic and repeated attacks on the invader. We were not passive in the take-over of our country despite the fact that some have said to me on occasion,