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We are not alone: Anthropology in a world of others

2006; Routledge; Volume: 71; Issue: 2 Linguagem: Inglês

10.1080/00141840600733710

1469-588X

Fred Myers,

Archaeology and Rock Art Studies

Click to increase image sizeClick to decrease image size Acknowledgments I thank Faye Ginsburg, Don Brenneis, Françoise Dussart, and George Marcus for their many conversations over the years and for their editorial contributions to this essay. I give specifil thanks to Mark Graham and Nils Bubandt for heroic editorial effort on my (and the reader's) behalf. Notes 1. Milirrpum vs. Nabalco Pty Ltd (1971) 17 FLR 141. See Williams 1986 Williams and Nancy, M. 1986. The Yolngu and their Land: A System of Land Tenure and the Fight for its Recognition, Canberra: Australian Institute of Aboriginal Studies. [Google Scholar] for more discussion. 2. A nephew of the very well known Aboriginal activist and leader Charles Perkins, Neville Perkins had family origins in the Alice Springs area, but had grown up down South and was a student at the University of Sydney. 3. The category 'European' was used particularly by whites to refer to themselves, as distinct from 'Aboriginal' people, and in that sense its primary referent was white Australians. The local Aboriginal English referred to 'walypalas,' as distinct from 'blakpalas' and (sometimes) 'yellafellas' or 'half-castes.' 4. The book was R. Gould's (1969) Gould, Richard. 1969. Yiwara: Foragers of the Australian Desert, London: Collins. [Google Scholar] Yiwara: Foragers of the Australian Western Desert. 5. For a discussion of these problems with the exposure of secret material in paintings, see Kimber 1981 Kimber, R. G. and (Dick). 1981. "Central Australian and Western Desert Art: Some Impressions". In Mr. Sandman, Bring me a Dream, Edited by: Crocker, Andrew. 7–9. Sydney: Aboriginal Artists Agency and Papunya Tula Artists. [Google Scholar], 1985 Kimber, R. G. and (Dick). 1985. "Papunya Tula Art: Some Recollections August 1971 – October 1972". In Dot and Circle: A Retrospective Survey of the Aboriginal Acrylic Paintings of Central Australia, Edited by: Maughan, Janet and Zimmer, Jenny. 43–44. Melbourne: Royal Melbourne Institute of Technology. [Google Scholar], 1995 Kimber, R. G. and (Dick). 1995. "Politics of the Secret in Contemporary Western Desert Art". In Politics of the Secret. Oceania Monographs, Edited by: Andersons, Christopher. 123–142. Sydney: University of Sydney. 43 [Google Scholar]; Myers 2002 Myers, Fred. 2002. Painting Culture: The Making of an Aboriginal High Art, Durham: Duke University Press. [Crossref] , [Google Scholar]. 6. I have discussed these questions and criticisms in depth elsewhere, both as they relate to Aboriginal art and their sources in the discussion of 'primitivism' (see Myers 1991 Myers, Fred. 1991. Representing Culture: The Production of Discourse(s) for Aboriginal Acrylic Paintings. Cultural Anthropology, 6(1): 26–62. [Crossref] , [Google Scholar], 1994 Myers, Fred. 1994. Culture-Making: The Performance of Aboriginality at the Asia Society Galleries. American Ethnologist, 21: 679–699. [Crossref], [Web of Science ®] , [Google Scholar], 2002 Myers, Fred. 2002. Painting Culture: The Making of an Aboriginal High Art, Durham: Duke University Press. [Crossref] , [Google Scholar]). 7. This is a concept I borrowed from Appadurai (1986) Appadurai, Arjun. 1986. "Introduction: Commodities and the Politics of Value". In The Social Life of Things: Commodities in Cultural Perspective, Edited by: Appadurai, A. 3–63. Cambridge: Cambridge University Press. [Crossref] , [Google Scholar] and to some extent from Thomas (1991) Thomas, Nicholas. 1991. Entangled Objects: Exchange, Material Culture and Colonialism in the Pacific, Cambridge: Harvard University Press. [Crossref] , [Google Scholar]. 8. In much of Central Australia, 'business' is the English word used to refer to ritual, marking at once its importance as a comparative value and its significance as a kind of productive activity.