Beyond the frontier: European influence, aborigines and the concept of ‘traditional’ culture∗

Urry, James

doi:10.1080/14443057909386796

Cited by 10 publications

(5 citation statements)

References 15 publications

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“…An intermediary position has emerged that looks more closely at what aspects of rights are invoked, implying that there might be cases in which the individual characteristics of a right dominate over more collective aspects (Muntarbhorn, 1989;Valadez, 1998). Furthermore, the issue of how rights of indigenous people intersect with cultural rights poses even more troubling questions (Kumar, 1988;Urry, 1979). This is not a purely academic question: the distinction between a collectivist and an individualist approach predefines which of the two has moral priority, and thus has serious consequences.…”

Section: Which Indigenous Rights?mentioning

confidence: 99%

It Takes Modern Means to be Traditional: On Recognizing Indigenous Cultural Communities in the Philippines

Hirtz

2003

Development and Change

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The main thesis of this essay is that being recognized as traditional or indigenous requires the employment of modern means. A form of ‘Bureaucratic Orientalism’ has been devised, constructing and reaffirming ‘the Other’ through the minutiae of administrative procedures and contemporary representational processes. These procedures exist for the twin purposes of establishing the right to act as an indigenous group, and of circumscribing the obligations of the state, and possibly of other institutions of governance. The entire debate is the expression of a dilemma that has no solution but is actually an expression of modernity. The three pillars upon which indigeneity is affirmed are a national (internationally legitimized) legal system, the contemporary world of NGOs, and the institutions of local government. Thus, through the very process of being recognized as ‘indigenous’, these groups enter the realms of modernity. The Philippines provide a case study for these explorations.

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Section: Which Indigenous Rights?mentioning

confidence: 99%

It Takes Modern Means to be Traditional: On Recognizing Indigenous Cultural Communities in the Philippines

Hirtz

2003

Development and Change

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“…By the time Europeans and their missionaries had set up camp, local societies had been transformed for ever (see, e.g., Wolf 1982: 131‐58 cf. Urry 1979; Burton 1999: 199‐201). Only decades later did the anthropologists arrive to describe ‘traditional societies’, in most cases without mention of the creation of plantation economies, wage labour, taxation or the imposition of national rather than local identity.…”

mentioning

confidence: 99%

“…It is beyond question that missionaries in the past as in the present have tried to understand local societies in order to transform and ultimately destroy them. On the other hand an earlier anthropology sought to salvage a pristine image of them (see, e.g., Urry 1979) and in doing so create an image of mythically ‘traditional’ cultures. In the contemporary world the edges and borders between these respective efforts have become less distinct, as much mission work mirrors the exercise of development anthropology.…”

mentioning

confidence: 99%

Some reflections on anthropology's missionary positions

Burton

2007

Royal Anthropological Inst

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“…Scholarly critiques of the concepts question notions of 'tradition' that imply something fixed, static, and timeless (Balme, 1998;Handler & Linnekin, 1984;Hobsbawm and Ranger, 2012;Jolly and Thomas, 1992;Mallon, 2010;Stevenson, 2008;Thomas, 1995;Turner, 1997;Urry, 1979;Wendt, 1982;Whimp, 2010) Although definitions vary and are contested, 'tradition' often suggests a fictitious continuity with a historic past.…”

Section: 'Traditional' and 'Contemporary'mentioning

confidence: 99%

Tensions and Possibilities. The Interplay of 'Traditional' Cultural Elements and the Creation of 'Contemporary' Rapa Nui, Māori and Samoan Diasporic Theatre

Cornejo¹

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<p>This thesis focuses on notions of ‘traditional’ and ‘contemporary’ theatre in two Pacific Island contexts, Aotearoa and Rapa Nui. It explores how notions of ‘tradition’ are imagined, recreated, and performed through the ‘contemporary’ creative arts, with a particular focus on theatre. It offers insight about culturally-situated understandings of ‘tradition’, and seeks to acknowledge diverse meanings and perceptions of theatre that exist across diverse Pacific Island cultures, languages, and epistemologies. Ideas about what constitutes ‘tradition’ have been significantly impacted by colonial histories, and that these culturally and historically situated ideas have wide-ranging implications for creative possibilities in the ‘contemporary’ performing arts. ‘Traditional’ performances are often seen as acceptable and relevant to Indigenous communities in Aotearoa and Rapa Nui, contributing to processes of cultural reclaiming and revitalisation. Although cultural continuity is a significant theme in Indigenous theatre in Aotearoa and Rapa Nui, the different emphasis placed upon notions of ‘tradition’ across these comparative contexts has led to very different artistic possibilities being available. In Rapa Nui there is a general reluctance in the performing arts to deviate from ‘tradition’ or to declare work as ‘contemporary.’ The reproduction of ‘traditional’ styles and stories is one response to ongoing colonialism in Rapa Nui, and to the ever present demands of the tourist industry. Māori and Samoan theatre practitioners in Aotearoa have developed theatre forms and processes that are based in cultural values and epistemologies while also being integrated with European theatre techniques, creating innovative approaches to ‘contemporary’ themes and understandings. These developments in the creative arts are supported by the availability of a wide range of theatre education opportunities. Culturally reflective and situated approaches to theatre education have enabled Indigenous theatre practitioners in Aotearoa to use theatre as a forum to express ideas and issues to the community weaving in a variety of different cultural influences, and techniques. This thesis utilised a case-study methodology and open-ended interviews, framed under the research methodology of talanoa, to interact with Māori, Samoan diasporic and Rapanui theatre practitioners, in order to explore their perceptions towards ‘traditional’ and ‘contemporary’ practices. This research focuses on the positives of cultural dialogue, and it emerges from a desire to support intercultural theatre practices in Aotearoa and Rapa Nui.</p>

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Beyond the frontier: European influence, aborigines and the concept of ‘traditional’ culture∗

Cited by 10 publications

References 15 publications

It Takes Modern Means to be Traditional: On Recognizing Indigenous Cultural Communities in the Philippines

It Takes Modern Means to be Traditional: On Recognizing Indigenous Cultural Communities in the Philippines

Some reflections on anthropology's missionary positions

Tensions and Possibilities. The Interplay of 'Traditional' Cultural Elements and the Creation of 'Contemporary' Rapa Nui, Māori and Samoan Diasporic Theatre

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