Pub Date : 2020-08-30DOI: 10.25120/etropic.19.1.2020.3697
Jacob Wood, Swathi Paturi, Prerna Puri, Emil Senf Jakobsen, S. Shankar, Pawel Zejden, Simona Azzali
The management of marine waste is an increasingly complex issue facing the world today. Our study provides an interesting take on the issue of marine waste by examining how Indonesian indigenous communities can deal with plastic marine pollution. While there is an obvious need for mitigating plastic use, for effective legislative policies regulating plastic waste management, and to do more to develop sustainable waste management practices; there are also opportunities for indigenous communities to take an innovative approach by using plastic waste in a manner that drives economic development from both non-market and neoliberal theoretical ideologies. As part of this assessment, alongside Indonesian examples we include examples of plastic re-use by indigenous communities of the Philippines and Australia. Moreover, our study highlights some of the areas in which this is being done in the fields of art and infrastructure development.
{"title":"Plastic Marine Waste and its Potential for Indonesian Indigenous Communities","authors":"Jacob Wood, Swathi Paturi, Prerna Puri, Emil Senf Jakobsen, S. Shankar, Pawel Zejden, Simona Azzali","doi":"10.25120/etropic.19.1.2020.3697","DOIUrl":"https://doi.org/10.25120/etropic.19.1.2020.3697","url":null,"abstract":"The management of marine waste is an increasingly complex issue facing the world today. Our study provides an interesting take on the issue of marine waste by examining how Indonesian indigenous communities can deal with plastic marine pollution. While there is an obvious need for mitigating plastic use, for effective legislative policies regulating plastic waste management, and to do more to develop sustainable waste management practices; there are also opportunities for indigenous communities to take an innovative approach by using plastic waste in a manner that drives economic development from both non-market and neoliberal theoretical ideologies. As part of this assessment, alongside Indonesian examples we include examples of plastic re-use by indigenous communities of the Philippines and Australia. Moreover, our study highlights some of the areas in which this is being done in the fields of art and infrastructure development.","PeriodicalId":37374,"journal":{"name":"eTropic","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48587816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.25120/etropic.19.1.2020.3737
Estelle Castro-Koshy, Géraldine Le Roux
This special issue on “Environmental Artistic Practices and Indigeneity: In(ter)ventions, Recycling, Sovereignty" constitutes a body of creative contributions and academic articles addressing numerous forms of artistic practices of the Pacific Islands, Australia, French Guiana, the Caribbean, and Southeast Asia. Inspired by Indigenous artists and writers whose practices and creativity help reimagine sustainable ways to inhabit the world, this introduction and our special issue interrogate contemporary environmental issues and the legacy of colonisation. They examine how Indigenous artists and writers, and artists working with Indigenous artists and communities, have for decades raised awareness about environmental issues, and encouraged people to regain their agency to struggle against environmental degradation and further destruction of Indigenous people’s societies and health. This introduction contextualises the concepts and Indigenous terms used by artists to express their vision of what a respectful relationship with the environment would be. It also offers readings of the beautiful literary and artistic creative contributions included in this issue. Environmental themes such as waste recycling, health issues, pollutants (mercury, POPs), and agricultural technics are discussed here in light of human and non-human life and agency. This issue also features a significant range of calls for action to better protect and restore ecosystems.
{"title":"Indigenous Art and Sovereignty Inspiring Change against Environmental Degradation","authors":"Estelle Castro-Koshy, Géraldine Le Roux","doi":"10.25120/etropic.19.1.2020.3737","DOIUrl":"https://doi.org/10.25120/etropic.19.1.2020.3737","url":null,"abstract":"This special issue on “Environmental Artistic Practices and Indigeneity: In(ter)ventions, Recycling, Sovereignty\" constitutes a body of creative contributions and academic articles addressing numerous forms of artistic practices of the Pacific Islands, Australia, French Guiana, the Caribbean, and Southeast Asia. Inspired by Indigenous artists and writers whose practices and creativity help reimagine sustainable ways to inhabit the world, this introduction and our special issue interrogate contemporary environmental issues and the legacy of colonisation. They examine how Indigenous artists and writers, and artists working with Indigenous artists and communities, have for decades raised awareness about environmental issues, and encouraged people to regain their agency to struggle against environmental degradation and further destruction of Indigenous people’s societies and health. This introduction contextualises the concepts and Indigenous terms used by artists to express their vision of what a respectful relationship with the environment would be. It also offers readings of the beautiful literary and artistic creative contributions included in this issue. Environmental themes such as waste recycling, health issues, pollutants (mercury, POPs), and agricultural technics are discussed here in light of human and non-human life and agency. This issue also features a significant range of calls for action to better protect and restore ecosystems.","PeriodicalId":37374,"journal":{"name":"eTropic","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46807800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.25120/etropic.19.1.2020.3727
Yvette Holt
“spinifex scriptures” and “desert analysis” deconstruct through poetry and photography the post-colonial presence of Christian armour, and environmental desert rust – recycled through the economical chambers of abandonment.
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Pub Date : 2020-08-30DOI: 10.25120/etropic.19.1.2020.3734
K. Ganesan, A. Govindasamy, Jane Kon Ling Wong, Shaffarullah Abdul Rahman, K. A. Aguol, Jamsari Hashim, Bilcher Bala
In this paper we focus on the Lundayeh indigenous minority in Long Pasia, Sabah by examining how their traditional food practices help them navigate environmental challenges. Deforestation and logging threaten the very core of the Lundayeh identity because the community’s livelihood as subsistence farmers depends on hunting as well as gathering forest resources. This paper argues that, despite the continuous challenges, Lundayeh food practices, albeit exercised in modified forms, provide an avenue to revisit past traditions in order for the community’s indigeneity and sovereignty to survive and be safeguarded. The findings of this research project suggest that through hunting techniques, foraging, paddy cultivation, agricultural cooperative work, as well as religiously sensitive food adaptation practices, the Lundayeh’s relationship with the land endures, which in turn, secures the community’s indigenous identity.
{"title":"Environmental Challenges and Traditional Food Practices: The Indigenous Lundayeh of Long Pasia, Sabah, Borneo","authors":"K. Ganesan, A. Govindasamy, Jane Kon Ling Wong, Shaffarullah Abdul Rahman, K. A. Aguol, Jamsari Hashim, Bilcher Bala","doi":"10.25120/etropic.19.1.2020.3734","DOIUrl":"https://doi.org/10.25120/etropic.19.1.2020.3734","url":null,"abstract":"In this paper we focus on the Lundayeh indigenous minority in Long Pasia, Sabah by examining how their traditional food practices help them navigate environmental challenges. Deforestation and logging threaten the very core of the Lundayeh identity because the community’s livelihood as subsistence farmers depends on hunting as well as gathering forest resources. This paper argues that, despite the continuous challenges, Lundayeh food practices, albeit exercised in modified forms, provide an avenue to revisit past traditions in order for the community’s indigeneity and sovereignty to survive and be safeguarded. The findings of this research project suggest that through hunting techniques, foraging, paddy cultivation, agricultural cooperative work, as well as religiously sensitive food adaptation practices, the Lundayeh’s relationship with the land endures, which in turn, secures the community’s indigenous identity.","PeriodicalId":37374,"journal":{"name":"eTropic","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49369407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.25120/etropic.19.1.2020.3725
Sam Watson
An Aboriginal woman was walking in a city street. It is suburban Melbourne. She has bought a small axe from the hardware store. To her this axe is a traditional woman’s tool. She paid for the axe. She has not done anything wrong. She has broken no laws. She is no threat to herself or to any other person. An armed policeman challenges her. He draws his pistol and shoots her dead.
{"title":"Moth","authors":"Sam Watson","doi":"10.25120/etropic.19.1.2020.3725","DOIUrl":"https://doi.org/10.25120/etropic.19.1.2020.3725","url":null,"abstract":"An Aboriginal woman was walking in a city street. It is suburban Melbourne. She has bought a small axe from the hardware store. To her this axe is a traditional woman’s tool. She paid for the axe. She has not done anything wrong. She has broken no laws. She is no threat to herself or to any other person. An armed policeman challenges her. He draws his pistol and shoots her dead.","PeriodicalId":37374,"journal":{"name":"eTropic","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49137593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.25120/etropic.19.1.2020.3696
O. S. C. Rombe
This paper discusses how the Dayak Iban community of Sui Utik, Kalimantan, with the help of Sekar Kawung, a social enterprise foundation, uses the indigenous system of Tembawang to challenge deforestation and concomitant problems of air pollution through creative works based on the materials of the local rainforest. The research for this paper includes interviews with the founder of Sekar Kawung foundation, literature reviews, photographs, social media reports and community summaries. Sui Utik, in collaboration with Sekar Kawung, has developed creative works including weavings, an innovative application of tattoos, food and beverage products, and eco treks. The research found that the Sui Utik community, which started producing creative works in 2015, have continued their practice as social entrepreneurs. It is suggested that they should now expand their practice by working together with other indigenous entrepreneurs to challenge Indonesian craftsmen and designers to take their creativity, skills and knowledge to an international market. As part of this move, the development of innovative marketing tools using new technologies should be explored, while maintaining local wisdom as the core value for making creative works.
{"title":"The Sui Utik, Creative Works and Tembawang: Retaining Biodiversity in Kalimantan, Indonesia","authors":"O. S. C. Rombe","doi":"10.25120/etropic.19.1.2020.3696","DOIUrl":"https://doi.org/10.25120/etropic.19.1.2020.3696","url":null,"abstract":"This paper discusses how the Dayak Iban community of Sui Utik, Kalimantan, with the help of Sekar Kawung, a social enterprise foundation, uses the indigenous system of Tembawang to challenge deforestation and concomitant problems of air pollution through creative works based on the materials of the local rainforest. The research for this paper includes interviews with the founder of Sekar Kawung foundation, literature reviews, photographs, social media reports and community summaries. Sui Utik, in collaboration with Sekar Kawung, has developed creative works including weavings, an innovative application of tattoos, food and beverage products, and eco treks. The research found that the Sui Utik community, which started producing creative works in 2015, have continued their practice as social entrepreneurs. It is suggested that they should now expand their practice by working together with other indigenous entrepreneurs to challenge Indonesian craftsmen and designers to take their creativity, skills and knowledge to an international market. As part of this move, the development of innovative marketing tools using new technologies should be explored, while maintaining local wisdom as the core value for making creative works.","PeriodicalId":37374,"journal":{"name":"eTropic","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46449958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.25120/etropic.19.1.2020.3732
Christophe Rulhes
This article describes Sylvana Opoya's contribution to the writing and staging of Selve , a play performed and designed in France by Christophe Rulhes and the GdRA. In the text of the play, Sylvana, a 22-year-old Wayana woman in the French Guiana Amazon, talks about pollution and gold panning. Via video extracts from interviews, her uncle Aimawale Opoya, the tipatakem or village chief of Taluhwen, addresses the question of Wayana territorial sovereignty in relation to "white people’s" ecological thought. Selve is inspired by the Amazon rainforest of Sylvana and Aimawale, and the remote Occitan language and peasant traditions of Quercy Rouergue (in Aveyron, France), the homeland of author and director Christophe Rulhes. As a result, various ways of wanting to belong to earth are echoing in Selve . In this article, the artist Christophe Rulhes uses methods from anthropology (he graduated from the Ecole des Hautes Etudes en Sciences Sociales) to underline the direct influence of Wayana's native culture on Selve 's conception.
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Pub Date : 2020-08-30DOI: 10.25120/etropic.19.1.2020.3729
Tevaite Rey
Tevaite Rey’s whole being, her philosophy of life, and all the feelings she has experienced in her life lead her to share her perspectives on contemporary Polynesia through her artworks. Her aim is to exist with the names and lands she has inherited as a child of the fenua, and to allow her cultural heritage to be known in her homeland and abroad. The poem was written for this special issue on ‘Environmental Artistic Practices and Indigeneity’. The two artworks which illustrate the poem were commissioned for an exhibition that was held at the University of Western Brittany in Brest, France, in 2019. Tevaite Rey addresses the theme of pollution with the fan (tahiri), one of Polynesia’s most iconic objects, by slightly modifying the materials and dimensions of this emblem of prestige. She reduces for example its thickness to illustrate the great pressure exerted by humans on natural resources. This creative appropriation encourages viewers to think about the different sources of pollution and their global impact.
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Pub Date : 2020-08-30DOI: 10.25120/etropic.19.1.2020.3731
S. J. Moore
“Worlding with Oysters” is presented through text, story, song, poetics and image. It explores the opportunities that connecting with nature offers to communities of practice. It asks the collectively conscious to imagine a time oysters spawn in pristine waters and when the smoke of old campfires is remembered as an essential element of the conceptualisation of caring for Sea Country. The poetic essay is hope-filled and hopeful and imagines futures embedded in old ways where rivers and oceans are regarded as essential spaces, rich with metaphor, abundant in story and deep in learning.
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Pub Date : 2019-10-18DOI: 10.25120/etropic.18.2.2019.3711
Lianda Burrows
‘Not Today, Old Man’ was written to the journal’s call-out theme ‘Tropical Gothic’. Informed by these ideas and a long tradition of women’s writing from Austen to Atwood, ‘Not Today, Old Man’ interrogates the relationship between women and violence.Throughout most of the twentieth century, ongoing abuse of women in a domestic environment was not considered a mitigating factor in violent action performed against the perpetrator, or indeed ‘self-defence’, unless taken at the time of attack. Unable to physically shield themselves from their abusers, and without a legal defence should they seek to protect themselves outside the temporal boundary of a violent attack, women were in a sense imprisoned within these relationships. In the comparatively rare instance that a woman was the perpetrator of domestic violence, ‘Battered Woman Syndrome’ was not available for defence in the context of Australian provocation law until the end of the twentieth century (see R v Kontinnen 1991; R v Runjanjic 1992). It is worth considering that in this same era, a man making unwelcome sexual advances to another man was considered reasonable grounds for ‘self-defence’ (R v Green 1997).The landscape in ‘Not Today, Old Man’ is predominantly set in the tropics, but the story also alludes to the diversity of countryside and climate within Australia, both in the text itself and through allusions to authors like Gerald Murnane. The dark undertones of the piece are embedded in the depiction of these landscapes and the images they evoke. The oppressive heat, humidity, and comparatively low population of Australia’s tropical regions lends itself to gothic exploration. This dark undertone was modelled on writers like David Malouf, whose fiction and poetry have been significant in endowing Australia with a sense of mythology associated with its Northern environments. As Malouf has explained, re-mythologizing the postcolonial Australian landscape gives its diverse inhabitants a renewed, ‘symbolised place’ to ‘exist in’ (cited in Mulligan & Hill, 2001, p.110).
《不是今天，老人》的主题是“热带哥特式”。受这些思想和从奥斯汀到阿特伍德的长期女性写作传统的影响，《不是今天，老人》探讨了女性与暴力之间的关系。在整个二十世纪的大部分时间里，在家庭环境中持续虐待妇女并没有被视为对施暴者采取暴力行动的一个减轻因素，或者实际上是“自卫”，除非在袭击发生时采取。妇女无法在身体上保护自己免受施虐者的伤害，如果她们试图在暴力袭击的时间边界之外保护自己，也没有法律辩护，从某种意义上说，她们被监禁在这些关系中。在女性是家庭暴力施暴者的相对罕见的情况下，“受虐妇女综合症”直到20世纪末才可在澳大利亚挑衅法的背景下进行辩护（见R v Kontinnen 1991；R v Runjanjic 1992）。值得一提的是，在同一个时代，一名男子对另一名男子进行不受欢迎的性挑逗被认为是“自卫”的合理理由（R v Green 1997）。《不是今天，老人》中的场景主要发生在热带地区，但故事也暗示了澳大利亚乡村和气候的多样性，无论是在文本本身还是通过对Gerald Murnane等作家的暗示。作品的黑暗基调嵌入了对这些风景及其唤起的图像的描绘中。澳大利亚热带地区闷热、潮湿，人口相对较少，适合进行哥特式探索。这种黑暗的基调是以大卫·马鲁夫等作家为原型的，他的小说和诗歌在赋予澳大利亚与北方环境相关的神话感方面发挥了重要作用。正如马鲁夫所解释的，重新神话化后殖民时代的澳大利亚景观，为其多样化的居民提供了一个新的“象征性的地方”来“生存”（引用于Mulligan&Hill，2001，第110页）。
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