Making a new culture which knowingly embraces the future is a more viable form of cultural bricolage (by this we mean the making of a culture by a process of the selection and assembly of combined and recombined cultural forms). Resistance to ethnocide is not seen as trying simply to defend an existent cultural identity but the forging of a new one which rejects the models sought to be imposed. Radio, televison, and video have become significant media in this cultural strategy. And what is particularly significant is that these media break the circuit of producing products for circulation and consumption within the culture of dominance (as opposed to works of art). Aboriginal radio, video and TV producers are producing ideas and images that circulate in their own cultures.
Maybe here the authors, Fry and Willis, are referring to the acceptance of Aboriginal art into high art galleries and international art shows. It is rather stunning--my husband saw a show in Utrecht and bought a book about it in San Francisco. Thus, the dominant culture can appropriate a local practice of painting with acrylics and remove it from the context. On the other hand, media such as radio or tv and video are made to be hotter, and they can target local audiences or pan-indigenous audiences in a distinct manner.
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