Indigenous cultures are a major route through which many people obtain an understanding of other peoples. This high level of interest is indicated by Young's (1991) recent study which shows that one third of international tourists to Australia purchase Aboriginal art or other cultural items. However, given the close link between art and religion and an enduring non-indigenous interest in religious realms, a recurring problem that emerges for indigenous people is how to achieve commercial success without infringing cultural integrity.
To what point is it permissible to bend cultural rules in order to achieve economic benefits? Thus, important areas of concern are not just how to maximize commercial potential but also how the globalisation of indigenous cultures impacts upon social relations. For example, do community dynamics alter according to the gender or age of successful artists? In what manner can the economic power of a commercially successful artist impact upon religious power structures?
A related issue of concern to indigenous people is the ownership and control of their intellectual and cultural property (see, for example, Fourmile 1996; Tupara 1996). What are the culturally appropriate ways of distributing information about indigenous cultures? How can indigenous people ensure that their legal and cultural rights are respected by individuals and incorporated into government policies? How can policies developed primarily to deal with European notions of individually-owned and transferable intellectual property be adapted to deal adequately with indigenous notions of collective and inalienable ownership? As Mansell (1996:16) remarks regarding copyright legislation, 'The collective right of Aboriginal people to decide who has access to traditional art forms is at best unclear, at worst non-existent'. The analysis of indigenous cultures is particularly suited to the objective of the Fulbright programme to foster mutual understanding among nations since an increased understanding of culture promotes an increased understanding of people and respect for cultural differences. This, in turn, promotes effective communication within and between nations.
References
Fourmile, H. 1996 The Politics of Managing Aboriginal Rock Imagery. In Management of Rock Imagery, edited by G.K. Ward and L.A. Ward, 39-41. Melbourne: Australian Rock Art Research Association.
Mansell, M. 1996 Abstract of paper for session on 'Aboriginal Cultural and Intellectual Property Issues' at 'Lands Rights. Past, Present and Future' conference, jointly convened by the Northern and Central Land Councils at Old Parliament House, Canberra 16 and 17 August 1996.
Tupara, N. 1996 Management of Rock Imagery in New Zealand. In Management of Rock Imagery, edited by G.K. Ward and L.A. Ward, 34-35. Melbourne: Australian Rock Art Research Association.
Young, G. 1991 The NSW Tourism Commission's Planning and Development Strategy for Cultural Tourism. In Cultural Tourism: making it work, edited by S. Davidson, 21- 27. Sydney: Museums Association of Australia
Photo by Claire Smith. On the escarpement near the Jawaluk rock art sites of the Bagula clan lands of the Jawoyn people. This area is part of the Manyallaluk tourist operation run by local Aboriginal people. From the left: Danny Riley, Gary Jackson, senior custodians Peter Manabaru and Lily Willika, senior traditional owner Phyllis Wiynjorroc and children.