Social Futures’ Post

Let's talk how to purchase ethically...and the display of Indigenous Australian art and artworks. Three simple questions to ask yourself. Who is the artist, what is the story and how did the artist get paid? Display the first two points with the artwork. Does it make sense to have this written on the back of the painting for instance? No, not really - why? Firstly, it may damage the artwork on the otherside. Secondly, when displayed alongside this visibly acknowledges the artist, and their story. Then stand back, create the ambience and admire the talent and creativity. #culturaldiplomacy #publicdiplomacy #FirstNationsartworks #dfat #indigenousartcode

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I've first-hand witnessed Indigenous art miss-used, copied, and augmented, as well as current and attempted selling of works with no proceeds going to the artists because of misuse of legal ownership jargon, not equally experienced by non-Indigenous artists in the exact same environments. I've also understood this to occur with cultural items, stories, and the cultures themselves. ICIP is more than just artwork protection, it's the Indigenous Cultural Intellectual Property rights to the longest living continous culture on Earth, and it should hopefully be enforced to not just protect artworks, but to provide equitable protections and rights similar to companies. Such as equitable Intellectual Property rights with the ingredients, recipes, colours, packaging, and distribution a can of coke has from Coca-Cola. As a can of coke has more rights to itself than does Indigenous communities of Australia in practicing their own culture in the 21st century. In a world of enforced digitisation and AI, ICIP should protect rights to a culture, it secrets, and sensitive information. It should make directly identifide - not Western defined - Indigenous community leaders the first and last points of contact (Via the business' reconciliation specialists and/or Indigenous identified cultural consultation community as defined) for digitisation or research projects of that specific cultural group. As following such is the very first step in the cultural safety potocol, which is only followed by a very slim minority of Australian businesses, education institutions, and researchers.

Fankeenna https://lnkd.in/gciAyMnx Fankeenna was established to combat the need for more creative spaces and support in Hargeisa, Somaliland. With no galleries, cinemas, or art schools, the mission is to make art and creativity accessible and celebrated. It provides facilities for artists to showcase their work and develop their skills through workshops, mentoring, and funding. Fankeenna aims to enhance the creative economy and inspire positive change by empowering young audiences and fostering social dialogue. #AlwaysThink4Yourself

July is the perfect time to enjoy fun activities with your senior loved one! ☀️Whether it’s arts and crafts, attending a senior center event, or visiting a museum, there are plenty of ways to make lasting memories together. 🕊️  What are your plans for the month? Share in the comments below! 👇 #SeniorCare #MidJulyFun #FamilyTime #VisitingAngels #HomeCare #SeniorActivities #MakingMemories #SeniorFun #IndoorActivities #SeniorSupport

Fankeenna https://lnkd.in/gUMmmAa8 Fankeenna was established to combat the need for more creative spaces and support in Hargeisa, Somaliland. With no galleries, cinemas, or art schools, the mission is to make art and creativity accessible and celebrated. It provides facilities for artists to showcase their work and develop their skills through workshops, mentoring, and funding. Fankeenna aims to enhance the creative economy and inspire positive change by empowering young audiences and fostering social dialogue. #AlwaysThink4Yourself

I grew up getting strange comments from older family members who would liken my body to that of Saartjie Baartman. And not the simple appearance of it, but the object of her body, almost to ridicule that shape- the shape of African women.  The story of Saartjie Baartman is tragic not only because of the extent of her exploitation and objectification, but that these exploitative dehumanizing colonial perspectives on African subjectivity have found continuity into the 20th and 21st centuries. My research on photographic archives has been a pathway to a deeper interrogation of these subjectivities. From the advent of the photographic medium in Africa, to it's pervasion as an ethnographic tool, and then a means of highlighting the spectacular violence that African and other oppressed peoples have been subjected to, photography has played a significant role in showing us how these dehumanizing gazes have been formalized.  This article is such a necessary historical refresher. It is also a much welcome resuscitation of our collective outrage towards what Saartjie Baartman was subjected to. We should never ever forget what she was subjected to. This outrage is what opens our eyes up to the dangers of curating, exhibiting, writing, documenting with no apathy or critical thought.  There's a nuance to how the article reflects on Saartjie's supposed agency (or lack thereof) in her enslavement and exploitation. I hope to think and write about these nuances one day. I mean, what do we do with those supposed moments of defiance? What do we do with the ambiguities of consent in colonial contexts?  The work we do in cultural institutions, as both knowledge production and cultural expression, will always be tethered to these tragic colonial histories. The ambiguities and silences inherent in what was written by White scholars is perhaps exactly where we should be starting our work. To reflect on them is to continually remind ourselves of how diligent we need to be in restoring our collective dignity.  Awesome read. Cudos to the writers.

Arts engagement 🤝 Social well-being According to a recent study from the National Endowment for the Arts (NEA), "Adults who attended live arts events were 1.9 times less likely to report feeling lonely compared to non-attendees, with only 2.7% of arts attendees 'always' feeling lonely versus 5.1% of non-attendees." Additionally, arts attendees are more likely to receive the social and emotional support they need, with 29.8% of attendees reporting "always" receiving such support compared to just 23.4% of non-attendees. At RiNo, we believe in the power of art to foster community and connectedness. Join us at an upcoming event in the district to experience firsthand how art can transform your social connections and mood 👇

🎨 Seeing Through Art: Jean de Dieu’s Triumph Over Blindness 🎨 Art has the power to transcend barriers, and Jean de Dieu is living proof. After losing his sight, Jean de Dieu refused to let blindness define his future. Instead, he turned to art as a medium to express his resilience, creativity, and unique perspective on the world. Through his work, Jean de Dieu has redefined what it means to “see.” His story is a profound reminder that challenges can be catalysts for innovation and growth, and that creativity knows no limits. This journey not only highlights his talent but also emphasizes the need for more inclusive spaces where individuals of all abilities can thrive. Jean de Dieu’s triumph is a testament to the unyielding human spirit and the power of art to inspire, connect, and heal. What lessons do you draw from his story? How can we create more opportunities for artists of diverse abilities to share their gifts with the world? Read his story via Africanews: Seeing Through Art: Jean de Dieu’s Triumph Over Blindness Via Africanews: Seeing Through Art: Jean de Dieu’s Triumph Over Blindness https://lnkd.in/e6kmuCy6 #Inspiration #Resilience #InclusiveArt #CreativityUnbound #JeanDeDieu #ArtForAll