Making a Life: Getting Ahead,and Getting a Living in Aboriginal New South Wales

ABSTRACT This paper offers an ethnographically grounded examination of the intersections between work, employment and identity for Indigenous people living in a country town in far western New South Wales, Australia. It argues that work, employment and labour are locally deployed categories that meet mainstream discourse in a precarious fashion and, that this disjunction has clear material and ideological repercussions. For most Aboriginal people in Wilcannia, you are who you are, not by virtue of what you have ‘become’ in any economic, professional or educational sense. Who you are is not a becoming, it is established at birth. These genealogical forms of being through kinship see a construction of self which in many ways is at variance to the standard ‘autonomous self‐regulating individual’ (Sennett 1998:215). This sense of self, for most, is not determined by engagement in the capitalist division of labour; indeed, the greater the engagement in the capitalist economy, the more problematic and fraught a sense of self and of belonging can become.     

‘We don't do dots ‐ ours is lines’ — Asserting a Barkindji Style

ABSTRACT This paper offers an ethnographic exploration of the assertion of a ‘Barkindji style’ art: why this matters and to whom it matters. Focusing particularly on the Darling River area of Wilcannia and on the period from the 1980s to the present, the increasing interest in art‐making by local Aboriginal people is considered. Through a dialogue with artists, artworks, and others, the work examines the changing form, design and content of art and the role of art in defining ideas of Barkindji Aboriginal culture and tradition. Invocations by key cultural brokers to produce work that is seen to ‘belong to us’ is explored in terms of the cultural, political, and personal work that this involves; particularly as this intersects with ideas of artistic freedoms versus artistic direction by cultural brokers. The paper discusses the personal considerations and tensions that come to bear in the processes connected with production of art and its making. In so doing, this paper engages with, and extends, the work of Tacon et al. (2003), Cooper (1994), Kleinert (1994) and Morphy (2001) as this pertains to art ‘styles’ and material culture from what is widely referred to as south‐eastern Australia.