'What can drawings reveal about their makers? In 1953 anthropologist Mervyn Meggitt invited Warlpiri men at Hooker Creek to draw with crayons and paper. Two men astounded him with their drawings made 'for the pleasure of drawing'. Six decades later the Warlpiri men's descendants have been introduced to the drawings, triggering memories of dislocation and galvanizing attention to the present day as well as fears and hopes for the future.'
'Discussions, journeys and archival research build a compelling account of the colonial and contemporary circumstances of Warlpiri lives, including the crucial role of images in relationships between Warlpiri people and the dominant society.'
'Remembering the future breaks new ground in writing about Central Australian Aboriginal art and makes a significant contribution to Australian anthropology and the interdisciplinary field of visual studies.' (Source: Publisher's website)
'Luke Taylor endorses the book on the back cover by saying that it ‘… marks a generational change and a new approach to scholarship.’ But I don't think it does this by displacing any older generation; its new approach to scholarship lies in its intergenerational practices: the contemporary Warlpiri who are shown drawings made by their people for Mervyn Meggitt at Hooker Creek in the 1950s, then respond by making new drawings and interpretations for Melinda Hinkson; Melinda Hinkson who sees how Meggitt has interpreted the 1950s drawings and then interprets his interpretation. The drawings and the words loop around each other, reaching back to the past and forward to the future: Remembering the Future is the enigmatic title of the book.' (Introduction)
'Remembering the future looks at how yapa (Warlpiri for Aboriginal people) have interacted with kartiya (non Aboriginal people), as seen through their artworks of nearly a century...'
'Remembering the future looks at how yapa (Warlpiri for Aboriginal people) have interacted with kartiya (non Aboriginal people), as seen through their artworks of nearly a century...'
'Luke Taylor endorses the book on the back cover by saying that it ‘… marks a generational change and a new approach to scholarship.’ But I don't think it does this by displacing any older generation; its new approach to scholarship lies in its intergenerational practices: the contemporary Warlpiri who are shown drawings made by their people for Mervyn Meggitt at Hooker Creek in the 1950s, then respond by making new drawings and interpretations for Melinda Hinkson; Melinda Hinkson who sees how Meggitt has interpreted the 1950s drawings and then interprets his interpretation. The drawings and the words loop around each other, reaching back to the past and forward to the future: Remembering the Future is the enigmatic title of the book.' (Introduction)
