Prof. Andrzej Rozwadowski from the AMU Faculty of Archaeology is conducting research on the phenomenon involving the use of cave art by indigenous artists, who, in their works, frequently refer to paintings or cave rituals associated with their region. As the researcher emphasises, in the era of the ongoing post-colonial processes of reclaiming cultural identities in various parts of the world, the past in general, including the profound past, is becoming a frequent source of self-definition for Indigenous communities.
- "In Siberia, I discovered an artistic movement known as ‘Siberian neoarchaic’, completely unknown to the West," says Professor Andrzej Rozwadowski. - ‘It was particularly vivid shortly after the collapse of the Soviet Union, but even today, young Siberian artists refer in their works to local cave art. For them, it is a reaffirmation of the mystical connection to their land and ancestors. I also conducted some of my research in Kazakhstan. The essential comparative base for the Asian context, on the other hand, was Canada. Also there, the first professional aboriginal art (from the mid-20th century onwards) is characterised by a strong connection to local cave paintings, a natural link to tradition, which in the 20th century was systemically erased by the then Canadian government - to mention the infamous residential school system to forcibly taken First Nations children, where they tried to erase their traditions from their memory," explains the scientist.
Prof Andrzej Rozwadowski has had two research periods in Siberia, two in Kazakhstan and Mongolia and three in Canada. - ‘Everywhere I talked to artists, I listened to their comprehension of the world and their interpretations of the past. I documented their art and discovered how significant prehistoric art is to them. Sometimes, the indigenous Asian and Canadian aesthetics proved not to be opposed. In Edmonton, however, when I showed Canadian artist Jane Ash Poitras (of the Cree nation) the work of the Khakasian (South Siberian) painter Alexander Domozhakov, she stated with delight: ‘Isn't that Norval Morrisseau!’ (Canada's most famous Indigenous artist),’" says Professor Andrzej Rozwadowski.
The project by the AMU scientist demonstrates how significant cave art is for representatives of Indigenous nations today and its integration into artistic narratives of identity.
An article by Prof. Rozwadowski presenting the research has just been published in the prestigious journal Antiquity:
Photo: Prof. Andrzej Rozwadowski (right) with Siberian artist Andrei Drozd (Kemerovo 2019).