The target of this panel is not a review of art practices that represent indigenous voices. Beyond that, we need to look at examples of significant works within contemporary art development, which has fused themselves into indigenous practical discourse. In such arts in question, indigenousness is no longer simply content. It is more a specific language constructing the form of articulation used by artists. What are the structures of power relations that work in such artistic productions? How do affiliation and social relationships occur in the enduring negotiation process between the contemporary artists and the indigenous environment in which they are directly involved? The two speakers on this panel have developed various approaches in their art projects addressing those questions. How can we interpret indigenous discourse as a new transfiguration in the creation of contemporary artworks context? If it is reasonable to accept indigeneity as a language on its own rather than assessed matter, what possibilities will open from such a perspective?
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