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05 JANUARY 2013

The Museum of Contemporary Native Arts

"The Museum of Contemporary Native Arts is the country's [USA] leading museum for exhibiting, collecting and interpreting the most progressive work of contemporary Native artists for local, national and international audiences. MoCNA is a venue for exhibitions of artists who merit, local, national and international recognition. The Museum belongs at the forefront of contemporary Native art presentation and strives to be flexible, foresighted and risk–taking in its exhibitions and programs."

(MoCNA)

Richard Glazer–Danay, Jan, 2012, "Shake, Rattle & Roll", Museum of Contemporary Native Arts, [http://www.iaia.edu/museum/exhibition/shake–rattle–roll/].

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TAGS

1962 • American Indian • art museumartworkscontemporary art • contemporary Native artists • cultural appropriation • cultural discourse • cultural identitycultural interpretations • cultural programme • exhibiting artists • folk museumfostering discourse • IAIA • indigenous artIndigenous people • Institute of American Indian Arts • international audiences • MoCNA • museummuseum of contemporary culture • Museum of Contemporary Native Arts • National Collection of Contemporary Native Art • national cultural identitiesNative Americans • Native art • Native artists • New Mexico • North America • progressive work • sacred • Santa Fe

CONTRIBUTOR

Simon Perkins
25 OCTOBER 2012

Te Wei's Feelings of Mountains and Waters

"Shan shui qing ('Feelings of Mountains and Waters') finished production in 1988. This water/ink animation was Te Wei's [特伟] fourth and final major production, and is in many ways fittingly so. 'Feelings of Mountains and Waters' is a masterpiece. The film runs slightly under twenty minutes, moving the viewer through an emotional journey cleanly articulated by deep and vivid imagery, wrought with incredible artistic purity.

The film's subject is a young girl, whom ferrying an aging man across a river, generously nurses him to better health after witnessing him collapse on the shoreline. In 'Feelings of Mountains and Waters,' Te Wei uses earthy watercolors and craggy puffs of ink to maneuver hillsides, paths, valleys, and waterfalls. He uses the high–values where the ink ends and the paper begins not as an artifact of the landscape, but as the landscape itself. The watercolor paintings move and flourish, the water and ink are the animation; and the rosy–cheeked girl, through muted conversation with the humble old man, learns to play a plucked, string instrument under the quiet and almost sentient backdrop of the mountainous milieu.

Te Wei served as general director for 'Feelings of Mountains and Waters,' and retired after its completion, at the time well into his seventies. The film deservedly earned multiple awards, including high honors from international film festivals in Montreal and Shanghai. In 1995, the global professional animation community ASIFA honored Te Wei with a Lifetime Achievement Award."

(Aaron H. Bynum, 12th February 2010, p.3, Animation Insider)

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19882D animation • aging man • ancient instrument • animationblack and whitecreative practicecultural heritage • earthy watercolours • emotional journey • Feelings of Mountains and Waters • female protagonistfish • folk narrative • folk story • folk tale • folkloregirlhand-drawninklandscapemark makingmonkeymonotonemusical instrumentmusiciannational cultural identities • national cultural identity • national heritageold manpaintingpaperPeoples Republic of Chinapioneering animatorriver • Shan shui qing • Shanghai Animation Studios • Shanghai Film Studios • Te Wei • traditional painting • traditional techniquesvisual designvivid imagerywater and inkwater/ink animationwatercolour painting • whistle • young girl • zheng (instrument)

CONTRIBUTOR

Guannan (cassie) Du
09 MARCH 2012

INDIGO: International Indigenous Design Network

"INDIGO, the International Indigenous Design Network, is an open platform that connects designers worldwide in an effort to explore our understanding of indigenous design. It provides an online forum for sharing ideas and information, fostering discourse among participants, and contributing to the furtherance of indigenous and local design.

Through its participants and projects, INDIGO seeks to gain some insight into what makes design distinctive to its home, the connections to the place where it is made and for whom it is made. As more and more designers work within a global context seemingly without borders, INDIGO provides an online medium for design practice as it contributes to the formation of national cultural identities."

(Icograda, 2010)

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AustraliaCanada • connections to place • design practicedesigners • designers work • for whom it is made • fostering discourse • FutureBrand • global contextIcogradaIndigenous • indigenous and local design • indigenous design • Indigenous people • INDIGO • INDIGO (network) • International Indigenous Design Network • Migrant Indigenous Exchange • Monash Universitynational cultural identities • National Design Centre in Melbourne • online forumopen platform • Russell Kennedy • sharing ideassharing information • what makes design distinctive • without borders

CONTRIBUTOR

Simon Perkins
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