th
There is something of the DJ in how I started to look for information at the beginning of Forest Bounds. Happily sampling architectural features pressed out of tinfoil, mixing them with a fine metal tree skin, allowing the openness of collecting as you encounter place, and then playfully aligning forms and shapes, beats and tempo as I blended new realities.
There was an underlying search for meaningful place. An amalgam of references that could voice where you were and at the same time inventing an other. The new spaces became a possible answer to our persevered stuck cultural environment. Some magical thinking. Finding in this first iteration an alternative context of The Forest, and now the prospect of The Island of Venice. The idea of sampling from a variety of physical places and cultural spaces, to alter or blend space, mood or question experience, gives a freedom to collecting and mixing that I found people wanted to share about their relationship to The Forest. Much of this comes from the workshops that I did. Almost none of which gave with the academic cultural response expected. Two primary and sometimes contradictorily ideas came through. The first is people wanted to know more about one’s own culture. The other is the freedom to be playful with it, exchange ideas, and fuse this with others. I have experienced this more directly with my adopted sons who both love the nostalgia of Thailand and learning about that identity but are also at home with cultural appropriation from other mixed cultural friendship groups.
-
Is our own indigenous knowledge inside us, inherited through generations? Is it specific to place, through environment, available materials or social need?
-
Could we, should we learn and use others indigenous knowledge freely or is this cultural appropriation too problematic? What happens when it comes to global problem solving and sharing indigenous knowledge for new drugs, agriculture and land management? Who benefits, who doesn't? How do we retain our culture heritage and share it positively at the same time?
ah
Is our own indigenous knowledge inside us, inherited through generations?
Josh thinks there is inherited shame passed down through generations that our work explores, triggered by gate keepers calling the shots. That said, Josh think spud is one of the more unusual places that are open to exploring ideas in an open way. Especially Tom.
Dave thinks that the idea of cultural inheritance is completely real and backed up by 1000s of anthropologists. The idea that we would re-invent culture with each new generation doesn't make sense. But it is an equal measure of inherited and relational. ie, the relationships between people maintain (helpfully and unhelpfully) inheritance. The unhelpful brigade, thank goodness, appear to have a limited impact.
Could we, should we learn and use others indigenous knowledge freely or is this cultural appropriation too problematic? How do we retain our culture heritage and share it positively at the same time?
Josh thinks .... that things are not working at the moment. We should look back at indigenous peoples and ideas to re-think where we are and where we could be.
Dave thinks that this has already happened for 100,000's years and also is common amongst all primates. So millions of years. Cultural appropriation is normal. In our age there is something about theft and evil doing and disrespect for traditions and beliefs that is very real. Like bad players in all cultural landscapes the impact can appear huge but is in fact always limited by our common ability to disregard rude, mean spirited and bad people. Cultures have gone through times when many groups of people seem to adopt one cultural practice, eg clay patterning across Europe 10,000 years ago, but then splits into many small cultures. Dave thinks this is normal and should be studied. The bad people stealing never win...
Their object
Dave loves AI at the moment... Question 'what way should i hang my horseshoe for good luck uk'
Answer: above an exterior doorway with the open end pointing upwards (like a 'U') to catch and store good luck, or downwards so the good luck pours onto everyone who walks through the door.
Isn't that romantic!!!
ar
Is our own indigenous knowledge inside us, inherited through generations?
I think Indigenous knowledge is inherited through generations and deeply connected to place. Human beings learn first by observing and experiencing the world around them, so knowledge naturally develops in response to local environments, available resources, and the social needs of a community. In that sense, Indigenous knowledge carries both cultural memory and practical wisdom.
Could we, should we learn and use others indigenous knowledge freely or is this cultural appropriation too problematic? How do we retain our culture heritage and share it positively at the same time?
I don't think learning from other Indigenous cultures is inherently cultural appropriation. The key distinction lies in intent and acknowledgment. When knowledge is taken without consent, context, or recognition, it becomes problematic. When it is shared through genuine exchange and collaboration, it can enrich understanding and strengthen relationships between communities.
In addressing global challenges such as medicine, agriculture, and land management, Indigenous knowledge has much to offer. Ideally, everyone should benefit from this knowledge, but Indigenous communities must remain recognised, respected, and included in any benefits that arise from its use. I also think that in today's world, sharing information is relatively easy, what is more difficult is sharing lived experience. Spaces such as an annual Indigenous Pavilion could help bridge that gap by allowing people not only to learn about cultures, but to engage with them directly, while preserving and celebrating the unique identities from which that knowledge comes.
Anusha’s object
kbh
Kwame’s object
Kwame has an Odo Nnyew Fie Kwan Adinkra stamp. It is a calabash stamp, palm frond handle and a little bit of cloth on top.
The stamp is a tool for transmitting ideas across generations. It's made in Uk but in the traditional Ghanaian style and materials and its travelled the Uk sharing its message in schools and groups. While many objects carry cultural memory, this object was specifically designed to reproduce it.
It therefore seemed appropriate for a project exploring cultural exchange, memory and the movement of ideas between places.
Does that work for you and shall we bring it to the walk on Friday?
ds
Is our own indigenous knowledge inside us, inherited through generations? Is it specific to place, through environment, available materials or social need?
I believe it is indeed influenced by our environment, as well as being specific to our place. For instance, if you are born in a city, you might not be familiar with the materials or practical resources available around you, which you could use creatively. In a city, everything is often manufactured for you, limiting your engagement with the natural world.
Conversely, in a more natural environment, where resources are scarce, you may rely heavily on your creativity and resourcefulness. You would need to assess what is available and figure out how to adapt to your surroundings for survival. This shows that knowledge and skills are deeply dependent on the environment in which you find yourself.
Social factors are also crucial. We learn from our communities by engaging with the materials and subjects around us. Community is at the core of creativity; we can exchange ideas and skills with one another. While learning can happen outside of one’s immediate community, there’s a strong inclination towards family-oriented learning. You may find that your outlook is more focused on your close-knit family, which can limit engagement with the broader world.
Thus, I contend that our knowledge is indeed dependent on our environment and community.
Could we, should we learn and use others indigenous knowledge freely or is this cultural appropriation too problematic? How do we retain our culture heritage and share it positively at the same time?
Family is very important, and when the cycle is broken, it can lead to problems. Losing family bonds and roots can confuse someone who has been displaced into a new environment with different people. It's crucial for those around them to consider their feelings and background, allowing them to express themselves and valuing their differences. They shouldn't feel isolated; traditions and personal stories should be respected to maintain balance, or it could become problematic for them.
Participating in the "In and Out of Bounds" project has allowed me to connect my Cambodian roots with the New Forest and Venice, illustrating how diverse communities can unite through shared stories and materials. As we build our pavilion using local resources, I’m reminded of my childhood in Cambodia, where we crafted shelters from what nature provided. This experience enriches my identity as an artist, emphasising that despite our different backgrounds, our common humanity and creativity can thrive together.
Dayanny’s Object
One side is contained rice and the other are spices. You could have this one instead although it’s quite heavy as it made from solid stone. His name is Jayavarman VII. He was the most powerful king during the Khmer Empire.
th
Joshua Raffell and Dave Smithers (The Artists Husband) - www.joshuaraffellart.com
Anusha Ramchand - www.anusharamchand.co.uk
Dayanny So – www.dayannyso.com
Kwame Bakoji-Hume – www.africanactivities.org.uk
And a huge thank you to three others who brought the range of knowledge and experience to make the day so successful.
Priyal Mistry – Creative
Anika Raza – Creative
And Edward Humphries from Portsmouth University who brought rich knowledge with his research into his paper titled – The Ancient Connections of Indigenous Architecture