Ecocriticism as a discipline has historically been the ecological analysis of written literature. However, with emerging studies and a heavier focus on our environment's natural state than ever before, the concept has transcended into an application...
Throughout history, indigenous communities have long created forms of art that emphasize environmental values. Scholars suggest that early artifacts of recovered indigenous art are the first documented examples of environmental art. By embodying cultural, spiritual, and ecological connections to nature, indigenous art interconnects traditional themes and respect for the environment. These art forms oftentimes depict environmental elements, such as indigenous species and landscapes, and commentate on the natural world through symbolism, motifs, and storytelling. Indigenous art also demonstrates a unique relationship to environmental art as most indigenous mediums are raw materials harvested from the Earth, such as clay, grass, sand, and stone, and carved with makeshift tools.
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Aboriginal bark painting is a traditional art form practiced by numerous indigenous tribes that encapsulate dreams, stories, and beliefs. Bark painting techniques depend on the geological location and resources available. However, they are composed of stripped tree bark flattened over a flame and decorated via manipulation of natural pigments. This type of art was popularized by indigenous Australian communities with the goal of connecting folktales and cosmic motifs to humanity and the environment. Although the art form dates back thousands of years, there are modern applications that follow the original guidelines to preserve cultural stories and beliefs in their most profound state.
A Yolngu View of the Milky Way (2000) is a contemporary example of bark painting that follows traditional Aboriginal guidelines. Much like orthodox Aboriginal Australian beliefs, Yarawu envisions the Milky Way from a cultural and ecological perspective. This piece depicts the Milky Way as a celestial river surrounded by reeds and other life forms, such as fish and some sort of humanoid being. In the center of the river is a crocodile, representing the constellation Scorpius. In Yolngu interpretations, the interstellar void represents fires constructed by their ancestors (Norris 14). Despite being a modern take on traditional and cultural Aboriginal studies, the painting reflects indigenous ways of understanding and respecting the natural world. This piece, and other bark paintings, act as a commentary on the relationships between indigenous communities and the environment. This can be inferred by the humanoid figure intertwined with the other Earth-bound species within the cosmic landscape. Expressions of indigenous environmental art not only celebrate cultural heritage, they also serve as powerful tools to document, analyze, and appreciate important human-ecological relationships throughout history.
