Andrew Bolt/Bindi Cole/Indigenous politics, Black Lives Matter

Photo: 'Wathaurung Mob', Bindi Cole

I am still struggling with the complex issues raised by the Andrew Bolt trial. I work with mixed-heritage Indigenous students and understand the relationship they have with family and country. I understand the legacy they inherited from invasion and dispossession. I understand their struggle of being betwixt and between in a country that divides 'blackfella' from 'whitefella'. But really, Dylon Bird's article in this morning's Age doesn't make things any clearer. Firstly, there is a reason why definitions of Aboriginality has shifted from biological determinism to social, community and cultural aspects and part of this reason is because it would be extremely difficult for any pale skinned aboriginal, such as those individuals mentioned in Andrew Bolt's article, to prove by genetic testing that they are of aboriginal descent. Secondly, I think he's misguided if he thinks that Bindi Cole's art is not 'political'. When she constructed the photo (above) of her family members, their faces covered with black paint, she was drawing attention to the fact that although she has fair skin she identifies as aboriginal - her paternal grandmother is part of the Stolen Generation. Cole's art draws attention to the fluidity of the indigenous person and that's admirable, but it also acutely addresses the ongoing struggle within Indigenous culture about individuals accused of being 'coconuts' - black on the outside, but white on the inside - an inversion of what Cole presented in her photograph. There's a certain contempt by dark skinned aboriginals for those with light skin who can pass for being white and who managed to avoid the prejudice, discrimination and resulting poverty of those called 'coon, 'boong' or 'Abo' (in the 60s and 70s), but who more recently (in the past two decades) claim their aboriginal heritage whilst gaining more opportunities. I find Cole's black face paint 'mask of aboriginality' troubling because it blatantly recalls the black face makeup used in 19th Century minstrel shows that created a stereotype of the American negro and because it appears divisive since it makes problematic the notion of authentic or counterfeit aboriginals. This emphasis on the 'real' or 'not real' has become prominent in recent times, especially in relation to our Prime Minister and concern as to whether or not we are seeing the 'real' Julia. The 'real' appears always as that which is hidden and all we have to do is somehow uncover it! When white performers covered their faces in black shoe polish in minstrel shows they were appropriating not only the culture (music, song and dance) of the American negro, but were also proliferating negative attitudes ascribed to them, such as servitude, primitiveness or simple mindedness. There is a confusing aspect to Cole's work in which she, as a fair skinned aboriginal is covering her face with black identity to represent her inner aboriginal heritage, which she, by her very act ascribes to skin color. A paradox exists here, either the aboriginal identity is about skin color or it isn't! I would be less troubled if a dark skinned aboriginal painted their face white! In the latter we might at least see that the mask represents the 'blackfella' whitewashed by our culture and that the eugenic policies of the 1937 Aboriginal Welfare Initial Conference of Commonwealth and State Aboriginal Authorities, the aims of which were: (a) To educate to white standard, children of the detribalized living near centers of white population, and subsequently to place them in employment in lucrative occupations, which will not bring them into economic or social conflict with the white community; (b) To keep the semi-civilized under a benevolent supervision in regard to employment, social and medical service in their own tribal areas. Small local reserves selected for tribal suitability should be provided in these tribal areas where unemployable natives may live as nearly as possible a normal tribal life, and unobjectionable tribal ceremonies may continue and to which employees may repair when unemployed. The ultimate destiny of these people should be their elevation to class (a); (c) To preserve as far as possible the uncivilized native in his normal tribal state by the establishment of inviolable reserves; each State or Territory determining for itself whether mission activities should be conducted on these reserves and the conditions under which they may be permitted. This has been almost fully enacted, with the exception of aboriginals from Western Australia, Northern Territory, South Australia and parts of Queensland who have not yet been westernized. I'm left wondering whether art, such as that made by Bindi Cole does anything to draw attention to the plight of these aborigines who live in regional and remote Australia and are still thought of as 'Abos', still considered inferior because of negative stereotypes generated about them in the media and who, according to a recent survey, still suffer from gross discrimination when they come to our cities. I hope that if nothing else, the Andrew Bolt case will further the discussion surrounding treatment of Indigenous peoples regardless of the color of their skin. 
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