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EN
This article discusses the phenomenon of reusing of ancient rock art iconography in modern art on the example of the artworks of Canadian Cree visual artist Jane Ash Poitras. To understand the role the rock art plays in the collages of J.A. Poitras, the first part of the paper is focused on the Indigenous perspective, which provides the clue to reading complexity of history and contemporary art of the First Nations in Canada. Then the painting Shaman never die V is thoroughly analyzed. It is showed that rock art motifs used in this artwork had been very carefully selected and the meanings they evoke significantly go in pair with wider ideas related to traumatic history of Indigenous Canadians as well as ideas related to persistence of Indigenous spirituality symbolized by the image of shaman.
PL
Author of the paper discusses social implications of the choice of a prehistoric rock art. image as a graphic symbol of the Institute of Ethnology and Cultural Anthropology of the Adam Mickiewicz University. The essay is divided into two parts. The first one deals with implications which result from using a petroglyph as a rock art image. In this matter the paper stresses interpretative context of reading this petroglyph in terms of otherness, both on formal and epistemological levels. In the second part the author considers implications which result from choosing this particular petroglyph, which comes from Kazakhstan. Author demonstrates different social involvements of such a choice, which however well define a nature of cultural anthropology as an academic discipline, which, by definition, faces numerous epistemological and ethical dilemmas in its practice.
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