The practice-led research for this thesis emphasises my use of re-indigenisation methodologies as a potent curatorial resistance against tokenism in the arts, leading to a deeper understanding and recognition of their relevance. In contemporary art, curatorial work extends beyond merely displaying artworks, focusing instead on creating educational projects that engage diverse participants. These projects push the boundaries of traditional art while enriching our understanding of the world’s cultures. The study presents a novel curatorial framework for re-indigenisation, a collaborative effort that resists the dominance of Western Eurocentric academia. This framework promotes a new era in curatorial practice, one built on inclusivity and shared learning, which it hopes will usher in a more diverse and dynamic art world. The research investigates the curation of art exhibitions that incorporate Indigenous methodologies. It highlights the underrepresentation of Black women in the art world and the lived experiences of global majority communities. This has deeply influenced my approach to curatorial practice, fostering empathy and engagement with these underrepresented communities. This study explores the transformative impact of collecting and preserving people’s stories and experiences through film, voices, artworks and literature. It aims to inspire appreciation for diverse perspectives and a deeper understanding of the world, with the potential to bring about significant change.
Cat Herd (2025) studied this question.