This article discusses the potential of Indigenous art as epistemic decolonial truth-telling regarding any future possibility of transitional justice. When practised in a manner that is attentive to Indigenous knowledges and methodologies, works of art can engage audience members with sensual and symbolic forms that elicit reflection, understanding, engagement and conversations complementing written and spoken communication. Through the painting Battle Mountain Memorial (2022) by Kalkatungu artist and co-author Ricky Emmerton, the authors explore how Indigenous art can subtly express profound truths regarding the misuse of colonial power. Through removing the shroud of silence in retelling the incident of the massacre of Kalkatungu people at Battle Mountain in 1884, this artwork is presented as a form of truth-telling, ensuring these events and truths are not overlooked or supplanted. Thus, this article contributes to discussions on interdisciplinary methodologies that incorporate Indigenous and non-Indigenous research methods, and on the interaction of visual, written and oral knowledges.

中文翻译：

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本土艺术作为非殖民化的真相讲述：战山纪念馆


本文讨论了土著艺术作为认知非殖民真相讲述关于过渡正义未来任何可能性的潜力。当以关注土著知识和方法论的方式进行实践时，艺术作品可以通过感官和象征形式吸引观众，引发反思、理解、参与和对话，补充书面和口头交流。通过卡尔卡通古艺术家兼合著者瑞奇·埃默顿 (Ricky Emmerton) 的画作《战山纪念馆》(Battle Mountain Memorial，2022)，作者探索了土著艺术如何巧妙地表达有关滥用殖民权力的深刻真相。通过揭开沉默的面纱，重述 1884 年在巴特山屠杀卡尔卡通古人的事件，这件艺术品以一种讲述真相的形式呈现，确保这些事件和真相不被忽视或取代。因此，本文有助于讨论结合土著和非土著研究方法的跨学科方法，以及视觉、书面和口头知识的相互作用。