Indigenizing FAO Publications: the winners of the 2024 FAO Indigenous Peoples’ art contest share insights on art and advocacy

Rome - Way too often, Indigenous Peoples’ voices are underrepresented on the global stage and in international organisations. And the same happens to their cultural expressions. A quick look to the books and communication material disseminated by international organisations is enough to understand that most of their graphic content is created by professionals and artists belonging to dominant cultures.  

Inclusivity and recognition should guide us through the present and the future. Humankind developed an astonishing plurality of expressions based on different worldviews and value systems. Indigenous Peoples’ art is amongst the longest living of these expressions, drawing from centuries, or even millennia, of knowledge, experience and wisdom. But when it comes to representation in international organisations – Indigenous Peoples make up 6.2 percent of the world population – a big question remains: where is Indigenous Peoples’ art? 

The short answer is: soon it will be on FAO publications. Spearheading the work on Indigenous Peoples’ food and knowledge systems in the UN, FAO recognises the importance of including Indigenous Peoples’ art in its publications and communication materials. It is a way to open new spaces for Indigenous Peoples to advocate for their rights and the preservation of their knowledge. 

In September 2024, FAO Indigenous Peoples Unit (PSUI) launched an art contest called “Indigenizing FAO publications". It was open to Indigenous artists from all over the world. The contests received 27 submissions, from artists belonging to 25 different Indigenous Peoples: Ao Naga, Aymara (Jacha Suyu Pakajaqi), Bawm, Blaan, Chakma, Champa, Dhanuk, Guna, Hajong, Higaonon, Madheshi, Magar, Nimai, Quechua, Shan, Shor, Talaandig, Tamaletom, Tancanhuitz, Tangkhul Naga, Tharu, Tripura, Varli, Yoruba. The participants live in 12 countries and represent 4 socio-cultural regions of the world (Asia, Africa, Latina America and the Caribbean, Eastern Europe, Russian Federation, Central Asia and Transcaucasia). 

Proclaiming the three winners of the contest has not been an easy task. All the artworks received were extremely valuable and contributed significantly to the representation of the diversity of worldviews and knowledge systems embedded in Indigenous Peoples’ cultures. The selection process involved FAO staff and the members of the Global-Hub on Indigenous Peoples’ food systems: an innovative think tank that brings together Indigenous and non-Indigenous experts on Indigenous Peoples’ food systems. With their support, FAO Indigenous Peoples Unit was eventually able to decree the winners. 

The first place was awarded to Oswaldo De León Kantule, belonging to the Guna Indigenous Peoples of Panama. “Art is deeply connected with our daily life. It is so present for us that some people say that the Guna People are governed by artists”, said Oswaldo. “For my People, art is extremely important for its link to education. Unlike in western art, we can copy from each other's works and reproduce them. And by copying and reproducing artworks, the youth learn our ancestral knowledge. It has to do with the conservation and transmission of ancestral knowledge”. Oswaldo's works and artistic research “are centred on the relationship between the environment and the human being. The sea is very present: our People live on islands. But there is also the issue of contamination of our waters, which leads to a scarcity of fish, endangering our food system". “As many other Indigenous artists, I'm inspired by the nature surrounding us. The environmental, human and spiritual nature". Indigenous Peoples have a deep connection with and understanding of their environment. And their art can be an effective way to raise awareness on the challenges they are facing with respect to environmental degradation, climate change, and biodiversity loss. 

Art is a way to express Indigenous Peoples’ worldviews, cosmogonies, spirituality and interconnectedness with nature. Another example of it comes again from the Guna People of Panama. The Guna women are famous for their molas: intricated yet simple designs embroidered on colourful fabric. These artworks, from which Oswaldo draws inspiration, are strictly connected with the Guna's understanding of the natural world and its hidden connections. They are also liked with the domain of dreams and spirituality. During the 2024 meeting of the Global-Hub on Indigenous Peoples’ food systems, FAO Indigenous Peoples Unit contributed to organise a molas’ exhibition in one of the two Indigenous nomadic tents that were installed in FAO headquarters for the event. 

The connection with nature is strongly felt also by the artist who ranked second in the contest: Shriesty Chaudhary, belonging to the Tharu Indigenous People of Nepal. “Growing up in a family that has practiced subsistence farming for generations, I have learned the deep respect for nature and land. Tharu People have a strong bond with their land and environment”, shared Shriesty. Spirituality is also linked to art for the Tharu People. “Art is related to our spirit and praying is very much connected with it". Nevertheless, in the artist’s work, the focus is on the main challenges faced by the Tharu Indigenous People. “The Tharu people have lived in the Terai for centuries, developing a unique culture deeply connected to the land, rivers and forests. However, they face significant challenges in protecting their ancestral lands amidst growing pressure from land acquisition and internal migration. The violation of our land rights led to dispossession and marginalization”. Secure land rights are fundamental for the fulfilment of Indigenous Peoples’ rights and for the survival of their food and knowledge systems. Art is a useful tool to constantly remind us of this. 

Besides being a mean to display Indigenous Peoples’ cosmogonies and highlighting their challenges, art is also fundamental for the transmission of knowledge. Passing down experiences, practices and wisdom through generations is key for the preservation of Indigenous Peoples’ knowledge and cultures. This is also what shines through the artwork of the artist that rankled third in the art contest. 

Pingcu Tripura, from the Tripura Indigenous People of Bangladesh, ranked third in the contest, and shared that “since my birth, I have seen my grandmother weaving our traditional dress with her own hands, later my mother. All the women of our ethnic group are connected with this cultural soul. This culture marks our existence”. The black and white artwork reminds us of the deep connection that Indigenous Peoples have with their lively traditions and of the pivotal role that women play in this respect. “All Indigenous Peoples in Bangladesh make their traditional dresses the same way, but each of them has its unique colours. And these colours connect us to the spirit of our culture". Traditions that developed over centuries of rich history and that today continue to be shaped in their constant dialogue with innovation. Indeed, Indigenous Peoples are the bridge between these two worlds. They are the link between the past and the future. They are the present. And as actors of today, Indigenous artists rightfully claim the space they deserve. 

As it was put by Shriesty, talking about the 2024 FAO Indigenous Peoples’ art contest, “I believe this is a powerful platform to raise awareness about the challenges my community faces, using art as means to amplify our voices and share our stories with the world”. Indigenous Peoples’ art needs more recognition. “Our art is still ignored or considered as a souvenir. This must change. This is the challenge that us Indigenous artists are facing", said Oswaldo. 

Indigenous Peoples’ art is not just a reflection of nature, but a continuation of it, as per Indigenous Peoples’ cosmogony. Indigenous Peoples’ art reflects existing harmony between people, culture and the environment.