• DOI:10.1177/1354856520943083
• Corpus ID: 225511526

Fourth VR: Indigenous virtual reality practice

@article{Wallis2020FourthVI,
  title={Fourth VR: Indigenous virtual reality practice},
  author={Keziah Wallis and Miriam Ross},
  journal={Convergence: The International Journal of Research into New Media Technologies},
  year={2020},
  volume={27},
  pages={313 - 329}
}

• Keziah Wallis, Miriam Ross
• Published 30 July 2020
• Computer Science
• Convergence: The International Journal of Research into New Media Technologies

Indigenous creators are currently using virtual reality (VR) tools, techniques and workflows in wide-ranging geographical locations and across multiple VR formats. Their radical adaptation of this new technology folds together cultural traditions and VR’s unique audiovisual configurations to resist dominant, particularly colonial, frameworks. Within this context, we ask how VR is being used to create space and capacity for Indigenous creatives to tell their stories and how do Indigenous creatives negotiate Eurocentric modes of production and distribution? To answer these questions, our Fourth VR database provides a snapshot of Indigenous VR works. By drawing on three case studies drawn from the database – The Hunt (2018), Future Dreaming (2019) and Crow: The Legend (2018) – as well as the wider patterns emerging across the database, it is possible to see an Indigenous-centred VR production framework. This framework is diverse but also contains repeated trends such as the ability to use VR to express and realize Indigenous Futurism; foreground native languages in virtual worlds; provide new articulations of Indigenous activism; embody connections between the past, present and future and demonstrate the interconnectivity of all living things. In turn, this growing body of work, engaging with the full spectrum of VR formats and tools, provides a rich contribution to the wider arena of VR practice.