BACKBONE Arts Cultural Legacy Edition - The Cross Art Projects
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Arts
BACKBONE
Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018
Cultural Legacy Edition
ANKA Cultural Legacy Program and Intro to Issue
Support for Cultural Legacy
Welcome Sea Rights 10 Year Anniversary
CEO - Yingapungapu Sand Sculpture
Djambawa
Gabriel Marawili
Nodea, ANKAAM, ANKAChairperson
Deputy Chairperson& Jedda Puruntatameri Christina Davidson, ANKA CEO
Darwin Office
GPO BOX 2152, DARWIN of country, animals, seasons, weather created for ceremony in North East These scooped out hollows became
NORTHERN TERRITORY, AUSTRALIA 0801 patterns and the natural world. We are Arnhem Land, especially for funerals the model for the Yingapungapu Sand
Ph +61 (0) 8 8981 6134 also materially poor, and our people and cleansing rituals. Sand sculpture Sculpture.
Email info@anka.org.au have levels of serious illness, which are
can be both impermanent, designed
www.anka.org.au completely unacceptable in a rich country
Facebook: ANKA - Arnhem Northern & like Australia. for use only for the duration of the The Wuradilaku women and the
Kimberley Artists, Aboriginal Corporation ceremony, or permanent. In the case story of the Yingapungapu links three
To continue the important work of looking of the new Yingapungapu Sea Rights peninsulas in the north of Blue Mud
Northern Kimberley and Arnhem Aboriginal Artists, after Australia’s first high culture, we need
Aboriginal Corporation (ANKA) is the peak body more respect and understanding. We need
Sand Sculpture it is planned that after Bay: Garrapara of the Dhalwangu
for Aboriginal artists and 48 Aboriginal owned Above: Djambawa Marawili AM, Madarrpa wider Australia to properly understand the July 30 celebrations, a fence will Gumana clan, Baniyala (Yilpara) of
community Art Centres in: the Kimberley, Arnhem Clan leader/ANKA Chair, Baniyala Homeland, that in the homelands, in our communities be constructed, and the sand will be the Madarrpa clan and Djarrakpi of
Land, Tiwi Islands and Katherine/Darwin regions sand sculpture. Image: Creative Cowboys. on Country, we are caring for the oldest reinforced into a permanent memorial the Manggalili clan, and demonstrates
of Northern Australia. ANKA is a fully Indigenous
governed not-for-profit Aboriginal Corporation. living culture on earth; and we are the only
Today we have two main important ways people qualified to look after this global on the ancient beach-front ceremonial the connection of places, patterns and
Founded in 1987, ANKA is Australia’s first peak
of looking after our Indigenous cultural inheritance. These are not just words about ground at Baniyala - for the next names across the land and sea that
body for Indigenous art.
heritage on Country. One is adapted a distant imagined past; this is reality. We
from western models of museums, keeping
generations to remember and respect. are the foundation for ‘sea rights’.’
This publication contains the names of need support for our self-determination to
places or libraries, as places to store care for the seeds of a shared future for all
Aboriginal people who have passed
away. precious objects, documents, images and Australians. Yolngu sand sculpture can be open The two Larrakitj (ceremonial poles)
digital imagery, so they are there for future Above:Yingapungapu Sea Rights Sand Sculpture,
The artists, Art Centres and/or ANKA own the Baniyala Homeland, Blue Mud Bay, Arnhem Land, and accessible to everyone and also inside the Yingapungapu, one Yirritja
generations. You see that in our remote Art How many Australians today know the
copyright of all text and images contained in this
Centre-based community collections.1 ‘Our Sea Rights - Celebrating the 10th Anniversary contain deeper understanding which and one Dhuwa, represent the six
publication. Photographs have been taken by long-time stories of the country they live on? of the Australian High Court Blue Mud Bay Sea
Or can speak an Indigenous language?
requires more knowledge and context homeland clan groups which make up
ANKA Staff, unless stated otherwise. ANKA Arts Rights Decision.’ Image: Andrew Blake.
Another is the old ways of transmitting We are willing to share our richness, our to read. the Djalkiripuyngu [foot-print people]
Backbone is © ANKA.
traditional knowledge, which many knowledge, with all Australians to build a
The views and opinions expressed in this When the 10th anniversary of the of Blue Mud Bay.
Australian’s don’t understand still live future for us all, we can be proud of.
publication are those of the authors and do not on today. This is traditional Indigenous Australian High Court, Blue Mud Bay The Djalkiripuyngu elders2 of Blue
necessarily reflect those of ANKA. knowledge sustained through storytelling, Sea Rights decision was celebrated at Mud Bay explain: There will now be four permanent
I call on government and the private sector
caring for Country, and in our many to make tangible steps to respect our Baniyala (Yilpara) homeland in Blue sand sculptures at Baniyala. The giant
Editor: Christina Davidson
Indigenous languages; and also in cultural legacy. To support the crucial work
Issue Coordination: Jill Pope & Talitha Klevjer
ceremonial practice and Law. This
Mud Bay, North East Arnhem Land, ‘Today, the Djalkiripuyngu release the ancestral sting ray Lulumu, created
Design: Jill Pope & Talitha Klevjer being done through community collections
ceremony, with its rich and complex song on July 30th 20181, art once again sacred patterns and designs of their well before the Madarrpa walked
Cover Image: John Mawurndjul, 1992, Mimih in remote Art Centres; and by cultural
Spirit, earth pigments and synthetic polymer paint
and dance cycles, and inherited patterns, maintenance programs, proven to also played a central role. sea country, housed in the central back to their homeland in the 1970’s.
on wood. Image: Saul Steed courtesy of Art designs and objects, passed down from support health and wellbeing. canoe shape of the Yingapungapu The Yingapungapu, located behind
Gallery of South Australia and Maningrida Art & our ancestors, is Australia’s first high culture.
Our opera as well as our law. In 2008 the Salt Water Collection sand sculpture. the community in the burial area of
Culture. Government funding for First Nations culture
made up just 1% of total direct expenditure
of 80 paintings of sea Country (by ancestors Djambawa and Marawili,
ANKA is proudly supported by: It is time that Australia recognises that caring 47 Yolngu artists from 15 clans The Wuradilaku sisters were said created by Mundukul Marawili, also
for Indigenous Australians in 2015-2016
for this high culture in remote Australia and cultural outcomes have not featured in and 18 homeland communities of to hide from men; who fished and prior to the Baniyala community.
is every bit as important as looking after the measurement framework2. To achieve
mainstream high culture in the cities. North East Arnhem Land), provided collected shellfish off-shore from the The Narra, sacred men’s business
the outcomes we need for our health,
wellbeing and heritage, this must change. important evidence for the granting coastal dunes. They covered their sand sculpture, created by Wakuby
In the homelands across remote Australia, A minimum of 5% of the Indigenous of sea rights to the Aboriginal people bodies with sheets of stringy bark or Marawili; and the new sea rights
traditional ceremony and culture is cared for Advancement Strategy funds needs to be
and practiced as part of the contemporary
of the Northern Territory. A decade hid inside giant shells. When they Yingapungapu representing the six
allocated to the Culture and Capability
world. This knowledge is still passed on, on, a new Yingapungapu Sea Rights had eaten their fill, they buried the clan groups of the Djalkiripuyngu
stream, with guidelines to support cultural
from parent to child to grandchild, through maintenance activities. Culture has the Sand Sculpture has been designed at fish remains in shallow scooped out (Dhuwa and Yirritja) which is the
the generations. Sustained by repetition power to make people strong. Baniyala homeland to educate and ovals in the sand where maggots vision of Djambawa Marawili, Waka
and immersion. Traditional culture survives,
despite serious disruptions and challenges, memorialise Aboriginal relationship to gathered to clean up the remnants. Munungul, Gunybi Ganambarr and
With the support of wider Australia, we
in ceremony and in the art we share with can turn around the tide, close the gap,
sea and land Country. several younger generation cultural
the mainstream. and build a shared pathway and future for 2 The Djalkiripuyngu (footprint people) caretakers, made to memorialise sea
the next generations. Today sand sculpture is regularly are Yolngu from the Manggalili, rights.
In our homelands living on our ancestral Gumana Dhalwangu, Wunungmurra
Country, we are culturally rich with our Many messages about the importance
(Gurrumuru) Dhalwangu, Dhupuditj
inherited language, song, dance, patterns, Dhalwangu, Munyuku, Yithuwa Madarrpa, Yingapungapu sand sculptures
of culture have been given by Aboriginal 1 On the 30th July 2008 The High Court of Nyungudupuy Madarrpa, Gupa-Djapu,
stories and knowledge of the details peoples, over the years. We need them to reflecting on sea Country were also
Australia confirmed that traditional owners of Dhudi-Djapu, Marrangu, Marrakulu, and
be heard and acknowledged. the Blue Mud Bay region in north-east Arnhem Nurrurawu Dha-puyngu (Dhurili/Durila) clans constructed outside the Museum of
Land, together with traditional owners of which live together around Blue Mud Bay
1 See: Safe Keeping: A Report on the Care almost the entire Northern Australian coastline at the Baniyala, Wandawuy, Gan Gan, Contemporary Art in Sydney in 1996
and Management of Art Centre-based 2 Australia Council for the Arts, Submission to
the Closing the Gap Refresh, April 2018. have exclusive access rights to tidal waters Dhuruputjpi, Bälma, Rurrangala, Barraratjpi, and at the opening of the National
Community Collections, University of overlying Aboriginal land. https://www.nlc. Djarrakpi, Baygurrtji and Gurkawuy
Melbourne & ANKA, 2017. org.au/our-land-sea/sea-country-rights. homelands.
Museum in Canberra in 2001.
2 ARTS BACKBONE – WELCOME Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 CULTURAL LEGACY– ARTS BACKBONE 3
The Barunga Statement 30th Anniversary
Indigenous Leadership in the Museum Sector
Treaty Yo-Way!! By Shaun Angeles Penangke, Artwe-kenhe (Men’s) Collections Researcher, Strehlow Research Centre
By Christina Davidson, ANKA, CEO
Left: Barunga Statement, 1988. Gifts Collection,
‘Parliament House Art Collection, Canberra, This reflection is adapted from Shaun
ACT. Galarrwuy Yunupingu (born 1948, Gumatj
people), Bakulangay Marawili (1944-2002,
Angeles’ lecture at the 2017 ANKA
Madarrpa people), Djambawa Marawili (born Annual Conference Aboriginal
1953, Madarrpa people), Marrirra Marawili
(c.1937-2018,Madarrpa people), Djewiny Leadership for Aboriginal Art and Places,
Ngurruwuthun (born c.1940, Munyuku people), at the Australian Centre for Indigenous
Wenten Rubuntja {c.1926-2005, Arrernte/
Aranda peoples}, Lindsay Jampijinpa (1951- Knowledges and Education, Charles
2009, Warlpiri people), D.Williams Japanangka Darwin University, Darwin, November
(1948-2013, Warlpiri people).
29th, 2017.
1991, Bob Hawke’s last official act as
Prime Minister was to hang the statement in Elders and their role within our
Parliament House – famously crying for what communities are critical for the health and
he had not achieved. wellbeing of our daily lives, particularly
when it comes to traditional knowledge of
With no Treaty in site, the Yothu Yindi band Country, ceremony, identity and spirituality.
group, together with musicians Paul Kelly and They provide the younger generation with
Peter Garrett, wrote the iconic 1991 hit song love, guidance and a sense of safety and
‘Treaty’. Three decades on, the political anthem contemporary relevance in this busy world
was performed at the 2018 Barunga Festival, of ours. Top right: Eastern Arrernte Elders working with that have been passed down through
Top (right): Northern Land Council posters.
Shaun Angeles at the Strehlow Research Centre.
The Festival at the Barunga community, Image: Chips Mackinolty. by Yirrmal, grandson of the late lead singer of generations. They make sense of artefacts
L to R: Shaun Angeles, John Cavanagh, Alan
NT, over the long weekend 8 -11 June for a Treaty between the Australian Indigenous Yothu Yindi. Not only do they provide these leadership Drover. Image: Adam Macfie. and collections where nobody else can,
2018 marked the 30th anniversary of the Peoples and the Federal Government. Prime qualities in our communities, their and they are the only people on earth
presentation of the Barunga Statement to Prime Minister Hawke promised he would take the Leading up to the 2018 Festival, a historic leadership and who can enrich the existing knowledge
Minister Bob Hawke. statement to Canberra and organise a Treaty. meeting of the four Northern Territory land importance within held within museums. This makes their
However, this did not happen. In December councils was held at Barunga. On 8 June, museums cannot roles incomparable when working with
The 1988 statement calling for a Treaty, joins a Memorandum of Understanding (MOU) be overstated, collections and the importance of our
the powerful tradition of Indigenous Australian ‘The notice that we will give to the to establish a Treaty process, the Barunga as their presence Elders to art and cultural institutions needs
art work carrying political messages to Prime Minister now will remind Agreement, was signed with the NT and skills are to be better appreciated.
government. This tradition includes: the Yirrkala not only Bob Hawke, but the next Government. A commissioner will now be fundamental to the
Message Sticks (1935), Yirrkala Bark Petition one after him, and the next one appointed by the government to conduct this overall vitality of The contemporary role and relevance of
(1963), the Ngurra Canvas (1997) and after him, and the next one after process. these institutions. museums is of paramount significance
the Salt Water Collection (1997). Today the him, and the next one after him Over the past five to the cultural aspirations of Indigenous
1988 statement hangs on permanent display and we can count that for another The current Prime Minister of Australia was years working with people and our journey within the
at Parliament House, Canberra, as one of two hundred years. Let’s celebrate represented at the 2018 Barunga Festival the Museum & ambiguous world of repatriation and
the great documents of Australian history. This the next 200 years of Australia by the Minister for Indigenous Affairs. The Art Gallery of the cultural revival. Why? Because museums
year AIATSIS joined with Parliament House jointly.’ federal leader of the opposition also attended, Northern Territory, hold thousands of our artefacts and
to produce a dedicated exhibition and indicating a newly elected national labour I have continuously historical records documenting different
Galarrwuy Yunupingu AM speaking at
informative web site about the statement. the Barunga Sport and Cultural Festival,
party would revisit a process for a Treaty and witnessed our aspects of our cultural heritage and
12 June 1988. reconciliation. Elders unparalleled histories. Therefore, our Elders must be at
Nine artists from Northern and Central Below: Barunga, 2018, Galarrwuy Yunupingu expertise in the forefront of consultation, engagement,
Australia painted the Barunga Statement. Of and Djambawa Marawili AM. Image: Northern Today Australia is the only Commonwealth working with their and employment within all museums that
Land Council. Bottom right: Discussions
these only two are still alive – Djambawa between Bob Hawke and Galarrwuy Yunupingu nation that doesn’t have a Treaty with its collections. hold our most beautiful and treasured
Marawili AM (ANKA Chair and Yolngu (Galarrwuy is painted with his father’s body Indigenous peoples. artefacts as they hold the keys to unlocking
design from the Gumatj clan).Image: Sue Ford.
Madarrpa Clan leader) and Galarrwuy The knowledge the the true potential of these Indigenous
Yunupingu AM (Yolngu Gumatj Clan leader). Elders possess can knowledge centres.
Both joined other Indigenous leaders at this never be learnt
year’s Barunga Festival. through courses
or universities, but
Left: Museums Victoria Repatriation – Braydon
The statement presented to Bob Hawke on only through our William Kantjira leading a smoking ceremony for
the12 of June 1988, was organised by the ancient ‘schools’ returned Arrernte artefacts from Museums Victoria
Northern and Central Land Councils calling of ceremony in 2017. Image: Adam Macfie.
4 ARTS BACKBONE – CULTURAL LEGACY Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 CULTURAL LEGACY– ARTS BACKBONE 5
What’s This Museum
ANKA 30th Anniversary Cultural Legacy Summit
Museum and Art Gallery of the Northern Territory, 14 August 2017
‘Berrem yarroonya-ngarri nginyi
daany “Gamerrem” yirrarn-birri. Well
I don’t know what gardiya call em.
Gardiya call “Museum”. “Gamerrem”
yirrarn-birri. Nginya daany
gamerrem, berrem yarroonya-ngarri.’
‘This land where we all live we call
“Gamerre”. I don’t know what white
people call it, they might call it a
‘’Museum”. We call it “Gamerre”. This
“Gamerre” is the place all of us live.’
Rusty Peters, Gamerre What’s this Museum?
Painting Story. Transcript and translation from
Gija and Kriol: Frances Kofod
Above: Rusty Peters, Gamerre - What’s This Museum?, 2004, Synthetic polymer paint on canvas, three panels, each 180 x 150 cm. Image: Warmun Art Centre. Above: Session One: Reflection - What’s This Museum, Rusty Peters (Warmun Art Centre)
First exhibited in Jirrawun Arts Exhibition, ‘Beyond the Frontier’, Sherman Galleries, Sydney, 2005.
Rusty Peters’ iconic tryptic Gamerre – well as leaders from Indigenous art peak The significance of these collections is Presenters included well-respected cultural
What’s This Museum? (2005) and a Gija bodies. directly related to their on-country location, leaders including many ANKA board
and Kriol language sound recording of its strengthened by direct links to the people members, as well as Aboriginal curators
‘artists story’, opened the summit. ‘We don’t The purpose of the summit was to learn who made them and their descendants. Keith Munro, Glenn Isegar-Pilkington and
have museums. We have rock paintings about current initiatives in Aboriginal Peter White.
and the Country itself’, Rusty Peters reflects. communities relating to safeguarding The summit featured stories on how
‘The artist compares this knowledge Aboriginal cultural heritage. Led by collections have been established, cared Lee-Ann Tjunypa Buckskin, Deputy Chair of
held in the land itself with the European community Elders and arts workers, the for and used for inter-generational sharing the Australia Council Board and Marcus
practice of keeping important objects, summit shared what is important to them of cultural knowledge, and sought to Schutenko, Director of the Museum and
including paintings, in museums, forever, for in their community collections and in the identify the skills and resources needed to Art Gallery of the Northern Territory
everyone.1’ museum space. It considered what support keep collections strong and vibrant. launched Safe Keeping: A Report on the
and conditions are needed for Aboriginal Care and Maintenance of Art Centre
Starting with a painting question - people to continue to lead the protection Sessions addressed: the history of community Based Community Collections, produced Top (left): Introduction: ANKA Chair, Djambawa
What’s This Museum? signaled an and management of these collections – collections in remote communities; by the Grimwade Centre at the University The Summit MC’s were ANKA Art Worker Marawili AM and ANKA Board. Top (right) Session
Two: History Stories. Donna Nadjamerrek (chair
open Indigenous lead inquiry into what whether on or off country. establishing respectful relationships between of Melbourne and ANKA. This is the first Extension Program graduates Ribnga Injalak Arts), session chair, and Ribnga Green, Summit
it takes to look after cultural legacy in communities and the wider museum sector; report of its kind and addresses the network Green from Yarliyil Artists in Halls Creek MC. Middle (left) Session Two: History Stories, Pedro
Wonaeamirri, Alan Kerinauia and Michelle Woody,
todays Australia, in the footsteps of Art Centre based community collections digital collections; repatriation (bringing of Indigenous community collections across and Ishmael Marika from Buku-Larrnggay
Jilamara Arts & Tiwi Designs. Bottom (right) Session
tens of thousands of years of successful including arts works, artefacts and digital objects home); care of ceremonial objects; the Top End of Northern Australia and their Mulka in Yirrkala. Three: A Two-Way Street: Respectful Relationships
maintenance. recordings were the key focus. and consideration of what is at stake. significance for national heritage. Between Institutions and Communities.
Below (left): Session Four: Looking After Ceremonial Objects. LtoR: Tommy May & Lynley Nargoodah (Mangkaja Arts), Stanley Taylor (Mowanjum Arts).
Below (left): Larrakia Welcome To Country, Gary Lang. Below (right): History Stories Forum.
The summit built on ongoing work done Below (right): Session Five:The Digital Museum Forum.
through the ANKA Cultural Legacy Program
over many years. It brought together
community leaders, Aboriginal artists and
arts workers and representatives from the
museums, galleries and libraries sector from
ANKA regions and around Australia, as
1 Frances Kofod, Introduction to Artists Story,
Rusty Peters ‘Gamerre What’s This Museum?
2005’, transcribed and translated by Frances
Kofod from Gija and Kriol, http://www.
shermangalleries.com.au/artists/inartists/
image_pop.asp%3Fimage=431.html
6 ARTS BACKBONE – ANKA EVENT Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 ANKA EVENT – ARTS BACKBONE 7
Munupi in Rome: The Vatican Museums’
Old Techniques Remain Strong: Peppimenarti
By Kade McDonald, Durrmu Arts, Coordinator Indigenous Collection
Mike Stitfold, Munupi Arts, Manager
Left: Australia: The
Peppimenarti Bark Smoking Weeks later when the bark was dry, Vatican Museum’s
Regina Wilson (Cultural Director of Indigenous Collection
Catalogue, 2018.
Identification of images of West Daly Durrmu Arts) cut the bark into small sheets
bark paintings from the 1960’s held in and distributed them to the kids from
the Kluge-Ruhe Museum in Charlottesville the local school. This re-engagement of
USA was an impetus for revitalisation of harvesting knowledge and production
bark paintings in Peppimenarti. of art with traditional materials injected
new enthusiasm into the community and
In March 2017 Captain Woditj, senior began a dialogue with the Art Centre,
Law Man of the Ngan’gikurunggurr researching the old and making new bark some Pukumani poles and other artefacts
people of the West Daly Region, was paintings. were displayed alongside the European
approached by Durrmu Arts to lead a field masters. It was an extraordinary moment.
trip into the forests of stringy bark trees to Before the 2018 wet season Durrmu Arts After speeches from Fr. Mapelli; His
Above: Captain Woditj, senior Ngan’gikurunggurr
engage in the old technique of harvesting actively sought the digital repatriation of Eminence Cardinal Beretello; Her
Law Man, demonstrating traditional West
bark for painting. Daly bark smoking technique at Durrmu Arts, numerous barks paintings in collections Excellency Melissa Hitchman; Craig
Peppimenarti. Image: Kade McDonald. across the globe and built a significant Ritchie the CEO of AIATSIS; and others;
This process had not been active in online collection of regional paintings. it was Pedro Wonaeamirri’s turn as the
the community of Peppimenarti for over and proceeded to teach the technique last speaker.
25 years but many of the young men of harvesting bark for the production of This research developed a strong
and women had seen the results and art. From the removal of the bark Captain partnership with the Kluge-Ruhe Museum Above: The Vatican, 2018. Carol Puruntatameri Mr Wonaeamirri was amazing. Stealing
and Pedro Wonaeamirri standing in the Sistine
remember their grandfathers painting on spoke in language about the important step in Virginia, which holds an outstanding The invitation from the Vatican Museums the show, he introduced himself and then,
Chapel atrrium 2018. Image: Munupi Arts.
bark although they could not recall the of smoking the harvest, almost like a kiln, collection of West Daly Region bark and the Australian Department of Foreign together with Carol Puruntatameri, sang
process in which it was harvested. to elasticise the natural sugars allowing the paintings. Cultural leaders were invited Affairs to Pedro Wonaeamirri and Carol an old song remembered during the
bark to become malleable in preparation to curate an exhibition of barks from the Puruntatameri to visit the Vatican in researcher Katherine Aigner developed the afternoon, directed towards the Pukumani
Captain led a group of young men into for a drying period and ultimately ready for Kluge-Ruhe resulting in ‘Ngunguni’, Old the Holy See had its genesis some one concept for a catalogue of the Australia poles, settling them in to their new home in
the forests of Ngunguni (Stringy bark) painting. Techniques Remain Strong’. hundred years ago. collection in the Vatican museums, as part perpetuity in the Anima Mundi Museum.
of an ethos of reconnecting the material
‘Ngunguni’: Old Techniques Remain region outside of Arnhem Land. The works works created this year, all from West Daly. It was then Pope Pius XI asked missionaries culture with the source communities who
Strong. Kluge-Ruhe Museum, University were attributed to the West Daly Region, all over the world to send objects for remain its cultural custodians.
of Virginia, Charlottesville, USA Port Keats (Wadeye) and Peppimenarti. Two new barks produced by young an exhibition to educate a European
emerging artists, Nathan Wilson and Junior, audience about the spiritual, cultural and In 2010, the director of the Vatican
Kade McDonald introduces Durrmu Arts’ These works were outstanding examples with support from Arts NT, were acquired daily life of the worlds’ peoples, which Ethnological Museum, Fr. Nicola Mapelli
knowledge exchange with the Kluge-Ruhe. of a great artistic and cultural practice by the museum.Old techniques remain opened in 1925, at a time when Europe travelled with Katherine Aigner to the
long forgotten in the region.With Dr Henry strong and will continue to grow with a was in turmoil between the great wars. Tiwi Islands, amongst other destinations,
Skerritt’s appointment as curator at the Kluge- surge in interest from West Daly Region to establish relationships and further
Ruhe a conversation about re-engaging the community members to participate in the Some 100,000 objects were assembled understanding and context for the objects
bark practice in the West Daly began. re-engagement of bark painting. in a unique collection of donations and held. A particular focus was a series of
Above: Carol Puruntatameri & Pedro Wonaeamirri
gifts from the missions around the world, beautiful old Pukumani poles. During this standing in front of the Vatican Museum 2018.
In consultation with community leaders such including the Tiwi Islands, the Kimberley visit, a relationship was developed with Below: Carol Puruntatameri with Pukamani Poles
in the Anima Mundi Vatican Museum, 2018.
as Henry Wilson and John Wilson, under region and around Perth. The objects had Pedro who is quoted in the catalogue
Images: Munupi Arts.
Above: Community members in Peppimenarti the senior authority of Captain Woditj, Left: Nym Bunduk, been created around the turn of the 20th as saying he hoped to one day meet
examine images of artworks by their ancestors an exciting journey of repatriation and Tracks of the Rainbow century, also a time of great change for again. That became a reality this year
that are held in the Kluge-Ruhe Collection. Serpent, before
Image: Kade McDonald.
intergenerational knowledge transfer around 1966. Natural Indigenous Australians. when the invitation arrived for the launch
the practice of harvesting and painting on pigments on bark. of Australia: The Vatican Museums
Kluge-Ruhe Aboriginal
In late 2015 during an artist residency with bark began. The Kluge-Ruhe generously Art Collection of the
Some 60,000 objects were returned by Indigenous Collection, co published by
Djambawa Marawili AM at the Kluge-Ruhe offered to host an exhibition of paintings on University of Virginia. the church and of the remaining artefacts, the Australian Institute of Aboriginal and
Museum in Charlottesville, Djambawa eucalyptus bark, curated by Henry Wilson Edward L. Ruhe soon to housed in the Anima Mundi Torres Strait Islander Studies (AIATSIS).
Collection. Gift of
Marawili AM and I came across a selection and on show May - September 2018. It John W. Kluge,1997. Ethnological Museum in the Vatican,
of unattributed bark paintings which he includes early works from the 1960’s from Image: courtesy Henry around 300 are early examples of The launch function was held in the
Skerritt.
clearly identified as coming from another the Kluge-Ruhe alongside contemporary Indigenous Australian artefacts. In 2009 Salone Raffaello where for the first time
8 ARTS BACKBONE – CULTURAL LEGACY Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 CULTURAL LEGACY– ARTS BACKBONE 9
A Two-Way Street: Fostering Respectful Relationships with
ANKA celebrates art making on the homelands of Northern Australia
Cultural Instituitions
by Chris Durkin, Milingimbi Art and Culture Centre, Manager
In 2016, Milingimbi Art and Culture updating documentation of works in its The Milingimbi Art Centre encourages
Centre hosted representatives from 20 ‘Old Masters’ collection of bark paintings, other institutions to re-examine the way
Australian and international cultural which will be touring China in 2018-19. they work with communities. This example
institutions at a ‘Makaratta’ event to Sending NMA staff to the community to demonstrates that utilising research
discuss management of Yolngu cultural undertake this research was not viable. budgets effectively, while acknowledging
heritage. Yolngu leaders argued that Instead, the NMA commissioned the community’s capacity to engage in
justice was needed in the museum sector, Art Centre to collect and edit specific research processes can produce excellent
including appropriate recognition of and information on the bark paintings - a far outcomes for all stakeholders. The cost
consultation with the Aboriginal people more cost effective and efficient option. of wages and remote travel has often
who are custodians of the art and artefacts Senior Yolngu were employed at fair rates excluded community inclusion and
held in their collections. as consultants, the Art Centre taking a small engagement but no longer has to.
commission.
Following on from this, Milingimbi Art and This project has had an enormously positive
Culture Centre has been working towards The well developed relationships and impact on Milingimbi Art Centre. A large
developing and maintaining respectful intellectual capacity already present at the part of this has been the repatriation of
relationships with important Australian and Centre ensured that the detailed information images of old works to their families, which
International institutions. Important cultural collected by Art Centre staff exceeded has inspired new generations of artists to
exchanges have been established with expectations. NMA’s Dr Michael Pickering connect with old designs. The research
the Macleay Museum (The University of says, ‘The experience was fantastic. The collected on-site will remain on-site and
Sydney) Berndt Museum (WA) and Kluge- previous collection documentation that managed in accordance with the cultural
Ruhe (USA) in 2017, which have been came with the works was typically over 40 priorities of the community.
extremely beneficial for all involved. In years old and often limited. The community
Above: Aerial shot of Kabulwarnamyo Outstation. Photo: David Wickens.
September, two senior Yolngu artists will be provided detailed information that not only The success of these exchanges relies
hosted at the Swiss Museum der Kulturen expanded our knowledge of the meaning heavily on a foundation of respectful and ‘As an Indigenous artist and cultural centers of art production are spread
in Basel to undertake similar research and inherent in the works, but also reminded mindful relationship building. The Centre leader living in my homeland on across remote northern Australia and
relationship building. us that no matter how old these paintings respectfully acknowledges and thanks the ancestral Country in northern they are not only located in the larger
were, as a collection, they were still ‘living’ institutions involved for their commitment to Australia. I speak for my own and remote communities.
In 2017 senior artists from Milingimbi works – and that’s one of the messages making this important work a priority. other homeland communities to remind
visited the Kluge-Ruhe to work on their we’re sharing with the Chinese audiences.’ people we are the knowledge holders ANKA consulted with Elders and
collection, conduct workshops and deliver Below: Joe Dhamanydji and George Milaypuma at the MCA art store room, 2016. Image:
and caretakers of this Country. In our community members during the Regional
Above: Injalak Arts collecting paintings,
lectures to University of Virginia students. Milingimbi Art and Culture Centre. regions, on our Country, we are the Meetings in 2010 to identify the
Kabulwarnamyo. Virgil Nalorlman, Andrew Managku
In 2018 Milingimbi hosted a Kluge-Ruhe people who can speak for this land homelands where art is created across and Gabriel Maranlngurra. Photo: David Wickens.
intern for two weeks. She worked with and sea, With our internationally the four regions: the Tiwi islands,
a variety of senior Yolngu updating the recognised Australian Indigenous arts Arnhem Land, Darwin/Katherine
Kluge-Ruhe’s documentation for over 100 industry, ranger programs, and many and the Kimberley. As a result of this
works, while gaining valuable experience developing Indigenous businesses on consultation and data obtained from the
contextualising the collection with intricate Country – like cultural tourism, fishing NT and WA governments, ANKA has
cultural knowledge. These exchanges have initiatives and business products such created the ‘foundation map’ that shows
fostered an ongoing relationship including as bush food, medicines and furniture more than 700 homelands that keep art
a planned internship at the Kluge-Ruhe production, we can draw on our deep and culture strong.
by young Yolngu administration staff in and living knowledge of Country and
2019 focusing on collection management. culture and be experts’ Djambawa This is part of ANKA’s advocacy to
Above: Wamud Namok (c.1926 - 2009)
Milingimbi Art and Culture and the Marawili AM, ANKA’s Chairperson. raise awareness of the important link painting on country at Kun Djorlom Djorlom, West
Kluge-Ruhe hope to formalise an annual between homelands and contemporary Arnhem Land Plateau. Image: George Chaloupka.
exchange that will expose both Yolngu and The ANKA homelands mapping art production. Kubulwarnamyo is the home Country of
non-Indigenous keepers of their collections project, Homelands: Keeping Art and Wamud Namok (c.1926 - 2009). After
leading the1970’s movement of Nawarddeken
to important knowledge and processes. Culture Strong, intends to visually show ANKA will launch the Foundation Map returning to Homelands in west Arnhem Land,
the important link between remote of the Homelands, Keeping Art and Wamud Namok, himself, returned in 2002 to
Kubulwarnamyo. Kubulwarnamyo is part of the
The National Museum of Australia (NMA) homelands and Aboriginal art and Culture Strong at Darwin Aboriginal Warddeken Indigenous Protected Area, home to
approached Milingimbi to partner in culture. As well as, showing that the Art Fair. a ranger station and Nawarddeken Academy.
10 ARTS BACKBONE – CULTURAL LEGACY Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 ANKA PROJECTS – ARTS BACKBONE 11
Artist Feature: Nonggirrnga Marawili Elcho Island Arts
By Tina Baum, National Gallery of Australia, Curator of Indigenous Art By Lotte Waters, Manager
‘The Art Centre, for me, helps me Sydney managed by Urban Arts
to build up my artworks to show Project (UAP). Mavis has travelled to
the wider world and make people Sydney and Brisbane for workshops
understand what the Art Centre is in design development for the
all about. It shows Australia how installation to be launched in early
strong our culture is. I want the 2019.
two worlds to know each other and
our Art Centre helps us with that.’ The Elcho Island Arts Centre building
Mavis Warrngilna Ganambarr requires urgent and significant
Above: Elcho Island Arts Gallery. Image: Elcho upgrades to address work health
Island Arts.
It has been an exciting time of and safety issues and meet the goal
development during the past year of establishing EIA as a destination
at Elcho Island Arts (EIA), located at to their centre which has been an location in the Top End. A two-
Galiwin’ku, off the north-east coast important community enterprise
of Arnhem Land. since1992.
After a challenging time in 2016, A number of significant business
Elcho Island Arts has recreated itself changes have taken place including
in consultation with senior artists re-generating income streams,
Mavis Warrngilna Ganambarr, Judy re-establishing previous business
Manany, Peter Datjin Burarrwanga partnerships and developing new
and Gali Yalkarriwuy, working partnerships. Elcho Island Arts
with dedicated Yolngu arts workers continues to provide a broad offering
Nelson Yunupingu and Margaret of fine art products, cultural tourism Above: New fibre art by Mavis Ganambarr.
Image: Elcho Island Arts.
Dhorrpuy, and Art Centre Project products and contemporary bespoke
The visual language of Nonggirrnga individualistic expressions, she challenges Manager, Lotte Waters. design-based commissions. stage renovation and re-design
Marawili’s art is dynamic, captivating, artistic stereotypes and distinguishes herself plan includes significant plumbing,
invigorating and masterful. Stemming from from other Yirrkala artists at the EIA was relaunched in early 2018 One of the highlights in late 2017 drainage and retaining wall activity
decades of embedded cultural knowledge Buku-Larrnggay Mulka Art Centre. with a renovated gallery space and was the selection of senior artist and as well as building shelters and
and strong connection to her Country. curated exhibition of works by EIA master weaver Mavis Ganambarr outside areas for artists and tourists.
Marawili’s humble, quiet, observant Her works are pure masterpieces in their artists. The Art Centre has been for the design project, Longlines:
demeanour belies her inner strength and fluid, expressive and natural forms that supported by artists and arts workers Weaving Community and Country, The Art Centre is finalising a three-
drive to create stunning, energetic and captivate the imagination of Australian, who are resilient and committed; a large-scale sculptural installation year business plan and funding has
innovative works. global audiences and avid collectors and who have stuck with or returned at the Barangaroo Headland in been secured for a new website to
thereby ensuring her ongoing respect be launched in 2019. Elcho Island
Starting out in early 1990, Marawili has and role as an artist maverick within her Arts is back on track.
only recently consistently and prolifically community for years to come.
created works - from 2012 to today.
The visual power within her works is Recent examples of her works will be on
an extension of her natural talent that show in Defying Empire: 3rd National
transforms whatever medium she works Indigenous Art Triennial exhibition along
with. Her recent foray working on with works from 29 other Indigenous artists
aluminium also shows her bold and fearless from across the Country, at the University of
experimentation, elevating her practice Queensland Art Museum, 28th July to 11th
through medium, scale and colour. Her November 2018.
skilful use of line, form, colour combination
and composition sets her apart from her Left: Artist Mavis Ganambarr and designer Elishia
predecessors and peers but also maintains Top: Nonggirrnga Marawili at Defying Empire: Above: Nonggirrnga Marawili ‘Baratjula’ 2016, Whitchurch from Urban Arts Project discussing
Third National Indigenous Triennial. Image: natural earth pigments and binders on bark. Image: design concepts for the large-scale sculptural
her connection to family, community, cultural National Gallery of Australia, courtesy Buku- play-scape installation at the Barangaroo
National Gallery of Australia, courtesy Buku-
knowledge and Country. Through her Larrnggay Mulka Centre. Headland. Image: Elcho Island Arts.
Larrnggay Mulka Centre.
12 ARTS BACKBONE – ARTIST PROFILE Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 ART CENTRE FEATURE – ARTS BACKBONE 13
John Mawurndjul: I am the Old and the New
Museum of Contemporary Art and the Art Gallery of South Australia
Interview with Murray Garde
Above: John Mawurndjul, River Whale Shark
John Mawurndjul: I Am The Old And The New, with over 160 works sandstone escarpments including Ngandarrayo and the white clay quarries of the
1989, ochres on wood. Image: Australian
spanning 40 years, has established John Mawurndjul as one of Australia’s National Maritime Museum, courtesy of seasonal creek called Kudjarnngal. The materials he uses to make his art come
greatest artists. Maningrida Art & Culture Centre. from these places – the stringy bark eucalypt skins; the white clay, yellow and
red ochres mined from sacred deposits; and the manyilk, the paint brush sedge
Born in 1952, John Mawurndjul lives in Milmilngkan outstation in western that makes the single-strand brushes he uses to make rarrk (cross-hatching).
Arnhem Land and Maningrida in central north Arnhem Land. Mawurndjul led ‘Ngakarrme, bokenh ngakarrme. New ‘I have two things: the history and
the development of the exhibition which describes his places of special cultural generationhistory’. Kunnguya ngarduk the new generation. I am Johnny A 400 page book in Kuninjku and English and a microsite johnmawurndjul.
significance known as kunred, as well as the sacred places and spirits – or Mawurndjul, Mawurndjul Nakurulk. Mawurndjul, of the Kurulk clan’. My com accompany the exhibition.
Djang – that reoccur in his art. The animals and spirit beings in these locations, Johnny Mawurndjul. father, Wamud gave me the name
including female water spirits (yawkyawk), rainbow serpents (ngalyod) and ‘Mawurndjul’ and that name comes from Included here is an extract from an interview with John Mawurndjul by long-
Yo Mawurndjul nganngeykurrmeng
mischievous mimih spirits frequent his art. Places around western Arnhem in the Mardayin ceremony. time friend and former Cultural Advisor for Maningrida Art and Culture, Murray
njamed nganngeykurrmeng. Mardayin.
his paintings and sculpture include spring-fed creeks such as Milmilngkan, Garde, available in full in the exhibition book.
Makka,more nawu korroko ngaleng-
There is from long ago another history
man history, nakka minjkulrahwemeninj
that the bark paintings do not forget.
dolobbo kunukka. Rarrk only bonjkurlah
The rarrk (cross-hatching) is only what
dorrengh, rarrkwemeninj. Nawu kor-
we see on the surface, like the skin. But
rokokobohbanj, history. New genera-
the Old People from long ago have their
tion balanda. Yokarreborledmeng mane
history, as do the new generation now in
wanjh bolkki new. Mankerrnge laik,
the time of the Balanda. The old ways of
new generation. Bad ngayi ngakarrme
doing things have changed into the new
bokenh ngakarrme. Mankerrnge la man-
ways.The new generation does things
kare. Kure ngabbard kunwok kurrmeng
differently. But me, I have two ways. I
kunwok djalyimeng mankare yidjalkar-
am the old and the new. My father told
rme kobohbanj birridowerrinj kure
me the things from long ago – the old
yire kunred yinan yire kure ngarriyoy
ways, the ways of those old people who
ngarriwam. Kunbidkanakka, namekke
have all died – and he told me to hold
yidjalkarrme. Kamre balanda, minj yir-
on to them. ‘You can come and still see
rahme mak balanda wardi karrurndeng
where we lived and camped. You should
kayime njamed kunyemi karrurndeng.
hold on tight to all that. We don’t reject
Makka kayime kunwok kume kurrmeng
Balanda when they come, otherwise they
Kulunba. Mane djalkurrmeng bonj
will return to their place with a feeling
kunrurrngrayekkayinj kunwok. Mak
of shame’. That’s what my father told
kunkudji … kunkudji, kunekke bonj dudji
me, that old man Kulunba. They were
dudji kobohbanj dudji la kamwam wanjh
his words, ideas of strong conviction.The
manewanjh ngarrwanjyi ngarrikarrme
Old People and the old ways lie buried,
ngarrire. Mankaremankerrnge. Kukod-
but we still take them with us as we
jkurlu kure dabborrabbolk kunwokbonj
move ahead. The old and the new. The
ngarrbenwokkarrme en birridowerrinj
thoughts and words of those Old People,
wanjh bonj.
we still have those words, even though
Above:John Mawurndjul, Ngalyod (the Rainbow they are all gone.
Serpent) at Milmilngkan, 1990, earth pigments
on Stringybark (Eucalyptus tetrodonta). Image:
Berndt Museum Collection, The University
of Western Australia, Perth and courtesy of
Maningrida Art & Culture Centre.
Above: John Mawurndjul, Nawarramulmul
(Shooting star spirit) 1988, earth pigments on
Art Gallery of South Australia, Museum of Contemporary Art
Above: John Mawurndjul: I am the old and the new, MCA, Sydney 2018
Stringybark (Eucalyptus tetrodonta). Image: Jessica Adelaide Australia, Sydney Installation. Images: Museum of Contemporary Art, courtesy of Maningrida
Maurer, courtesy of Museum of Contemporary Art, 26 October 2018 – 28 January 2019 6 July – 23 September 2018 Art & Culture Centre.
courtesy of Maningrida Art & Culture Centre.
14 ARTS BACKBONE – EXHIBITIONS Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 EXHIBITIONS – ARTS BACKBONE 15
Ngaldjorlhbo
Old Masters: Australia’s Great Bark Artists, China Tour Gapu Murnuk- Milingimbi Art and Culture
Embassy of Australia, Washington DC
Mother of Everything, Paris
by Ishmael Marika By Ingrid Johanson, Bábbarra
By Charlotte Barstow, Kluge-Ruhe Art Museum, UVA
Women’s Centre, Manager
Ishmael Marika and Joseph Brady from after the Yirrkala community before the ‘Gapu Murnuk’, an exhibition of ‘Gapu Murnuk’, the coming together Across the other side of the globe,
The Mulka Project travelled to China for missionaries came. contemporary art from Milingimbi, of saltwater and freshwater, is at the International Development
the opening, on July 3rd 2018, of the took place at the Australian Embassy celebrated by Yolngu people for the for Australian Indigenous Arts in
Old Masters exhibition of bark paintings It made me feel proud to go to the show in Washington DC, in October 2017. wealth and abundance it brings. Paris, our ‘Ngaldjorlhbo’ exhibition
at the National Museum of China. The on behalf of my grandfathers. I sang at the This exhibition, as well as the artists’ opened on the 7th of June. For
exhibition features over 150 artworks and opening, together with my uncle Wityana The exhibition featured nearly thirty residencies, demonstrated the depth some of the artists, this has been the
objects by master bark painters from the Marika [on Yidaki]. The Chinese had never works of a rich variety, ranging and warmth of Yolngu culture and first time their artworks have been
National Museum of Australia collection, met Yolngu people before. It was different in media from bark paintings and the people of Milingimbi. All was exhibited internationally.
including bark paintings from Eastern, seeing the paintings in China, people larrakitj, to weavings and works received with gratitude and admiration
Central and Western Arnhem Land. This there were only seeing the paintings and on paper. The opening event by the American-based audience.
is the first time the collection of paintings not the stories. So, I explained to them that included a performance by Yolngu
Below: Stanley Gawurra Gaykamangu and
made between 1948 and 1985 has left Yolngu culture is not written in a book but is singer-songwriter Gawurra, and Raymond Bulambula in front of George Dhangi’s
Australia. The Bark Masters exhibition will painted in a painting. was attended by artists Raymond Guku Galinyin (Yirritja Bee Hive and Honey
tour mainland China and Taiwan for 20 Bulambula and his late wife, with Art Body Paint Design). Ochre on eucalyptus bark,
2017. Image: Embassy of Australia, courtesy of
months - including to the China Museum While I was in China I had interviews with Centre manager Chris Durkin. Milingimbi Art & Culture Centre.
(Shanghai), Sichuan Museum (Chengdu) Chinese media, including with GCTN
and to Shenzen. [Global Television Network, Culture This exhibition came at the culmination
Express] talking about Yolngu culture and of a residency for Bulambula and
Two weeks ago I travelled to Beijing in performing traditional manikay [song], his wife at the Kluge-Ruhe Aboriginal Above: Indigenous Arts Paris, 2018 – Front
China. It is very different there, the weather seen by hundreds of millions of people. Art Collection in Charlottesville, window display. Image: Jill Pope.
was hot and dry, and we needed Chinese Virginia. Sponsored by the UVA
language translators with us all the time. The trip was important to build a strong Mellon Indigenous Arts Fellows The title, ‘Ngaldjorlhbo’, means
relationship with Australia and China program, these artists spent several ‘mother of everything’. The
I was invited to open the Old Masters working together. Since our visit the Above: Mathaman Marika 1967, weeks working with the museum’s exhibition was a powerful collection
exhibition of bark paintings, which included Museum of China wants to visit Yirrkala Rirratjingu Mortuary Ceremony. Photo: National collection and speaking with the local of approximately 40 artworks,
Museum of Australia © the artist’s estate, licensed
paintings by my grandfather and uncle to discuss a commission of new bark by Aboriginal Artists Agency. community. Students at the University involving over ten female artists,
from the 1940‘s. These men from Yirrkala paintings from Buku-Larrngay Mulka Centre. of Virginia had the opportunity to not representing both Bábbarra
were Elders, not just painters. They looked only learn from, but also work with the Women’s Centre and Maningrida
Below: Interview of China Global Television Network Culture Express Program, (L to R) Ishmael Marika, Below: Backstage at CGTN Studio. Photos: The senior artists, hand-spinning fibers for Arts and Culture. Ngaldjorlhbo is
Margo Neal, Wityana Marika and Presenter Julian Waghann. Photo: The Mulka Project courtesy of Buku- Mulka Project courtesy of Buku-Larrnggay Mulka a Marratjiri (Morning Star Pole) that the name of a powerful woman,
Larrnggay Mulka Centre. Centre.
was installed with the rest of the works Below: Gapu Murnuk at the Embassy of Australia, who created the physical and
Washington, DC. Image: Embassy of Australia,
at the embassy. spiritual world according to Kuninjku
courtesy of Milingimbi Art & Culture Centre.
people. Ngaldjorlhbo gave people
the land and environment, as
well as culture, language and the
ability to create art. The artwork
selected demonstrates this profound
connection to Country.
The ‘Ngaldjorlhbo’ exhibition
offers, for the first time, a glimpse
into the wealth of knowledge and
artistic prowess of the women
from Maningrida.
16 ARTS BACKBONE – EXHIBITIONS Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 EXHIBITIONS – ARTS BACKBONE 17
TARNANTHI: Festival of Aboriginal & Torres Strait Islander Art
Adelaide, October 2017-January 2018
Left Column: Right Column: Right Page - Left Column:
1. Phyllis Thomas, Warmun Art Centre, with her 1. Tiwi Design. Image: Nat Rogers courtesy 1. Djerrkngu Yunupingu, ‘String figure’, from the
work ‘Gamerre’. Image: Art Gallery of SA. 2. of Tiwi Design.2. Mimi Aboriginal Art & Craft. series ‘Matjka String figures’ 2013, soft ground
Right Page - Right Column:
Installation view featuring ‘Jirrawun Collection’, Image: John Montesi, courtesy of Mimi Arts.3. etching. Image: Art Gallery of SA, courtesy
1. Works from Mangkaja Arts. Image: Art
Warmun Art Centre 3. Installation view Nawurapu Installation ‘Namorrorddo’, Bob Burruwal and of Buku-Larrnggay Mulka. 2. Audrey Marrday
Gallery of SA, courtesy of Mangkaja Arts.
Wunungmurra & Ishmael Marika, Buku-Larrnggay Lena Yarinkura, Maningrida Arts & Culture. and Jason Marrkula, Gapuwiyak Culture & Arts.
2. Mervyn Street, Mangkaja Arts, ‘Abstracted 3. Jilamara Arts and Munupi Arts and Crafts.
Mulka Centre. Image: Art Gallery of SA, courtesy Image: Art Gallery SA, courtesy of Maningrida Image: Nat Rogers, courtesy of Gapuwiyak
Muster’ Adelaide Central School of Art. Image: Image: John Montesi, courtesy of Mangkaja Arts.
of Buku-Larrnggay Mulka Centre. Art & Culture. Culture & Arts.
Tony Kearney courtesy of Mangkaja Arts.
18 ARTS BACKBONE – EXHIBITIONS Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 EXHIBITIONS – ARTS BACKBONE 19When The Sky Fell:
Yingarti Japara- (All the Moons) Timothy Cook
Exposure: New Voices in WA Photography Legacies of the 1967 Referendum Aboriginal and Pacific Art, Sydney
by Glenn Iseger-Pilkington, Independent Curator Perth Institute of Contemporary Art by Jackie Hocking, Jilamara Arts and Crafts , Coordinator
By Clothilde Bullen, Curator
2017 marked the 50th anniversary of the Timothy Cook travelled to Sydney Festival; and explored the Sydney
1967 Referendum in Australia, and to with Jilamara Arts Coordinator Jackie Biennale. Cara Pinchbeck, Curator
commemorate this significant occasion, Hocking and artist Jonathan Bush to Aboriginal and Torres Strait Islander Art
I curated a major exhibition with the attend his solo exhibition at Aboriginal at the Art Gallery of New South Wales
Perth Institute of Contemporary Art titled and Pacific Art. (AGNSW), met us for lunch and gave
When the Sky Fell: Legacies of the 1967 us a tour of the Archibald, Wynne and
Referendum. Since 1994 Aboriginal and Pacific Art Sulman Prize Exhibitions. Hopefully one
Director, Gabriella Roy, has nurtured day we will see some Tiwi art on the
A number of regional Art Centre’s were an important relationship with Timothy walls of the AGNSW for these prizes!
identified, whose artists connected to the and other Jilamara artists. The exhibition
central idea that there were unexpected referenced Timothy’s iconographic It was a great trip. Timothy’s exhibition
consequences to the Referendum imagery of the Kulama ceremony, but was well-attended and well-received. It
decision, which impacted communities also explored themes about Japara, the was good to catch up with old friends
significantly. The multiple readings of moon man. Timothy has spoken about and to make new acquaintances. Most
history that selected artists presented these works to other senior artists, saying: of all it was wonderful to fly back into
in the exhibition offered viewers a Milikapiti to tell family and friends about
chance to understand the diversity and ‘All the moons are here, past and present the good work Timothy and Jonathan had
nuance of post-Referendum experience critical importance of the Gija people’s like our ancestors. They exist. I can talk done as ambassadors for Tiwi culture.
Top: EXPOSURE Program participants working with
In April this year, the Perth Centre artist and photographer Rebecca Dagnall. Image: in communities across the Kimberley, involvement in the pastoral industry prior to them like they are here now. Japara,
for Photography, in partnership Glen Iseger-Pilkington. Gascoyne and south-west of Western to and after the Referendum. Artists known also as the moon man, went to
with Glenn Iseger-Pilkington (GEE Australia. working at Warlayirti Arts at Wirrimanu live on the moon when the Tiwi people
Consultancy), delivered a creative (Balgo Hills), including Larry Gundora, were mortalised after Dreamtime. I can
development intensive program for Artists working at Warmun Art Centre, Jeanie Daniels and Jimmy Tchooga see Japara in the sky and in the sea too
remote-based photographers from team; storyboarding narratives for including Kathy Ramsey, Freddie revealed the continuity of cultural practice when there is a reflection.’
across Western Australia. photographic series; experimental Timms (1945- 2017), Lindsay Malay, despite the prevailing policies of the
photography; post-production; and Rammey Ramsey, Gabriel Nodea, day as they related to the Referendum Whilst in Sydney, we took in the
The EXPOSURE: New Voices in developing a portfolio. Shirley Purdie and Rusty Peters iterated constitutional changes. spectacular sights of the city, were
Western Australian Photography through a multi-generational response the dazzled by the bright lights of the Vivid
program, brought together Cecilia Umbagai, an arts worker Mervyn Street and John Prince Siddon,
Below: Yingarti Japara: All the Moons, Aboriginal Above: Yingarti Japara: All the Moons, Aboriginal
photographers from the Kimberley, from Mowanjum Art Centre, and two of Mangkaja Arts’ most respected and Pacific Art Gallery, Artist Timothy Cook in and Pacific Art Gallery, ‘Japarra’, natural ochre on
Pilbara and the Ngaanyatjarra Lands Clayton Cherel, an artist with ties and unique artists, narrated not only the front of his work, ‘Japarra, Way-ai, Jinani and paper. Image: Aboriginal and Pacific Art, courtesy
Purukapali’. Image: Aboriginal and Pacific Art, of Jilamara Arts & Crafts.
for a week in the South West of WA. to Mangkaja Arts Resource Agency, ways of life pre-Referendum but offered courtesy of Jilamara Arts & Crafts.
Working alongside professional both participated in the program a critical reading of contemporary
artists, photographers and curators along with Kalumburu-based Australian society post-constitutional
including Rebecca Dagnall, Curtis independent photographers Maria change. Mr. Griffiths, Peggy Griffiths,
Taylor, David Dare Parker, Carly Fredericks and Maria Maraltadj, who Mignonette Jamin (1932 - 2010)
Lane, Glenn Iseger-Pilkington, are both members of the Kalumburu and Peter Newry, who paint through
Christine Tomas and Sarah Landro, Photographic Collective. Waringarri Arts in Kununurra, depicted
participants developed their technical stories of working on country as stockmen
skills in working with a camera while Throughout the week, photographers until the removal of Aboriginal people
also exploring different ways to tell worked in both studio and outdoor from pastoral stations following the
stories and create powerful images of settings, photographing striking Referendum, as well as their custodial
Country and community. portraits of each other using countries. The exhibition opening
professional equipment and readily and the subsequent weekend of artists
The eight participants of the program available tools, such as torches to programs were attended by thousands of
developed their knowledge of how illuminate the landscape at night. The people, and was a genuine celebration
cameras work and their different resulting images were dramatic and for those ANKA artists involved.
functions. They explored working with evocative. Above: Peggy Griffiths, ‘Community Life’,
different sources of light (at night); 2016. Image: Waringarri Arts.
Left: Jimmy Tchooga, ‘Tjukukalyu’, 2017.
working ‘on-set’ with a creative Image: Warlayirti Artists.
20 ARTS BACKBONE – EXHIBITIONS Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 Vol. 17: Issue 2 & Vol. 18: Issue 1, August 2018 EXHIBITIONS – ARTS BACKBONE 21You can also read
