FEBRUARY 2019 TO FEBRUARY 2021 - Australian National Maritime ...
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Our RAP cover The cover of our RAP re-purposes With the approval of Yolŋu community, an image by Carbon Creative for and at the suggestion of the museum’s the marketing of our national and Indigenous Programs Unit, the creative international award-winning exhibition incorporates a crocodile motif and the Gapu-Monuk Saltwater – Journey to Sea Blue Mud Bay coastline which are central Country. to the story shared in the exhibition. For Yolŋu people their land and sea are marked by sacred places. In 1996 an illegal barramundi fishing camp was discovered at Garraŋali, the sacred home of Bäru the Ancestral Crocodile. Among the rubbish scattered there was the severed head of a crocodile. Disgusted at the repeated invasion of their precious waterways and the sacrilege of beheading Bäru in his own nest, Yolŋu elders decided to use sacred art to explain their lore and law to outsiders. These powerful paintings, each revealing previously secret spiritual knowledge, are the result. Inside cover image: Michael Cook, Undiscovered / #7 (2010). ANMM Collection: 00054256.
FE B RUA RY 2 0 1 9 TO FE B RUA RY 2 0 2 1
ISSN 2651-947X
ISSN 2651-9461
The Australian National Maritime Museum is a statutory
Authority established by the Australian National
Maritime Museum Act 1990, responsible to, at the time
Contents
of this publication, the Minister for Communications
and the Arts. This RAP was approved by the Council
of the Australian National Maritime Museum, on the
Acknowledgement of Country
recommendation of the Director, on 12 November
2018. The RAP was developed in consultation with the
museum’s Reconciliation Working Group. The principal Introductory messages
authors were Beau James and Paul McCarthy.
RAP design undertaken by H Riederer.
Council of the Australian National Maritime Museum
Copyright © Commonwealth of Australia 2018 Director, Australian National Maritime Museum
Chief Executive Officer, Reconciliation Australia
Our vision for reconciliation
Our reconciliation journey
Our business
What we have already achieved
Our RAP
Developing this RAP
Our partnerships and current activities
Relationships
Respect
Opportunities
Governance, tracking, progress and reporting
Appendix
RAP Contact Officer
CULTURAL WARNING
Warning: Aboriginal and Torres Strait Islander
peoples should be aware that this document
may contain names, images, objects and works
of people who are deceased. It may also refer
to websites that may use content of Aboriginal
and/or Torres Strait Islander Peoples who are
now deceased.
The Australian National Maritime
Museum acknowledges the Gadigal
Acknowledgement people of the Eora nation as the
of Country Traditional Custodians of the bamal
(earth) and badu (waters) on which
we work. We also acknowledge all
Traditional Custodians of the land
Uncle Chicka Madden offers a Welcome to Country,
and waters throughout Australia
on behalf of the Gadigal People of the Eora Nation,
at the museum’s Sea Rights Flag raising for National and pay our respects to them and
their cultures, and to Elders past
Reconciliation Week 2016.
and present.
The words bamal and badu are spoken in the Sydney region’s Eora language.
Acknowledgement supplied courtesy of the Metropolitan Local Aboriginal Land Council.
9
Message on
The connection to sea country is maintained with song,
dance and art, which the museum is committed to assisting
behalf of the
communities to maintain. Gapu-Monuk Saltwater – Journey to
Sea Country, was one of the most important examples of how
there is no separation between cultural practice and the fight
Council of the
for social justice and political recognition. It is not often that an
exhibition of legal documents can receive such critical acclaim
museum
and capture the hearts and minds of the public.
The museum’s commitment to Indigenous cultural values
goes right through the organisation, from the high number
ANMM Councillor Alison Page,
left, at the opening event for of acquisitions of Aboriginal and Torres Strait Islander art and
Gapu Monuk. cultural objects, strategic partners, grass roots community
development and its procurement from Aboriginal or Torres
Strait Islander businesses.
I am delighted to be the Champion of Reconciliation on the These strong relationships are an important foundation for the
…knowledge held by our nation’s ANMM Council and, on behalf of Council, within the museum
and the community.
work the museum is embarking on in the coming years. The
program for Encounters 2020, which marks 250 years since
First Peoples enriches the My first engagement with the museum was in 2012 when the
Captain Cook’s first Pacific voyage, is ground breaking and
will be a watershed moment in the history of reconciliation
national identity, particularly first Nawi conference was held, bringing together Aboriginal
Torres Strait Islander communities from all over Australia
in Australia. It is a chance to influence the national dialogue
in enhancing the human
and bring truth telling to the national stage. This program will
to share important knowledge about the fabrication of be underpinned by the creation of an Indigenous Advisory
traditional watercraft. At this event, I saw first-hand, the
connection to saltwater and
Committee under this RAP that can assist the Council to
valuable contribution the museum was making in helping these maximise the opportunity that such a high profile project and
freshwater
communities, on the ground, revive the practice, reinvigorating other projects will offer to advance reconciliation. We will also
and sustaining culture in regional and remote communities invest in enhancing the quality of information about community
across multiple generations. This example speaks to a core value and language in our collection records during the 2019 Year of
of the museum, which is that the traditional and contemporary Indigenous Languages.
knowledge held by our nation’s first peoples enriches the
national identity, particularly in enhancing the human This plan will take the past achievements of the museum and
connection to saltwater and freshwater. starts to embed them firmly into the museums purpose so
that the future will truly celebrate traditional knowledge and
I am proud that we fly the Blue Mud Bay flag, which is powerful Indigenous cultural values as a gift for all Australians.
recognition that Aboriginal and Torres Strait Islander Peoples have
rights over water in the intertidal areas. These rights are important Alison Page
for all Australians in that they allow the world’s oldest living (Walbanga Wadi Wadi woman)
cultures to continue to be custodians for the land and waters, Member, Council of the Australian National Maritime Museum
ensuring that they will be healthy for all people into the future. RAP Champion
11
Message from
The museum’s collection has been deeply enriched by many
Aboriginal and Torres Strait Islander works from across the country
the Director
and from collaborations with artists and communities. These works
don’t just celebrate the richness of the maritime environment
and the community’s living relationship with it, they also express a
Australian
deep spiritual connection. They celebrate survival and contribute
to ongoing struggles for land and sea rights, for justice and for
reconciliation. Perhaps none more so than the museum’s acclaimed
National Maritime
Yirrkala Bark Paintings of Sea Country, whose recent exhibition in
Gapu-Monuk Saltwater – Journey to Sea Country showcased the
Museum
museum’s renewed commitment to work closely with community,
engaging Aboriginal businesses and expertise to curate, build
and ultimately share this important story. This exhibition has won
numerous awards and will continue to be an example for staff, and
indeed the broader museum community, on how to successfully
I am delighted to present the Australian National Maritime deliver an exhibition hand-in-hand with community.
… to understand Australia fully, Museum’s Reconciliation Action Plan (RAP), a two-year strategic
plan which sets out our commitment to recognise, appreciate
I am proud that since 2015, this museum’s Corporate Plan has made
you have to understand its and celebrate our country’s rich and unique Aboriginal and
Torres Strait Islander cultures and cultural heritages across
it a priority to support and promote Aboriginal and Torres Strait
Islander maritime heritages. We do this by creating pathways for
peoples’ many and varied links every facet of the organisation.
community participation in our programs and events, recognising
and reflecting Aboriginal and Torres Strait Islander heritage and
to their waterways and the sea, At the Australian National Maritime Museum we have deep
respect for the 70,000 years or more, of continuous culture and
cultural expressions in our exhibitions, programs and activities, and
by providing support through education training, internships and
and none have links that are knowledge of Australia’s Aboriginal and Torres Strait Islander employment opportunities.
longer or deeper than those of
peoples. We believe that histories, including the consequences
I strongly believe that continued protection and promotion of
of dispossession, are fundamental to understanding
traditional and contemporary Aboriginal and Torres Strait Islander
Australia’s First Peoples
contemporary Australia.
cultural expressions are crucial for our First Peoples, and for
Since opening in 1991, the Australian National Maritime Museum achieving reconciliation. The museum’s RAP is fundamental to
has strived to create a more knowledgeable environment realising this vision.
for the appreciation of Aboriginal and Torres Strait Islander
The 2019 to 2021 plan sets out a clear path to further imbed
cultural heritage, based on respect and a commitment to
Aboriginal and Torres Strait Islander cultures at every level of the
consultation with community at every stage. A key tenant of
organisation. I look forward to working with community, staff and
the museum is the belief that to understand Australia fully, you
partners to realise our RAP vision.
have to understand its peoples’ many and varied links to their
waterways and the sea and none have links that are longer or Kevin Sumption PSM
deeper than those of Australia’s First Peoples. Director, CEO & RAP Champion
13
Message from
Reconciliation
Australia
Reconciliation Australia is delighted to welcome the Australian Innovate RAP, the Australian National Maritime Museum
National Maritime Museum to the Reconciliation Action Plan will develop its approach to driving reconciliation through
(RAP) program by formally endorsing its inaugural Innovate RAP. its business activities, services and programs, and develop
Reconciliation Australia As a member of the RAP community, the Australian National
mutually beneficial relationships with Aboriginal and Torres
Strait Islander stakeholders.
defines and measures Maritime Museum joins over 1,000 dedicated corporate,
government, and not-for-profit organisations that have We wish the Australian National Maritime Museum well
reconciliation through five formally committed to reconciliation through the RAP program
since its inception in 2006. RAP organisations across Australia
as it explores and establishes its own unique approach to
reconciliation. We encourage the Australian National Maritime
critical dimensions: race are turning good intentions into positive actions, helping
to build higher trust, lower prejudice, and increase pride in
Museum to embrace this journey with open hearts and minds,
to grow from the challenges, and to build on its successes. As
relations; equality and equity, Aboriginal and Torres Strait Islander cultures. the Council for Aboriginal Reconciliation reminded the nation
in its final report:
institutional integrity; unity; Reconciliation is no one single issue or agenda. Based on
international research and benchmarking, Reconciliation “Reconciliation is hard work—it’s a long, winding
and historical acceptance. Australia defines and measures reconciliation through five
critical dimensions: race relations; equality and equity,
and corrugated road, not a broad, paved highway.
Determination and effort at all levels of government and
institutional integrity; unity; and historical acceptance. All in all sections of the community will be essential to make
sections of the community—governments, civil society, reconciliation a reality.”
the private sector, and Aboriginal and Torres Strait Islander
communities—have a role to play to progress these dimensions. On behalf of Reconciliation Australia, I commend the
Australian National Maritime Museum on its first RAP, and look
The RAP program provides a framework for organisations forward to following its ongoing reconciliation journey.
to advance reconciliation within their spheres of influence.
This Innovate RAP provides the Australian National Maritime Karen Mundine
Museum with the key steps to establish its own unique Chief Executive Officer
approach to reconciliation. Through implementing an Reconciliation Australia
15
RECONCILIATION
AUSTRALIA’S
FIVE DIMENISONS OF
RECONCILIATION
1. Race Relations
All Australians understand and value Aboriginal and
Torres Strait Islander and non-Indigenous cultures,
rights and experiences, which results in stronger
The Australian National Maritime Museum commends
relationships based on trust and respect and that are
Reconciliation Australia’s aspiration to enable all
free of racism.
Australians to contribute to realising the five dimensions
of reconciliation. The museum’s vision for reconciliation 2. Equality and equity
reflects our aspiration to use our resources, assets and
Aboriginal and Torres Strait Islander peoples
relationships to continue to actively contribute to each of
participate equally in a range of life opportunities
these dimensions.
and the unique rights of Aboriginal and Torres Strait
Our policies, practices and procedures are anchored in the Islander peoples are recognised and upheld.
principle of Aboriginal and Torres Strait Islander peoples
3. Institutional integrity
being guardians of their cultural heritage and their rights to
negotiate their role in the management and interpretation of The active support of reconciliation by the nation’s
their cultural heritage. political, business and community structures.
Our vision for reconciliation
Museum staff were honoured to We are proud of Australia’s rich Aboriginal and Torres Strait 4. Historical acceptance
participate in the first raising of the Blue Islander maritime heritages and we use our institutional All Australians understand and accept the wrongs of
Mud Bay Sea Rights Flag in Sydney to position and our custodianship of material from Aboriginal the past and the impact of these wrongs. Australia
mark the beginning of Reconciliation and Torres Strait Islander peoples to advance understanding makes amends for the wrongs of the past and ensures
Week 2016. The cultural narrative
A nation which understands, values and has deep respect for associated with the flag is told, in part,
and appreciation of it through our exhibitions, programs, these wrongs are not repeated.
publications, website and with our partners and networks.
Aboriginal and Torres Strait Islander peoples and, especially, their by the museum’s significant Saltwater 5. Unity
Bark Paintings of Sea Country of the
maritime heritages and cultures. We aspire to be an employer of Yolŋu people. Sally Fletcher, Head
We are an educational institution committed to truth-telling An Australian society that values and recognises
and have an international reputation for tackling important
choice and preferred business partner of Aboriginal and of Registration, and an honorary life
issues such as Indigenous sea rights and ocean conservation.
Aboriginal and Torres Strait Islander cultures and
heritage as a proud part of shared national identity.
Torres Strait Islander peoples. member of the museum, is being
offered ceremonial ochre by
We strive to make our institution accessible to all Australians,
Nuwandjali Marawili, Yolŋu Sea Rights
including Aboriginal and Torres Strait Islander peoples.
Flag designer, on this special occasion.
16 17
Our business
The Australian National Maritime lived for thousands of years around these In 2005, the museum issued
Museum is responsible for leading the foreshores, once known as a site rich in “Connections - Indigenous Cultures
promotion and conservation of Australia’s shell fish. In the past, the people lived in an and the Australian National Maritime
maritime heritage and culture. We are area lush with vegetation, with enormous Museum” to guide staff in their
an exhibition-focused national cultural nutrition and medicinal purposes. Today relationships with Aboriginal and
institution offering visitors free access to Darling Harbour is an urban, tourist and Torres Strait Islander cultures and
high quality permanent exhibits from the entertainment precinct anchored around people and, at the same time, to be
National Maritime Collection on site and the museum’s iconic building. a public resource helping to build
on tour and a diverse range of public paid understanding and encourage
exhibitions, programs and experiences. The museum is a Commonwealth agency interaction with communities,
We strive to increase knowledge, overseen by a Council and reporting to the artists and organisations. This
appreciation and enjoyment of maritime Minister for Communications and the Arts. resource, which includes background
heritage by staging exhibitions, programs Established under the Australian National and principles, procedures and
and events; sharing our collections, Maritime Museum Act 1990, the museum guidelines, has served the museum
knowledge and expertise; motivating is the only national cultural collecting well and remains the foundation of
learning through research, educational institution headquartered outside of our approach to consultation with
programs and products; and exploring Canberra. Aboriginal and Torres Strait Islander
contemporary issues of public interest peoples, collections and programs.
and maritime relevance. The museum’s Corporate Plan, Operational
Plan and Statement of Intent are Since 2015, the museum has sought
As the custodian of a significant and published on our website after approval to advance reconciliation through
growing collection of Aboriginal and by the Minister. Each of these governance its corporate plan by carving out the
Torres Strait Islander objects and documents includes actions to advance support and promotion of Aboriginal
artefacts, we play a pivotal role in ensuring reconciliation. and Torres Strait Islander maritime
greater national and international heritages as a priority. Indeed, the
understanding of and respect for these At 30 June 2018, the Australian National outcomes and strategies in the
unique cultures. We recognise that Maritime Museum’s workforce comprised corporate plan have been intentionally
continued protection and promotion for an average staffing level equivalent of 125 aligned with advancing the various
Photographer Beau James traditional and contemporary cultural people engaged under the Public Service dimensions of reconciliation.
expressions are crucial for achieving Act 1999, 557 active volunteers and the full-
Our reconciliation journey
reconciliation. Through our programs, time equivalent of about 65 other workers The museum established an Indigenous
exhibitions and employment opportunities under contract to our suppliers delivering Programs Unit in 2014 to drive activity
we engage with and support Aboriginal front of house, teacher guiding, catering, to reflect Aboriginal and Torres Strait
and Torres Strait Islander people to cleaning and security services. On 30 June Islander cultures and heritage in
practise their cultures and share their 2018, we had two ongoing staff who identify museum exhibitions, programs and
In 2005, the museum formalised principles, guidelines and as Aboriginal and Torres Strait Islander activities and support educational,
knowledge within and outside their
procedures for connections with Aboriginal and Torres Strait Islander with actions underway to recruit additional training and cultural initiatives for
communities, culture and heritages. In 2012, the museum began
communities.
Aboriginal and Torres Strait Islander Australia’s First Peoples.
working with community to facilitate a nawi (canoe) building program
The museum is located on the bamal and workers. The museum currently has 4
for Aboriginal youth in NSW to support the retention of important
badu (lands and waters) of the Gadigal staff and 2 other workers who identify as
cultural knowledge and build broader awareness of this aspect of
Australia’s maritime heritage. The museum has hosted two national people, on Sydney’s Darling Harbour. The Aboriginal or Torres Strait Islander peoples.
symposia on Aboriginal and Torres Strait Islander watercraft. Gadigal and Wangal clan groups have One Councillor is an Aboriginal woman.
18 19…thank you for such a fabulous
week. The ANMM and staff have
made us all feel very welcome
and we have had an amazing
time. I certainly hope that this
display can be added to and will
work towards ocean awareness
as well as the understanding of
cross cultural projects and the
importance of collaboration and
co-creation.
Lynette Griffiths, Erub Arts, referring to the experience of
participating in the installation of ghost net artworks by artists
from Erub as the centrepiece of the museum’s refurbished foyer.
Au Karem Ira Lamar Lu - Ghost Nets
of the Ocean was purchased with
the assistance of the Sid Faithfull and
Christine Sadler program supporting
contemporary Indigenous maritime
heritage in Far North Queensland and
the Torres Strait Islands, Sea Swift
PTY Limited, Peter Dexter AM and the
Hon Justice Anthe Philippides JA.
Photographer Paul McCarthyANMM Corporate Plan 2018-2022
The desired outcomes include:
Reflect Aboriginal and Torres Strait
Islander cultures and heritage in museum
exhibitions, programs and activities.
Support educational, training and cultural
initiatives for Indigenous people.
The strategies planned to achieve these
outcomes are:
* Create and enhance pathways for
participation by Aboriginal and Torres
Strait Islander communities and
groups in our programs
• Recognise and reflect Aboriginal and
Torres Strait Islander cultures, heritage
and languages throughout our
programs, exhibitions and publications
• Become a signatory to the Indigenous
Art Code
• Ensure all museum staff and volunteers
are culturally aware
• Create employment, training and
volunteer opportunities for Indigenous
people at the museum
• Build partnerships with governments,
community and industry across
Australia to support Aboriginal
and Torres Strait Islander cultural,
educational and training programs.
An image of Jamal Daniels, of the Tribal
Mokuy Spirits - Warrior Association, on a nawi (canoe) on
Painted wooden 3D sculptures Darling Harbour at the museum’s first nawi
Arnhem Land Northern Territory
Conference in 2012. This spectacle was very
Maker Nawurapu Wununmurra
1952-2018 moving as this was the first time a nawi had
ANMM collection been on Darling Harbour for over 100 years.
00054657 - 00054773
22What we have already We are in the second year of membership The following results, reported in the
achieved? with Supply Nation and have invested museum’s statutory Performance
significantly in Aboriginal and Torres Statement for 2017-2018, demonstrate
The museum has established 5 programs Strait Islander arts and culture and the high priority given to Aboriginal
for Aboriginal and Torres Strait Islander businesses. and Torres Strait Islander themed
maritime heritages: acquisitions, increasing expenditure on
Last year we prioritised cultural arts and culture across an increasingly
• exhibitions awareness training for our workforce, wide range of artists and organisations.
• on-site programs and collection including volunteers. This has been
• community engagement and delivered in two parts - through an As discussed below, the Director
development online learning management system singled out the exhibition Gapu-Monuk
• education and face to face training in small group Saltwater – Journey to Sea Country, an
• employment and workplace workshops led by an Aboriginal presenter exhibition of historic Saltwater Barks
programs and RAP development and facilitator. The workshops provided by the Yolŋu people, as the highlight
initiatives. a unique opportunity for participants of 2017-18 and “the most important
to ask questions about Aboriginal and exhibition in the museum’s history”.
The museum’s achievements in Torres Strait Islander histories, cultures Gapu-Mon_ uk Saltwater won the national
supporting and promoting Aboriginal and and relations and related issues. 93% MAGNA award for an Indigenous Project
Torres Strait Islander maritime heritages, of our staff have completed the cultural or Keeping Place and the prestigious
across the 5 program areas, have been awareness training and staff feedback on International Design and Communication
remarkable. the training was very positive. Award for Best Scenography.
Jimmy J Thaiday and Jimmy
2017-18 2016-17 2015-16
K Thaiday from Erub
Actual Actual Actual Arts, Beau James and
Kevin Sumption from the
Total expenditure on arts and culture $444,000 $431,000 $293,000 Australian National Maritime
Museum in front of the newly
installed ghost net foyer
Number of artists and organisations in 38 27 17 installation.
receipt of museum expenditure
Au Karem Ira Lamar Lu -
Number of new acquisitions 10 8 9 Ghost Nets of the Ocean
was purchased with the
assistance of the Sid Faithfull
and Christine Sadler program
% of new acquisition transactions that 29% 28.6% 26.5% supporting contemporary
are Aboriginal or Torres Strait Islander Indigenous maritime heritage
in Far North Queensland
Value of new themed acquisitions $295,433 $378,412 $86,561 and the Torres Strait Islands,
Sea Swift PTY Limited, Peter
Dexter AM and the Hon Justice
Anthe Philippides JA
% value of new acquisitions that are 58%* 66.5%* 15.95%
Aboriginal or Torres Strait Islander
*Adjusted to exclude high value donation item (SY Ena, Sirius Journal)
24 25Community control is at
Some of the other • Strong engagement with 17
the heart of what we do
achievements in 2017-18 Aboriginal or Torres Strait Islander
included: communities or organisations
about acquisitions; exhibitions; Fundamental to the museum’s success in collecting, caring • We do not acquire secret or sacred objects and we
museum programs; NAIDOC Week or for, exhibiting and sharing Aboriginal and Torres Strait Islander support the principle of repatriation wherever relevant
• Delivery of several major attendance at Aboriginal and Torres maritime heritages is working effectively with community in
Aboriginal or Torres Strait Islander Strait Islander art fairs. accordance with long-established cultural protocols. • We aspire to ensure that expressions of Aboriginal and
themed exhibitions and programs Torres Strait Islander culture are pervasive and not
at the museum and touring • Development of 12 new curriculum- As cultural protocols are not yet fully entrenched in mainstream confined to the Eora Gallery or a particular temporary
including: Gapu-Monuk Saltwater aligned Aboriginal and Torres Strait Australia, we employ Aboriginal and Torres Strait Islander exhibition.
– Journey to Sea Country, Islander themed education initiatives. peoples in key positions to bridge this gap amongst our staff and
Undiscovered – Photographic support this with a policy framework, principles and procedures Consultation with Aboriginal and Torres Strait Islander
• Participation in various international which gives effect to them. peoples about the use of their heritage material is mandatory
Works by Michael Cook, the
engagements to highlight Aboriginal and our practices in this regard go above and beyond legal
second national symposium
and Torres Strait Islander maritime Some of our operational practices of this kind include: requirements and include:
on traditional watercraft (Nawi
heritages, including the 2017 World
2017 - Travelling our waters)
Indigenous Peoples Conference in • We invite key community leaders to offer a Welcome to • Seeking views of community before deciding to acquire,
and a rooftop projection titled
Toronto, Canada Country at all our major events and functions exhibit, loan or otherwise use their material
Remembering Mabo.
• Significantly broadening the range of • We provide an Acknowledgement of Country with tour • Seeking to understand the knowledge related to the
• A strategic program of
merchandise for sale in the museum’s groups, education programs, exhibition-led tours and at major material in the collection
acquisitions (principally funded
store benefitting our visitors as well meetings with stakeholders
with philanthropic support) • Respecting cultural norms regarding gender divisions and
as the Aboriginal or Torres Strait
resulting in significant growth responsibilities
Islander artists and organisations who • We proudly fly the Aboriginal flag and the Torres Strait
in the number of Aboriginal and
are suppliers. Islander flag at the museum every day
Torres Strait Islander items in the • Providing access to National Maritime Collection material
National Maritime Collection. • We proudly fly the Blue Mud Bay Sea Rights Flag at the by artists, their relatives or members of their community
• Continued use of Supply Nation
as part of the museum’s overall museum every day who may have a cultural link to them.
• Significant expenditure on
procurement practice (the museum
Aboriginal and Torres Strait • We are working towards improving signage that Close collaborations with community have enabled us to
became a member of Supply Nation
Islander arts and culture ($444K acknowledges the Gadigal lands and waters on which we are successfully deliver a diverse range of exhibitions that have
in 2016).
to 38 Aboriginal and Torres Strait based kept the integrity of the cultural heritage of the communities
Islander organisations or artists), with which have collaborated.
including $295K on acquisitions • We include appropriate cultural warnings in our exhibitions
(against a target of $80K). and publications and are planning to extend this to other Some exceptional collaborations, described elsewhere in
Acquisitions included works by media where relevant this plan, include Gapu-Monuk Saltwater – Journey to Sea
Erub Erwer Meta Arts Centre, Country, East Coast Encounters, Remembering Mabo and,
Karla Dickens, Jason Wing, Buku- • We are increasingly using community language, as the lead most recently, NAIDOC Week, Because of Her we Can and
Riji (engraved pearl shell) with red ochre hung
from a baali (hair belt). Kimberley region in Larrngay Mulka Art Centre, Robert language, on signage and multi-media platforms, for our Au Karem Ira Lamar Lu – Ghost Nets of the Ocean.
Western Australia. Maker unknown. Tommy Pau and Laurie Nona. Aboriginal and Torres Strait Islander exhibitions and objects,
ANMM collection 00006918 as well as way-finding in the museum precinct
26 27Proudly celebrating
National Reconciliation
Week & NAIDOC Week
Each year the Australian National Maritime Museum proudly Munuk Zugubal – Saltwater Songlines – this exhibition,
celebrates National Reconciliation Week and NAIDOC Week celebrating NAIDOC Week 2016, brought together artworks
to highlight our strong commitment to reconciliation and that express traditional knowledge of navigating lands and seas
acknowledgement and respect of Australia’s Aboriginal and of Australia using paths called Songlines or Dreaming Tracks.
Torres Strait Islander maritime cultures and heritage and build
upon the respectful relationships shared by Aboriginal and Torres
2017
NAIDOC Week exhibition Our Language Matters – drawings of
Strait Islander Peoples and other Australians.
a selection of traditional vessels with their names in Aboriginal
Over the last 4 years this has included events such as: and Torres Strait Islander languages to highlight the range of
watercraft across Australia.
2014
National Reconciliation Week Nawi canoe building project with 2018
Aboriginal community and ANMM staff. NAIDOC Week exhibition Because of Her We Can,
and Unbroken Lines of Resilience: feathers, fibre and
NAIDOC Week Unlocking Indigenous Peoples and Water, virtual shells - This exhibition of innovative works highlights the
excursion for school groups. unbroken practices of our First Nations women and their
deep cultural connections and knowledge systems. These
2015 practices include harvesting and processing organic and
Koori Art Expressions 2015 – artworks produced by students in contemporary fibres, feathers and shells to create intricate
public schools across Sydney in their exploration of the NAIDOC body wear for adornment. The exhibition also features
week theme “We all stand on sacred ground: learn, respect and domestic fishing implements made from organic materials.
celebrate” highlighting Aboriginal and Torres Strait Islander
Peoples’ strong spiritual and cultural connection to land and sea. NAIDOC Week Sydney Harbour cruise aboard the Mari Nawi
(Big Canoe) to Be-lang-le-wool (Clark island) while enjoying
2016 stories of the Gadigal, Guringai, Wangal, Gammeraigal and
National Reconciliation Week flag raising ceremony, flying the Blue Wallumedegal people of Sydney in partnership with the Tribal
Mud Bay Sea Rights flag for the first time in Sydney in consultation Warrior Association.
and partnership with the Yolŋu people of North East Arnhem Land.
Flying the flag demonstrates the ANMM’s culture of commitment NAIDOC Week Saltwater Sunday; a day of creative cultural
and acknowledgement of Aboriginal and Torres Strait Islander activities for all ages to celebrate NAIDOC Week at the
Peoples and their assertive right to self-determination in cultural ANMM including live traditional performances, art making “This was… a great way to bring all our learning together and allow the kids to express
affairs. The flag now flies every day at the museum. activities, face painting, activity trails and storytelling. themselves and their own stories, as well as learning about other people’s stories. And
passing on that knowledge. Creating an artwork like this gave us a way for our whole
community to come together in a story telling session” Teacher, Clovelly Public School
regarding the museum’s Koori Art Expressions exhibition on the 2016 NAIDOC Week
theme of Songlines: the living narrative of our nation.
28 29Delivering ‘must-visit’
exhibitions that increase
understanding and
appreciation of Aboriginal Tide Rider from the West - Ilma Story - this exhibition detailed
ceremonial and technological aspects of the Bardi people’s
and Torres Strait Islander relationship with the sea on their tide-swept coasts and islands
in the Kimberley region of northern Western Australia.
maritime heritages East Coast Encounters – Reimagining the 1770 encounter –
this exhibition of works by Aboriginal and Torres Strait Islander
artists and non-Indigenous artists from the National Maritime
Collection reimagines Cook’s encounter with Aboriginal and
The Australian National Maritime Museum has a permanent Torres Strait Islander Peoples in 1770. The exhibition includes
gallery dedicated to Aboriginal and Torres Strait Islander paintings, photographs, videos and three-dimensional works
maritime heritages. With permission of community, the gallery to imaginatively explore the moments of contact between the
is called Eora (after the Eora Nation within which the museum is two world views.
located). The museum aspires to exhibit Torres Strait Islander
cultural material and Aboriginal cultural material from every Undiscovered: Photographic works by Michael Cook – Cook’s
State of Australia in the Eora Gallery. artworks shift roles and perspectives around the notion of
European ‘discovery’ of Australia, reflecting upon our habitual
The exhibitions in the Eora Gallery have been complemented ways of thinking and seeing our history. This series questions
by 45 temporary exhibitions on a wide range of Aboriginal and who really discovered Australia while making reference to
Torres Strait Islander themes, with the number of exhibitions what was always here, what has been introduced and the
increasing each calendar year since 2015. effect this has had on Aboriginal and Torres Strait Islander
People, their culture and country.
In addition to Gapu-Monuk Saltwater – Journey to Sea Country,
some highlights include: People of the Old Sea – Unique maritime people, the Tiwi of
Bathurst and Melville Islands, Northern Territory featuring
Au Karem Ira Lamar Lu – Ghost Nets of the Ocean the the museum’s spectacular Pukamani burial ceremony which
centrepiece of the refurbished main foyer at the museum, was brings people together to celebrate the continuity of their
unveiled in September 2018. Through the reuse of fishing nets culture. Community artists compose songs and carve poles for
abandoned by commercial fishing trawlers, the artists craft the event which tells of the death of an Ancestral Being.
finely detailed examples of marine life that is being threatened
by this practice and draw attention to this major global Tayenebe – Tasmania Women’s Fibre Work – “Tayenebe”, a
environmental problem. The new installation involves over 40 Tasmanian Aboriginal word meaning ‘exchange’, celebrates
artworks made by 12 Torres Strait Islander artists and two other the revitalisation of Tasmanian Aboriginal weaving. Tayenebe
practitioners with long and committed associations with Erub. showcases the unique connections that Tasmanian Aboriginal Living by the Sea
Ochre on bark
The artistic collaboration involves the respectful exchange of people have with the land and sea, while providing an insight Maker Marrnyula Munungurr
Torres Strait islander skills and knowledge while histories of the into the significance of traditional fibre work practice. 00033788 ANMM collection
four Torres Strait islander clans are recounted: traditional fishing Tayenebe explores links and changes across time, and
trips, knowledge of intricate coral reefs and the presence of Saltwater collection purchased
celebrates the reinvigoration of fibre and kelp work that is
with the assistance of Stephen
Ancestor Creators. unique to Tasmania. Grant of the GrantPirrie Gallery
30Using our collection in
unexpected ways to
educate visitors about
Aboriginal and Torres
Strait Islander cultures
and heritages
Since 2014, the museum has strived to ensure its permanent depicts the story of his ancestor “Yankee Ned” Edward
and temporary exhibitions reflect a dual perspective so that our Mosby. The print includes Ned’s wife Queenie, a Torres Strait
visitors have a richer appreciation and respect for Aboriginal and Islander woman, and the family’s fleet of pearling luggers.
Torres Strait Islander cultures and heritages. The work was acquired because it illustrates an interesting
Torres Strait Islander connection between the USA and
We recognise that there are Aboriginal and Torres Strait Islander Australia. Also in the former USA Gallery, we delighted
stories relevant to each of the museum’s master narrative areas visitors with Fish on Poles, a wonderful sculpture by Arthur
and mindful of community concerns about “white washing” of Koo’Kekka Pambegan Jr to enhance a touring exhibition from
history by museums, we have intentionally placed Aboriginal or the Smithsonian called X-Ray Vision.
Torres Strait Islander objects in our galleries and used them in
conjunction with our temporary exhibitions. Songlines – the art of navigating the Indigenous world – the
museum introduced visitors to our Ships, Clocks and Stars
As discussed below, to support the objective of “decolonising” exhibition, about the search for better ways of navigating by
our stories, we have also strategically enhanced our collection of finding longitude, with a free special exhibition of artworks
Aboriginal and Torres Strait Islander objects. that express traditional knowledge of navigating seas. This
exhibition included works by Torres Strait Islander artists,
Some examples include: Billy Missi and Alick Tipoti. Woven skirt from Galiwin’ku
(Elcho Island).
Our Wildlife Photographer of the Year exhibition in 2016 was Serving Country – the museum is currently curating an
Maker: Rosemary Gamajun
enhanced by the inclusion of several objects from the National exhibition of sixteen 3D photographs of Aboriginal and
Mamuniny © Rosemary Gamajun
Maritime Collection by Aboriginal and Torres Strait Islander Torres Strait Islander men and women who are and have
Mamuniny/Copyright Agency, 2018
artists, including Alick Tipoti’s Kisay Dhangal – an extraordinary served in the Royal Australian Navy for inclusion in the
Kurrajong, pandanus bush string,
bronze dugong that featured in Taba Naba, the international museum’s Navy Gallery.
feathers and natural dyes
Aboriginal and Torres Strait Islander exhibition – along with Bagu
This item was made for AIFW -
from Taba Naba and Crabs in River, a handpainted longboard Our summer 2018/19 exhibition, On Sharks & Humanity,
Australian Indigenous Fashion
shaped by Brian Kellway and painted by Thomas Avery Senior. will be supplemented by the exhibition of objects from the
Week 2014.
museum’s Saltwater Bark Collection, as well as sculptural
ANMM collection 00054382
We installed in the museum’s former USA Gallery Kei Athe pieces by Guykuda Munuŋgurr, Jubilee Wolmby, Charlie
Mosby, a print by Torres Strait Islander artist Glen Mackie, which Yirrawala, Rex Wolmbeng and linoprint work by Billy Missi.
32 33Yolŋu exhibition … this exhibit blows away Dior, Bowie,
recognised as the Mapplethorpe – ALL of it. And it’s
ours from the Yolŋu people – their
most important in Dreamtime on bark paintings.
museum’s history I’m in total awe!
Wendy Harmer, ABC Radio
Museum director Kevin Sumption PSM singled out Gapu-Monuk that by looking at them, and the accompanying audio-visuals
Saltwater – Journey to Sea Country as the highlight of 2017–18. and objects, visitors get a sense of what that part of the
In the 2017-18 annual report he said: world and its communities are like.
“In November 2017, the museum opened what I consider to be What is different about this exhibition is that it immerses
one of the most important exhibitions in its history: Gapu-Monuk the visitor in the important stories of the communities
Saltwater – Journey to Sea Country. This free exhibition invites behind the paintings to provide a richer understanding of
visitors to discover how the Yolŋu people of north-east Arnhem their connection to Sea Country. It uses oral histories, aerial
Land fought for and won their case for Sea Rights by creating the photography, interactives and traditional and contemporary
Yirrkala Bark Paintings of Sea Country. Yolŋu objects to delve deeper and to provide an insight into
the beliefs, languages and traditions of the communities as
The museum is most fortunate to be the custodian of 80 historic well as the unique landscape of north-east Arnhem Land.
Saltwater Barks – paintings produced by the Yolŋu people in
response to a call from Djambawa Marawili AM in 1997 to use 2018 marks the 10th anniversary of the landmark Blue Mud
traditional art to document ownership of Sea Country following Bay Sea Rights Case. The museum is the first place in Sydney
the discovery of illegal fishing on a sacred site in his clan estate. to fly the Blue Mud Bay Flag outside of the Northern Territory.
Gapu-Monuk Saltwater features about half of these historic The Flag is also on display in the exhibition, and recognises
paintings. But, as Djambawa says, the paintings are more than Aboriginal Sea Rights and highlights our strong commitment
to reconciliation, acknowledgement and respect of
just beautiful artworks; they are spiritual and legal documents. This project clearly demonstrates ‘best practice’. How
Australia’s Aboriginal and Torres Strait Islander maritime
Some of the paintings in the exhibition were used in evidence in cultures and heritages. the project engages with the contemporary environment
a legal case in the High Court of Australia which confirmed, in of protocols and creates a discourse between the local
The paintings were purchased with the assistance of Stephen
July 2008, that Traditional Owners of the Blue Mud Bay region Gadigal and the Yolngu is excellent, and establishes a
in north-east Arnhem Land, together with Traditional Owners Grant of the GrantPirrie Gallery. Mr Grant’s generous support
of almost the entire Northern Territory coastline, have exclusive in acquiring this very significant collection has made this cultural integrity which grounds the exhibition and the
access rights to tidal waters overlying Aboriginal land. exhibition possible. museum. The high level of Indigenous-led curatorial
development and interpretation sets a new standard in
The stories and knowledge in the artworks were traditionally very I particularly thank artists of the Buku Larrŋgay Mulka
tightly held by the Yolŋu, who have graciously given them to the Centre, Yirrkala, NT, for their support and assistance with the sector. The outreach component is comprehensive
nation so that non-Indigenous people can better understand the exhibition, along with the Yolŋu community, the Yirralka and fitting to the story.
them and their connection to Sea Country. What visitors find Rangers and the Northern Land Council. I am also delighted
captivating about these paintings is their size, complexity and to acknowledge the sponsorship of the exhibition by the Above: Judges comments on the 2018 MAGNA first prize winning exhibition Gapu-
University of NSW Sydney and the media support provided by Monuk – Saltwater Journey to Sea Country. Top: Aerial view of Gapu-Monuk – Saltwater
intricacy, and also the details and the amount of images and
Journey to Sea Country exhibition. (Purchased with the assistance of Stephen Grant of the
patterns that they display. The paintings map the coastline so NITV and Time Out Sydney.” GrantPirrie Gallery) Left: Australian National Maritime Museum staff members Helen Anu
and Beau James accepting the MAGNA award from Margo Neal
34 35Using curriculum aligned
educational programs
to share Aboriginal and
Torres Strait Islander
culture
Australian and International student audiences. Delivered by
the Indigenous Programs Unit, they focused on the cultural
The inclusion of Aboriginal and Torres Strait Islander Histories significance of water to Indigenous people. The virtual
and Cultures as a cross-curricular priority within the Australian excursions provided an opportunity for students to engage
curriculum has allowed the museum to include elements of with Aboriginal and Torres Strait Islander’s connection to
Aboriginal and Torres Strait Islander culture in a number of our Freshwater and Saltwater country. Further, the museum
curriculum-linked programs. collaborated with the Tribal Warrior Organisation in leading
cultural cruises of Sydney Harbour for both school and
As a significant starting point, all students visiting the museum informal learning audiences.
participate in an Acknowledgement of Country that explores
Aboriginal and Torres Strait Islander ownership of the lands and As a learning institution, the museum is responsible for
waters of this nation under the Blue Mud Bay Sea Rights flag, making sure the information we share is correct and for
flying on the museum flag poles. challenging students to think critically about Aboriginal and
Torres Islander culture and heritages. We strive to offer a dual
Inclusion of an Aboriginal and Torres Strait Islander perspective voice in our narratives and prioritise truth-telling. Last year
in some of our most popular school programs mean that specific the programs delivered to students that included Aboriginal
discussion points are covered in well over half of our programs or Torres Strait Islander heritages or cultural content
delivered on site. The museum is also proud to hold a number of included:
objects within our Education Collection that explore Aboriginal or
Torres Strait Islander cultural practices from across the country. • Navigators Indigenous Virtual Excursion
Once again thanks for having us. It was an Education Program
In addressing the significant curricular significance of the • Endeavour Photographer Beau James
Gapu-Monuk Saltwater – Journey to Sea Country exhibition,
amazing experience for our children and us
the museum has developed, in collaboration with an external • Museum highlights educators however we are happy to be back
Indigenous Educator, 12 individual programs that cover the up in the heat again. Feeling very inspired
• Science Week
topics of Creative Arts, History, Geography, Aboriginal Studies to get our next project/s underway at the
and Legal Studies. In this way programs have been delivered to
primary, secondary and tertiary students from Australia, as well
• Australian Migration Stories beginning of next year.
as groups from Korea and the USA. • Pyrmont Walk. Aaron McMahon – Head of Department, Mornington Island State
School. 2017 Nawi Symposium
To celebrate NAIDOC Week over the last 4 years, the museum The museum recently recruited a full-time Indigenous
developed and delivered a series of Virtual Excursions for both Education Coordinator which has significantly increased our
capacity to develop and offer in-depth, Aboriginal or Torres
Strait Islander-led education programs.
36 37Supporting the retention
of Aboriginal and Torres
Strait Islander maritime
cultural knowledge and
sharing it appropriately
A priority for the Australian National Maritime Museum is Travelling Our Waters, the second national gathering of
supporting community to ensure Aboriginal and Torres Strait Aboriginal and Torres Strait Islander watercraft custodians
Islander maritime cultural knowledge is transmitted down the and cultural practitioners, was held at the museum
generations and shared with non-Indigenous people in culturally in November 2017. Building on the success of NAWI
appropriate ways. Symposium 2012, this event featured talks on canoes and
art, struggles for sea rights, women and watercraft, canoes
Traditional nawi (canoe) building is an area where the museum and commemoration, and young people and canoe projects.
has demonstrated it can usefully facilitate community in the There were talks and presentations by community members
transmission and retention of cultural knowledge. Some from across Australia including the Kimberley region,
examples include: Arnhem Land, Gulf of Carpentaria and Tasmania, as well as
demonstrations and practical sessions of watercraft design,
In 2014, the museum worked with community and the Aboriginal
technique and construction that highlight the incredible
students from Lawrence Hargrave School, in Liverpool, to build
diversity of Indigenous watercraft around the country. This
a traditional nawi. The result is on display in the museum’s Eora
symposium bought together community, cultural leaders
Gallery. The bark used to make the nawi was collected from
and educators to share, discuss and practise knowledge
the Wattagan State Forest in association with the Forestry
of the rivers, oceans and watercraft of the world’s oldest
Corporation Central Coast. The boys had an excursion to the
continuous living culture. Over 230 people attended the
region to see the country where the material was sourced, then
opening event, which included a tour of the Gapu-Monuk
attended the museum where the canoe was formed into shape
Saltwater – Journey to Sea Country exhibition, and 95
over the course of the day. A few weeks later the nawi was taken
attended the symposium. 47,000 viewers followed the live
to the school where it was finished off, and a large community
Facebook stream by the symposium’s media partner, NITV,
gathering was held, bringing people together and allowing the Elders and community came together to
for both these events.
boys to show their project to everyone. The final stage was to support the Lawrence Hargrave School.
launch the craft in nearby Chipping Norton Lake at another
This project has resurrected the skills and knowledge Photographer Beau James
community gathering complete with a traditional smoking of the past to the present-day students, both Aboriginal
ceremony. This project supported students to develop their own and non-Aboriginal, and it has shown us a glimpse of that
presentation about their canoe building experience and to share innovative culture. I would like to thank the Australian
learnings about their culture with other schools and at a nawi National Maritime Museum for giving Lawrence Hargrave
symposium at the museum. School the opportunity to participate in this wonderful
and inspiring program.
Assistant School Principal Kevin Cosgrove
38 39Proudly sharing
Aboriginal and Torres Right: Taba Naba
exhibition Monaco
Strait Islander maritime
Bagu art works from
Girringun Art Centre Cardwell
ANMM collection
heritages with the world 00054942 – 00054944
Crab Sculptures by Brian Robinson
Photographer Beau James
In recent years, the museum has participated in two very Maritime Traditions of the Indian and Pacific Oceans in Kochi,
important international exhibitions which, together, have given India. The conference provided an opportunity to showcase
almost 1 million people the opportunity to experience Aboriginal the museum’s achievements and leadership amongst
and Torres Strait Islander cultural heritages from our collection. the world’s maritime museums and to contribute to a
reassessment of current knowledge on nautical and maritime
From 5 September to 1 November 2015, four works from traditions and trade routes in the Indian and Pacific Oceans.
the museum’s Saltwater Barks collection were loaned, with
permission of community, to the 14th Istanbul Biennial. The The museum’s Manager and Programs Assistant of Indigenous
theme, Saltwater – A theory of thought-forms, attracted over Programs attended the World Indigenous Peoples Conference
545,000 visitors. Effective engagement with community on on Education in Toronto, Canada in July 2017. The conference,
these loans paved the way for a major collaboration for the held every 3 years, brings together experts, practitioners and
Gapu-Monuk Saltwater exhibition in 2017. scholars from around the world to discuss ways to ensure
success in Indigenous education. ANMM delegates shared
From 24 March to 30 September 2016, the museum co-curated the museum’s experience in working in culturally appropriate
and contributed Aboriginal and Torres Strait Islander objects for ways with Aboriginal and Torres Strait Islander peoples and the
the exhibition in Living Waters as part of Taba Naba: Australia, success of our recent projects.
Oceania, Arts by Peoples of the Sea at the Oceanographic
Museum, Monaco. There were over 400,000 visitors to this The museum is currently exploring several potential
exhibition which highlighted Indigenous concerns about ocean international collaborations with the world’s leading
health and broadened understanding of Aboriginal and Torres Indigenous cultural institutions.
Strait Islander cultures. Participation in this exhibition was
transformational for the museum because it facilitated further
Congratulations… for supporting Indigenous
significant philanthropic support from Ms Christine Sadler
(and her late husband Mr Sid Faithfull) for the acquisition of artists and showcasing their extraordinary
contemporary Aboriginal and Torres Strait Islander art from far creativity. The work is accessible without
north Queensland and the Torres Strait Islands. further interpretation because it is imbued
Where funds allow, the museum participates in major with spirituality and inspired by lives lived in
international conferences to share and build knowledge and harmony with the natural world.
cross-cultural exchange. Some recent examples include:
Robyn Kremer of Mittagong regarding the museum’s exhibition as
In March 2018, the museum’s Director and the Manager of part of Taba Naba: Australia Oceania Arts by People of the Sea at
Indigenous Programs addressed the International Conference on the Oceanographic Museum of Monaco in 2016.
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