ACKNOWLEDGEMENTS

KEEPING PLACES & BEYOND: Building cultural futures in NSW

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Museums & Galleries NSW is supported by the NSW Government through Arts NSW. Keeping Places and Beyond 1 INDEX

OVERVIEW With respect, opportunities open 2 The Value of Place 4 This summit and Museums & Galleries NSW 5 Museums, Keeping Places and Repatriation 6 PEOPLE & PLACES Goondee Keeping Place, Lightning Ridge 10 Laddie Timbery’s Aboriginal Arts and Crafts, Huskisson 12 Badger Bates, Wilcannia 14 Dharriwaa Elders Group, Walgett 16 Monaroo Bobberrer Gudu Aboriginal Cultural Centre, Eden 18 Brewarrina Aboriginal Cultural Museum 20 Wiradjuri Condoblin Corporation, Condoblin 22 Armidale Aboriginal Cultural Centre and Keeping Place, Armidale 24 Boomalli Aboriginal Artists Cooperative, Leichhardt 26 People of the Reeds, Cabbage Tree Island 28 Boolarng Nangamai Aboriginal Art & Culture Studio, Gerringong 30 Euraba Paper Company, Boggabilla 32 Tribal Warrior, Redfern and Sydney Harbour 34 Dhiiyaan Indigenous Unit, Moree 36 Yarkuwa Indigenous Knowledge Centre, Deniliquin 38 Saltwater Freshwater Arts Alliance Aboriginal Corp, Mid-North Coast 40 North Sydney Aboriginal Heritage Office, Northbridge 43 Lake Macquarie City Art Gallery, Booragul 46 Kamilaroi Keeping Place at Moree Plains Gallery, Moree 48 BEYOND THE CASE STUDIES Beyond the case studies 50 RESOURCES Cultural Institutions in NSW 52 Australian Museum 52 State Library of NSW 53 Art Gallery of NSW 54 Powerhouse Museum 55 NSW Government Departments 56 NSW Department of Trade and Investment, Regional Infrastructure 56 Arts NSW 56 Office of Aboriginal Affairs NSW 57 Office of Environment and Heritage, Department of Premier and Cabinet 58

All photographs are used with PLEASE NOTE: permission. May contain names or images of deceased people. All language spellings are as provided by authors and interviewees. AGENCIES State Agencies and Non-Government Agencies 68 State Records Authority of NSW 68 Museums & Galleries NSW 68 Regional Arts NSW 69 Aboriginal and Torres Strait Islander Data Archive 70 NSW Aboriginal Land Council 71 Local Government & Shires Association of NSW 71 NSW Aboriginal Education Consultative Group 72 FUNDING BODIES Federal Government 74 The Office for the Arts 74 Australia Council for the Arts 74 Department of Education, Employment and Workplace Relations (DEEWR) 77 Department of Sustainability, Environment, Water, Population and Communities 79 National Agencies 81 Regional Arts Australia 81 NAVA 81 The Arts Law Centre of Australia 81 Viscopy 81 Copyright Agency Limited 82 Quick grant finder websites 83 Community Builders 83 Grant Guru 83 Grants Link 83 NSW Reconcilliation Council 83 Free websites 83 PROTOCOL DOCUMENTS Cultural protocols, including Welcome to Country/ Acknowledgement of Country: 84 Heritage and Languages 84 Artform, museums and galleries 85 Media protocols 85 Education and research 86 ACKNOWLEDGEMENTS

presented by supported by OVERVIEW

With respect, opportunities open

It starts and ends with recognition and across NSW is more vibrant and active respect. than most would expect. Still, much of the great work occurs in isolation, NSW has the largest Aboriginal is often project based and requires population in Australia, yet the dedicated research to uncover. There distinctive art and cultures of is no one site, physical or virtual, that Aboriginal NSW underperform in terms accumulates, stores and presents this of visibility and success alongside their knowledge and experience, linking counterparts in every other mainland heritage, arts and cultural practice as state. understood by Aboriginal people.

Aboriginal art and cultures of NSW The summit, Keeping Places & Beyond: have competed for recognition Building cultural futures in NSW is an alongside Western, multicultural and opportunity to bring together these multimedia art movements as well as individuals and organisations with those Aboriginal arts and culture from the keen to learn about maintaining and rest of Australia. There are historical invigorating arts and culture in their reasons for this, starting with NSW communities, along with Government as the site of first and arguably and other support organisations who greatest cultural disruption, through can help. Produced by Museums & to the emergence of Sydney as an Galleries NSW with core funding from international city with accompanying Arts NSW, it is also supported by expectations of being a showcase for the NSW Office of Aboriginal Affairs all that is uniquely Australian. and NSW Aboriginal Land Council. The summit will produce a platform Yet, as this publication reveals, the paper and key recommendations for Aboriginal arts and cultural sector supporting the sector.

Indigenous Population Distribution 2006

Summit: Keeping Places & Beyond: Building cultural futures in NSW Location: Carriageworks, Everleigh, Sydney Dates: 19th and 20th of September 2011 Objective: Bring together leading practitioners in Aboriginal cultural maintenance and development from across NSW to understand site-based best practice Aim: To build sector capacity and visibility Source: Populations Characteristics, Aboriginal and Torres Strait Islander Australians, Australia, 2006 (cat. no. 4713.0)

Building cultural futures 2 With respect, opportunities open

In bringing together so many people models from interstate and overseas with divergent experience and and extract from sector case studies, roles in the sector, from heritage issues and themes for development. and environment management and There will be group discussions protection, arts and culture, traditional sessions on the second day to focus knowledge keepers and practitioners, on ideas and recommendations. education, industry and investment, local government and more, we have This reader is designed to help you been guided by this model of the prepare for your attendance at the sector: summit.

While local issues will still require The holistic nature of Aboriginal local solutions, the summit will provide culture means a multidisciplinary a state-wide forum to discuss what approach is appropriate and has and hasn’t worked, models of possible: visual arts, artefacts and operation and governance and grass archival material, genealogies, roots suggestions for sustaining and libraries, photographs, performance, improving the sector for this and future storytelling, music, dance, oral generations. histories, ecology of the natural landscape, sustainable living, Our time together may be brief, a astronomy and education all have their mere two days on the 19th and 20th place. Living centres for living cultures of September 2011, but the program also means places for community is designed to present the broad functions, festivals and markets, context in which we operate, new ceremonies and celebrations. developments on the horizon, key

Building cultural futures 3 OVERVIEW

The Value of Place more competitive, products, whether art, artefacts, bush foods Places and spaces are the starting or “cultural tourism experiences” point for building cultural futures rarely provide stable income in NSW, providing opportunities streams as stand alones for engagement, interaction and experience. Places can be purpose • Successful organisations have built structures or in situ, such as developed strong governance and those managed by NSW National business management as well as Parks & Wildlife. The roles of heritage quality, reliable products management, keeping places, transmission of knowledge, arts and • There is increased support in cultural practice, cultural enterprise general across Government but and the internet as a platform for no universal model of funding virtual spaces will be central to the opportunities. Also, years discussions and recommendations. of project funding does not necessarily result in organisational Can keeping places engage funding and stability communities? How do not-for-profit centres successfully develop cultural • There is strong understanding enterprise? What protocols should of the role of heritage in there be around knowledge sharing on communities: traditional the internet? What opportunities can knowledge and cultural practice, be created for education and training, language documentation, career pathways and mentoring? genealogies, traditional stories What indeed, does success look like and post contact histories. Many for Aboriginal arts and culture in centres are engaged in these NSW? You will find more issue-based activities solely or as a basis for questions at the end of each case further creative practice. Despite study. this, Governments up until now have struggled conceptually to While not intended as a complete fund these foundation activities, survey of all arts and culture sites in though more recent evidence NSW, some strong themes emerge in suggests hope for the future these case studies: • The natural environment including • Communities that are up and sites of meaning, bush foods and running with sites for arts and care for environment are easily cultural activity don’t just want accommodated within many them, they really want them. That centres’ activities as part of the is, time and again there has been Aboriginal holistic approach to initiative and commitment, often culture. Where funding may be without financial compensation, to available to assist, it is usually establish premises, organisations isolated within heritage and and activity and keep them environment, though some random running art based projects have drawn from this source • Volunteering is not easily understood as such, it is • Community health and wellbeing is more about commitment to also a readily understood concept one’s culture and community, for engagement with arts and particularly youth and future culture, particularly amongst generations Elders

• Despite this, many centres and • Arts and cultural activity is groups struggle for existence. significantly increased where there Economic times are getting are Regional Indigenous Cultural tougher, funding opportunities Development Officers (RICDO’s)

Building cultural futures 4 part of the Regional Arts centres provide opportunities NSW network of Regional Arts not only for Aboriginal artists Development Officers (RADOs) but for arts workers, for example Aboriginal curators, to learn and • Further education through regional hewn their skills. Participants TAFE’s and universities has played suggested that new and less well- a role in helping organisations known Aboriginal artists often establish themselves both in do not get access to venues that arts practice and business non-Aboriginal artists would use development to get their start, and that this was an important justification • There remains strong interest for Aboriginal arts and cultural in tapping into cultural tourism centres experience markets even though few successful models exist. • Another potential purpose New means of communication participants gave for Aboriginal via the internet and other media arts and cultural centres is may help build audiences through to provide the facilities and aggregated websites. Also the equipment (kilns, presses, etc) for Regional Arts NSW research Aboriginal artists to do their work. paper, Determining Training and This is particularly important given Education Needs in the NSW the high cost of people equipping Aboriginal Visual Arts Sector, by themselves, which acts as a Ruben Allas and Annette Easie deterrent for people to continue in (31/1/2010) identifies new the arts technologies as attracting young Aboriginal students to study arts • Other justifications given were or participate in arts-related that arts centres act like agents activities, many in disadvantaged for the people who use them, regional communities connecting potential markets to these artists, and hopefully This Summit and Museums & opening doors for them. Centres Galleries NSW can connect artists to one another, creating networks of This summit is specifically identified practise and the opportunity for • 52.6 per cent of the NSW within the Arts NSW Aboriginal people to assist one another. They Aboriginal population identifies Arts and Cultural Strategy 2010 can also provide a focal point with a clan, tribal or language (2.3.3). Additionally, the community and meeting place for the local group while 42.4 per cent does consultations that informed that Aboriginal community to learn not strategy indicated: about Aboriginal culture in a safe • 80.9 per cent of the NSW and nurturing environment Aboriginal population does not • A major piece of infrastructure Furthermore: speak an Aboriginal language; that was advocated was Aboriginal 15.9 per cent speaks only arts and cultural centres, or • Aboriginal arts and culture is some words; 3.2 per cent “blackfella spaces”, which speaks fluently many participants wanted to critical to creating stronger communities • 29.5 per cent live on their be located around NSW. While homelands; 35.3 per cent do people described different types not live on homelands; 35.2 of centres, with varying ideas of • Aboriginal artists should be supported to work in communities per cent does not recognise what they should contain and how homelands they should work, a common view to facilitate people expressing their culture, validating the • However, 56 per cent are is that emerging Aboriginal artists involved in events, ceremonies need a place where they can current lived experience and passing it on and organisations while 44 per exhibit/perform their work to test cent are not ideas, build confidence and provide From ABS National Aboriginal and Torres a stepping stone to exhibiting/ • Arts NSW should be seeking to Strait Islander Social Survey, 2008 performing in larger venues and create partnerships with other (released 21 April 2010) non-Aboriginal venues. These agencies to bring arts and cultural

Building cultural futures 5 OVERVIEW

activities to the forefront of work repatriation should be directed to with Aboriginal communities. these agencies. This requires a holistic view of Aboriginal art and culture and But clearly we need to recognise and what it can do for Aboriginal support the importance of environment people and communities and heritage in the development of arts and cultural practice through Museums & Galleries NSW as the centres. In its work in this area, the support and advocacy body for the Office of Country, Culture and Heritage sector has been endorsed by Arts NSW defines two types of physical sites: to organise and facilitate the summit and prepare the final report. Ready to Return Centres This refers to The Office of Although not a major funding agency, Environment and Heritage (OEH) M&G NSW has a proud history of storage facilities which are for the support for the Aboriginal sector in safe-keeping of Aboriginal cultural its 12 years of operation, including material awaiting planned repatriation successive Aboriginal Board members. to Country (i.e. to the Aboriginal Overall, the State’s Aboriginal It has now appointed an Aboriginal community of origin). These centres population will increase from Sector Development Manager and the are a nominated point that enables 162,871 to 210,659 in 2021. summit is a key part of the devised provenance cultural material to leave strategy. OEH and other collecting agencies and • The Aboriginal population return to Country. of the Western Sydney and Museums, Keeping Places and South-West Sydney region is Repatriation Keeping Places forecast to increase by 26 per This refers to Aboriginal community cent by 2021 from 29,962 in Much has changed in the museum managed places for the safekeeping 2009 to 37,763 in 2021 sector and its relationship with of repatriated cultural material. Such • the average age of the Indigenous peoples, particularly places can be established within a State’s Aboriginal population around custodianship of artefacts OEH facility, however, they are more will increase from 21 years to and return of human remains. From likely to be established within a facility 23 years the 1978 UNESCO (United Nations owned or managed by an Aboriginal • the proportion of people aged Education, Scientific and Cultural community group. under 15 years will decrease Organisation) pivotal seminar in from 39 per cent to 34 per Adelaide, Preserving Indigenous While some communities have looked cent Cultures to the current Museum to local government for support in • the proportion of people aged Australia policy document Continuing developing a keeping place in a park or 15 to 29 years will increase Cultures, Ongoing Responsibilities, other public facility, many have folded from 26 per cent to 28 per Australia is considered at the forefront a keeping place into a larger Aboriginal cent in world best practice for engagement organisation or built an Aboriginal • the proportion of people with Indigenous communities and organisation around a keeping place. aged 60 years and over will repatriation programs. Those that seek to develop a stand increase from 5 per cent to 8 alone keeping place have generally per cent Unfortunately, publicity of these struggled with ongoing maintenance • about 18 per cent of programs is not always helpful issues. Aboriginal people in NSW due to the extreme sensitivities will be living in Western and involved. So much of the outstanding As part of the overall development of South-West Sydney work in this regard by the National the sector, this summit seeks to align • about 14.5 per cent of people Museum of Australia, the Australian those with keeping place aspirations will be living on the North Museum and the Division of Country, with parallel opportunities to maintain Coast and 12 per cent in the Culture and Heritage, now located and develop cultural engagement. Hunter within the Office of Environment & • the lowest proportion will be Heritage, Department of Premier & Other Models, Other Places living in the State’s South- Cabinet is not widely understood and East (3.6 per cent) appreciated. It is not expected that There are other models beyond NSW From NSW Department of Aboriginal this summit delve into this important with which summit delegates should Affairs press release, May 2009 ongoing work and enquiries about be familiar and consider.

Building cultural futures 6 The Association of Northern, Kimberley with Elders and culture, and an and Arnhem Artists (ANKAA) works extensive research library dating back across the Aboriginal art industry in: to the 1800’s. • Consultation • Advocacy and lobbying It has a website: • Resourcing and supporting www.koorieheritagetrust.com • Training • Referral and networking In Queensland and the Northern • Marketing and promotion (telling Territory, networks of Indigenous people about art centres and Knowledge Centres have been artists). developed through regional libraries, It has a website: www.ankaaa.org.au offering training and engagement in multimedia and internet technology, Desart is the Association of Central recording oral histories and developing Australian Aboriginal Art and Craft digital storytelling. Based on these Centres and is committed to: models, the Federal Government • Respect for traditional culture and commissioned a feasibility report for a Aboriginal peoples’ aspirations National Indigenous Knowledge Centre • Employment for Aboriginal people and network, physical or virtual in • Support for sound governance, 2010 but no further announcements professional standards and ethical have been made. industry practices Queensland Indigenous Knowledge • Marketing and advocacy for Centres: Aboriginal-owned art centres • To represent the voice of www.slq.qld.gov.au/about/who/ Almost one quarter (23 per cent) Aboriginal art centres and their orgchart/ils/ikc of Indigenous people living in artists and advocate effectively NSW participated in at least one Northern Territory Indigenous Indigenous creative arts activity It has a website: www.desart.com.au Knowledge Centres: • 823 Indigenous people in Located in Melbourne CBD, The Koorie www.ntl.nt.gov.au/about_us/ NSW were employed in Heritage Trust Inc is a not-for-profit knowledgecentres a cultural occupation as Aboriginal community organisation their main job in 2006, that aims to protect, preserve and Closer to home, Aboriginal Affairs and representing 2.3 per cent promote the living culture of Aboriginal NSW Aboriginal Education Consultative of all employed Indigenous people of south-eastern Australia. Group have entered into a partnership people in NSW The Trust cares for a diverse range focused on language centres. • 23,800 Indigenous people of artefacts, artworks, crafts, oral The Sydney City Council remains in NSW visited a cultural histories, books, manuscripts, committed to its Eora Journey strategy heritage institution (museum, historical material and photographs for Aboriginal engagement and library or art gallery) at least and houses four gallery spaces; a visibility including research, walking once in the three months permanent interactive exhibition trails and public artworks. A brochure prior to being interviewed in that teaches history and culture, of walking trails highlighting sites of 2008, while 28,400 attended and a retail shop that sells authentic Aboriginal significance in the council’s movies, theatres or concerts products. area has just been released and can be • 22,000 Indigenous people downloaded from its website: in NSW aged 15 years and Some of the activities offered at www.cityofsydney.nsw.gov.au/barani/ over participated in at least The Trust include art workshops, main.html one Indigenous creative educational programs, accredited arts activity (including arts training, cross-cultural training, Gadigal Information Service (GIS) (of and crafts; music, dance cultural tours and touring exhibitions. which I am Chairperson) should also or theatre; and writing or The Trust also provides a range of be mentioned. The home of Koori Radio telling stories) in the 12 programs and services to the Koorie 93.7FM 2LND and now KR00 digital months prior to interview in community and the general public radio has always had a vision as an 2008. This equates to 23 per including assisting community arts media organisation. This was cent of the NSW Indigenous members trace their family history; recognised by the Australia Council’s population youth projects designed to connect Aboriginal and Torres Strait Islander From Arts NSW website Arts Board when GIS was identified

Building cultural futures 7 OVERVIEW

as a National Leading Organisation for It is up to all of us and your Indigenous arts based on its strengths commitment to this summit is a in music and performance. It is only greatly appreciated step towards a one of five such organisations in the better future. country and the only one on the East Coast. Information is also a key part With Respect and in Recognition, of its original charter which prescribes a library and multimedia development and training. To this end, GIS has developed a Business Plan for a ground floor library and multimedia facility in its current premises in Cope Street, Redfern with a range of potential Steve Miller partners. The GIS model combines Aboriginal Sector Manager digital radio with multimedia, based Museums & Galleries NSW on its archive of interviews and oral history recordings.

GIS does not see its plan as a bid for a Sydney-based keeping place or cultural centre but its model may be of interest to others. An Aboriginal cultural centre of some kind is earmarked in the City of Sydney strategy. Other Aboriginal groups are advocating for prominent cultural centres elsewhere, including Western Sydney and the Gordon and Elaine Syron Collection of Aboriginal art has also lobbied to be the basis of a national Keeping Place.

But to get to that point, the sector as a whole needs to be networked and have confidence in its own futures before the viability of a state or national based model can be considered. The roll out of the National Broadband Network providing high speed internet access for all “Aboriginal mentors undertake Australians, means a web-based presence is vital and may actually the more important role of precede a physical centre. cultural knowledge transfer to new and emerging artists. We know that engagement with the internet for authentic Aboriginal Knowledge of creation representation, networking and stories, regional community development is vital but at the same and personal histories make time, we recognise that knowledge Aboriginal art unique.” and material must have their foundations in physical sites. Capacity From Determining Training and building of this kind is at the core Education Needs in the NSW of this summit for the maintenance, Aboriginal Visual Arts Sector, development and visibility of Aboriginal Regional Arts NSW research paper arts and culture across NSW. by Ruben Allas and Annette Easie (31/1/2010)

Building cultural futures 8 Above: Gullaga dance group from Monarroo Bobberrer Gudu

Building cultural futures 9 PEOPLE & PLACES

Goondee Keeping Place, Lightning Ridge That’s not a shed, it’s a goondee for culture

Roy and June Barker decided “We’ve got a good collection of wooden to be self-sufficient when they tools. Roy makes all those wooden established their Goondee things because he learnt to make them Keeping Place in Lightning Ridge when he was a boy. He seen the old as a do-it-yourself operation. fellas on the Brewarrina Mission make them. He said he was about ten or After being involved in the Brewarrina twelve sitting down watching the old Aboriginal Museum, the Barkers set fellas and they wouldn’t let them muck up the keeping place in a shed on their about, they had to sit there quiet and Above: Roy and June Barker property in 2000 to store and protect watch them. So Roy picked up the art their own objects and artefacts. From of it, and over the years he’s improved their Goondee Keeping Place they on it from those days. I think he’s been share their knowledge of Aboriginal down to the school a few times you history and culture with locals, know, whichever woodwork teacher visitors, school groups, university is interested, so they ask him to come classes, backpackers and those down cause he’s covered down there tracing family histories. (liability insurance) and he shows the kids, the boys down there how to To June, naming their home business a woodwork it, how to make a boomerang keeping place was obvious, “We were and that. They don’t only make them, keeping all our Aboriginal history and they got to learn to throw them too!” culture in this little place that we have here,” she says. “After being involved Their operation is self-funded. The with the museum in Brewarrina we Barkers received an air cooler from thought ‘Why should everything be a government department at the lost?’ Lightning Ridge back then had request of a visiting researcher who all these tourists coming through and couldn’t handle the heat in Lightning we wanted to share our Aboriginal Ridge, and a phone/fax machine from history and culture with them. the Australian Museum. “That’s the only two things we ever got from the General Information “We have mainly local history here government,” June says. from this area. We might have started Name: Goondee Keeping Place Goondee is registered as an Aboriginal Location: 90 Pandora Street, doing it 40 years ago, when we’d go fishing and you’d find stones and Corporation, albeit a small one, to Lightning Ridge 2834 things laying buried under the mud and allow June to officially advise people on Phone: 02 6829 2001 in the dirt you know, well we still got their family history. The Barkers have Email: No those sorts of things on display here. extensive knowledge of family groups through the Brewarrina mission where Website: No “We’ve got all the old stones, and Roy and June met. we got a scar tree from up the road Sector Information where the shire pushed it over. Next “I like the history part of things, Type of organisation: Aboriginal to it we’ve got another tree where Roy and this old fella knows a lot of old Corporation cut the bark off to show them how it Aboriginal politics too you know but can come off in one piece, like the we don’t get into that, well I don’t. Governance: Self, private It’s sort of part of our lives I think, business canoes used to be made out of. Next to that we’ve got a little goondee or a coming off the Brewarrina Mission, and Funding: None little gunyah and then we’ve got some living with all these people that were Other revenue streams: kangaroo skins. forced there to that mission. We heard Consultancy them speak their languages from other places. I think it becomes part of your

Building cultural futures 10 life and when you’re like us, our age, With an eye to the upcoming summit, it’s good to have a good memory. I can we asked June what she thought of think back to my happy childhood days a digital Keeping Place as a means and the old people, Aboriginal people I of storing and sharing Aboriginal lived with, our old Aboriginal aunties. knowledge. This is why we feel good about passing on what we know. And the people “Well that’s still a sharing way know us and they know our lives too. I isn’t it? I know I’m old and don’t think if you know history, you become really understand but that’s the way a part of it. Not one day goes by that everyone’s going, digital. It’s the we don’t talk about the history of the new way to be isn’t it? If you set up mission. That’s where our memories something like that and want keeping are and that’s why we like to share places you know, we’ll go on it. Online, what we know. And we get that many whatever it is because it is important phone calls from people and coming to you know, to preserve this stuff. And see us you know, asking about their don’t leave it too long. We’re getting people. on, this stuff should’ve been done 10 or 20 years ago. Wherever the interest is from in our Aboriginal people, they must keep going. Keep going, don’t let everything die away.”

“If you set up something like that and want keeping places you know, we’ll go on it. Online, whatever it is because it is important you know to preserve this stuff. And don’t leave it too long. We’re getting on, this stuff should’ve been done 10 or 20 years ago.”

Discussion starters:

1. How do your Elders share their knowledge?

2. What steps have been taken to preserve that knowledge?

Building cultural futures 11 PEOPLE & PLACES

Laddie Timbery’s Aboriginal Arts and Crafts, Huskisson Living culture can be a hard living

Passing on Aboriginal knowledge went on to complete two years of a from one generation to the Creative Arts degree at Wollongong next has been a Timbery family TAFE. tradition reaching back thousands of years but Laddie Timbery’s “Up until 2000 and the Olympics, Aboriginal Arts and Crafts now you’d say there was a lot of demand depends more on business for Aboriginal people to do (cultural) knowledge for long term survival. things but then it went back to the way it was,” he says. The Timbery’s are Bidjigal clan, spanning from La Perouse to the Jeff, 41, swapped careers to Illawarra and have an iconic status become a paramedic in 2003. Lack for their art and craft, selling and of income was the main reason. demonstrating their shell work and Above: Boomerangs by Laddie burnt pokerwork styles from roadside “I still make craft and occasional Timbery stalls to international museums and artworks and put on cultural galleries. performances but to make it a fulltime occupation just isn’t Through the family owned business possible. The overseas travel was operating as Laddie Timbery’s probably the best part. I did three Aboriginal Arts and Crafts, Laddie cultural exchanges to Canada, has a permanent base at the toured England and Scotland, Lady Denman Heritage complex played didj with the Beijing at Huskisson near Jervis Bay on Symphony and Shanghai Symphony orchestras in China and toured General Information the South Coast. From this hub, Laddie offers a range of cultural South Korea,” he says. “As cultural Name: Laddie Timbery’s exchange, I’d say there was a Aboriginal Arts and Crafts presentations including boomerang making and throwing, bush tucker closer cultural connection with the Location: Lady Denman Heritage walks and storytelling. At 70, Laddie Canadians because their cultures Complex, Cnr Woollamia Road shows no signs of slowing down, and experiences have so much in and Dent Street, Huskisson 2540 travelling to schools across the common with us, we got a lot out of Phone: 02 4441 5999 state. that.” Email: [email protected] Website: www.ladydenman.asn. “Schools have kept me in business Jeff says the school visit work is not au since 1983,” Laddie says, adding consistent enough for both Laddie he has just delivered a bush tucker and himself. medicine course for TAFE. The long Sector Information “There is no money in school visits. Type of organisation: Family term future of the business is another matter. Although all his own children Every school wanted us in NAIDOC business are skilled in cultural practice and Week and there are only five school Governance: Self-managed knowledge, the business cannot days in that week which means only Funding: None support them. Laddie’s youngest five schools we can visit. Also, every Other revenue streams: son Jeff was keen and for a time Government department wanted us Workshops, performances, able to follow in his dad’s footsteps to do Welcome to Country for free. I cultural tours as a cultural presenter and maker. wonder if they wanted The Wiggles He started out as a signwriter and

Building cultural futures 12 to visit how much they would be “We’ve tried to get funding but there willing to pay them.” wasn’t a set bracket that covered “We’ve tried to get funding what we do.” Jeff says. “Hopefully but there wasn’t a set Jeff still passes on the knowledge of he will do better at that side of bracket that covered what craft and tool making, dancing, bush things and take it to the future. we do.” medicine and the like to his own This is more than entertainment, it four children and does occasional is education, culture and heritage. workshops and performances at Growing up, it was just part of my their schools. For now the hope life and I didn’t take that much for the small family craft business notice. I didn’t realize until I was rests with Jeff’s son Raymond, 19. older how lucky I was and then to A former NSW NP&W Discovery be able to share that with other Ranger, Raymond is now based Aboriginal people, particularly those in Canberra studying Business that had missed out on opportunities Management at TAFE. to learn their culture.”

Below: Laddie Timbery.

Discussion starters:

1. Are there traditional craftmak- ers maintaining culture and mak- ing a living in your area?

2. Should craftmaking as cultural maintenance sit within Heritage, Education, Arts or somewhere else?

Building cultural futures 13 PEOPLE & PLACES

Badger Bates, Wilcannia Badger carves his own future

Like many cultural practitioners, There was a fellow by the name of Bill Badger (William Brian) Bates Hudson, he was from Moree, he used to worked for NSW National Parks & paint and carve lino. Bill Hudson was Wildlife for a time, but has gone really my inspiration to carve lino cause he was just a good mate, an Aboriginal out on his own in recent years. fella from Moree. He was the fella that kicked me off and because he passed Badger was born on the Darling on I just keep on doing it for the sake of River at Wilcannia in 1947. He was Bill you know, because he can’t sit with Above: Badger Bates raised by his extended family and his me anymore he’s there in spirit with grandmother, Granny Moysey, who me. My partner Sarah, she also inspired spoke several Aboriginal languages me too. and knew many traditional songs and stories. Badger was employed by NSW It’s just an everyday thing to me like NP&WS as an Aboriginal Sites Officer breathing. You see something and you for 21 years. This enabled him to want to do it, you know? And what continue travelling the country looking really, really, really inspires me is when after important places and teaching some young person will sit down and young people about their culture and say ‘I want to do what you do’. their country. In 2004, he retired from NP&WS and is now a fulltime artist Do you run a program or do you just sit and cultural heritage consultant. down with whoever is interested? Badger is an established artist using Whoever’s interested up in Wilcannia. the mediums of linocut print, wood, The other day we just bought a lot of emu egg and stone carving and paints and, well I’ve got a house in metalwork. Wilcannia and now we got the fence up, so sometimes I get the kids to paint What have you been doing since you the fence. Sit down with them and talk left NSW National Parks & Wildlife? and then I’ll draw something on the Just doing my artwork and going fence and get them to paint. General Information across to Wilcannia, ‘cause I originally come from Wilcannia. I help the young I think art, whether it’s sitting down Name: Badger Bates people, try and get them interested in making a pair of clapping sticks or a Location: PO Box 272, Broken art and show them how to go about boomerang or whatever art is, it can Hill 2880 things. One of my specialties is lino continue our culture on, and it relaxes Phone: 0429 867 296 prints. I started when I was a little them more. I see them when they Email: sarahmartin2@bigpond. fella. My grandmother used to teach sit around playing video games and me how to carve Emu eggs when I was dressing like Americans, they feel a com about eight in Wilcannia. I grew up on bit strained, but if you sit down, start Website: None the riverbank in a tin hut. I said to her teaching them art, they change back to one day ‘I’m going to make stuff with who they are. Sector Information steel and try and join it together with Type of organisation: Individual fire,’ so even when I was small I was Could you tell me a little bit about the talking about it. Then I got out on me different techniques you use? Governance: n/a own and with National Parks, I started A lot of people call me a sculptor but Funding: None whittling stuff. My first stone I carved I’m not a sculptor, I’m a carver. To Other revenue streams: sales was for the sculpture symposium for me, ‘sculptor’ is a strange word. As of art through exhibitions; Fred Hollows here in Broken Hill. an artist, I don’t know how to define consultancy myself really. If I’m cranky sometimes I’ll carve wood. You can hit wood with

Building cultural futures 14 a hammer and a chisel, a mallet and I had two exhibitions, everything sold. a chisel and it can take it. Then I’ll Then TAFE approached me because I “It puts me back to when I control myself and start to carve in had too many in my class. So what we was small and I had nothing. stone because it’s different again and done then we sat around like a family It brings the old people back you shouldn’t hit stone too hard or it’ll gathering. We’d have a barbecue and to me even though they break. It’s just about the mood I’m mothers come along with their kids. have passed on. And I don’t in. Sometimes it’s the weather, if it’s The TAFE had these rules set up, but really feel any different from too cold then I can’t sit outside and you know these are the people from I don’t intend to, or don’t work in a Wilcannia, they’re my people. If they what I used to. I’m just me.” gallery because I can’t confine myself can’t come here with their babies, with to being locked inside. their kids, little ones and their dogs then I don’t want the job, I’m going. What do you think are the biggest challenges facing Aboriginal artists? You know there were little fellas there We need more communication with in Wilcannia sniffing petrol at the time. the people out in the bush, like This fella would come along and he’d myself, like my people. I’d like to say ‘Uncle Badger can I bring him see a lot of the city artists come out here?’ and they’d be looking over the sometimes and share what they know fence, and I’d say ‘Just bring him’. with some of the people out here. Then these TAFE people come up and they say ‘Badger, too many people. What do you see as the main You can’t have all these people’ but obstacles? it’s not right. I said, ‘If you’re going It’s about funding. What I see with to send these people away, I’m going it, sometimes what seems to happen with them’. You got to work with them, in Wilcannia is they’ll get funding for not set rules on people, that’s the way Aboriginal art or something and then I get on with them and it’s great. some white person will get hold of it and the blackfellas get nothing. This Do you get any funding at all from happens a couple of times and there’s anywhere? no backup for them you know? I don’t No. I was thinking about it but I don’t want to sound prejudiced or racist but know where to go. Usually when usually they get the money, and they you ask for funding you got to be an Discussion starters: work it for a while then it just gets organisation or something like that. If I got funding, I promise, and I don’t lost. I’m not saying I’m Mr. Perfect 1. Have you considered how or anything but a lot of the people make many promises, but I promise won’t work with strangers you know, you that if I got funding it would be compliance issues such as public it sort of mucks them up, and they shared with the Wilcannia people, I’d liability and fire safety impact the just walk away from it because like, go back there, do the art work and development of cultural practice I was a National Parks Officer for 21 pull an exhibition off with my funding and artistic expression in your if I ever got it. I’ll show you what we years and coming from Wilcannia I area? was scared to work in an office for a make here in the bush. long time. 2. From traditional carving to I went across in ‘95 to Wilcannia. I working with circular saw blades took some time off National Parks and rusty bike chains, how else and I took a job at TAFE for a while. can cultural practice continue and They said they couldn’t draw, they couldn’t carve anything and I said adapt? Would cultural exchange ‘Well I can’t either’ but in six weeks, between cities and towns help?

Building cultural futures 15 PEOPLE & PLACES

Dharriwaa Elders Group, Walgett Plenty to do for Walgett Elders

Above: DEG Elders Councillors Dharriwaa Elders Group (DEG) Members come from Gamilaraay, Vera Dennis and Gladys Walford at began with project funding Yuwaalaraay and Ngiyambaa the launch of Memories of Living auspiced by the Walgett countries. Outside Walgett which both women Aboriginal Medical Service in 1998. It became an association The purpose of the association is to contributed to extensively support Aboriginal Elders to resume in 2000 with the late George leadership roles in the community, Rose OAM as its Founding keeping active and healthy; promote Chairperson. Dharriwaa is a local Aboriginal cultural knowledge common meeting place word from and identity and develop the Walgett surrounding languages. Aboriginal community.

Local Elder Richard Lake talks about The Elders Centre provides a much- the success of the Dharriwaa Elders needed meeting place and contact Group: point for Aboriginal Elders and those who wish to engage respectfully with The key achievement of the Dharriwaa them. A weekly Elder’s health program Elders Group is to provide a place and is provided by health stakeholders support for Elders to meet, heal and who meet regularly to co-ordinate provide cultural leadership for their the program. By providing an Elders community. Centre, the DEG is able to undertake cultural activities. The provision of Key outcomes include: the Elders’ meeting place facilitates Elders’ healing, leadership, decision- - The provision of transport, staff making and advisory services and and infrastructure to facilitate is the key to the DEG being able Elders’ involvement in the centre and to undertake cultural management community activities, programs. General Information - A cultural keeping place Name: Dharriwaa Elders Group - Cultural exhibitions The DEG also maintains a main street Location: 47 Fox St Walgett NSW - A cultural values register that cultural exhibition space, Walgett’s first Aboriginal arts and crafts retail 2832 records Elders’ knowledge about places and why they are significant outlet, cultural collection and policy Phone: 02 6828 2619 - Maintenance of a collection and library. The DEG is developing a Email: info@ library of resources cultural tourism visitors’ rest spot dharriwaaeldersgroup.org.au - Maintenance (including the rescue) by the river for Walgett, and has Website: www. of threatened places of cultural value developed in the past interpretative signs for Council regarding Aboriginal dharriwaaeldersgroup.org.au - Production of a community monthly magazine for 10 years (discontinued cultural heritage. due to funding cuts in June 2010) and Sector Information other learning resources The DEG has just produced a language Type of organisation: Aboriginal - The provision of advocacy and resource booklet about the Narran organisation support for Elders to have a voice Lakes creation story. Until June 2010 we produced the monthly community Governance: Board and develop and implement programs in the community whether it is with magazine Yundiboo which was Funding: Federal and State schools, youth and family social distributed to schools and community governments programs etc. Youth these days have and provided cultural information and Other revenue streams: Support lost their cultural identity and we are news. from individuals and companies trying to bring it back to them

Building cultural futures 16 The DEG convenes the Walgett In previous years the Dharriwaa Elders Gamilaraay Yuwaalaraay Language Group has actively sought to pass on “Youth these days have lost Teaching Group (WGYLTG) in order to cultural knowledge to Walgett youth their cultural identity and drive language teaching in Walgett by undertaking youth and Elders’ we are trying to bring it and support its ongoing sustainability. camps, youth and Elders’ site trips back to them.” A strategic plan has been developed and an Elders’ school program. In by the WGYLTG so it can focus its the 2010/11 year the DEG has been work for the sustainability of language working with the Dept of Education programs and teaching in Walgett. and Catholic Schools Office with Aboriginal cultural curriculum Another important activity of the DEG development and planning for new is its work to protect the Aboriginal Elders school programs beginning in cultural values of places, biodiversity the 2011/12 year, funds permitting. and landscapes. It has produced a cultural values register which it The kids really enjoy the Elders and uses as a land and site management youth camps. What we do is teach and mapping tool. Liaison with legal them about bush medicine and stuff advisors, landholders and government like that. Because we take people out is a regular activity and our data is with us that know these things, I’ve used by the DEG and government to had kids coming back saying ‘When’s assist with on-the-ground compliance the next one! When’s the next one!’ with NSW and Commonwealth laws. Teach them respect, stuff like that.

Left: The Memories of Living Outside Walgett Exhibition, Richard Lake in foreground

Discussion starters:

1. How are your Elders engaged regularly in youth arts and culture?

2. How has project funding helped build your organisation?

Building cultural futures 17 PEOPLE & PLACES

Monaroo Bobberrer Gudu Aboriginal Cultural Centre, Eden Season workers create cultural sea change

Above: Monaroo Bobberer Gudu Aboriginal Cultural Centre Built by the Eden LALC in 1994 to was left undone was the Monaroo preserve and revitalise Aboriginal people. There were lots of other areas culture from the area, Monaroo of identity but the Monaroo people Bobberrer Gudu (MBG) has seemed to have slipped off the face of grown under the guidance of the the earth. So we decided we’d build a centre that would research and Twofold Aboriginal Corporation to document all that related to Aboriginal accommodate a business (AJN people in the Monaroo area. We’ve Oysters). done language research for the whole coast from Bermagui to Nowra and Since the establishment of the documented all the language that’s Bega Valley Aboriginal Advancement been let go of that we know now, Association, Pastor Ossie Cruse has about 180 words. We also found in been actively involved with Aboriginal our research that Aboriginal people Affairs, the National Aboriginal interacted in two major ceremonies, Conference, NSW Aboriginal Land the Bogong Moth ceremony up on Council, advised both state and federal the tablelands at Kosciusko, and the governments on Aboriginal issues, and whale ceremony in Twofold Bay. championed various community and local programs for the advancement of In our research we found there was Aboriginal people. a corridor from Eden all the way up to Kosciusko that Aboriginal people Why do you think your model has been had used. Then we found that there so successful? was a corridor of campsites about I think it has been successful because 25kms away that go all the way up. of people. We’ve always worked We haven’t fully completed it yet but together. We are a unique community we’ve walked the whole distance in that most of us came out of what now and we’ve found the single trail General Information was called the season workers. There that our people have used for many Name: Monaroo Bobberrer Gudu was no fixed mission here, most of thousands of generations. Aboriginal Cultural Centre us were season workers who worked together across the country. Then the That’s the sort of stuff that we’re Location: Cnr Mitchell and picking machines put us out of work, putting in the archives in our cultural Mailing St, Eden 2551 so we found ourselves living in shanty centre and we’ve got four ladies Phone: 02 6495 6343 ‎ towns on the river banks and car that have done a lot of research. Email: edenlalcprojects@bigpond. bodies and everywhere until in 1968 Now we’re doing arts and crafts and com we formed the Bega Valley Aboriginal things, and documenting these things Advancement Association. We decided digitally. Website: No that we’d relocate everybody out of the shanty huts and things into a good The cultural centre is amazing, Sector Information home and that’s how we came to be it’s been done right in as much as Type of organisation: Aboriginal at Eden. Aboriginal people actually built it from Organisation below the ground to the top of the What is the focus of the research roof under supervision. So the building Governance: Volunteer Board undertaken at MBG? itself is a unique feature. Funding: No main source of My involvement has been pretty funding extensive in a lot of areas and what What sort of cultural activities are run Other revenue streams: I’ve found in being involved is there’s from MBG? Donations an acute loss of Aboriginal culture The ladies are here having their over the years. One of the areas that class today. I am making some of

Building cultural futures 18 the spears and things for our NAIDOC and back again. They wrote another program and we make bark canoes one called Mutton Fish: The Surviving “The cultural centre is and dugouts. I’m one of the few people Culture of Aboriginal People and amazing, it’s been done left alive that knows how to make the Abalone on the South Coast of NSW, right in as much as spear tips. I’m doing it so they go into which is about abalone, a real part of Aboriginal people actually the cultural centre and on account our cultural lifestyle. built it from below the of these young people too. And we ground to the top of the roof wanna raise up, if we can, in the next As well as the organisation, the centre couple of years a gumleaf band for the itself expanding all the time, we’ve under supervision. So the cultural centre. Some of the kids are got an active archive, an active Board building itself is a unique keen to learn how to play a gumleaf. and an active centre that’s being feature.” used so there have been lots of main Our youth camps have been operating achievements, put it that way. The since 1975 and we haven’t slackened main one is our culture slipping away in our youth program. There’s about so quickly and to preserve it, to have 10 or 11 youth groups now. I think it intact in an archive is just priceless. they meet in Albury this October. Our group is the Jarndoo; it means “killer We work differently to a lot of other whale”. All these young people they communities even though we are from like to have fun. Some call themselves all over the place. We work as one different tribal names such as Bush people. We have tremendous rapport Ant and Goanna. We wanna try and with the schools. We’ve got 45 kids get them away from drugs and alcohol going through secondary and we hope and suicide and that rubbish. There’s to get them all through. We developed probably 18-20 in each group but a cadetship to get our kids into early there’s lots of activities going on. It’s training in years 9-12. They go into open to all young people Aboriginal doing cadetships with whatever trade and non-Aboriginal. they want to do, doing something practical one or two days a week. We’ve just finished, with the cooperation of the main agencies, our land and sea country plan. We’ve developed that with all the key players in the region. We’ve got the local government there, National Parks, Forests NSW and Primary Industries. It probably took us three years all up but Discussion starters: we completed that this year. So that’s going to put us in good stead to get 1. How do heritage, arts and going with a lot of our programs here. culture bring your community What are some of the main together? achievements of MBG? The main achievement would be the 2. How might language, preservation of Aboriginal culture. Our traditional festivals, local bush ladies have written two books, one is called Bittangabeetribe: An Aboriginal foods and musical instruments, Story From Coastal NSW, that traces as examples, assist your a tribe of Aboriginal people from the community’s cultural expression coast to the Bogong Moth (ceremony) and identity?

Building cultural futures 19 PEOPLE & PLACES

Brewarrina Aboriginal Cultural Museum Heritage site fed thousands but museum struggles

The Phoenix Project seeks to What type of land is the museum on? Above: Inside the Brewarrina restore one of the world’s oldest Who owns it? How is it managed? Aboriginal Cultural Museum engineered structures, the The building rests on Crown Land. It’s Brewarrina fish traps. a Crown Land Reserve and as such the owner is the Department of Land Operating out of the Brewarrina and Property Management (DLPM). Business Centre, Project Manager They are happy for the museum to be Charlotte Finch has overseen the there. It used to have a Trustee Board conservation work on the fish traps but that folded when the museum which were badly damaged during closed. The DLPM was looking 10 years of drought. The Brewarrina for someone to take it on, so the Cultural Museum alongside the fish Brewarrina Business Centre has the traps is also struggling to reopen as temporary trusteeship of the museum. a fulltime operation, as a means to It is planned that once the museum improve the local economy. is back up to capacity it will have a Trustee Board. It sits overlooking When, how and why was the museum the Brewarrina Fish Traps which is and cultural centre established? the oldest engineered structure in About 20 years ago it was very the world and potentially the oldest much a community museum. It was man made structure in the world. It established because of something actually has one of the best spots for the community particularly wanted. viewing that and as such, it is also an The museum buildings are actually interpretative centre for the fish traps. constructed out of domes, it’s done The museum’s aim is mainly to protect like this to represent gunyas. It’s the knowledge, the Indigenous culture purpose built and doesn’t require any of the surrounding area, but also to air conditioning as it keeps the correct pass that knowledge on particularly temperature in the display area for the to the younger Indigenous people of General Information artefacts day and night, winter and the area and more broadly to people of Name: The Brewarrina Aboriginal summer, which is quite something in other cultures. Cultural Museum itself - the architect actually won an award for it when it was built. Location: Cnr Bathurst & Darling Its primary aim is the education and the keeping of knowledge rather than Street, Brewarrina, 2839 The centre closed about nine years a commercial aspect. The tourism Phone: 02 6830 5152 ago for a variety of reasons that is what will keep the museum open Email: [email protected] just all happened at once. We had as that is what will bring the funding Website: N/A a community opening August 2010 in. Already the response we have of all though we have been working on people going through it is phenomenal. Sector Information it since July 2009. Since then we Type of organisation: Aboriginal have had public tours through there. We also have a number of items Organisation under the We don’t have the capacity at the that aren’t for display and need to Cooperatives act moment to have the doors open all-day be locked away such as men only Governance: Trusteeship everyday but we do have a set tour in business stuff. We do have some older the morning that was conducted by temporarily held by the men that are willing to help us with the project people. One of those has that but until we get a secure place Brewarrina Business Centre actually gone on to set up a tour guide for these items that’s probably our Funding: Limited to project business and at the time being she biggest risk at the moment. funding does them. When the Museum gets to Other revenue streams: Guided the capacity where we are open all-day everyday, the museum staff will do the tours tours themselves.

Building cultural futures 20 How did the museum come about? got the display area up to where it It was the community itself wanted was before. We’ve still got some work “People do volunteer for to have a place. It came out of a fear to do outside. We’ve got a purpose things, all sorts of things, that their culture would be lost and landscape area for medicinal plants but they don’t regard especially that they wouldn’t have it but we haven’t got any plants in there themselves as a volunteer to teach the young ones. They wanted yet. We’ve got the gardens and the and when you talk about a central point where they could watering systems in, we’re waiting being a volunteer they don’t collect their cultural knowledge and on funding so hopefully we’ll get the quite grasp the concept.” hold it, not just hold it as historical okay for funding to put plants in. We’re fact but hold it and keep perpetuating doing it all on a shoestring, that’s the its knowledge onto Indigenous youth. problem. The other thing that beats us It’s documented that they had up to is time. I’ve been on it for two years 5000 people in their gatherings here. and my contract runs out at the end of The fact that they had such a huge June. habitation at certain times along those river banks close by means that We don’t have a structure for the staff. there’s a lot of stuff still around. There’s not a big understanding of being a volunteer in Bre and there are Probably our main source of cultural all sorts of reasons for that. People do integrity comes from Roy and June volunteer for things, all sorts of things, Barker, so whenever I hit anything but they don’t regard themselves as that there’s a bit of to and fro in the a ‘volunteer’ and when you talk about community, I just refer back to them. being a volunteer they don’t quite As soon as I say ‘This is how Roy grasp the concept. We did go down and June said to do it’ then I’m fine, the line of applying for an Indigenous nobody queries me. community volunteer, and our idea was if we had staff or volunteers they could How does the museum figure in come in and mentor and show how the the business development plans for business should be run. Brewarrina? It’s actually one of the focal What do you think are the main points. Especially with the tourist barriers stopping the museum and development plan, the fish traps and other centers like it from moving the museum are seen as the two forward? biggest draw cards to Brewarrina. Unrealistic expectations. People What Brewarrina has got is a lot don’t realize how long it takes to get of people going from east to west, something up and going. I think just west to east because we sit in the the physical things of getting the jobs middle between Lightning Ridge and done and getting the money with the Bourke. Tourism NSW has catalogued museum - and especially a community Discussion Starters: that quite well and potentially museum - people have very specific that’s 30,000 people a year through ideas. Most of Brewarrina would like 1. How is volunteering this fully staffed and doors open all- Brewarrina. The trick is to get them to understood in your community? stop and stay. day everyday, but it’s not going to happen. Things don’t happen that way What needs to happen to make the unless you get a benefactor but it’s 2. Could your community use a museum a sustainable success? very much a community museum and “phoenix” project, a business We’re still sort of very fledgling and if they don’t want an outside benefactor centre and business plan for appearing to take over. we hit a rocky patch, we could falter, arts and cultural expression even now. What we’ve done is we’ve development?

Building cultural futures 21 PEOPLE & PLACES

Wiradjuri Condoblin Corporation, Condoblin Culture is an asset

The Wiradjuri Condobolin Centre “But how do you assimilate and (WCC) began in 2003 as part integrate a 40,000 year old culture in of the Ancillary Deed of Native the modern world? Title Agreement between Barrick Gold of Australia and the “The centre should be linked to culture and I believe that culture Wiradjuri Native Title Party. The is sustainability. The circle shape WCC operates in several fields, of the building represents learning including beef farming, training, circles which were essential to our design and sustainability, understanding of all things. The catering and furniture making. It dreamtime tells two stories, one is employs more than 40 Aboriginal an Earthly journey which is a short people in the local Condobolin journey and then we are returned area. to Mother Earth to embark on our Forever Journey. Like this, the centre’s The CEO of The Wiradjuri Condoblin circular shape represents coming full Centre, Percy Knight, is eagerly circle.” awaiting the completion of the Wiradjuri Study Centre later this year. “The centre will be about social “The centre is 95 per cent complete inclusion, reconnecting with culture, and Mr. Rudd will be opening it. We learning, language, tourism, arts and General Information asked him because of his Apology to education.” Name: Wiradjuri Condoblin the Stolen Generations when he was Prime Minister. The centre came out of Further, the original vision of the Corporation the Native Title agreement with Lake Location: 80 Bathurst Street WSC is “the foundation for cultural Cowal and is a centre for the Wiradjuri rejuvenation, social change and Condobolin, 2877 Nation which is in the heart of NSW.” sustainable self-determination by Phone: 02 6895 4664 the Aboriginal people of the wider Email: enquiries@ The Wiradjuri Study Centre (WSC) Wiradjuri nation. The result will be is a large, circular shaped building, a vibrant, independent, sustainable wiradjuricondocorp.com built using compressed mud brick Website: www. and self-determining Aboriginal methods, which the WCC previously community. The WSC is proposed as wiradjuricondocorp.com employed to build the first compressed an iconic centre for Aboriginal cultural earth brick building in the region for understanding, learning, research, Sector Information a local horticultural company. The training and wellbeing.” Study Centre has been built in the Type of organisation: Not-for- same way, constructed by teams of Profit organisation The Cultural Centre and the Study local Aboriginal people using locally Centre aim to contribute to a culture Governance: Governed by a board made products such as compressed of healing and reconciliation for of 5 members and 1 secretary earth blocks and timber. Additionally, the Wiradjuri and a commitment Funding: Government funded by the interior will be furnished by to closing the gap. The centre will local Aboriginal craftspeople. Percy have a language arm to preserve, ICC and IBA believes that the local community Other revenue streams: A ground maintain and teach local languages; can contribute substantially to the an arts centre for both art making and swell project which involves construction process. “It’s important exhibiting and a cultural appreciation compost revenue, city to soil to think about culture as an asset,” he training course that will assist the project, Australian post contract, says. public, private and community sector cleaning Lake Cowal and a organisations, to engage and interact trucking logistics company with Indigenous Australians on topics as diverse as history, culture, custom,

Building cultural futures 22 Culture is an asset

Stolen Generation, The Apology, Native Title, Economic Reform, Health, Social “The centre should be linked and Emotional, Wellbeing, Engaging to culture and I believe that Individuals and Communities, Social culture is sustainability.” Inclusion and Closing The Gap.

“A lot of the Wiradjuri nation was part of the Stolen Generation, lots of our Elders were taken,” Percy says. “The cultural centre is a statement on the Stolen Generation and that we can never let that happen to our people again. It’s insurance that this truly is an environment for learning and a place for aspirations.”

Below: The circular shape of the Wiradjuri Study Centre, as seen from the air

Building cultural futures 23 PEOPLE & PLACES

Armidale Aboriginal Cultural Centre and Keeping Place, Armidale Foreign director builds respect, unites

Above: Armidale Cultural Centre community and Keeping Place Director Daisy The Armidale Aboriginal Cultural So what have you done to develop the Williams Centre and Keeping Place business side? has had a chequered career. One of the first things we had to do When Director Daisy Williams, was product development. By product originally from Malaysia, arrived I mean not just a static product, but the Centre was at the verge of we also had to develop programs like exhibitions and workshops. So we closing down. But through solid had to focus on product development business management the Board initially, but because when you talk of Custodians and Daisy have about business you also have to talk secured triennial funding, built about management and finance, staff new partnerships and brought the training and communication, so all that community back to the Centre. comes under management.

Can you tell us a little bit about your Can you outline the staffing and self and your involvement with the organisational structure? organisation? We have about four volunteers but they I’m originally from Malaysia. I started are all non-Aboriginal people, six staff working in Australia as the Director of members who are part-time, three University of New England Language Aboriginal and three non-Aboriginal. Centre. The centre was having a huge debt and we managed to turn the What are the key achievements? place around and started generating I think we’ve become an asset to surplus funds to the University in the community. I think community just two years and five months. Then members just feel that the centre is Name: Aboriginal Cultural Centre I heard that the Aboriginal Cultural and Keeping Place here for them so even our local non- Centre and Keeping Place was on Aboriginal community members, when Location: 128 Kentucky Street the verge of closing down. They were their families stay, they are very proud Armidale, 2350 advertising for a Director and I applied to show them all around. Phone: 02 6771 3606 and finally got the job. The Cultural Centre itself has been around for When I first started it was so hard Email: [email protected] over 22 ½ years. For 17 years it had Website: www.acckp.com.au to get put on the heritage bus route a varied career, up and down. Some and there are still no Aboriginal years it was good but it was always organisations on that route. This Sector Information not sustainable. week the Armidale Council wanted Type of organisation: to meet with our Board of Executives Now after 5 ½ years I’ve been and myself about how they’re planning Incorporated Association there, the growth has not only been Governance: Registered this big sustainable centre behind the sustainable it has really increased. In cultural centre and how they want to Organisation the past we were 100 per cent funded. include us into the mix. So not only the Funding: Local, State and Federal In the first full year since I was around community has learnt to just accept goverments we generated about 18 per cent of our we are here. income, then that grew to 26 per cent, Other revenue streams: Café then 29 per cent, then at the close of sales, sale of artworks from Who owns the organisation and could last financial year we were 36 ½ per you explain the governance structure? exhibitions, shop sales, hiring cent. It is growing so that eventually it The centre itself is registered, not of rooms, catering for functions, becomes financially viable and it’s self as an Aboriginal organisation but it’s cultural workshops and corporate funding, so we don’t have to depend on registered under the Incorporation grants and different governments and partners Act. Since I’ve been here, because I policy changes. don’t belong to a particular family, now

Building cultural futures 24 we’ve got Board members that come like hanging, preparing, preparing from all the different families, different the painting right up to talking to the “It’s very important that tribes and we’ve got seven-eight Board press or marketing their work, going to Aboriginal cultural centres members and they’re very active. I different galleries. and keeping places demand must say at least five are Elders who a level of respect and are fairly experienced and involved What would you like to see happen in because we are demanding in the community who are on other the future? it, we have to really behave mainstream boards as well. Equal respect, and not just including in that equal, professional an Aboriginal organisation into So the cultural centre’s governance the mix so that they feel they are way.” has improved? listening to Aboriginal voices but Yes, I think in both ways because to wholeheartedly include us - so the Board really understands the there will be a request for Aboriginal community, so they have very good employment in other areas not just in input and ideas on how to move the cultural centre. the center forward at the same time. The Board needed some When they have tours at the corporate governance training so Sustainable Living Centre and include we got somebody to run a session. different sustainable practices, they Another thing is the Board is very have to use the traditional and current well informed of what’s happening. Aboriginal sustainable practices. Every week on a Monday I meet with And to be included in the design, the the Chairperson and she’s informed overall design. In the future, there of what’s happening at the centre. is the promotion of Aboriginal art The Aboriginal community has more overseas, so that is something that I confidence because their Elders are am working towards. on the Board. They have confidence and they are all informed as to what’s How have you built such a strong happening. They’re friends, and they’re network? Elders and they’re knowledgeable. I By what we do, it’s very important think that’s so useful. that Aboriginal Cultural Centres and Keeping Places demand a level Is it part of the plan to develop local of respect and because we are Aboriginal art identity? demanding it, we have to really behave One of the things we do is we launch in that equal, professional way. Once a new artist’s career every other you start to get something up and year. The first artist we launched was running and doing things well, a Deborah Walford. We launched her network comes into the mix. career in 2006. Then 2008, because it was our 20th anniversary, we launched So what I’m saying is that really two artists’ careers, Leo Wright and running it professionally in all manners, Discussion starters: Nick Levy and then 2010 was Steve not just respect for funding bodies, but Widdup. For 2012 we have a young all other aspects. Once you have that 1. Can a representative Board boy from Armidale named Alistair Ahoy. trust and they know you are running it be formed around your cultural professionally, they want to be a part activities? So when we launch the person’s of that success as well and we can career, the following year we give them also ride on their success. a joint exhibition where they can get 2. What local businesses paired with an established artist and support your cultural centre and they learn from them practical things activities?

Building cultural futures 25 PEOPLE & PLACES

Boomalli Aboriginal Artists Cooperative, Leichhardt Boomalli continues with volunteers Boomalli Aboriginal Artists are exceptional for their dedication Above: The gallery space at Cooperative is one of Australia’s and commitment as volunteers to this Boomalli longest running Aboriginal owned unfunded cooperative. and operated art galleries but How important is membership to a has struggled to survive in recent cooperative? years. Membership is essential to your cooperative as the members are the Boomalli was established in source of creativity. They create Chippendale in 1987 to address some change and the identity of the of the inequities experienced by cooperative and they contribute their Indigenous artists. Now in Leichhardt, time. Boomalli continues to provide a voice for urban Aboriginal artists in Sydney What are the pros and cons of a and across NSW particularly. Founding cooperative? member Bronwyn Bancroft explains In 1988 Boomalli Aboriginal Artists how Boomalli continues to live up Cooperative Limited was registered to its name, drawn from three NSW under the NSW Cooperation Act. All language groups meaning ‘To strike; to members of Boomalli are Aboriginal. make a mark’. The structure of the cooperative has not been the source of problems. Tell us about yourself. I am a Bundjalung woman who came Why has Boomalli stayed as a to Sydney in 1992. I met up with cooperative and not changed to an Phemie (Euphemia Bostock) and Aboriginal corporation? Michael Riley and Gary Foley. We The NSW Registry of Co-operatives all got on really well and Boomalli and Associations has provided great came into being. I was also running assistance in Boomalli’s resurgence. my shop Designer Aboriginals which I Boomalli will reconsider its structure established in 1985 in Rozelle, Sydney. in the future. General Information How was Boomalli formed? What changes have been made to the Name: Boomali Aboriginal Artists Boomalli was established in 1987 Board? by 10 Aboriginal artists, to promote Cooperative Boomalli has changed its rules to Aboriginal culture and maintain artist Location: 55-57 Flood Street, allow for two non-Aboriginal directors practice in NSW. Leichhardt, 2040 with special skills. The current Board is Euphemia Bostock, Chair, Bronwyn Phone: 02 9560 2541 How does Boomalli work as a Bancroft, Sheryl Connors-Young, Email: [email protected] cooperative? James Wilson-Miller, Di Yerbury and Cooperatives essentially run on good Website: www.boomalli.com.au Craig Collie. will and hard work. Honesty, diligence, care and understanding for your other Why do you think Boomalli has been Sector Information cooperative members will ensure able to survive so long? Type of organisation: Cooperative success/happiness for all involved. under the Cooperative Act Boomalli’s members have had to re-invigorate the cooperative What is the main role of the board? Governance: Aboriginal Board several times. Volunteers have The Boomalli Board is there for with non-Aboriginal expertise worked thousands of hours in the good governance, planning and last two years to sustain Boomalli, seconded, all volunteer management of members. The which currently has no paid staff Funding: None Board has established best practice or Australian or State Government Other revenue streams: Artwork principles, where we strive for the funding. sales and licensing work highest ideals. Any Board has to work hard and the Boomalli Board Directors

Building cultural futures 26 What problems have there been with Where is Boomalli heading? funding? Boomalli will continue to represent the “Governance and the Arts NSW stopped funding in 2009 as art and culture of the people whose capacity to run a business Boomalli had not acquitted previous language groups encompass the state have been the issues that funding. Boomalli has applied to Arts of NSW. have created the greatest NSW for funding for 2012. National difficulties for Boomalli. The Arts and Crafts Industry Support How does the current location current Board, members and funding was withdrawn in 2009. The compare with others? Australian Government department Boomalli had rented in several other volunteers are striving also incorrectly claimed that it was locations, the first in Meagher Street, to make Boomalli a best the organisation to which the premises Chippendale. It has been in its practice organisation in owned by Tullagulla and which housed present location since 2003. Now it governance and business.” Boomalli should be returned. Boomalli has ownership of 55-59 Flood Street, currently has an application for Leichhardt, Boomalli will develop its funding with the successor to that exhibitions, programs and meeting department. The Indigenous Land place reflecting its Aboriginal identity. Corporation has approved and enabled the transfer of the title of 55-59 Flood What effect has an organisation like Street Leichhardt from Tullagulla to Boomalli had on the mainstream art Boomalli. This year the Indigenous scene? Heritage Program ruled that Boomalli Boomalli will celebrate its 25th year was ineligible as it had not established of survival and striving for recognition that Boomalli is a place of Indigenous for NSW artists. Boomalli has significance to the community. NSW experienced some dramatic moments with 28.7 per cent of Australia’s in its ‘growing up time’ but we are Aboriginal population has received now focused on advancing the art of 12.1 per cent of IHP funding for the NSW language group people and we years 2006/11. Leichhardt Municipal have just secured our first permanent Council has provided funding for an home, signing the deed of transfer this exhibition associated with the Gay and month. Lesbian Mardi Gras and it has held its exhibition by artists with disabilities Does Aboriginal contemporary art have at Boomalli. a role in the transmission of cultural knowledge? What are some of the difficulties All art by all Aboriginal people is Boomalli has had to overcome? about the transference of original Governance and the capacity to run knowledge and cultural memory. Our a business have been the issues that art is intrinsically linked to our lives, have created the greatest difficulties our families and our communities and for Boomalli. The current Board friends. Art is a life source for us. members and other volunteers are striving to make Boomalli a best What advice and or lessons could practice organisation in governance Boomalli give to other Aboriginal and business. organisations? When starting any organisation, work Discussion starters: What are some of the success stories out roles and responsibilities. Know among the artists of Boomalli? the information about governance Works by Euphemia Bostock, Brenda and research other successful 1. Have governance issues held L Croft, Fiona Foley, Tracey Moffatt, organisations. Never, never give up. your organisation back? r e a and Michael Riley are in the inaugural hanging of the Indigenous 2. Would an artists’ cooperative Galleries at the National Gallery of Australia. work in your area?

Building cultural futures 27 PEOPLE & PLACES

People of the Reeds, Cabbage Tree Island Art represents the culture of place

People of the Reeds from some of the boys to come here but Cabbage Tree Island grew an they won’t! They do their own thing. impressive reputation for 20 There’s a few blokes up here that’s doing carving and making boomerangs years with help from the Bunjum and stuff like that. Cooperative and CDEP funding. Leanne Anderson, one of the When we first got it up and running original members, tells about the we had an exhibition to let people recent revival of the organisation know that we’re back. And we had that in Lismore, so that was recently Above: Leanne Anderson, original as a private company. member of People of the Reeds, and we have an exhibition at Boomali now, that’s with the Casino crew, the from Cabbage Tree Island Could you tell me a little about your Saltwater and the Ballina crew. To let organisation? them know that there’s local art out It was a group of ladies, about 20 of there, there’s NSW art, there’s also us, we first started about 20 years local Aboriginal art. ago as a CDEP program and that was run by Bunjum Coop. They had all of How was the exhibition funded? these other little programs going and Well the one we are having in Sydney, we formed an arts group and that was that’s funded by Arts Northern Rivers. run then by TAFE in Lismore. They came on board and then ACE (Adult Has People of the Reeds been and Community Education, supported successful? by NSW Department of Education) Oh yes, every exhibition that came on board in Lismore and kept we’ve had - and we’ve had a lot of the program running. They helped us exhibitions over the years. We have with the program to keep it funded and a lot at the Lighthouse, we’ve even later on down the track there were had a fashion show after it, and we’ve more ladies, so we got bigger. got great feedback, great response from it, so the artists have gotten well Then, sort of when the CDEP known. So they know that we’re out collapsed, the government shut all there and they’ll say ‘Oh you’re back! General Information our funding down, so it all collapsed Name: Leanne Anderson We were wondering what happened to and it was at a standstill cause there your stuff’. So we’ve got an exhibition Location: Cabbage Tree Island, was no funding or organising body to space in Ballina, that gallery, you NSW get it going. ACE kept the funding know the one in River Street near Phone: 0421 664 564 up for a while and supported us to the Richmond Chambers there? We keep it going. We had courses from display there with the Ballina crew. Email: Leannemarciaanderson@ Cert 1 right through to Cert IV to gmail.com Mostly we sell a few things through keep it going and I went and done the shops in Byron Bay and Ballina, Web: None my Cert IV in TAA, that’s “teaching Nimbin, Lismore and through galleries and assisting”, that was also funded and stuff when we have an exhibition. Sector Information by ACE in Lismore. So I’ve done my teaching and assisting, so we’ve just What would you like to see happen in Type of organisation: Private got it opened again. A few of the business the future for People of the Reeds? ladies have moved on and got other Well we’ve gotten through Bunjum Governance: Self governed jobs, so there’s only two of us left to Cooperative, they’ve helped us to Funding: Not currently funded keep it up and running again, trying get it up and running. To get to use Other revenue streams: Art sales to get it going as our own business the building again, we’ve got a big organisation. We’re still trying to get shed down there next to the school

Building cultural futures 28 on Cabbage Tree and we had to get years, we’ve done a lot of work with their support to reopen it. There were the school. We’ve taken our artwork “We want the arts and a few electrical faults that had to be into the school and shown it to crafts to stay there, ‘cause fixed, OH&S, all that stuff, they helped Aboriginal kids at Cabbage Tree Island all the stories and our us with a range of stuff. It will be Public School. They have visits from culture is in our artwork and privately managed, but we are getting non-Aboriginal kids that come in and it’s one of a kind. We just support from Bunjum to get back on the Elders sit down and tell the story want it to be there for our our feet. about the painting and what used to happen at the school. You know in kids.” What has been the main benefit of those days they didn’t have things like People of the Reeds to Cabbage Tree computers and technology, it was hard Island? for them. So we tell them the stories Just to let people know about our of how it used to be and how it was culture. Cabbage Tree Island is there, hard. One lady, she told them about it’s an Aboriginal community and one ration day when they were giving there’s a lot of heritage and it’s being out food instead of money. That was of passed on. They’re writing their stories great significance in those days, and and painting it into the artwork and very important. letting people know that it’s there. Aboriginal art is there and we want What does the organisation mean to it to be passed onto our kids, passed you? onto the next generation. So we want People of the Reeds means Cabbage the arts and crafts to stay there, Tree Island, that’s what it means. ‘cause all the stories and our culture People of the Reeds are Cabbage Tree is in our artwork and it’s one of a kind. Island. So it’s about Cabbage Tree We just want it to be there for our Island and where we grew up, it’s that kids. relationship. It’s about our homeland and where we’re from. We do have a lot of artists, most of the artists who work here in the shed Leanne Anderson would like to thank are Elders, so just getting people Jan Levy and Sue Heywood for their to know our stories and about our support. culture. There is Aboriginal art in NSW you know, it’s not only from the Top End. There is local art around this area. Good talented art, so just to let people know we’re there. We’re out there.

How is art keeping culture alive? Well it’s the traditional stories, it’s the Discussion starters: artwork, it’s the heritage, it’s keeping it so it’s there for the kids, for our 1. Do artists in your area bond children. When they grow up they’re around a distinctive style, going to need that and know all about the community and their culture and medium and/or identity? how important it is. I’ve done a lot of work with the local school around 2. Do they have an accessible NAIDOC and stuff like that. So, me space to meet, share, work and and a few other Elders we, over the learn?

Building cultural futures 29 PEOPLE & PLACES

Boolarng Nangamai Aboriginal Art & Culture Studio, Gerringong Artist collective grows beyond TAFE

Boolarng Nangamai Aboriginal Art skill sets - blackfella business. As Above: Boolarng Nangamai artists & Culture Studio (BNAACS) is an the artists build their business and outside their studio Aboriginal artist collective on the personal capacity, I broker networks and opportunities to feed to these South Coast that is both cultural Aboriginal micro businesses.” enterprise and not-for-profit. Founded in 2005, it grew out of the From her education background, vision and need of eight Aboriginal Kelli has also assisted the artists artists and one non-Aboriginal artist. to match their cultural knowledge The eight core artists met while base with qualifications which she studying for their Advanced Visual Arts believes has been a crucial element General Information Diploma at West Wollongong TAFE in to BN’s success. “The BN Studio is 1995. Visual Arts teacher and fellow like a cultural airport. I assist artists Name: Boolarng Nangamai to learn to fly with their businesses, Location: Unit 5/9 Bergin Street artist Kelli Ryan saw the potential in the group both as artists and a build their airplanes and cultural Gerringong, 2534 bonded group that could survive and resilience, work out the altitude, plot Phone: 0414 322 142 work together beyond the confines of their business journeys and negotiate Email: [email protected] coursework. the clouds.” Website: www.boolarng- The splashes of bright colours you see nangamai.com With the team’s commitment, Kelli purchased some land with a small as you approach the industrial site inheritance and then borrowed to build workshop reveal themselves as art Sector Information industrial sheds. The other sections and craft produce: paintings, wood Type of organisation: Registered are leased to other businesses. carving sculptures, pokerwork, cane The land straddles a part of the Union and woven sculptures made from the under the Corporations dried and prepared plant life on site, (Aboriginal and Torres Strait Creek and the reeds that grow wild there have been used by Koories for even beanies and scarves. Islander) Act 2006. traditional implement making for Governance: The business of the thousands of years. The latest addition is a series of corporation is to be managed cards from artists’ works, produced “Boolarng Nangamai exists to in conjunction with the Red Cockatoo by or under the direction of the artists collective in the Blue directors. empower Aboriginal NSW, increase employment in the arts and care for Mountains. Other activities such as Funding: Emerging Indigenous the environment, advocate positive cultural awareness training and cross- Entrepreneurs Initiative role models for future generations, cultural workshops in Australia and Department of Education, maintain culture and heritage and add overseas have enhanced Boolarng Nangamai’s reputation. Employment and Workplace to the vibrancy of Aboriginal arts and culture in NSW,” Kelli says. Relations (DEEWR) “Between 2008-10 we worked with Other revenue streams: From experience in the building about 470 Aboriginal artists in NSW,” Aboriginal cultural awareness industry, Kelli based the studio on Kelli says. workshops, weaving, painting, a micro business model, similar to a builder and subcontractor As BNAACS grew there became a drawing, bush foods and tool need for strengthening community making, classes, dance/ relationship. “This empowered the artists and made for a unique product hence the birth of Boolarng Nangamai performance, storytelling and and collaboration,” she says. “I am Aboriginal Corporation. The founding Aboriginal art consultancy, responsible for all the compliance and artists of BNAACS become the board Aboriginal sites consultancy, marketing - whitefella business - and of BNACorp, registered with the Office of the Register of Corporations (ORIC) sale of artworks the artists as sub contractors are experts in their chosen medium and in 2007.

Building cultural futures 30 Practically, this means BNACorp: collectors of artists work - Advocates Aboriginal Arts and - Promotes and markets the artists “As the artists build their Culture as a signatory on the Illawarra - Provides a professional platform for business and personal Regional Partnership Agreement artist including services like website, capacity, I broker networks - Assists with finding and securing ecommerce, e-newsletter, artist and opportunities to feed funding for skill development for the database, freight of artwork, storage to these Aboriginal micro arts and environment of artwork etc. - Assists artists with acquiring shared businesses.” equipment and resources that they Even so, the studio still struggles need as a community through periods without paid staff. - Assists artists with cultural When the orders come in, the studio exchange opportunities that enrich is abuzz and the numbers swell. In and empower their practices quieter times artists drop in to work - Assists in finding training on their own projects or catch up on opportunities to reduce skills gap the news and latest developments. amongst Aboriginal community - Advocates as Aboriginal role models BNA Corp gained Register of to guide younger generations of Cultural Organisations (ROCO) and Aboriginal and non-Aboriginal youth. Deductable Gift Recipient (DGR) and Tax Concession Charity (TCC) status Activities for BNAACS: in 2009. Since then, it has worked - Provides exhibition and studio space successfully with the Hunt Foundation for artists development in 2010 to build sustainable micro - Assists with micro business business projects for BN artists. development: mentoring and brokering employment outcomes The name Boolarng Nangamai is drawn - Designs programs in consultation from the Biripi word for together and with BNACorp the Dhawaral word for dreaming, hence - Mediates and negotiates with the branding “Boolarng Nangamai - government agencies, clients such Together Dreaming. Keeping Aboriginal as corporate, educational etc for NSW alive & strong.” employment outcomes for micro business operators, including public

Discussion starters:

1. Is there someone in your community who would develop the business skills to be an agent?

2. Does TAFE in your area support Aboriginal art and business skills Left: Inside the studio development?

Building cultural futures 31 PEOPLE & PLACES

Euraba Paper Company, Boggabilla Art practice looks great on paper

Euraba artists and papermakers beginning. We did a fine arts course have taken traditional European at TAFE and we just wanted to do papermaking methods and made something. When we finished he (the them their own. teacher) suggested, ‘How would we like to make paper?’ and we thought Euraba means “place of healing, it was a big joke and had a big laugh. coming from the healing leaves of the When we first started we used to go Eura tree” in the Goomeroi language. and get the filings from the river and An initiative of nine Goomeroi women boil in an old gallon drum. We had from Toomelah and Boggabilla in an old tub that we used to make the North-West NSW, Euraba’s enterprise paper in. We were determined to do involves locally and traditionally something. It’s still going today. Yeah, sourced fibres handmade into we just wanted to do something which artworks, artist paper sheets and would benefit our community. Above: Joy Duncan with Fish handmade paper products. These RM: My name’s Rex McIntosh. I products are designed and produced became involved with Euraba when I by artists at the Boggabilla studio. was with the Community Development Euraba Artists and Papermakers use Employment Program (CDEP) at 100 per cent cotton off cuts from local Toomelah. Boggabilla was one of the clothing industry to produce cotton cells of Toomelah. I was invited to a rag pulp for their paper. meeting by the Euraba Board, that was about 2004 and that’s when I The papermaking process at the mill became Chairperson of Euraba. uses natural fibres, a continuation of a tradition linking the women to What are the key achievements of the their ancient culture. Their female Euraba Paper Company? ancestors wove local fibres into MH: So far to help the young people. baskets as part of their role in That was our main aim, to get the traditional life as gatherers. Today young people in there and help them, women of all ages from the community because they are our future generation work together to turn 100 per cent and they need our support, us being cotton fibre into paper as a means Elders and mentoring them you know. to provide and build a future for their RM: Over the years we have won youth. The fibres from both the river quite a few awards. In 2010 we won General Information and surrounding land give the papers the NSW Parliament Aboriginal Arts Name: Euraba Paper Company locality, identity and tradition, all of Award that came with a $20,000 prize Location: 138 Merriwa St, which are reflective and important to (Editors note: $40,000 main award Boggabilla, 2409 the papermakers. from 2011, due to new sponsorship) Phone: 07 4676 2975 as well as the recognition. In 2000 Founding member Aunty May Hinch it won the Partnership Award in Email: N/A and Chairperson Rex McIntosh explain Canberra. It was with TAFE and a Web: www.eurabapaper.com.au that even though Euraba won the couple of other organisations and that 2010 NSW Parliamentary Art Prize, was the Prime Minister’s award, I Sector Information their community business struggles to think it was. We don’t get any funding Type of organisation: Cooperative stay open: now from the government to support the organisation, it just supports itself under the Cooperative Act Could you tell me a little bit about and from philanthropic donations. Governance: Board of Directors yourself and your involvement with the They came about from recognition and Funding: None Euraba Paper Company? the philanthropists putting their hands Other revenue streams: Art, AH: I’m Aunty May Hinch and I’m one up wanting to assist Euraba in being a product sales and donations of the founding artists from Euraba sustainable Aboriginal run business. and I got involved from the very

Building cultural futures 32 Boggabilla is a very small town, how CDEP. Wages came from CDEP, also much is the paper factory a community costs and events came from the grant “They don’t want to see it hub? program. We are working on applying fold because of the effort RM: It’s very important, we don’t for an Indigenous Employment Program that’s been put into it… want to see it fold and also the Board, grant at the moment. There is also It’s a good thing for the the original artists and the original another org that wants to assist with community in regards to founders, they don’t want to see Euraba becoming self sustainable and self esteem, self motivation, it fold because of the effort that’s that’s called Beyond Empathy based been put into it. We are working very in Armidale NSW. The org assists and values and for the hard to keep it open and to keep Aboriginal communities in developing local Aboriginal people, it’s it functioning. It’s just a matter of ideas and making a sustainable expressing their identity as connecting with the right people. business from those ideas. They’re well.” It’s a good thing for the community really well recognised Australia- in regards to self esteem, self wide as well for their successful motivation, and values and for the programs and activities they do in local Aboriginal people, it’s expressing different communities all over NSW their identity as well. As we know and QLD. I think we should work on art does bring out the best in a lot the administration side of running the of Aboriginal people especially in the organisation and then work on the remote areas of Australia. Its similar artistic side because we do have the to organisations in those parts of artists but we don’t have the skilled Australia in what we are trying to do labour to manage the organisation. and we are trying to do it as uniquely Under the Indigenous Employment as we can for our area of Toomelah Program we can employ local people, and Boggabilla. train them and they can be paid then from the sales of artwork and What do you think are the main products. barriers? MH: Finance. You know since the What would you like to see happen in CDEP program closed down that the future? sort of stopped a lot of things from RM: I would like to see the local happening. It was one of the main community manage the organisation problems. Everyone was happy and and the people making the decisions working there when that was going. of what they are going to make and It wasn’t much money but everyone how they are going to make it. Just was happy with what they got. We to be a sustainable business and be need money to keep it going. We successful, that’s what I’d like to see would really be downhearted and Euraba become. It’s not only myself, hurt if the place was closed down all it’s the Board members and people together, because our heart is in that from the community, that’s what place. It really means a lot to us. We they’d like to see as well. We would Discussion starters: have met a lot of different people and like to see more artists; we know that been everywhere since we started at there’s more artists. We know that Euraba. there are people in the community 1. Is there a business basis in a and young people at school that are locally developed product where What’s happening with the running of talented artists and we would like you live? the business and funding? to see some of those people come RM: Well we don’t get any funding and support Euraba and also gain from government since the end of employment and be recognised as 2. How would you build the financial year 2008/09. The artists. sustainability and success for funding ceased because everyone was your organisation after winning a employed under the program of the major award?

Building cultural futures 33 PEOPLE & PLACES

Tribal Warrior Association, Redfern and Sydney Harbour Fit for culture and maritime training

Though not a keeping place or simple by design. Basically we start cultural centre in the strictest training early in the morning, three sense, Tribal Warrior Association times a week. We invite the youth that participate in our fitness program (TWA) provides cultural to come and attend special sporting experiences on Sydney Harbour challenges and cultural events General Information and training and employment like traveling to areas of identified Name: Tribal Warrior for young Aboriginal people. It sacred sites to assist NSW Parks Location: Gadigal House, is the only Indigenous maritime & Wildlife with the preservation of 160 - 180 George Street, them. We also provide other training training company operating within Redfern, 2016 and employment opportunities both Australia. Phone: 02 9699 3491 within and outside of our organisation. Our cultural cruises are a highlight of Email: [email protected] It is a non-profit community valuable experiences that everyone Website: www.tribalwarrior.org organisation initiated and directed can enjoy and that will enrich lives. by Aboriginal people with Aboriginal Other ways we maintain culture is by Sector Information Elders. The Tribal Warrior Association sitting down and talking to Elders and was established by concerned learning about ceremony. Type of organisation: The Aboriginal people with a view to Tribal Warrior Association was spread and revitalise Aboriginal culture How does the maritime aspect of incorporated on 31 March 1999 and to provide economic and social Tribal Warrior relate to the other goals under the NSW Associations stability. The Association provides and initiatives of the organisation? Incorporations Act quality training for employment skills, Our vision is one of social and cultural Governance: Management and extends everyday practical exchange between Aboriginal tribes. assistance by distributing food and committee made up of local We hope to present a creative and groceries to struggling families. ongoing vision for Aboriginal youth by Aboriginal Elders and three other generating self-employment, economic Board members The Management Committee of the stability and cultural affirmation. We Funding: TWA Mentoring is Association includes grassroots aim to funded through Community Aboriginal people from various areas - Promote an awareness of values of and respected Elders. The Tribal Services and the Department of continuance of Aboriginal community Warrior Association uses the gaff- life and family Families, Housing, Community rigged ketch Tribal Warrior to train - To represent an Aboriginal Services and Indigenous Affairs Aboriginal people to attain their perspective in reconciliation programs (FAHCSIA) Master Class V Commercial Maritime and events. Other revenue streams: Certificate and other qualifications - To promote and support the TWA Tourism and Hospitality including Radar Certificate, and establishment of a maritime education Marine Engineer Certificate. arm derives its income from: facility with a hands-on learning program, aboard a suitable maritime Corporate and private charters Chairman and CEO Shane Philips, vessel with catering and cultural who has cultural connections to the - Targeting Aboriginal people, experience options; scheduled Bunjalung and Wonnarua language especially those of low income and/or daily cultural cruises on Sydney groups, among others, talks about limited formal education the Tribal Warrior Association’s social Harbour; scheduled whale - Non-Indigenous Australians, Torres advocacy programs. Strait Islanders and foreign students watching cruises; corporate may also be accommodated in sponsorships and private Tell us about the various programs you the program for the furtherance of donations. TWA is also registered have at Tribal Warrior relating to arts reconciliation and understanding by the ATO as an eligible and culture. between cultures Deductible Gift Recipient The Tribal Warrior Association has - The immediate goal will be to equip created a holistic program. It is the students with various commercial

Building cultural futures 34 maritime licences for their potential well as with mentoring certification employment in maritime vocations and employment as mentors with “Our success is measured - To gain government accreditation to our organisation and other external by the number of trained provide approved courses for maritime organisations. personnel with maritime education certifications, employed by - To promote a consciousness for Why do you think Tribal Warrior has our organisation as well as maritime vocations among Aboriginal been so successful? mentoring certification and people Tribal Warrior has been so successful employment as mentors - To facilitate social and cultural because of the team of people that within our organisation exchange between Aboriginal tribes, work for it with common goals and and other external especially those of the interior, with ideas about what will make it work. those of the east coast We are always looking for new ideas to organisations.” - To promote the awareness of the improve our services and are open to value of the continuance of Aboriginal discussion. Communication from the community life and the family top down is a big part of what makes - To explore and utilise approaches us so successful. to achieve social, economic, and Discussion starters: cultural development in Aboriginal What would you like to see happen in communities and individuals the future? 1. How can sport and exercise be - To provide food and other basic living In the future we hope to expand combined with art and culture in essentials for low-income persons, our organisation particularly with particularly among Indigenous but also the mentoring side and explore new your area? including non-Indigenous Australians business opportunities in general - To provide drug counselling and be recognised as artists. 2. What vocational training rehabilitation programs Below: Tribal Warrior meeting might you combine with arts and - To provide recreational and Aboriginal culture? cultural learning programs for both sessions Aboriginal and non-Aboriginal people - To form a committee to be called Aboriginal People for Constructive Reconciliation to arrange Aboriginal participation in programs and events in the spirit of reconciliation from the Aboriginal perspective. - To seek community support for the above objectives.

How is Tribal Warrior governed and funded? Tribal Warrior is entirely independently self-funded and Aboriginal owned and operated.

What are the key achievements of Tribal Warrior? The key achievements of Tribal Warrior is our training, employment and mentoring programs and our success is measured by the numbers of trained personnel with maritime certifications, employed by our organisation as

Building cultural futures 35 PEOPLE & PLACES

Dhiiyaan Indigenous Unit, Moree Scanning for the future of local Aboriginal history

Above: Dhiiyaan Indigenous Unit in action The Dhiiyaan Indigenous Unit, derogatory) and Aboriginal language established in Moree in 1995, records and research. is part of the Northern Regional Library and Information Services Founder and developer of the centre, of Moree Plains Shire Council. Noeleen Briggs-Smith, believes that by researching family history, Aboriginal At its core is a family history people can create a connection and photographic collection to their people, land and culture, encouraging Aboriginal restoring a sense of identity and participation within the library. contributing positively to Aboriginal wellbeing. The healing power of Located in Moree’s Balo Street, it cultural knowledge extends across has an Aboriginal history unit and a number of indicators of wellbeing, a permanent collection with a rich including social connectedness and variety of printed material, videos and mental health and has been used photographs detailing Kamilaroi life directly by the Dhiiyaan Unit to over the years. The Indigenous Unit improve educational attainment and services the shires of Brewarrina, equity in employment settings. Gwydir, Moree Plains and Walgett. Within these shires are a substantial Dhiiyaan is uniquely located in the number of Aboriginal settlements Moree War Memorial Auditorium, General Information including Boggabilla, Boomi, owned by the Department of Name: Dhiiyaan Indigenous Unit Brewarrina, Collarenebri, Mungindi, Education and adjacent to a senior of the Northern Regional Library Toomelah, Walgett and Moree itself. secondary school. The use and Location: Balo Street, Moree, governance of the auditorium is It has traditional Kamilaroi artifacts covered by a specific Act of NSW 2400. on display, and aims to increase the Parliament. Until recently, Dhiiyaan Phone: 02 6752 1346 understanding of Aboriginal history, shared the space with the Moree Email: kelly.briggs@ culture and knowledge among the Council Library. The move of the indigenousunit.com.au or Tracey. wider community through a range library and staff into a new building [email protected] of public programs and activities sparked initial community concern including cultural awareness, family about the future of the Dhiiyaan Website: www.indigenousunit. history sessions, Kamilaroi language facility. com.au programs and literacy programs. An independent consultant’s report Sector Information The collection has grown to much supports a business plan for autonomy Type of organisation: Part of more than just family history and has of the Dhiyaan Centre. Moree Council become one of the biggest regionally- has agreed to employ a Change Shire Council held Aboriginal culture and history Manager but is also considering co- Governance: Employed Change collections in Australia. The collection locating the local RSL collection and Manager to re-assess the current includes an estimated 90,000 - the historical society alongside some direction of the centre and 110,000 genealogies of local families continued form of the Dhiiyaan centre. develop a governance model, including a huge collection of Births, Dhiiyaan remains open through this Deaths and Marriages certificates. It period with limited hours and part MOU and financial plan. also includes a database of Aboriginal time staff and is still used by the local Funding: Core funding from ex-service people, more than 15,000 community. The recently appointed Moree Plains Shire Council photographs relating to local families, Change Manager will be guided by Other revenue streams: A barter birth registrations dating as far and report to a Steering Committee system built the Unit’s archives back as 1788, burial and cemetery comprising representatives from records, Aboriginal postcards (many Arts North West, Moree Plains Shire

Building cultural futures 36 Council (MPSC), Arts NSW, Aboriginal There is a recognised need, endorsed Affairs NSW, Moree Local Aboriginal by leading organisations such as NSW “There is a recognised Land Council and the transitional State Records and AIATSIS, for the need, endorsed by leading Board to expand Dhiiyaan into an Dhiiyaan collection to be preserved organisations such as NSW Indigenous Cultural and Learning Unit through the scanning of the records State Records and AIATSIS, in Moree with its own management to a digitised and, if appropriate, for the Dhiiyaan collection structure. microfilm format. Ideally, the collection to be preserved through the needs to be properly protected The Change Manager will assist the from deterioration in an acid-free, scanning of the records to a Dhiiyaan centre in the development temperature controlled environment. digitised and, if appropriate, of a mission statement and service Culturally appropriate protocols and microfilm format.” scope, Memorandum of Understanding safeguards for electronic access will (MOU’s)and protocols, intellectual be required. property policies, collection housing and preservation, board, framework Information courtesy of the Dhiiyaan and funding for the centre’s future. Indigenous Unit of the Northern Subject to funding commitments, the Regional Library, Arts North West Inc, Change Manager will help develop a Arts NSW and NSW Office of Aboriginal three to five year plan for outreach Affairs. services for Dhiiyaan and develop and coordinate communications and marketing strategies for the centre.

Below: Part of the Dhiiyaan Centre collection on display

Discussion starters:

1. What would be the benefits of local record keeping and photo archive for your local or regional community? Would digital storage assist this?

2. Would you contribute your family’s photos and certificates to a Shire or Municipal Council Library or would you prefer, or only offer to, an Aboriginal owned and controlled facility?

Building cultural futures 37 PEOPLE & PLACES

Yarkuwa Indigenous Knowledge Centre, Deniliquin From family trees to River Red Gum forest

Above: The Yakuwa Indigenous Yarkuwa Indigenous Knowledge organisations can support our work. Knowledge Centre Centre at Deniliquin operates I think that as the internet and other in land justice, community multimedia technology improves, that engagement programs and becomes less onerous but until then, providing services for the local it’s really a lot of trouble with people who want to engage with us and vice Indigenous community. It employs versa. I think that what it also does is more than a dozen Aboriginal provide a powerful voice. There aren’t staff. many organisations like ours down here that talk on behalf of traditional Executive Support Officer Steven Ross owners, so in a way it is advantageous from Yarkuwa explains how limited as you’re a loud voice in a big region. resources and distance do not inhibit its goals. What is special about the location of your building? What is your role at Yarkuwa? We are in a part of town which is My role is an Executive Support right near the island hatchery, which Officer. I write all of the policies for is a fairly good condition River Red the organisation and I engage with all Gum, not quite a forest, but an area State, Local and Federal Government, that is connected to the forest which as well as international processes on the local council owns. We’ve been behalf of the organisation. using it as an education and cultural space. So in Wamba Week the kids What are the Yarkuwa Indigenous go on tours down there with a local Knowledge Centre’s key activities? traditional owner and learn about The organisation operates in two native medicinal plants and other General Information streams. Firstly there is the support cultural sites within there. That service focus which provides free Name: Yarkuwa Indigenous week is really important in terms of internet access to Indigenous people Knowledge Centre education and reconciliation. So that in the community. We also do a is literally just behind us, it’s a short Location: 190 Cressy Street, Parental and Community Engagement walk from the building. Deniliquin, 2710 Program, as well as a carer’s research Phone: 03 5881 3312 program, so really around that service Does this have an inspirational effect provision. The other work which I Email: [email protected] on the work you are trying to do? am excited about is the cultural Absolutely. Yarkuwa did a project on heritage and environmental work of the North Deniliquin State Forest Sector Information providing genealogical services to which is across the river from the Type of organisation: Aboriginal local traditional owners, engaging in island sanctuary and really showed Corporation registered through land management processes including what can happen when you get rid of the removal of noxious weeds and ORIC noxious weeds and when you manage environmental service provisions as Governance: Board of seven land properly. There is a 400 year old well as cultural heritage assessments. traditional owners and a scar tree in there too, so protecting those sites is really, really important. membership How does a location like Deniliquin The island sanctuary is the next cab Funding: Government funding inform the work that Yarkuwa is off the rank for Yarkuwa, we really doing? for community service provision need to get in there and help manage What it does is encourage us to really Other revenue streams: Cultural that. engage with regional bodies and to and enviromental services, small try and build proper partnerships and grants and fund raising networks, so that other agencies and

Building cultural futures 38 What is the Yarkuwa model? centres around here, so getting the What really influenced it was in word out to those people is just as “There aren’t many the beginning, it was a bunch of important, because we want everyone organisations like ours down TAFE students who ran a project on to feel involved. here that talk on behalf of genealogy and cultural connection, traditional owners, so in a and from that they decided to What are the key achievements of way it is advantageous as establish the organisation to house Yarkuwa? you’re a loud voice in a big the material and allow traditional I think that getting Indigenous region.” owners to access it. So Yarkuwa employment is the big one, which started out as a locally based showcases the organisation to say traditional owner run organisation, we are one of the larger employers of then with a very big focus on cultural Indigenous people in the area. Then activities and stemming from that is Wamba Wamba Cultural Week which an arts focus as well. We have just has run every year for the last seven- received funding from the Federal eight years and very successfully, has Government for an arts program that really built up a profile within the town. will run next year, and I think that Then being able to lock into other really builds on the organisation as projects like the Ute Muster and other we weren’t able to access that money big projects happening in and around before. You have to build your capacity Deniliquin are our big achievements. and your experience before you’re able to access money. What are Yarkuwa’s plans for the future? What changes did the organisation Well, we have this arts funding so we have to make to get to that position? really want to make sure that we are Well, I think running long-running spending that money appropriately. programs on the smell of an oily rag We really want to run good quality is a baptism of fire that organisations arts projects including Wamba Week like ours really have to go through and we really want to do a women’s and it sorts out your sustainability. If weaving project to highlight their you’re able to do that, then you can work. We want to get them to weave be sustainable and I think getting a ute! It will be a gift to the town, a the arts funding really exemplifies contribution to the Ute Muster. that. I think building the capacity of traditional owners to do those kinds There is the new building. We really of things and to organise very simple want to get that up into a working meetings but also big events and gallery and a real cultural space for a building the ownership while making town as there is not really a keeping Discussion starters: sure that the processes you have are place or an arts place like that owned and run by the community. anywhere in our region. We really want 1. What connections can art to showcase that to Deniliquin and And communication, learning how to the rest of the country. The arts make through keeping places to communicate in different ways, focus and the service provision focus and cultural centres to traditional because I don’t think that the old is unique, we think. We’ve lobbied sites in your area? ways necessarily work with how the very hard with State and Federal community works now. Young people governments and we just had a forest 2. Should project funding be a are becoming much more technology handed back to its local traditional savvy and our population’s not just owners down here which will hopefully ‘baptism of fire’ to prove your here in Deniliquin. There are traditional become an Indigenous Protected Area. sustainability or are there other owners in Melbourne and other big ways?

Building cultural futures 39 PEOPLE & PLACES

Saltwater Freshwater Arts Alliance Aboriginal Corporation, Mid-North Coast Land Councils unite through arts alliance

Saltwater Freshwater Arts Saltwater Freshwater Program Alliance (SFAA) is a peak body Manager Alison Page, a Tharawal for Aboriginal arts and culture woman from the NSW South Coast believes building the Saltwater on the Mid North Coast. It works Freshwater brand will also support at a regional, state and national a coordinated regional strategy level to position Aboriginal art to Aboriginal tourism, so that and culture as the foundation for experiences are not duplicated. the long term social, economic Above: Alison Williams 3 Black Dogs How was Saltwater Freshwater and environmental development I, 2009. Acrylic on canvas. formed? of the Mid North Coast Aboriginal Arts Mid North Coast (part of communities. the Regional Arts NSW network) received some money from the Dept of Environment, Water Heritage and The Alliance is made up of ten Local the Arts in 2007 (now the Office of Aboriginal Land Councils including the Arts) to do an Aboriginal Cultural Karuah, Forster, Purfleet Taree, Strategy for the region. Bunyah (Wauchope), Biripai (Port Macquarie), Kempsey, Thungutti There was a whole suite of projects General Information (Bellbrook), Unkya (Macksville), that the community wanted to Name: Saltwater Freshwater Arts Bowraville and Coffs Harbour; the achieve: Alliance former Department of Environment - An annual cultural festival Location: Innovation Centre, Water Heritage and the Arts (DEWHA); - To look at visual arts programs and and the Indigenous Coordination Coffs Harbour Education Campus, art skills development workshops Centre (ICC), Coffs Harbour. - Cultural camps for young people Hogbin Dr, Coffs Harbour, 2454 - Recording of traditional and Phone: 02 6658 1315 Cultural facilities to date have contemporary stories Email: alison@ focused on Kempsey: the Wigay - Looking at a cultural trail saltwaterfreshwater.com.au Aboriginal Culture Park Enterprises and Dunghutti-Ngaku Aboriginal Website: www. On the Mid North Coast, we have Art Gallery. Kempsey also services 12,000 Aboriginal people and 52 per saltwaterfreshwater.com.au the region through arts and related cent are 19 or younger, so a lot of educational training provided through youth are coming through. Another Sector Information the Djigay Centre of Excellence reality is only 8 per cent are over Type of organisation: Aboriginal at TAFE: North Coast Institute 55. In terms of cultural transfer of and Booroongen-Djugun College, a Corporation registered through knowledge with so few Elders and so registered training organisation. As many youth coming through, a really ORIC an adjunct to the Booroongen-Djugun coordinated approach needed to be Governance: Alliance of Land Aged Care facility, the College is built taken. The whole question around Council Board of Directors around respect for Aboriginal culture. community engagement needed to Funding: Federal Office of the be solved as there are 11 distinct The Muurrbay Aboriginal Language and Arts, Indigenous Coordination communities within this region and Culture Co-operative was established you couldn’t really have a reference Centre, Arts Mid North Coast at Nambucca Heads in 1986. Interest group. It’s too weak to pull off all Other revenue streams: in establishing keeping places and of these projects, we needed a Donations and sales, event cultural centres have been identified in committee to begin with and a full management, National Aboriginal Coffs Harbour, Karuah and Taree. incorporated body. Design Agency

Building cultural futures 40 So the alliance needed to be In events, the biggest success for us formalised to bring about change in has been the Saltwater Freshwater “We really think that this the region? Festival. The fact that we’ve had 10- part of Australia can be Yes. The five year plan looked at 12,000 people attending a regional known for being at the incorporation where there would be event which is nomadic is fantastic. forefront of contemporary representatives from each community It’s actually changing the towns that Aboriginal culture. We are on a Board. When we looked at it goes to and playing a big role in all about making young representatives we thought, ‘How bringing about reconciliation. We’re people aware that they can do we get out to the broadest actually taking on commercial event membership possible?’ and that made management work because we have create a career in culturally us look at the Land Council network. such an amazing festival team we can based enterprises – make Each Land Council has a really take on commercial events. That’s your own job!” broad membership base, some with part of our sustainability plan, to take thousands. It’s really important to on these events for a fee. say that those representatives on the Board don’t necessarily make all of the The second arm of what we do we call decisions in regards to each project. Cultural Programs. That’s the arts Each project as it rolls out still needs and skills development workshops. a level of consultation that happens, We have developed our publication but it does happen through a filter and Saltwater Freshwater Arts from that that filter is the Land Councils. which features 39 Aboriginal artists from the region. It’s also recording Was it an easy process getting the stories, five stories in each of the 10 Land Councils to become part of the communities. We will have at least alliance? 50 stories that will be used in an Well, it actually required money. They iPhone application and a website so were asked to provide $4000 each and that when you visit the region, you we have 10 alliance members now, so can have site specific stories. It might they’ve been providing $40,000 for help you interpret public artwork, it the last three years. We are getting may be historical stories about what to the point now where we might not it was like to grow up there. These need that into the future, but at the will be very place-specific stories moment it is really great that the Land that are going to also be a platform Councils provide that level of support for tourism products. The festival will for us. We’ve used that as leverage be advertised on there, the Mirabai to get Federal funding and the Office Language Centre will be featured of the Arts has now given us triennial and the Jaaning Tree restaurant with funding. Aboriginal chef Clayton Donovan. It really provides a place for Aboriginal What have been the key achievements tourism products to be advertised. We since Saltwater Freshwater was may end up looking at doing cultural formed? camps or cultural awareness training, I think the incorporation is probably so we are certainly developing that the biggest thing, The SFAA has a arm of what we do and seeking sustainability plan in place and within philanthropic support and program three years we won’t need government grants to pay for that. funding for our core funding, we are looking at becoming a commercial (continued page 42) entity.

Building cultural futures 41 PEOPLE & PLACES

The third arm of what we are doing based enterprises – make your own which is really starting to take shape job! Don’t wait for someone to give this year is the National Aboriginal you a job, create your own and make Design Agency. That’s about providing it culturally based. Be an artist, be a brokering service for artists to hook a designer, be an event manager, all up with manufacturers to have joint these sorts of things. ventures to develop architectural projects, furniture, homewares, all Seeing such a rapid change in attitude sorts of things, where the artist and participation of these new Above: Enjoying the Saltwater receives a royalty for the sale of the programs must be very rewarding. Freshwater Festival product. The agency would take a When we got those Land Councils to commission for securing the royalities come together a lot of people said to and helping to develop product us ‘That’s going to be a nightmare ideas. We are looking at perhaps having 10 Land Councils on a Board’, representing up to 50 clients within but you know what? We’ve really five years. found by engaging with everyone in the community is that they really believe We are also developing design wholeheartedly in the power of art and courses to really help train a lot of culture. That art and culture is at the those artists, so it’s not just about heart of our Aboriginal identity. It’s them receiving royalties, but they something that everyone knows a lot could actually move into mainstream about and that they agree upon and employment in design, like fashion agree that it is important for our kids’ design, landscape design, interior future. It’s just part of your healthy design, graphic design, public art. At future and wellbeing to have a strong the moment we have 10 enrolments in sense of self and a strong identity. It’s the Great Lakes and 10 up in Lismore good for everyone. that have completed a Certificate IV in Aboriginal Design and they are loving It’s grounded in such a meaningful it! There is a fabulous exchange going philosophy that has come together on between generations where stories with strong branding because when are being taught to younger kids and you think of branding you often think of the younger generation has the tech a high-flying corporation, but branding savviness you need to pull off the is at the heart of Aboriginal culture. designing. It’s the story of a place and of a people, so the Saltwater Freshwater For us, we have a really clear plan story of this place and these people is that is all centered on the Saltwater what is at the heart of the culture for Freshwater branding. Everything this area. Discussion Starters: comes from the fact that we are putting ourselves on the map to compete with really high profile 1. Could the Land Councils or Aboriginal areas like the Northern Aboriginal organisations in your Territory and the Western Desert art area work together as an arts movement. We really think that this and cultural alliance? part of Australia can be known for being at the forefront of contemporary Aboriginal culture. We really are all 2. What unique branding identity about making young people aware that could be applied in your region? they can create a career in culturally

Building cultural futures 42 North Sydney Aboriginal Heritage Office, Northbridge Northern Suburbs Councils link to build bridges Perceptions of Aboriginal people What is the role of Social Planning north of the Sydney Harbour Bridge within the North Sydney Aboriginal are changing because of the Heritage Office? commitment by eight municipal Social planning has really supported councils to the North Sydney the heritage office/keeping place/ Aboriginal Heritage Office. cultural centre, this is its 11th year. The North Sydney Aboriginal I think overall, the social plan has Heritage Office (NSAHO)has given the Heritage Office a lifted achieved significant social, profile, and without wanting to sound Above: Aboriginal Walk, Little Digger cultural and educational change big-headed, through my work as a Track collaboration between eight social planner, I have opened access municipal councils, the NSW to get new things up and running. Heritage Office and the Department of Sustainability, Environment, What are the key achievements of Water, Population and Communities, the North Sydney Aboriginal Heritage it has attracted attention as a model Office? from as far away as Darwin and the I would say that there are three key Kimberleys. achievements. The visibility of the Aboriginal Sue Pinckham is a Biripi woman from community across the Northern General Information the Hawke’s Nest area on the Mid Sydney region has happened - they Name: North Sydney Heritage North Coast of NSW and has been are now a visible community. They Office talk to each other too and that is a the Social Planner for the Northern Location: 39/137-145 Sailors big, big bonus. Suburbs since 2007. Bay Rd, Northbridge, 2063 I think another achievement is Phone: 02 9949 9882 Can you tell us about how the Email: info@aboriginalheritage. coordination of councils came that there is now free counseling org about? available to the ATSI community It started out as one council through Relationships Australia, Website: www.aboriginalheritage. wanting to ensure they weren’t which set up an Aboriginal org desecrating Aboriginal sites when counseling service. It’s called development was happening. They Airunga Gibelee, which are Guringai Sector Information employed a man called Dave Watts and Darug words that means “a Type of organisation: Local quiet place to sit and talk”. Through who had previously worked in site Government alliance the social plan the NSAHO’s profile conservation and management Governance: Reports to Local for National Parks & Wildlife (now has been lifted both across the State but also on a national level. Government NSW Parks & Wildlife).He is still Funding: Local Government the Manager of the NS Aboriginal triennial member contributions, Heritage Office 11 years later and Why do you think this model has through his vision, those councils been so successful? Department of Sustainability, are in partnership to run the NS The eight councils that participate Environment, Water, Population Aboriginal Heritage Office. actually send every DA that comes and Communities into the NSAHO and they check if Other revenue streams: Fee for there are sites of cultural service for cultural training and other activities (continued page 44)

Building cultural futures 43 PEOPLE & PLACES

significance on or near that property. started, then to a works depot and If the NSAHO says ‘yes, there now there is a pretty flash office and is’, council will not approve that keeping place in Northbridge. development. I think that is one of the biggest successes and it has Have others looked towards North stopped the destruction of sites. The Sydney as an example for how they fact that they run a lot of education could successfully collaborate with sessions on cultural management councils in their region? and heritage to town planners and Armidale Dumaresq Council engaged cultural awareness training for the HO to come and teach them children and adults, is a huge bonus how to do a similar model in their Above: NSAHO staff training as well. region. It hasn’t progressed at the moment, but they are still talking Is good communication a key part of about it. In the Kimberleys and the success? also in Darwin, they are talking Yes, it’s about communication, but it about doing similar things based is also about commitment. on the North Sydney Aboriginal I think that from the Heritage Heritage Office in Northbridge. Office’s perspective, they are really Those places have also sent their committed to ensuring that no sites site officers here to be trained. They are destroyed or desecrated and are really conscientiously looking that there is somewhere that both at it, because to send 20 people Aboriginal and non-Aboriginal people from Darwin to Sydney is a big can learn about Aboriginal culture investment. So it is being looked at and history. From the council’s as a model to be used nationally. perspective, it has given them a break so when a development Tell me about the Cultural Awareness application (DA) comes in, there is Training program offered through the a process that has to be followed. Heritage Office. Sydney was the first place settled It varies depending on the age and the destruction that happened group involved, For children, they to our sites, and there are thousands take artifacts, tools, weapons of them over this region, that the and pictures of people weaving, councils want to protect. Again, it’s fresh bush medicine, fresh spices commitment from local government picked in North Sydney and they and commitment to the NSAHO from run through what it’s like to be an the local government. They sign tri- Aboriginal person in today’s society, annual funding agreements and they particularly in Sydney. The kids employ archeologists, geologists are asked to name an Aboriginal and they have Aboriginal Education person they might know of. Over Officers. It’s a good service and it is here, we are pretty lucky because actually the only one in the country. there has been a lot achieved by the It has been really successful for Reconciliation Network and they’ve 11 years, it grew from one worker done a lot of work in the schools. sitting in a corridor when he first

Building cultural futures 44 With adults, they run them through The fact that people have realized a quiz and part of that is to make that there is an Aboriginal “The visibility of the them understand how much they community that lives over here is Aboriginal community don’t know! One of the questions a huge tick in raising awareness across the Northern Sydney is to ‘name as many American of cultural diversity but also of the region has happened - Indian tribes as you can think of’ existence of Aboriginal people and they are now a visible and people can list dozens. Then that we aren’t all a typical ‘Northern- community. They talk to it goes through, ‘name as many Terrian’ Aboriginal person. That’s each other too and that is a African tribes as you know’ and of one of the biggest things that I have big, big bonus.” course the next step is, ‘name as noticed – a lot of the community many Aboriginal tribes as you know’. here has fair eyes and fair skin, but Sometimes, they struggle to come they are definitely Aboriginal and up with even two! they identify strongly and are still part of their tribal groups. They also do site tours, and at the Heritage Office see replicas and On a personal note, the communities traditional fishing methods and in the Northern Territory that I replicas of middens that have been have quite a bit of interaction with, cross sectioned so you can see actually acknowledging publicly that inside them. the community in Sydney overall exists. The mob up there call us It must be very rewarding to see ‘yellow skins’, so I’ve been lucky to the change in attitude and the work with them in different areas educational benefits. Can you talk and they’ve acknowledged us in about your experience with that? front of one of their ministers, which has been great. Below: NSAHO office

Discussion starters:

1. Do you have a Local Government Aboriginal Liaison Officer?

2. Could resource sharing across several councils work in your region?

Building cultural futures 45 PEOPLE & PLACES

Lake Macquarie City Art Gallery, Booragul Cloaked in cultural revival

The revival of traditional Possum skins have been used by Aboriginal cloak making has Aboriginal people across Eastern spread across the border from Australia for thousands of years to Victoria into NSW with a little make cloaks, waistbands, belts, arm help from possum skins imported and headbands. Cloaks were primarily used for protection from winter from New Zealand. conditions but also as a shelter from Victorian based Aboriginal artists Lee heat and wet weather, to carry babies, Darroch and Vicki Couzens along with for trade and as peace and marriage curator Amanda Reynolds approached offerings. the Lake Macquarie Gallery to conduct workshops, as part of a Pacific The designs and ochre decorations Festival Cloak project. recorded clan moiety and the owner’s journey through initiation and status. Lake Macquarie City Art Gallery’s Cloaks were also made from the skins Aboriginal Reference Group, in of kangaroos, wallabies and other fur General Information collaboration with the Lake Macquarie bearing animals. Name: Lake Macquarie City Art City Art Gallery and Lake Macquarie The Wrapped in a Possum Skin Cloak Gallery City Library hosted a series of workshops with their local Hunter by the Lake exhibition has since Location: First Street, Booragul, travelled, including to the Australian 2284 Aboriginal community and schools to revive Aboriginal cultural practice. Museum and includes: Phone: 02 4695 8660 They have worked together to create - The possum skin cloak Email: Cultural Officer, Debbie their own possum skin cloak. - Nine framed pelts created by school students Abraham dabraham@lakemac. “More than 40 participants learnt - 55 drawings showing the cloak’s nsw.gov.au design process Website: www.lakemac.com.au techniques of designing, painting with ochres and using a burning - The tools used to make and decorate tool to decorate each pelt to reflect the cloak Sector Information country and identity through water - A documentary about the cloak revival project process Type of organisation: Lake stories,” Gallery Director Debbie Abraham says. “The workshops were Macquarie City Art Gallery within An education resource kit has Library Leisure and Cultural multi-generational with an emphasis on family, school groups and local been produced and two travelling Services knowledge.” ‘suitcases’ to be used by schools, Governance: Lake Macquarie City community groups and libraries. The Lake Macquarie City Library Council – Local Government The Aboriginal Reference Group with direction from artist Doug is establishing its own reference Funding: Local Government group to improve access to library augmented by triennial funding Archibald and project coordinator Donna Fernando, plus educators collections and programs. The from Arts NSW Teagan Goolmeer and Cherie Johnson, reference group will promote Other revenue streams: Shop, managed the community and school Aboriginal literature and language and workshops. develop online resources for residents arts workshops, venue hire, and non-residents. events Other grants sources include “The success of the project was due to the knowledge and enthusiasm of Information from Wrapped in a Possum Australia Council (community this dedicated group of people who Skin Cloak by the Lake education partnerships esp for Aboriginal have now worked together over the resource kit, available from Lake projects), Visions of Australia past 10 years to promote, support Macquarie City Art Gallery and the Australian Museum. Arts NSW ConnectEd and celebrate art and culture in the region,” Debbie says.

Building cultural futures 46 “The workshops were multi-generational with an emphasis on family, school groups and local knowledge.”

Discussion starters:

1. Would you partner a public art gallery in your region in a cultural revival project?

2. Do your art practices adapt Left: Doug Archibald in the possum skin cloak traditional techniques and materials? What other examples are there?

Building cultural futures 47 PEOPLE & PLACES

Kamilaroi Keeping Place proposal at Moree Plains Gallery, Moree From kitchen cupboards to keeping place

Highly significant and ancient boxes. The hundreds of carved stones Kamilaroi artefacts, weapons, and stone artefacts, which continue to tools and carved stones continue be brought to the gallery by members to be found. Many of these are of the Aboriginal and non-Aboriginal brought to the Moree Plains communities, are kept under lock-and- key in every possible gallery storage Gallery (MPG) for safe keeping. space, including kitchen cupboards. Only a small number of these objects For many of the recently added stones collected can be properly housed and we consult with Sydney’s Australian Above: Carved tree by Lawrence displayed in the gallery. There are Museum curators on the origin and Leslie, artist-in-residence some objects also, such as sacred authenticity of objects. carved trees, which must not be seen by women but must be preserved and Even though the gallery’s recent kept safely to retain the Kamilaroi capital works have provided additional people’s cultural heritage. storage space, much of the Aboriginal collection is not easily accessible The Moree Plains Gallery’s plan is to or preserved to its best advantage. design and build a keeping place (in The keeping place will redress these the form of a rotunda) in the grounds problems. of the Moree Plains Gallery. The rotunda would contain steel, timber A crucial side of the gallery’s and glass safe-boxes for display and function and programming is the storage of some 200 artefacts for at workshops used by TAFE, especially least a 200-year period. local Aboriginal students. TAFE runs classes in the workshops four days Materials for the rotunda will be each week and freelance art teachers donated by local manufacturing and General Information in Moree rent the workshops on other service companies. Construction and days and for some evening classes. Name: Moree Plains Gallery fit-out will be by the Moree branch of Location: 25 Frome Street, the New England Institute of TAFE. Aboriginal TAFE students have the Moree, 2400 opportunity of selling their work Phone: 02 6757 3320 The Moree Plains Gallery has received to tourists who visit the gallery. a Cultural Heritage grant of $8000 Email: moreeplainsgallery@ The gallery recently opened a from the National Library of Australia small retail shop on the ground bigpond.com for the architect’s schematic design floor, predominantly for the sale of Website: www. and community meetings to gain Aboriginal art. Commission on sales moreeplainsgallery.org.au support for the project. contributes to the gallery and its proposed keeping place. There have been consultations to Sector Information date with the Kamilaroi Elders on Coinciding with the keeping place Type of organisation: Company the project who keenly support the project will be the preparation and Limited by Guarantee keeping place proposal. Further production of education kits on Governance: Board of the Moree consultations are ongoing with Kamilaroi art, culture and legacy. The Moree’s Aboriginal Consultative Project Officer for these kits is Kylie Cultural Art Foundation Committee, mainly comprised of Funding: Council, government McNamara, a young Kamilaroi woman distinguished and respected Kamilaroi who has worked as assistant at the grants and fund-raising women, to gain support. gallery for the past five years. She will Other revenue streams: Sales of collaborate with Lizzie von Gavel who The sacred trees (not to be publicly artwork is the key TAFE teacher to Aboriginal displayed) are in custom-made wooden students at the gallery workshops.

Building cultural futures 48 They intend producing booklets, oral The gallery is still struggling to histories and videos as information secure Federal and State funding “The Moree Plains Gallery and support material for the exhibits for the keeping place however, local has received a Cultural and holdings in the keeping place and fundraising continues. In 2011 some Heritage grant of $8000 gallery collections. TAFE students and $150,000 had been secured for the from the National Library of their families will have input on the building. Australia for the architect’s education kits. schematic design and Importantly the Kamilaroi people community meetings to gain The keeping place in the Gallery themselves are actively involved in gardens (at the eastern end) will be the keeping place project and the support for the project.” 15 square metres, of lightweight but realisation of the rotunda will be a sturdy construction and has been result of their efforts. The project designed by Tamworth architect Nick is a shared responsibility that is Discussion starters: Brown. The structure will be similar to aligned to the Gallery’s charter of Victorian bandstand rotundas and be uniting all peoples through art and partly exposed to the open air allowing culture. Flowing from the project 1. Would your community work a conceptual tie of the keeping place comes Aboriginal pride and European with a public gallery to establish artefacts with the ground, trees and understanding. sky. a keeping place? By Katrina Rumley We are now researching other keeping Moree Plains Gallery Director 2. Would a similar design places across Australia to ascertain with restricted access to the most appropriate storage and some artefacts work for your display techniques for Aboriginal artefacts. Such work will be increased community? by the yet-to-be appointed co-ordinator of the keeping place project.

Around the internal circumference of the rotunda will be waist-height steel storage boxes, some with glass tops for viewing objects. At floor level and below, the rotunda will house the carved tree collection in special storage boxes. Although the trees are not intended for general viewing, they will need to be available for special ceremonies of the Kamilaroi people. Students at the Moree campus of TAFE will have the opportunity of being involved with this unique project to preserve Kamilaroi culture.

Right: Stones, presented by Jim Boland

Building cultural futures 49 BEYOND THE CASE STUDIES

Beyond the case studies

The following organisations and locations have also been identified as engaging in arts and cultural expression in NSW, though some may not be active at present:

Aboriginal Blue Mountains Walkabout Springwood Aliera Heritage Arts and Culture Aboriginal Corp Wauchope Awabakal Environmental Education Centre Dudley, Newcastle Boolah Dillah Art, Culture and Knowledge Centre Buladelah Darug Tribal Aboriginal Corporation Blacktown Deep Water Shark Gallery Tinonee Dhinawan Dreaming Cultural Co-operative Brunswick Heads Gadigal Information Service Redfern Ghinni Ghinni Aboriginal Arts and Crafts Taree Gunnawannabe Gallery, Café and Learning Centre Lismore South Guriwal Aboriginal Corp Botany Bay Harry Nanya Tours Wentworth Illaroo Farm Cambewarra West Illawarra Aboriginal Cultural Centre Wollongong Jaaning Tree Restaurant Nambucca Heads Jamanee Gunya (The Budawang Aboriginal Group) Milton Kalico Catering Richmond Kari Yalla Aboriginal Artists Co-operative Eden Koori Communications and Training La Perouse Mindaribba LALC Museum East Maitland Minjungbal Trading Company Pty Ltd (Museum and Cultural Centre) Tweed Head South Mehi Murri Art Studio at Moree Plains Gallery Moree Murrook Cultural Centre and Djapa Bush Tucker Cafe Williamtown, Newcastle Muru Mittigar Castlereagh Mutawintji Eco Tours Broken Hill Muurrbay Aboriginal Language and Culture Coop Nambucca Heads Ngurrala Aboriginal Corporation Yass Orana Aboriginal Corporation Wellington Purple Goana Redfern Red Cockatoo Blue Mountains Red Earth Gallery (formerly Indiginart) Dubbo The Rocks Dreaming The Rocks Thulli Dreaming Mt Druitt Tirkandi Inaburra Culture & Development Centre Coleambally Tobwabba Art Foster Tour of the Djeebahn Cronulla Warrumbungle National Park Visitor Centre Dubbo Wigay Aboriginal Culture Park Kempsey Wingecarribee Shire's Aboriginal Community Centre Wingecarribee Guthawah Aboriginal Community Cultural Centre Wingecarribee Wiradjuri Wonders Tours Tumut Wreck Bay Aboriginal Community Council Wreck Bay Yarnteen Newcastle West Yarrawarra Aboriginal Corporation Corindi Beach Gunya Tourism Ltd Sydney

Building cultural futures 50 BEYOND THE CASE STUDIES

In addition, the following Local Aboriginal Land Councils have been identified as either engaging in some form of artistic and cultural expression leading to establishment of premises or the desire to establish premises:

Batemans Bay LALC Batemans Bay Bathurst LALC Bathurst Bega LALC Bega Bodalla LALC Bodalla Bunyah LALC Bunyah Coffs Harbour LALC Coffs Harbour Coonabarabran LALC Coonabarabran Cummeragunja LALC Cummeragunja Darkinjung LALC Watanobbi Dorrigo Plateau LALC Dorrigo Plateau Gandagara LALC Liverpool Gilgandar LALC Gilgandra Glen Innes LALC Glen Innes Grafton-Ngerrie LALC South Grafton Gugin Gudduba LALC Kyogle Guyra LALC Guyra Jali LALC Jali Karuah LALC Karuah Mogo LALC Mogo Moree LALC Moree Murrin Bridge LALC Murrin Bridge Narrabri LALC Narrabri Narromine LALC Narromine Ngulingah LALC Lismore Nungaroo LALC Quirindi Onerwal LALC Yass Orange LALC Orange Red Chief LALC Gunnedah Tamworth LALC Tamworth Tharawal LALC Picton Ulladulla LALC Ulladulla Unkya LALC Macksville Wagga Wagga LALC Wagga Wagga Walhalla LALC Walhallow via Caroona Wanaruah LALC Musswellbrook West Wyalong LALC West Wyalong Worimi LALC Williamtown Tibooburra LALC Tibooburra

Building cultural futures 51 RESOURCES

Cultural Institutions in NSW

Of the $300 million provided by the recently, the Museum, in collaboration NSW Government to support the arts with the Wonnarua Aboriginal in NSW in 2010/11, $240 million Corporation, completed an online is spread among the state cultural photo gallery featuring The Morrison institutions: Australian Museum, Art Collection. The gallery can be viewed Gallery of NSW, Powerhouse Museum, at www.australianmuseum.net.au/ Sydney Opera House and State Library Indigenous-Objects-from-the-Hunter- of NSW Valley

The member for the Upper Hunter, At its College Street site, more than George Souris, is the Minister for 300,000 visitors pass through the Tourism, Major Events, Hospitality and Australian Museum’s permanent Racing and Minister for the Arts. Indigenous Australians exhibition each year. The exhibition also acts The Aboriginal and regional context of as a space for temporary displays of four of the institutions within the Arts Indigenous artworks. NSW portfolio, are included here. The Australian Museum has an experienced Indigenous education Australian Museum team. Programs offered explore spirituality, cultural heritage, family, The Australian Museum holds about land, social justice and the future. 40,000 ethnographic objects and These programs are delivered in a one million archaeological artefacts variety of ways including hands-on representing the cultures of Aboriginal activity based teaching. and Torres Strait Islander Australians. The collections come from areas Since November 2010, the Indigenous throughout Australia, but research on, education team has presented and acquisition of material from NSW Indigenous Australian programs is a major focus. through video conferencing to over General Information 65 NSW schools, including rural Name: Australian Museum The Museum is a recognised leader and remote communities. A further Location: 6 College Street, in cultural heritage issues, initiating 85 NSW Schools interacted with Sydney, 2000 a program of visits from Indigenous Australian Museum content and Phone: 02 9320 6000 cultural leaders and active repatriation artefacts through the Indigenous Email: www.australianmuseum. programs with Indigenous Australia. Australian Museum in a Box, in the net.au/Contact/General The Australian Museum has returned past 12 months. Website: www.australianmuseum. 52 sets of human remains to net.au Aboriginal communities.

Sector Information Providing access to the collections is a Museum priority which is Type of organisation: Public achieved through exhibitions, loan owned institution programs, visits by community Governance: Board of Trustees members and increasingly, online via appointed by State Government the Australian Museum website. For Funding: $26.9m core funding example, Indigenous Australians: A from Arts NSW in 2009/10 Portrait Gallery is an online resource Other revenue streams: $8m from presenting short biographical sketches sales of goods and services in of Aboriginal Australians whose lives, 2009/10 in various ways, are reflected in the Australian Museum collections. Most

Building cultural futures 52 RESOURCES

State Library of NSW libraries) and 22 mobile libraries, provides library and information “The cultural institutions are As well as an historic and renowned services to local communities across the leaders of arts and culture collection of books, manuscripts, metropolitan and rural NSW. in NSW, in terms of participation artworks and photographs, the (4.6 million people visited in library’s website has online exhibitions In 2009/10 the State Library assisted 2009/10), equity of access including works of early Aboriginal local government to promote, provide (loans, travelling exhibitions, artists Mickey of Ulladulla and Tommy and maintain public libraries through digital content), promoting McCrae, vocabularies, Aboriginal providing $25.528m in grants and artistic excellence (collections, subsidies. The library also provided portraits and the Abo Call newspaper. exhibitions, performances, There is also an online guide to consultancy services, assisting with researching family history with lists strategic planning, library building loans, awards and prizes) and of specific reference books and other advice and professional development; sector development (fellowships sources. visiting 127 libraries across rural and grants, mentoring and and metropolitan NSW, 30 per cent internships, programming and The State Library most recent of which had not been visited in the engagement).” exhibition was Carved Trees: previous three years. Arts NSW website Aboriginal Cultures of Western NSW. The exhibition contains images of Legal Information Access Centre carved trees collected by Clifton In May 2010 the State Library Cappie Towle before his death in 1946. celebrated 20 years of services and external funding for the Legal The State Library of NSW has Information Access Centre (LIAC). employed two Aboriginal Librarians, LIAC provides access to legal Ronald Briggs (Gamilaroi) and Melissa information for the community across Jackson (Bundjalung) since 1991. NSW and is jointly funded by the Library and the Public Purpose Fund. General Information “It’s our job to connect Aboriginal Since 1990, LIAC has grown from a Name: State Library of NSW people with information and resources single service in the State Library to a Location: Macquarie Street, from the Library’s collections that statewide service including: Sydney, 2000 are about them,” Ronald Briggs says. • a specialist legal information centre Phone: 02 9273 1414 “Our Carved Trees exhibition gave us based in the State Reference Library Email: [email protected] the opportunity to get out and engage • Find Legal Answers service in NSW Website: www.sl.nsw.gov.au with communities in a different way. public libraries It’s been seen as an important way to • Find Legal Answers website Sector Information educate the broader community about www.legalanswers.sl.nsw.gov.au Type of organisation: Public Aboriginal cultures in NSW.” • Hot Topics: Legal issues in plain owned institution language series published in print and Governance: Library Council of “We sought input and advice from online NSW, nominated by the Minister the relevant land councils and put During 2009/10, LIAC’s State Library for the Arts and appointed by the word out about the exhibition service answered 12,738 inquiries State Government for three as widely as we could, long before from across NSW. years, may be reappointed. the official launch. We’re indebted Library Council objectives are especially to Baradine, Condobolin and defined in section 4A of the Collerenebri LALCs for their support Library Act 1939. and interest in sharing their cultural Funding: $82.9m in grants and heritage.” contributions in 2009/10 Other revenue streams: $1.6m in NSW Public Library Network 2009/10 The NSW Public Library Network, Volunteers: Contributed 12,400 which comprises 374 libraries (99 hours in 2009/10 central libraries plus 275 branch

Building cultural futures 53 RESOURCES

General Information Name: Art Gallery of NSW Location: Art Gallery Road, The Art Gallery of NSW professional development needs. Domain, Sydney, 2000 Each participant is then supported Phone: 02 9225 1700 Representing artists from communities to develop and deliver a community- Email: [email protected] across Australia, the Art Gallery based project in their region. The Website: www.artgallery.nsw.gov.au of NSW’s collection of Aboriginal program is designed to help increase and Torres Strait Islander (ATSI) art the number of NSW Indigenous Sector Information celebrates Indigenous Australia’s Australians in visual arts professional Type of organisation: Public owned enduring cultural heritage and its roles, to develop the next generation institution myriad contemporary expressions. of Indigenous arts field leaders, Governance: Trust, nominated by The earliest work in the collection, by with networking and community the Minister and constituted under Tommy McRae, dates back to the late development central to the program. Part 2 (sections 5–10) of the Art 19th century. Gallery of New South Wales Act Djamu - Program for Indigenous Art Education 1980. Section 6 stipulates that:‘the The Yiribana Gallery features a These programs were developed in Trust shall consist of 11 trustees changing exhibition of works from the gallery’s collection of ATSI art. consultation with the Sydney Region who shall be appointed by the NSW Yiribana means ‘this way’ in the Aboriginal Education Unit, local Governor on the recommendation of language of the Eora people and schools and educators, artists and the Minister for the Arts and at least acknowledges the location of the Elders in the community to develop two of whom shall be knowledgeable gallery on Cadigal land. The ATSI and deliver the programs. and experienced in the visual arts’. art collection, exhibition, public and Trustees are appointed for a term education programs also embrace Djamu: Junior not exceeding three years and may the local and wider NSW cultural Eighteen Indigenous students be re-appointed following the expiry context. Works by NSW Aboriginal in years 5 and 6 from schools in of the appointed term. Trustees do artists are a key area of acquisitions the Sydney LGA attended an art not receive any remuneration for and are continually featured. ATSI education program, one day per their board activities exhibitions are supported by a range week for three weeks. The program Funding: $21.9m from NSW of catalogues, collection notes and included meeting a key Indigenous Government in 2009/10. The NSW education kits. Exhibitions include La artist represented in the Gallery’s government’s recurrent Per: an Aboriginal sea side story in collection and participating in an contribution comprised 36 per cent 2010, Half light: portraits from black artmaking workshop led by the artist. of operating revenues in 2009–10. Australia in 2009 and Boomalli: 20 The program was very successful, Plus another $15.5m of capital years on in 2007 with anecdotal evidence that there funding in 2009/10 was a corresponding improvement in Other revenue streams: $22.8m Two members of NSW communities attendance, behaviour and attitude from exhibitions, visitor services and are employed on a permanent full-time to school observed in participating students. benefaction (includes other grants basis and a number of artists and and miscellaneous contributions) arts workers, artists and community representatives are regularly employed Djamu: Senior in 2009/10. Corporate Sponsors to deliver a range of education Six year 10-12 Indigenous senior include ANZ, Delta Electricity, and public programs. Furthermore, Visual Arts students participated in Ernst & Young, ING, J.P. Morgan, the gallery is committed to the the Djamu: Senior program over six Macquarie, Optus, UBS, Clayton professional development of the arts days in Nov 2010 and Feb 2011. This UTZ , Freehills, HSBS, Hulsborch, sector and has successfully delivered program was designed to introduce Hyperion Asset Management, a number of Indigenous programs for students to the range of vocational Optimal Fund Management, Porter’s emerging curators, school groups pathways in the arts, an area in which Original Paints, Sofitel Sydney and educators. An education kit Indigenous people are currently under Wentworth, Avant Card, JCDecaux, exclusively focusing on the work of represented in a professional capacity, The Sydney Morning Herald, City of NSW Aboriginal artists is currently in as well as provide professional Sydney and Qantas Airways development. development opportunities for the Volunteers: At the end of June Gallery’s Indigenous education staff. 2010, there were 96 volunteer In 2011 four young emerging Students became familiar with the guides available to take tours of the Indigenous arts workers from Gallery’s collections, spaces and gallery’s collection and temporary NSW were awarded the inaugural history and with staff of the ATSI exhibitions. A total of 4585 tours Community Arts Mentorship Program Art Department. They developed were conducted by the guides in consisting of a two-week fully funded knowledge of Indigenous art practices 2009/10. residency program at the Gallery, and of a range of other art movements. specifically tailored to address They participated in educational

Building cultural futures 54 RESOURCES

sessions such as artist led artmaking Powerhouse Museum workshops, visits to specialised areas of the Gallery such as Conservation The Powerhouse Museum’s collection and the Prints and Drawings spans history, science, technology, Study Room, observed exhibition design, industry, decorative installation and met artists, curators, arts, music, transport and space conservators and other staff. Offsite exploration. It is home to the material experiences included visits to artist heritage and stories of Australian studios, other museums, galleries and culture, history and lifestyle. There is cultural sites. estimated to be more than 500,000 separate items in the Museum’s Aboriginal Artist in Residence collection. Research Program In 2010 the inaugural Aboriginal The museum conceives exhibitions Artist in Residence Research Program and programs around the primary was successfully run during July. theme of ‘human ingenuity’, ideas and Artists Alfred Lalara and Alice Durilla technologies that have changed the General Information from Groote Eylandt, as well as world, and the stories of the people Name: Powerhouse Museum Elder Jabani Lalara and Art Centre who create and inspire them. Location: 500 Harris Street, Ultimo, Co-ordinator, Vianetta Chapman Sydney, 2000 participated in the Residency Program, The Museum of Applied Arts and Phone: 02 9217 0111 run in partnership with ArtSpace in Sciences as it was once known, Email: www.powerhousemuseum. Woolloomooloo. During the residency, incorporates Powerhouse Museum, com/contact/general_enquiry.php artists researched and engaged with Sydney Observatory, Powerhouse the Gallery’s collection and that of Discovery Centre at Castle Hill and the Website: www.powerhousemuseum. other relevant Sydney institutions, NSW Migration Heritage Centre. com met curators and artists and were The Powerhouse’s regional programs introduced to the local Sydney art and services assist individuals and Sector Information industry. They received tailored organisations working with cultural Type of organisation: Public owned professional development training heritage of NSW, including Indigenous institution and had the opportunity to develop movable heritage and cultural beliefs Governance: Board of Trustees, networks. The artists also participated and practices. under the Museum of Applied Arts in a range of programs, including and Sciences Act 1945 (MAAS floor talks, children’s workshops, The Powerhouse Museum supports Act). Aspects of the Museum’s demonstrations, lectures and school regional communities through management and governance are talks. internships and training for volunteer and paid staff working with cultural also covered under the Museum This program aims to benefit heritage projects. The Museum also of Applied Arts and Sciences community based artists, who will assists communities with professional Regulation 2007. Under the share their experience and knowledge, advice on cultural facilities provisions of the Act, the nine further strengthening the Gallery’s development (specifically exhibition Trustees of the Museum are relationships with the community for spaces and collection storage), appointed by the Governor, on the future engagements. collection management (including recommendation of the Minister, for conservation, registration, curatorial), a term of up to three years, and may Kamilaroi artist Elaine Russell from exhibition development, digital story serve for a maximum of three full Sydney and Tasmanian artist Vicki telling, web and new media projects. West are currently participating in terms. Funding: Recurrent funding of 2011 Aboriginal Artist in Residence The museum has a Curator of Koori Research Program. History and Culture but historically its $28.31m; Capital funding of Indigenous collection has been drawn $3.87m in 2009/10 Information courtesy of Jonathan from across Australia. Other revenue streams: sales of Jones, Co-ordinator Aboriginal goods and services $4.76m; other Programs, Art Gallery of New South grants and donations $2.733m in Wales and the Art Gallery of NSW 2009-10 Annual report 2009/10. Volunteers: 297 volunteers contributed 32,105 hours in 2009/10

Building cultural futures 55 RESOURCES

NSW Government Departments

NSW Department of Trade is a whole-of-government approach to and Investment, Regional improving support for the Aboriginal Infrastructure and Services arts and culture. It provides a framework for State Government The Department delivers tailored agencies to foster a vibrant Aboriginal support to Aboriginal businesses arts and cultural sector. in NSW to ensure their long-term sustainability and to assist them Investing in career pathways for the move beyond challenging times in the Aboriginal arts and cultural sector business cycle. provides sustainable improvements to the lives of Aboriginal people, as The Department offers a variety is developing leadership capacity for of assistance under the Aboriginal Aboriginal people across all levels Business Development Program of the arts and cultural sectors. which is delivered through a network Increasing the potential for inspiring of experienced Aboriginal Business and effective leaders within the Development Staff. The Program offers Aboriginal arts and cultural sector services to promote and support the will make a positive difference to the development and growth of Aboriginal lives of Aboriginal Australians, their businesses in NSW. Assistance is communities and the wider arts and available for the following: cultural sector in Australia

• Access to professional business The AAC Strategy will achieve these guidance within the Department aims through four directions: • Access to specialised business advice from external business Artists: Increasing participation of consultants Aboriginal people in arts and cultural • Financial assistance to support activity. Aboriginal businesses develop Visibility: Recognition and appreciation growth plans, get over a business of NSW Aboriginal arts and cultural hurdle and participate in industry practice. trade shows Community: Working with agencies across government and communities www.aboriginalbiz.nsw.gov.au to contribute to Closing the Gap for Aboriginal people. Arts NSW Jobs: Increasing jobs and enterprises with the creative industries. Arts NSW recognises that investing in the Aboriginal arts and cultural sectors Arts NSW’s 2011 Arts Funding triggers growth in socio-economic Program has allocated $1.2m plus terms. NSW has a long history of for more than 30 Aboriginal arts being the launching pad for a broader and cultural projects and programs. national platform for Aboriginal arts Specific programs and projects through locally developed theatre, include: dance, music, screen production and visual arts. • Program funding to the Aboriginal Cultural Centre and Keeping Place In October 2010 Arts NSW released at Armidale the NSW Aboriginal Arts and Cultural Strategy (AAC Strategy). The Strategy

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NSW Government Departments

• Capital funding to Muru Mittagar Office of Aboriginal Affairs NSW Ltd for a museum and traditional knowledge centre Aboriginal Affairs NSW, part of the • Support for a Community NSW Communities and Education Engagement Officer’s position Department, administers the within the Saltwater Freshwater Aboriginal Land Rights Act 1983, Alliance, working with Aboriginal providing accurate, timely and communities on the Mid comprehensive input into government North Coast to deliver cultural policy development. workshops, arts projects and the annual Saltwater Freshwater Its vision is to see Aboriginal people Festival exercise and pursue their right and • Support for mentorships, arts capacity to determine their political, laboratories and incubators such economic, social and cultural as creative development and development as the first people of production of six Indigenous NSW. emerging artists to create a new work at PACT Centre for Emerging The role of Aboriginal Affairs is Artists to advance the wellbeing of the • Support to Goulburn Regional Aboriginal people of NSW by: Art Gallery to engage high-profile NSW Aboriginal artists to conduct • Promoting social justice and the one-day art and culture workshops United Nations Declaration of the with Aboriginal inmates of the Rights of Indigenous Peoples Goulburn Correctional Centre, • Cultivating strong partnerships culminating in an exhibition at with Aboriginal communities, Goulburn Regional Art Gallery organisations and advocates • Support to Arts Out West for • Creating greater Aboriginal the creation and presentation economic participation and wealth of the Central West Aboriginal generation Arts event, showcasing the work • Driving Aboriginal involvement in of Aboriginal artists, dancers policy development and service and filmmakers from across the delivery Central West region. • Monitoring and evaluating • Bangarra Dance Theatre receives government policies and programs funding from Arts NSW’s Major to ensure they are meeting the Performing Arts Fund. needs and aspirations of Aboriginal Western Sydney is one of the largest people in Closing the Gap on population centres of Aboriginal Aboriginal disadvantage in NSW people in Australia. Strategic funding • Promoting positive images of in Western Sydney complements the Aboriginal people and communities existing development of the Aboriginal by supporting positive Aboriginal visual arts and craft sector in this role models, leadership region. opportunities and inclusive community governance models. www.artsnsw.gov.au www.daansw.gov.au

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Office of Environment and enjoyment. The 2009 NSW State of Heritage, Department of Premier the Environment report notes a five- and Cabinet fold increase in the percentage of land protected for Aboriginal cultural values The Office of Environment and to more than 2.3 million hectares Heritage (OEH) formerly known as the during the preceding three years. Department of Environment, Climate Change and Water (DECCW) is a The organisation also provides staff, division of the NSW Department of services and other support to the Premier and Cabinet. OEH was formed Royal Botanic Gardens and Domain in April this year following the election Trust, the NSW Environmental Trust of the new State Government. This and the Lord Howe Island Board. saw most of the functions of DECCW transferred to the new Office of OEH works with communities to Environment and Heritage (OEH). The identify important places and objects Heritage Office from the Department and provides guidance in looking after of Planning was also moved into OEH. heritage items. OEH regulates industry, protects and conserves the NSW environment, OEH supports the Premier, the manages national parks and reserves Minister for the Environment and the and protects the natural, cultural and Minister for Heritage in performing built heritage in NSW. It develops their executive and statutory and leads policy and reform in functions. sustainability, biodiversity and native vegetation, coastal protection and Country, Culture and Heritage Aboriginal cultural heritage. Division The Country, Culture and Heritage OEH has responsibility for repatriation Division guides and directs OEH’s of artefacts and skeletal remains, approach to identifying, understanding increasing the capacity of Aboriginal and conserving Aboriginal cultural communities to look after Country, and heritage. The Division also directs conducts projects in cultural research, and manages the Aboriginal Affairs education and interpretation of culture portfolio on behalf of the agency. and heritage. Broadly, the Country, Culture and Heritage Division has the following OEH is arguably the largest and most functions: diverse organisation in the state involved in employment and training of • Works with Aboriginal Aboriginal people in cultural heritage communities, private and public and related areas. landowners, local councils and Catchment Management OEH manages more than 800 NSW Authorities to protect and parks and reserves, representing 6.8 conserve Aboriginal cultural million hectares of national parks and heritage reserves, almost nine per cent of NSW, • Leads the development of six marine parks covering more than strategic policies, strategies 345,100 hectares of NSW waters, and and programs that support the 12 aquatic reserve parks covering involvement of Aboriginal people about 34 per cent of NSW waters for in the management of their conservation, education and public

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traditional lands, waters and Connection to Country for community natural resources (Country) wellbeing.” • Undertakes research and disseminates the findings to Additionally the Corporate Plan Update improve the understanding of approach says: nature and distribution of cultural heritage across the landscape “We respect Aboriginal culture, both • Manages OEH’s Aboriginal Cultural traditional and contemporary, and the Heritage Information System special relationship that Aboriginal (AHIMS) and provides cultural people have with Country. We seek to heritage information services to incorporate their knowledge, insights the NSW public. and values into our efforts to conserve • Leads the development of and protect the environment.” methodologies, standards and priorities for regional Aboriginal To this end, the Corporate Plan goals heritage assessments are to: • Provides technical services for the conservation of cultural heritage “Increase Aboriginal people’s within parks, reserves and botanic participation in land, water and gardens. Coordinates key OEH- natural resource management and wide cultural heritage programs conservation with the objective that • Supports all areas of OEH in historic heritage in parks and gardens building relationships with and is managed for the conservation providing services to Aboriginal and presentation of cultural values; communities across NSW Aboriginal people are supported in the • Coordinates OEH’s responsibilities practice, promotion and renewal of under the NSW Aboriginal Affairs their cultures; Aboriginal community Plan: Two Ways Together and capacity to manage Country is related State Plan priorities. increased.” • Provides administrative support to the statutory Aboriginal Cultural Aboriginal employment and training Heritage Advisory Committee. OEH 2010 graduate program intake consisted of 18 graduates, including Corporate Plan approach, values and two Aboriginal graduates. In 2009–10, goals the agency employed ten Aboriginal In its 2010 Corporate Plan Update, Cadet Rangers, one Aboriginal OEH recognises the rights and status Cadet Project Officer, and one of Aboriginal people in its core values Aboriginal Cadet Policy Officer. Two as: cadets successfully completed their cadetships during 2009/10, and were “We respect the unique rights appointed to permanent positions. and status of Aboriginal people Nine Aboriginal Trainee Field Officers based on their prior and continuing and one Aboriginal Trainee Interpretive occupation of the land and waters Assistant were employed. of NSW, including the right to self- determination in economic, social and cultural development. We also acknowledge the importance of

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Strengthening communities through assisting local Aboriginal land councils Aboriginal Places in NSW to set up GIS systems to view their OEH protects objects and places of site information in an interactive way. cultural significance to Aboriginal peoples. To date, 72 Aboriginal Places Aboriginal Park Partnerships have been declared across NSW Program including: In 2008/09, OEH established a four- year Aboriginal Park Partnerships - Cubawee Aboriginal Place, west of Program to support partnerships Lismore.‘Cubawee’ means ‘a place between OEH and Aboriginal of full and plenty’ in the Bundjalung communities for park language. Cubawee Aboriginal management, education and Reserve, was a self-managed interpretation, and to support Aboriginal settlement from the 1930s Aboriginal people’s access to and use to the 1960s. of parks for cultural activities. - Terry Hie Hie Corroboree Ground and Grinding Grooves Aboriginal Place Projects funded under the program is a place of special significance to included: Aboriginal people because it is linked with the site of the historic Terry Hie - Seven Aboriginal guides receiving Hie Aboriginal settlement. training in Certificate I in Tourism or - Dandry Gorge Aboriginal Place, in Aboriginal guiding north-west NSW, holds a wide range - Eight members of the Karuah of culturally valued sites and provides Aboriginal community completing a a link between Aboriginal people and Certificate 2 CALM TAFE accredited culture today and in the past. course through working as a ’green - Lambie Gorge, located on Ngarigo team’ Country in Cooma, is significant - Work with the Brungle/Tumut because it includes Bagal or totemic Aboriginal community to develop figures embodied in the landscape an oral and written history of the associated with the snake, frog community, and continued training and turtle story. It also possesses and mentoring of Aboriginal people in evidence of being a traditional camping delivering cultural tours area as indicated by the presence of - Recruitment and training for Stage artefact scatters. 2 of the Towra Team Project, which has led to the employment of 12 Aboriginal Heritage Information casual Field Officers and two casual Management System Discovery Guides, who have gained a The Aboriginal Heritage Information driver’s licence and developed cultural Management System (AHIMS) heritage and land management skills in contains 64,000 Aboriginal sites partnership with the Guriwal Aboriginal recorded during the past 40 years in Corporation and the La Perouse Land NSW. Records are constantly updated Council so that OEH, other government - Development of a draft co- departments, Aboriginal communities, management agreement for Koonadan developers, archeologists and other Historic Site in Leeton, including ‘Back specialists can rely on AHIMS for to Country’ days, workshops, and a accurate data about Aboriginal cultural site master plan heritage sites and objects in NSW. - Cultural heritage surveys on Woggoon Nature Reserve, involving OEH also works with other agencies 15 Aboriginal community members and Aboriginal communities to ensure and support from the Condobolin Local their participation in accurately Aboriginal Land Council, which has recording information in AHIMS and is

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identified items and a site of cultural bibliography was produced for those significance wanting to explore the subject in more - A project management trial, in which detail. an Aboriginal Cadet Project Manager is employed and mentored by project Both documents are available from management consultants, and is www.environment.nsw.gov.au/ helping to develop business plans for nswcultureheritage/fishing.htm projects in the Blue Mountains and western Sydney. Aboriginal Wellbeing was also produced in 2009/10, and includes Formal joint management options interviews with Aboriginal people include: who participated in 11 publications produced since 2003 on NSW During 2009/10, two new joint Aboriginal women’s and men’s management agreements between heritage OEH and Aboriginal peoples were created: at Yarriabini National Park www.environment.nsw.gov.au/ with the Dunghutti and Gumbaynggirr chpublications peoples and at Gaagal Wanggan (South Beach) National Park with the The participants have subsequently Gumbaynggirr people who wish to see been invited to speak about their the land conserved for and used by the experiences of participating in the public. production of the publications and to reflect on how this experience affected Aboriginal people have already had their wellbeing. These reflections will significant involvement in managing be presented in Aboriginal Men’s and the Yarriabini National Park, including Women’s Heritage: Wellbeing. creating the sculpture at the Pines picnic area, advising during Supporting the practice of Aboriginal redevelopment of the picnic area and culture and heritage Yarriabini Lookout, and advising on Each year, OEH develops teaching bush foods and Aboriginal heritage and training resources and conducts management. training for communities, staff, other agencies and the public in the care There are now 18 formal joint and management of Aboriginal cultural management arrangements with heritage. OEH’s Aboriginal Heritage Aboriginal communities in place Conservation Officers, located across covering 111 areas across more than NSW, work in close partnerships with 1.5 million hectares (or 23 per cent) of local Aboriginal communities and the reserve system. conservation specialists to protect, conserve and manage Aboriginal Research into Aboriginal cultural cultural sites and objects, such heritage as rock art, traditional burials and OEH researches Aboriginal culture and scarred trees. During 2009/10, this heritage to more effectively work with work included: Aboriginal communities to protect and manage their heritage. Activities in 2009/10 included: - The Dreaming Tracks Project, which Aboriginal Women’s Fishing in recorded traditional walking routes NSW: Historical documents was that Aboriginal people used to access completed in 2009/10. A thematic the Hunter Valley, and revisited history of Aboriginal women’s fishing significant sites recorded in earlier practices was produced for general surveys from the 1970s and 1980s. readership, and an extended annotated - Producing the Cultural Connections

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to Wahlubal Country in the Bundjalung about local Aboriginal culture and Nation CD-ROM Interactive Education heritage through walks, talks, tours Support Kit, to support primary school and school programs. curriculum-based learning about Aboriginal connections to the local More than 5500 participants joined natural environment, native plants and programs led by Blue Mountains animals, and science and technology Aboriginal Discovery Guides in 09-10. - Training in Aboriginal site awareness Discovery Programs at Tumut have and Aboriginal culture and heritage grown during the past four years to management through the Riverina deliver to more than 5000 participants Institute of TAFE as part of private each year, with a major focus on native forestry courses, to assist Aboriginal Discovery. private land holders, machine operators, forest contractors and Since early 2009, this Discovery crews working on private property to program, in conjunction with landscape better understand and manage cultural photographer Murray van der Veer, has sites and artefacts run a regular three-day photographic - The Aboriginal Cultural Heritage workshop which is available to all new Teachers Kit, a resource to help and experienced photographers. teachers conduct lessons about traditional and contemporary www.discoveryphoto.org/dpj/ Aboriginal culture and heritage - Our Country, Our Water, a resource A photographic exhibition entitled for Aboriginal communities about Discovering Country held at the Rocks water management in NSW in Sydney showcased works from - Aboriginal site awareness training the workshop. Proceeds from the sessions, which aim to improve exhibition are contributing towards participants’ understanding of further training and employment Aboriginal cultural heritage site values, opportunities for Aboriginal people OEH’s responsibilities and procedures, in the Snowy Mountains and Tumut and the legislation that applies to regions. cultural heritage and its management. The Aboriginal Discovery Program OEH also develops policies and is offering an Aboriginal Tour Guide strategies to help staff meet their Training and Mentoring Program, culture and heritage responsibilities. In which is increasing opportunities 2009/10, activities included finalising for Aboriginal people to work with the Aboriginal Languages Policy which OEH to develop their careers through implements the NSW Government’s accredited training and traditional Aboriginal Languages Strategic Plan learning. and guides OEH staff in the use of Aboriginal languages in publications, Discovery for Schools interpretive materials, signage and This program supports nine casual tours Discovery Rangers, including a part- time Aboriginal Discovery Ranger and www.environment.nsw.gov. a casual Aboriginal Discovery Ranger. au/nswcultureheritage/ Across the Sydney area, 364 programs aboriginallangspolicy.htm were delivered to 12,364 students. In northern NSW, over 300 programs Aboriginal Discovery program were delivered to more than 25,000 Through the Aboriginal Discovery students, focusing on Aboriginal program OEH works with local culture, cane toads, and living with Aboriginal communities to encourage wildlife. the broader community to learn more

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Aboriginal rock art conservation and The Aboriginal Cultural Heritage management Advisory Committee is established OEH works with Aboriginal under the National Parks and Wildlife communities to protect and conserve Act 1974, and consists of nominees important rock art sites and during from the NSW Aboriginal Land Council 2009/10 this included work near and Aboriginal Elders groups, as well Cobar, Jervis Bay National Park, as registered native title claimants at Como and the Dharawal Nature and Aboriginal owners. It advises Reserve in Sydney’s south. At The the Minister for Climate Change and Basin, in Ku-ring-gai Chase National the Environment and the Director Park. OEH Aboriginal field officers, General of OEH on matters relating with the Metropolitan Land Council, to the identification, assessment and highlighted engravings, removed management of Aboriginal cultural vegetation and installed new heritage in NSW. interpretive signs. Other joint projects with Aboriginal Culture camps communities Culture camps support and enhance In 2009/10, OEH concluded the Aboriginal connections to Country three-year funding and management through intergenerational learning, the agreement with NTSCorp, who practice of custodial responsibilities implemented the Gomeroi Project in and the continuation of valued north-west NSW Participants found traditions. Camps conducted with OEH the most significant benefits of such support during 2009/10 included: work were an enhanced sense of - The Living Country Culture Camp community, developing their leadership at the Jenolan Karst Conservation skills, access to Country, facilitating Reserve where representatives from their ability to care for Country and the six Aboriginal language groups strengthening their cultural identity. of the Greater Blue Mountains World OEH supported the Regional Heritage Area (Darkinjung, Darug, Partnership Agreement, which was Dharawal, Gundungurra, Wanaruah and signed in 2009–10 in Coffs Harbour Wiradjuri), along with staff from OEH between the Australian and NSW and the Jenolan Caves Trust, took part governments, the Many Rivers Training in workshops, art, dance, storytelling, Enterprise and Employment Aboriginal bushwalking, boomerang throwing, Corporation, the NSW Aboriginal swimming and visiting the Jenolan Land Council and representatives Caves from industry and non-government - The 31st Eden cultural Camp with the organisations. The agreement aims to La Perouse Men’s Elders Group address Indigenous unemployment in - a women’s cultural camp at Saltwater the Many Rivers region, by increasing National Park involving Aboriginal Aboriginal employment in the climate women from the Taree community change, environment and conservation - A culture camp on the south coast job markets. for the Shoalhaven community to promote and educate male Koori youth OEH’s Tumut parks office organised on men’s health issues, with health an adventure kids camp for Aboriginal professionals, service providers and youth as the first stage of a two-year community members attending project. It is hoped that the second - A culture camp in Yarriabini stage will see OEH employing a trainee National Park on the north coast in Adventure Guide in partnership with March 2010 for the Dhungutti and local adventure tourism providers. Gumbaynggirr community to celebrate OEH’s Narrabri parks office the signing of a memorandum of continued to develop partnerships understanding between OEH and local through existing joint management Aboriginal communities. arrangements. Programs established in

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2009/10 included: Solitary Islands Marine Park. - The employment of 12 Aboriginal The island is important to the local people with OEH Gumbaynggirr people and is the site - The Sculptures in the Scrub project of a nesting colony of shearwaters. at Dandry Gorge in the Pilliga The project is an important outcome - Aboriginal site training and surveys for the local Aboriginal community of - Site conservation works Coffs Harbour, with both Elders and - Exploration of the cave complex at young people involved. The area is an Kelvin Aboriginal Area near Gunnedah. important tourism drawcard for Coffs - Bomaderry Creek Regional Park near Harbour, with over 150,000 visitors Nowra gained new visitor facilities per year. and interpretation works following a volunteer project organised by The public art project is a OEH with Aboriginal students from collaboration between Arts Mid North Shoalhaven High School to create Coast (who received the grant), and install two mosaic artworks Coffs Harbour City Council, the local interpreting the significance of Aboriginal Elders Group (Garlamirla Bomaderry Creek to the local Guyuu Girwrwaa) and OEH. Aboriginal community. Creating new opportunities at Sea The Botany Bay initiatives Acres Rainforest Nature Reserve During 2009/10, as part of the launch The Yun Yi Barragay – Walk With Me of the Meeting Place Project, the dual program is a partnership project with naming of Kamay Botany Bay National the local Aboriginal community to Park took place. First Encounters is develop and market educational and the title of a long-running exhibition at interpretive experiences in Sea Acres the Kamay Botany Bay Visitor Centre Nature Reserve. Three new visitor art gallery. The exhibition is the and educational experiences were result of a partnership between OEH, created in 2009/10: Bush Tucker the Boolarng Nangamai Aboriginal Tours, Schools Education Program and Art and Culture Studio and the Coastal Walk. These are being piloted Australian Society of Marine Artists. with targeted groups and schools. The current Aboriginal display is a The program employs four casual private collection on loan from a local Aboriginal interpretive guides. Aboriginal Elder. Aboriginal heritage and culture Muttonbird Island arts project identified and preserved in wetlands In June 2010, the Federal Government The NSW Rivers Environmental announced the successful grant Restoration Program aims to arrest recipients for the second round of the the decline of wetlands in the Jobs Fund. One successful grant was Lower Murrumbidgee and Lachlan for the redevelopment of the entrance River systems. The Recording of to Muttonbird Island Nature Reserve in Aboriginal Use and Values project, Coffs Harbour. which concluded in 2009–10, has documented Aboriginal cultural values A grant of $320,000 will develop an around the wetlands, and aims to interpretive arts project that includes increase Aboriginal people’s access to, an outdoor education and performance and use of, the wetlands, their waters space, information on the cultural and and their resources. natural values of the nature reserve, The project engaged more than 60 employment of Aboriginal artists, Aboriginal community members from and training and employment of Lake Cargelligo, Griffith, Ivanhoe, Aboriginal Discovery Rangers to run Hay, Balranald and Robinvale, and cultural tours of the nature reserve trained Aboriginal people in historical and surrounding reserves, including research, tracing family history, oral

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history recording, archaeological site been more than 70 repatriations as identification and use of technical part of the program in the past three tools to record Aboriginal sites. The years. project: resulted in 517 new records relating to Aboriginal people’s During 2009/10, OEH also developed association with, and connection to, a Collections Care and Control the wetlands, as well as information Strategy to ensure the proper safe relating to Aboriginal people’s keeping and management of Aboriginal involvement in natural resource objects in OEH’s possession before management and views on water they are repatriated to communities. management and regulation: The strategy has resulted in a - Included archaeological research and comprehensive inventory of all predictive modelling that recorded over materials being held, and their storage 1200 new Aboriginal sites in safe and secure facilities. - Produced 13 Aboriginal oral histories and five non-Aboriginal oral histories People, Plants and Place containing information on people, The Royal Botanic Gardens & Domain places and events Trust recognises that each of its three - Identified a range of socioeconomic botanic estates - the Royal Botanic development opportunities for Garden Sydney and the Domain, the Aboriginal people in natural and Australian Botanic Garden Mount cultural resource management Annan and the Blue Mountains - Led to two formal access and use Botanic Garden Mount Tomah - has agreements between private land an Indigenous history. The traditional holders and Aboriginal community owners of these lands are the Cadigal, organisations to allow Aboriginal Dharawal and Darug respectively. Click people access to certain lands for here to find out about the Indigenous cultural purposes and to use wetland people of Sydney, Aboriginal bush resources sustainably foods and Bush foods of NSW. - Gave effect to the Murrumbidgee The Trust and local Aboriginal Cultural Water Allocation, which is communities are working together to part of the Murrumbidgee Water create themed gardens and displays, Sharing Plan. educational programs, guided tours and publications to acknowledge Repatriation and reburial the significance of these lands to The NSW Repatriation Program Aboriginal people, past and present. facilitates the return of Aboriginal ancestral remains, Aboriginal cultural Land Alive property, knowledge and information Land Alive is funded by the that originate from NSW, and that are Environmental Trust over four years currently held in Australian museums to build the capacity of Aboriginal and collecting institutions, to landowners to be effective land Aboriginal communities. Repatriations managers. The project builds are carried out under an agreed NSW knowledge and understanding of the Repatriation Framework and Program. biodiversity and cultural values of OEH also coordinates the return of land holdings, develops experience in ancestral remains and cultural material conservation programs and delivers held in OEH collections under the accredited training in conservation National Parks and Wildlife Act 1974. land management to Aboriginal In 2009/10, OEH returned 65 sets of communities. Thirty Aboriginal trainees remains or collections and assisted continued training in conservation with the return of an additional land management during the year. four remains and collections held In 2009/10, Land Alive funded the by museums and universities, to development of management plans for Aboriginal communities. There have a further four Aboriginal-owned

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areas, bringing the total number of Memorial at Mount Annan Botanic Aboriginal land management plans to Garden were instigated as early as nine. 1999, as a partnership between the NSW Stolen Generations Committee, Aboriginal gardens and installations the Botanic Gardens Trust and Link Up NSW. Visitors will experience The Royal Botanic Garden Sydney the memorial as a journey of healing Cadi Jam Ora: First Encounters - is and reflection, as they pass through an award-winning garden display that beautiful Cumberland Plain Woodland interprets the Aboriginal cultural along a series of boardwalks leading heritage of the Royal Botanic Garden. to a peaceful meeting place with Surrounded by native vegetation that water and a sandstone sculptural would have existed around Sydney centrepiece. Harbour approximately 200 years ago, and incorporating the First Visitors to the Fruit Loop circular Farm display which was developed garden located within the Australian in 1988 to tell the story of early Botanic Garden will see and taste European farming practices, a native fruits in season, learn about 52-metre sculptural ‘storyline’ tells bush foods and find out about plants the Aboriginal history of Sydney from that are important to Dharawal people. The Dreaming to the present. The text on the storyline was compiled from a The Blue Mountains Botanic Garden variety of sources including more than Mount Tomah 40 interviews with local Aboriginal The Blue Mountains Botanic Garden’s people. Darug Connections acknowledges the land it occupies is part of Darug This provocative garden gives insight Aboriginal Country and respects into the first encounters between the rights of Indigenous people, early European settlers and the particularly in relation to land, culture traditional Indigenous inhabitants, and heritage. ‘Tomah’ is reputedly the Cadigal, and interprets their the Darug word for tree fern. These differing environmental perspectives. magnificent plants dominate the Wuganmagulya (Farm Cove) - is a rainforest in the area. Interpretive ground artwork found along the Farm signage celebrating the past, present Cove path which links the Opera House and future Darug associations with and Mrs Macquaries Point. Mount Tomah and other Aboriginal places in the region is located at In two sections of the pathway, figures significant places around the Garden. found in rock carvings in the Sydney The signs are illustrated with works of area are represented in terrazzo and art created by Darug artists. stained concrete. Etched into the pathway kerb are names of women and Aboriginal Education Programs men, places, animals, tools and rituals At each of the Botanic Gardens, from the clans and language groups of lessons with Aboriginal themes the Sydney area. have been developed for primary (K-6), secondary (7-12) and tertiary The Australian Botanic Garden students. These are closely linked to Mount Annan curriculum requirements and NSW Yandel’ora is the name the Dharawal Board of Studies syllabus outcomes. people gave to Mount Annan. The Whenever possible, lessons are led by name means ‘place of peace between Aboriginal Education Officers. peoples’ and the Australian Botanic Lessons such as Aboriginal People Garden is the site where a memorial and Plants, Bush Foods of Sydney, to the Stolen Generations is located. Aboriginal Studies and Everyone Needs Plans for the Stolen Generations a Home identify plants that Aboriginal

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people have used for food, tools and garden walls’ and serve the broader weapons and provide an Indigenous community through innovative perspective on living with, and from, outreach programs. the native bushland. The Royal Botanic To meet this objective the Community Gardens is the place where some Education Unit has forged strong links of the earliest prolonged European with communities in need who have encounters with the local Aboriginal established or who are interested people, the Cadigal, occurred. Contact in establishing their own communal - First Encounters and Contact Study garden projects. Day investigate what really happened when the First Fleet arrived in Sydney In 1999 the Trust joined with Housing Harbour in 1788 and attempted to NSW to establish a partnership called establish an agricultural foothold on Community Greening for a range of Australian soil. activities to promote communal garden Changing Rights and Freedoms of projects that may be undertaken by Aboriginal People gives students the Botanic Gardens Trust and Housing the opportunity to understand NSW together. It is hoped that over contemporary Aboriginal cultural and time this partnership will expand to social issues and bush tucker lessons include other government departments are offered to students studying and private industry. courses offered at TAFE colleges in partnership with the Restaurant & Promoting communal gardening in Catering Association of NSW. social housing communities, and on nearby locations makes a significant Publications contribution to improved social A wide range of specialised cohesion, crime reduction and public publications that link Aboriginal people health in both urban and regional NSW. to plants and places are to be found Currently there are in excess of at all three Botanic Garden Shops. In 140 communities participating in addition, the Trust has two of its own the development or establishment relevant titles: of gardens in social housing communities, on local Council land, in • Bush Foods of New South Wales the grounds of churches, hospitals and by Kathy Stewart and Bob Percival schools. (1997), with colour photographs, illustrations, descriptions and botanical information about 30 of the most commonly used bush food plants of NSW. This book is now out of print. See the Bush foods of NSW web pages (or download pdf file) and the Aboriginal bush foods web pages . • Darug Connections by Suzanne Kenney (2000), a booklet that tells the Darug Aboriginal story with works of art created by Darug artists Robyn Caughlan, Mrs Edna Watson and Ian Bundeluk Watson.

Community Greening helping people to garden The Royal Botanic Gardens and Domain Trust has a commitment to take its expertise ‘beyond the

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State and Non-Government Agencies

State Records Authority of NSW Kempsey, Newcastle, Moruya, Bega, Wagga Wagga, Cootamundra, Dubbo, This is the State Government’s Griffith and Broken Hill; and the Sydney archives and records management suburbs of Penrith and Hurstville. authority. It manages the NSW State archives collection, sets the While most of the Aborigines Welfare rules and provides guidance on the Board photographs were taken to management of official records. document the work of the Board and to promote its policies, the exhibition has State Record holds a significant helped create a new purpose and place number of records that document for the photographs within Aboriginal the NSW governments’ dealings with life today. State Records has begun Aboriginal people from 1788 until a reconsultation process to find ways today. These include the records of of keeping the exhibition alive within the Aborigines Protection and Welfare communities for future generations. Boards, which controlled Aboriginal people’s lives from the 1880s until Museums & Galleries NSW 1969. Within the Board records, there are a series of 1000 black and white Museums & Galleries NSW is proud photographs, showing people on NSW of its engagement and support for reserves and missions; in schools and the Aboriginal sector during the past children’s homes; and as couples, 11 years of its existence. families and communities. It is now consolidating its work in the State Records Indigenous Archive Aboriginal sector through a four goal staff travelled to communities to strategy that responds to the Arts consult with Elders about showing the NSW Aboriginal strategy 2010, the photographs in culturally sensitive appointment of an Aboriginal Sector ways. Together with a curator and Development Manager and the Keeping exhibition designers they have created Places & Beyond: building cultural the In Living Memory exhibition of futures in NSW summit as a starting surviving photographs from the Board point for further recommendations to records. The exhibition also includes government. contemporary images by Indigenous photographer Mervyn Bishop, The M&G NSW Board has had an taken during the ongoing exhibition Aboriginal Director ongoing since 2000 consultation process. (four in total) and an Aboriginal Sector Development Manager since January In Living Memory first opened at 2011. State Records Gallery in The Rocks in September 2006 and proved to be so Since 2000 M&G NSW has run more important to NSW communities that it than 15 programs exploring Aboriginal still remains on display at the gallery. themes and issues in museums and A touring version of the exhibition galleries and/or with Aboriginal travelled to 18 venues around NSW speakers. Some 22 Aboriginal from May 2008 until October 2010, organisations and 37 individuals including Nowra, Moree, Walgett, have attended M&G NSW programs. Brewarrina, Quirindi, Armidale, Ballina,

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From 2003 to March 2010 a total this year the 2010 Parliament of NSW of $79,091 in funding support to Aboriginal Art Prize (2011) has toured volunteer museums and regional to WADJAR gallery at Yarrawarra galleries was provided to support Aboriginal Corporation Armidale activities with Aboriginal collections Aboriginal Cultural Centre and and communities. This is a total of 21 Keeping Place. Additionally Aboriginal grants across 11 regions of the state. exhibitions and galleries are promoted The breakdown is as follows: through the M&G NSW register.

Region number of grants The NSW Aboriginal Art Fund Central West 3 provides funding up to $3000 for Hunter 3 individuals and up to $15000 for Murray 2 organisations and supports arts Northern 1 projects that celebrate and promote Northern Rivers 4 Aboriginal cultural identities in Orana 2 regional NSW, promote engagement Riverina Eastern 1 and awareness of Aboriginal arts, South East 2 develop capacity and sustainability of Southern Tablelands 1 Aboriginal organisations and increase West 1 professional and skills development for Western Sydney 1 Aboriginal artists.

Standards Program www.mgnsw.org.au Aboriginal standards reviewers have served on the standards review team Regional Arts NSW which visit galleries and museums, review policy and other documents Regional Arts NSW is the peak body and provide reports and advice to for regional arts activity in NSW. museums and galleries who have Based in Sydney, it provides a range carried out the program. Illawarra of services and represents a state- Aboriginal Cultural Centre and wide network of Regional Arts Boards Keeping Place, Armidale Aboriginal (RABs) in the key areas of: Cultural Centre and Keeping Place and - Advocacy Brewarrina Aboriginal Cultural Museum - Capacity building have completed the Standards - Communications Program. - Support There are 14 Regional Arts Touring exhibitions of Aboriginal Development Boards in NSW, material each providing strategic direction From 1999/2008 M&G NSW toured for sustainable arts and cultural 16 exhibitions with significant development in their region. representation of Aboriginal material, six of which had an entirely Aboriginal (continued page 70) focus. These exhibitions went to 91 venues with audience attendance of 268,214. Exhibitions have been sent to six Aboriginal cultural centres and

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RADOs and RICDOs at engaging them in worthwhile The RADO Network is governed projects that also meet their by Regional Arts NSW. Position departmental guidelines and goals. descriptions for Regional Arts Development Officers (RADOs) www.regionalartsnsw.com.au/ vary from region to region and are network/roleofaRADO.html developed to reflect the arts and cultural infrastructure, geographic www.outbackarts.com.au/RICDO location, demographics and available resources of each region. In some Aboriginal and Torres Strait regions, where there is little arts Islander Data Archive and cultural infrastructure, or few groups engaged in arts and cultural ATSIDA (Aboriginal and Torres Strait development, the RADO or, in Islander Data Archive) is a specialised, some locations, also the Regional trusted research data management Indigenous Cultural Development facility for Australian Indigenous Officer (RICDO) undertakes the research data and is managed by the planning and development of projects UTS Library. ATSIDA is a thematic in partnership with existing groups to archive within the Australian Data meet the needs of local communities. Archive (ADA) formerly the Australian Sometimes, this involves facilitating Social Science Data Archive with the establishment of local groups. its datasets stored securely at the Australian National University (ANU) Boards include representatives from Supercomputer Facility. local government, tourism, education, arts councils and other community ATSIDA is guided by a board of arts organisations and community internationally recognised experts members. Each employs a Regional in Australian Indigenous research. Arts Development Officer (RADO) and, The staff who manage the data are in most instances, other staff who experienced professionals in process coordinate a cultural development and information management, program across the contributing local Indigenous research and digital government areas in their region. In preservation management. ATSIDA other regions, where there is well draws on the expertise of the established and mature arts and Jumbunna Indigenous House of cultural infrastructure, the RADO Learning and has a Memorandum of works at a regional strategic and Understanding with the Australian planning level to assist groups to Institute of Aboriginal and Torres Strait work together and access additional Islander Studies (AIATSIS). resources, thereby strengthening the network of arts and cultural activities As well as ensuring the storage that already exist. and preservation of data relating to Aboriginal and Torres Strait Islander Additionally, RADOs access regional, peoples, ATSIDA staff work closely State and Federal resources for local with: arts and cultural groups that may not have the knowledge or skills to do • Aboriginal and Torres Strait this. Increasingly these resources are Islander communities - managing sought through government agencies appropriate access and return of that do not have an arts and cultural digital materials brief, and RADOs have become adept

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• Researchers - developing data culture and heritage activities vary management plans and providing across Land Councils, but include contextual information relating to the management of cultural centres their research and keeping places, participation • Higher Education Institutions - in culture and heritage advisory identifying nationally significant committees and a range of projects in datasets and research projects as the community to improve awareness well as assisting with development and understanding of Aboriginal of strategies to ensure cultural heritage. preservation and access to data • Government - influencing policies Aboriginal Land Councils in NSW relating to research data, have a responsibility to take action Indigenous research material, to promote and protect Aboriginal Intellectual Property (IP) and culture and heritage. With this in moral rights, etc. mind, the NSW Aboriginal Land Council • International organisations - supports this summit on Aboriginal collaborating with international cultural centres, knowledge centres Indigenous policy developers and and keeping places to encourage researchers dialogue and debate about investment opportunities in Aboriginal cultural www.atsida.edu.au infrastructure.

NSW Aboriginal Land Council www.alc.org.au

The Aboriginal Land Rights Act 1983 Local Government & Shires (ALRA) establishes Land Councils Association (LGSA) as the elected representatives for Aboriginal people in NSW. The Local Government Association of NSW and the Shires Association of The NSW Aboriginal Land Council NSW are the peak industry bodies for (NSWALC) is the largest member Local Government in NSW. based Aboriginal organisation in Australia. As the State’s peak Together, the Local Government representative body in Aboriginal Association (LGA) of NSW and the affairs, the NSWALC aims to protect Shires Association of NSW represent the interests and further the 152 general purpose councils as aspirations of its members and the well as about 13 special purpose broader Aboriginal community. councils. Regions of NSW Aboriginal Land Council are also eligible to be NSWALC provides support to the members of the LGA. The Associations network of 119 Local Aboriginal Land represent the views of these councils Councils (LALCs) that are autonomous by: bodies which are governed by local Boards elected by local Aboriginal • Presenting councils views to community members. All Aboriginal governments adults in NSW are eligible to join a • Promoting Local Government to Land Council and vote in Land Council the community elections. • Providing specialist advice and services. The responsibilities of NSWALC and LALCs under the ALRA include Councils can choose to be members of the protection and promotion of either Association. Each Association Aboriginal culture and heritage. These has its own elected Executive headed

Building cultural futures 71 AGENCIES

by a President, which meets every volunteering and creative industries two months and holds an annual and target groups such as Aboriginal conference where members are able people. It is intended that specific to vote on issues affecting local projects/programs under the Accord government. The Annual Conference will be articulated through the is the supreme policy making event for Associations’ funding agreement with each Association. The Associations Arts NSW. The 4th Cultural Accord also have a Joint Committee, which will run from 1 January 2011 to 31 makes many of the management December 2013. and policy decisions on behalf of the Associations. The committee meets www.lgsa.org.au each alternate month. Aboriginal Education Consultative Four standing committees - Local Group Government Operations and Reform, Social Policy, Economic Policy and The NSW AECG is an Aboriginal Natural and Built Environment meet bi- community controlled, independent, monthly to deal with specific issues. not-for-profit advocacy group. Via their staff the Associations The AECG promotes respect, also provide industrial relations empowerment and self-determination and specialist advice to councils, and believes the process of organise conferences and other collaborative consultation is integral events and meetings relevant to Local to achieving equity in education and Government (such as the annual is fundamental to the achievement of Local Government Water Management equality. Conference and Local Government Week), as well as provide training for The governance arm of the AECG is councilors and council staff on behalf made up of volunteer members who of the Associations. are elected to office bearer positions. AECG office bearers are actively LGSA Cultural Accord involved in the local and regional The Cultural Accords commenced AECG network throughout NSW and in 1997 arising out of the are the principal source of advice recommendations of a Review of on behalf of Aboriginal communities Regional Arts Development in NSW on issues relating to Aboriginal which suggested that Arts NSW education training and associated negotiate a formal agreement with services. The elected arm of the AECG the Associations in order to support is supported by a small NSW AECG the arts throughout the State and Secretariat that provide administrative develop creative links between Local and management support to Local, Government and the State. Regional and State Executive Committees. The 4th Cultural Accord is an overarching high-level agreement Minister for Aboriginal Affairs Victor between Arts NSW and the Dominello MP has announced funding Associations on arts and cultural for the creation of the Centre for development. It reflects Government Aboriginal Languages Coordination and priorities relating to participation, Development (CALCD).

Building cultural futures 72 AGENCIES

Following a merit based process, the NSW Aboriginal Education Consultative Group (NSW AECG Inc.) has been granted $1.277 million (approximately $400,000 every year for three years) to develop the CALCD, which will be overseen by a Council of experts in the field that are yet to be determined.

www.aecg.nsw.edu.au

Below: AECG Annual Conference 2010

Building cultural futures 73 FUNDING BODIES Federal Government

The Office For The Arts, Prime of knowledge and skills across Minister and Cabinet age groups to build sustainable communities, develop skills and The Office for the Arts (OFTA) encourage a strong sense of within Prime Minister and Cabinet identity. administers a range of Australian • Maintenance of Indigenous Government programs that aim to Languages and Records: provides support Indigenous arts, culture, support for community based languages and broadcasting. Indigenous language projects including: support for a network There are several grants offered to of locally based Indigenous various levels of funding. languages centres; projects These include: that raise the national profile of Indigenous languages; new • The Return of Indigenous Cultural innovative models in delivering Property: (RICP) program aims training to Indigenous language to return Aboriginal and Torres workers; projects supporting Strait Islander ancestral remains language in contemporary music and secret sacred objects held and digital media; language in major government-funded nests; and projects building the museums to their communities of sustainability of the Indigenous origin where possible and when language sector. requested. Through the program, • Indigenous Broadcasting Program: the Australian Government, supports the operations of state and Northern Territory Indigenous owned and controlled governments and the museums community radio broadcast sector collaborate to resolve stations to promote language issues relating to Australian maintenance and cultural collections of ancestral remains development, disseminate and secret sacred objects. health and education information • National Arts and Crafts Industry and provide entertainment to Support: The National Arts and Indigenous communities. Crafts Industry Support program provides direct funding support Australia Council For The Arts to Indigenous art centres and industry support and advocacy The Aboriginal and Torres Strait organisations. The program’s Islander Arts Board of the Australia overall objectives are to assist Council is committed to keeping art centres to become stronger culture strong and to build a more sustainable Indigenous visual arts industry. The Board assists Indigenous people • Indigenous Culture Support: to claim, control and enhance their The Indigenous Culture Support cultural inheritance by funding Program supports participation the development and promotion of by Indigenous Australians in traditional and contemporary arts community based cultural practices – and new forms of cultural activities and the transmission expression – by Aboriginal and Torres

Building cultural futures 74 FUNDING BODIES

Strait Islander people who practice any levels, as well as nationally and artform and live in urban, regional and internationally. The Board gives priority remote areas. to applications that place Indigenous personnel in key positions and The Board supports all artforms, requires applicants to use accepted including music, dance, theatre and industry standards for remuneration storytelling, visual arts and crafts, in proposed projects. Non-Indigenous writing, new media, community organisations applying to the Board development, international activity need to demonstrate clear evidence and arts infrastructure. The Board of Aboriginal and Torres Strait Islander recognises the integral links between control, participation and support art, culture, language, heritage, land throughout the project. and sea, as well as customary law and the importance of developing and The Board targets its funding support growing the Indigenous arts sector to Aboriginal and Torres Strait and its industries by supporting the Islander artists and communities and creation, development, production, encourages Aboriginal and Torres distribution and dissemination of Strait Islander people to seek grants artistic and creative works. The offered by the other Boards of the Board also acknowledges the need Australia Council. for artists, communities and arts organisations to conserve and Strategy and policy preserve traditional and contemporary Since 2005, the Aboriginal and artistic expressions for future Torres Strait Islander Board has generations to appreciate, learn made important changes to the from and understand their cultural Indigenous arts landscape by inheritance and identity as Indigenous supporting artists and protecting peoples. their artistic works. These changes evolved from recommendations of The Board regards Aboriginal and the Creating Pathways conference Torres Strait Islander cultures as living for dance (2005), the Senate Inquiry forces, with their own strengths and into Indigenous Visual Arts (2006), influences, not simply remnants of the Making Solid Ground: Indigenous past. It aims to make these cultures infrastructure and key organisations part of the contemporary experiences review (2008), the development of of Aboriginal and Torres Strait Islander the Indigenous Australian Commercial people - and a source of pride for all Code of Conduct for the visual arts Australians. (2009), Song Cycles: An audit of support infrastructure for Indigenous Funding Indigenous arts music in Australia (2010), Indigenous The Board encourages applications Cultural Festivals: evaluating impact that are culturally appropriate and on community health and well-being innovative, have excellent artistic (2010) and the National Indigenous outcomes, and which produce Theatre Forum (2010), to name a few. strategic results that promote Aboriginal and Torres Strait Islander The strategic initiatives managed arts at local, state and territory by the Aboriginal and Torres Strait

Building cultural futures 75 FUNDING BODIES

Islander Arts Board from 2005/06 Attitudes to Indigenous arts to 2010/11 have involved some 37 The appreciation and enjoyment of industry partnerships and addressed Indigenous arts by Australian and the key areas of artist careers, international audiences is increasing. international showcasing, Indigenous Recent Australia Council arts cultural and intellectual property and participation research shows that, of sector development in the disciplines those who had attended visual arts of music, dance and festivals. and crafts events or theatre, dance or music performances in the past 12 This activity has resulted in the Deadly months, nearly a quarter (23 per cent) Funny! Indigenous Comedy Showcase had been to arts created or performed at the Melbourne International by Aboriginal or Torres Strait Islander Comedy Festival (held annually), the artists. Indigenous Australian Commercial Code of Conduct for the visual arts, Attitudes to Indigenous arts are the Culture Warriors exhibition at increasingly positive, signalling a great the National Gallery of Australia, the opportunity to grow the Indigenous annual Australasian World Music Expo, art audience across Australia. There the establishment of Blak Dance, is a direct relationship between profiling of Indigenous musicians by attitudes to Indigenous arts and Cicada, the Accelerate Indigenous attendance, with those who had Cultural Leadership program (in attended an Indigenous arts activity partnership with the British Council) having significantly stronger and more and the formation of the Coalition of positive interest than others. Indigenous Festivals. Cultural industries Current board priorities While Australian cultural industries are The Board’s five priority areas for substantial and growing, the return to 2010/11 are: artists for their creative work is small and Indigenous practitioners are very • Coordinate and engage a range likely to receive much less than the of partnerships to increase average artist. At the same time, the creative and cultural leadership value of Indigenous arts activity to opportunities for Indigenous individuals, families and communities artists, arts workers and is significant culturally, socially and organisations economically - and its potential is • Develop and implement significant in all communities. Recent collaborative cross council research by the Royal Melbourne strategies for emerging, mid- Institute of Technology (RMIT) and the career and established Indigenous Telstra Foundation about the role of artists and arts workers Indigenous festivals highlights not only • Explore and promote the use economic benefits, but improved well- of digital media to increase being as people reported increased engagement of Indigenous artists cultural pride and self-esteem, a sense and to facilitate their creative of inclusion, belonging and a strong works to wider audiences cultural identity. • Identify and promote the participation of Indigenous artists Cultural ownership and organisations in programs The Board is concerned about the • Review and maximise the appropriation of traditional imagery efficiency and effectiveness of and design. In seeking to protect divisional operations. copyright and cultural ownership, the Board strongly urges all Aboriginal

Building cultural futures 76 FUNDING BODIES

and Torres Strait Islander artists to DEEWR is committed to the Australian develop their own designs, or only use Government’s goal of reducing designs in keeping with their specific Indigenous disadvantage and to cultural identity. reconciliation between Indigenous and other Australians. See the Australia Council’s Indigenous Of the Closing the Gap targets, protocol guides for further information. DEEWR has key responsibility for the following: www.australiacouncil.gov.au • To ensure all Indigenous four Artsupport Australia years olds in remote communities Artsupport Australia is a free have access to early childhood mentoring and advisory unit of the education within five years; Australia Council for the Arts, set up • To halve the gap in reading, writing to grow cultural philanthropy. It offers and numeracy achievements the following services to artists and for Indigenous children within a arts organisations: decade; • To halve the gap for Indigenous • Free one-to-one mentoring to students in year 12 attainment develop and grow philanthropic or equivalent attainment rates by funding, including assistance with 2020; and preparing grant applications and • To halve the gap in employment building relationships with donors outcomes between Indigenous and and the philanthropic sector non-Indigenous Australians within • Presentations to Boards to a decade. educate and inspire them to become more actively engaged in The Indigenous Higher Education philanthropic fund-raising Advisory Council • Sourcing and assisting arts fund- The Indigenous Higher Education raising staff and board placements Advisory Council (IHEAC) provides • Annual lectures and masterclasses policy advice to the Australian to build the capacity of arts Government on higher education, organisations to successfully research and research training secure philanthropic income issues in relation to Aboriginal themselves. and Torres Strait Islander higher education students and staff. The Find out more about Artsupport at National Indigenous Higher Education Workforce Strategy (NIHEWS) was www.australiacouncil.gov.au/ launched by the IHEAC in June 2011. philanthropy/artsupport_australia The NIHEWS seeks to build Indigenous representation in the higher education Department of Education, sector, with a particular emphasis on Employment and Workplace increasing the number of Indigenous Relations (DEEWR) academic employees. It contains four core policy objectives: DEEWR is the Federal Government agency providing national leadership • To enhance employment pathways in education and workplace training, for existing Indigenous employees; transition to work and conditions and • To increase new employment values in the workplace. opportunities for Indigenous people; • To develop a working environment appropriate to the needs of

Building cultural futures 77 FUNDING BODIES

Indigenous people; and research in disciplines relevant to • To improve university community Closing the Gap, including but not engagement and outreach with limited to the study of Aboriginal Indigenous communities. and Torres Strait Islander languages, societies, identities, economies, Strategic Roadmap for Australian businesses, governance, histories, Research Infrastructure Discussion cultures and creativities. Paper (May 2011) The Understanding Cultures and The Council recognises that a Communities Expert Working Group distributed national eResearch facility has identified Indigenous Knowledge identified in the discussion paper as one field of research relevant to could enhance research that aims to Closing the Gap that demands large- advance our understanding of cultures scale infrastructure support. IHEAC and communities, including Aboriginal endorses the inclusion of Indigenous and Torres Strait Islander cultures and Knowledge. Aboriginal and Torres communities. IHEAC would support Strait Islander people have the oldest government investment in a distributed living knowledge systems in the world, national eResearch facility if this met and intellectual traditions that predate needs of Indigenous researchers and western intellectual traditions by research in the field of Indigenous millennia. These Indigenous knowledge knowledge. Indigenous access to and systems and intellectual traditions appropriateness of this infrastructure have culturally-distinct knowledge could be facilitated by ongoing bases, research methodologies, engagement between government and evidentiary systems and values. the Indigenous research community. They are complete systems in their own right and represent a unique The Aboriginal and Torres Strait asset. Indigenous knowledge and Education Action Plan 2010/14 Indigenous culture have a powerful A national plan that commits all and marketable currency; however governments in Australia to a they are fields of scholarship that unified approach to Closing the Gap have yet to be fully recognised and in education outcomes between harnessed within the higher education Indigenous and non-Indigenous and research sectors. students has been released. Federal, state and territory governments Indigenous knowledge should be have all committed to the 55 actions valued, not only for its unique content proposed in the plan which aim to and as a field of untapped research accelerate improvements in the in its own right, but also for its ability outcomes of Aboriginal and Torres to complement the mainstream Strait Islander children and young perspectives of non-Indigenous specific people right around the country, from research topics. Universities and those in the most remote areas, to research institutions should recognise, large urban schools. support and capitalise on the significant strengths and knowledge The Aboriginal and Torres Strait that Indigenous people bring to enrich Education Action Plan 2010/14 the higher education and research reflects commitments by governments sectors. to introduce substantial structural and innovative reforms in early IHEAC recommends that the childhood education and schooling Understanding Cultures and as outlined in national agreements Communities Expert Working Group between all governments. A number consider infrastructure needs for of the actions under the action plan

Building cultural futures 78 FUNDING BODIES

will be undertaken by a key group of Armidale; Sturt Public Wagga Wagga; schools called Focus Schools. These Tahmoor Public; Taree Public; The are schools with Aboriginal and Torres Sir Henry Parkes Memorial Public, Strait Islander primary school students Tenterfield; Tingha Public;Tolland with the greatest need and where Public, Wagga Wagga; Toomelah efforts should be focused to make the Public; Toormina Public; Tregear greatest difference: Public; Tweed Heads South Public; Walgett Community College; Warren Albion Park Rail Public; Alma Central; Wee Waa Public; Wellington Public Broken Hill; Ashmont Public Public; Westlawn Public Grafton; Wagga Wagga; Ballina Public; Westport Public Port Macquarie; Baradine Central School; Batemans Whalan Public; Wilcannia Central; Bay Public; Bathurst West Public; William Bayldon Public, Sawtell; Bermagui Public; Blackett Public; Windale Public; Woodberry Public; Boggabilla Central; Bourke Public; Woodenbong Central. Bowen Public, Orange; Braddock Public, Cranebrook; Brewarrina Department of Sustainability, Central School; Broken Hill North Environment, Water, Population Public; Budgewoi Public; Buninyong and Communities Public Dubbo; Casino Public; Casino West Public; Cobar Public; Coffs The department is responsible Harbour Public; Collarenebri Central; for implementing the Australian Condobolin Public; Coonamble Government’s policies to protect Public; Coraki Public; Cowra Public; environment and heritage, and to Crawford Public, Doonside; Curran promote a sustainable way of life. Public, Macquarie Fields; Dareton Public, Doonside; Drummond Memorial The Environmental Protection and Public Armidale; Dubbo West Public; Biodiversity Conservation Act 1999 Gillwinga Public, South Grafton; (EPBC Act) establishes the National Glenroi Heights Public; Grafton Public; Heritage List, which includes natural, Gunnedah Public; Hillvue Public, Indigenous and historic places that Tamworth, Inverell Public; Kanwal are of outstanding heritage value to Public; Kelso Public; Kempsey West the nation. The Act also establishes Public; Koonawarra Public, Dapto; the Commonwealth Heritage List, Lethbridge Park Public; Lightning which comprises natural, Indigenous Ridge Central; Lismore Heights and historic places on Commonwealth Public; Macksville Public; Manning lands and waters or under Australian Gardens Public; Marayong Public, Government control, and identified Blacktown; Menindee Central School; by the Minister for the Environment, Middleton Public, Parkes; Minimbah Heritage and the Arts as having Independent Primary, Armidale; Mogo Commonwealth Heritage values. Public; Moree East Public; Mount Austin Public, Wagga Wagga; Mount The Australian Heritage Council is Druitt Public; Mount Warrigal Public; the Australian Government’s expert Mudgee Public; Narrabri West Public; advisory body on heritage matters. It Narromine Public; Newling Public, includes Indigenous experts, who must Armidale; Nowra Anglican College, be Indigenous people with appropriate Bomaderry; Nowra East Public; Nyngan heritage experience or expertise, at Public; Parkview Public Leeton; Port least one of whom represents the Macquarie Public; Ross Hill Public interests of Indigenous people on the School Inverell, Shalvey Public, South Council. Grafton; St Andrew’s Cathedral Gawura Sydney; St Mary’s Primary Catholic,

Building cultural futures 79 FUNDING BODIES

Australian governments have a Boorabee itself is derived from the range of laws to protect Indigenous Ngoorabul word for koala, boor-bee. heritage, including the EPBC Act, the Aboriginal and Torres Strait Islander Tarriwa Kurrukun Indigenous Heritage Protection Act 1984 and Protected Area the Protection of Movable Cultural The Tarriwa Kurrukun Indigenous Heritage Act 1986. Protected Area covers 930 hectares of wetlands and stringy bark forest, Managing Indigenous Protected Areas home to an amazing diversity of plants helps Indigenous communities to and animals. Tarriwa Kurrukun means protect their significant cultural values ‘strong one’ in the Banbai Nation for future generations and receive language, the traditional owners. spin-off health, education, economic The Banbai’s ongoing connection and social benefits. The Australian to Tarriwa Kurrukun dates back Government’s Caring for our Country thousands of years. The central initiative plans to increase Indigenous ridgelines of the property contain a Protected Areas by at least 40 per number of scarred trees and isolated cent over the next five years - an artefacts. increase of at least eight million hectares. Toogimbie Indigenous Protected Area Declared Indigenous Protected Areas Situated north of the Hay Plain, in NSW Toogimbie includes flat former pasture lands contrasting with eucalypt-lined Brewarrina Ngemba Billabong creeks and waterways, and a nearby Indigenous Protected Area floodplain. The traditional life of the Located on the Barwon River, the Nari Nari people revolved around 261 hectare property is part of Toogimbie’s wetlands, which are the Murray-Darling Basin. Four home to totem animals and traditional endangered species make their home medicines. at Brewarrina Ngemba Billabong: the brolga, the blue-billed duck, the Wattleridge Indigenous Protected freckled duck and the red-tailed black Area cockatoo. The property’s emergent Situated about 35 km north-east of wetlands and open woodlands contain the New England township of Guyra, such plants as native water lilies, river Wattleridge covers nearly six and a red gums and coolibah. half square km of botanically diverse bushland growing on outcropping Boorabee and The Willows granite country. Bounded by the Sara Indigenous Protected Area River flowing to the north, the land’s Boorabee and The Willows cover 2900 rocky ridges and rolling landscape hectares, providing a home for one are separated by forested valley flats, of Australia’s most iconic species picturesque creeks and tumbling - the koala. The traditional owners waterfalls. of Boorabee and The Willows, the Ngoorabul people, recognise the koala www.environment.gov.au as a totemic species. The place name

Building cultural futures 80 FUNDING BODIES National Non-Government Agencies

Regional Arts Australia service to its members and the sector generally by offering expert advice, Regional Arts Australia is the key referrals, resources, professional national body representing the broad representation and development, and complex interests and concerns grant programs and a range of other of those working with and for the arts services. in regional, rural and remote Australia. As a project initiator and manager, www.visualarts.net.au Regional Arts Australia has become an important partner in equipping regional The Arts Law Centre of Australia artists, artsworkers and communities to meet the special needs and The Arts Law Centre of Australia challenges that accompany arts (Arts Law) is the national community practice, arts promotion and audience legal centre for the arts. Arts Law development in the regional and rural is a not-for-profit company limited by sectors. The organisation receives no guarantee which was established with public funding for its administration. the support of the Australia Council for the Arts in 1983 to provide specialised Among its projects and collaborations, legal and business advice and referral Regional Arts Australia and the services, professional development National Rural Health Alliance are resources and advocacy for artists and working together to produce a book arts organisations. that highlights stories about arts and health projects from regional Australia. Arts Law provides legal advice and information on a wide range of arts www.regionalarts.com.au related legal and business matters including contracts, copyright, NAVA business structures, defamation, insurance, employment and taxation to The National Association for the Visual artists and arts organisations across Arts (NAVA) is the national peak body all art forms. for the visual arts, craft and design sector working through advocacy www.artslaw.com.au and service provision, to achieve a flourishing Australian visual arts Viscopy sector and a more vibrant, distinctive and ethical cultural environment. Viscopy is Australia and New Zealand’s Since its establishment in 1983, NAVA not-for-profit rights management has been extremely successful in organisation for the visual arts bringing about policy and legislative providing copyright licensing services change to encourage the growth and on behalf of their members to a wide development of the sector and to and varied customer base. increase professionalism within the industry. NAVA undertakes advocacy and lobbying, research, policy and project development, data collection and analysis. It also provides direct (continued page 82)

Building cultural futures 81 FUNDING BODIES

They represent approximately: As a single resource, CAL can provide copyright clearances for hundreds of • 43 per cent of Australian and thousands of books, articles, essays New Zealand artists and their and artwork through our licences to beneficiaries copy or through an online permissions • 40,000 international artists and service Copyright Express. beneficiaries in Australian and New Zealand territories through CAL administers the copying of print reciprocal agreements with 45 material by educational institutions, visual arts rights management government agencies, corporations, agencies around the world. associations, religious organisations and other organisations. We are Currently Viscopy offers two licensing committed to encouraging the services which generated over $2m for development of lively and diverse artists in 2009/10. markets for published works with our range of commercial and non- www.viscopy.org.au commercial copying licences. As the basis of international commerce Copyright Agency Limited (CAL) shifts to ideas and information, CAL continues to look for new solutions Copyright Agency Limited (CAL) that provide both fair payment to provides simple ways for people to copyright owners and community reproduce, store and share words, access to information. images and other creative content, in return for fair payment. It connects CAL also publishes a range of free the creators, owners and users of information sheets, a free quarterly copyright material. CAL represents magazine Calendar, and reports authors, journalists, visual artists, about copyright issues. Our corporate surveyors, photographers and publications are all available online, newspaper, magazine and book as well as associated documents such publishers as their non-exclusive agent as the Code of Conduct for Copyright to license the copying of their works to Collecting Societies. the general community. www.copyright.com.au CAL provides a legal and practical method for the public, business and government to copy published works.

Building cultural futures 82 FUNDING BODIES Quick grant finder websites

Community Builders NSW Reconciliation Council

www.communitybuilders.nsw.gov.au www.nswreconciliation.org.au/grants

Community Builders is an interactive The NSW Reconciliation Council clearing house where users are website is a directory for government encouraged to contribute to content and non-government grants aimed and ongoing development. The NSW at supporting Indigenous peoples or Government coordinates this site as organisations and people working with a joint government and community Indigenous peoples. project in partnership with a wide range of people involved in community Free Websites building. Through the Funding and Grants section of the site, users are www.sites.google.com able to search for a wide directory of relevant funding grants and offers advice on how to write a successful submission.

Grant Guru

www.community.grantready.com.au

A directory website which lets you search for grants by category, region, sector and specialty.

GrantsLINK

www.grantslink.gov.au

GrantsLINK is a useful directory which has information about federal, state and local government funding programs that can help you: • develop solutions to local and national problems • fund ideas and initiatives • get assistance in times of hardship.

Building cultural futures 83 PROTOCOL DOCUMENTS Protocol documents

Cultural protocols, including Heritage and Languages Welcome to Country/ Acknowledgement of Country: Continuous Cultures, Ongoing Responsibilities by Museums Australia Aboriginal cultural practices and protocols contains principles and guidelines from Aboriginal Affairs: for Australian museums working with Aboriginal and Torres Strait Islander www.daa.nsw.gov.au/ cultural heritage from Museums data/files//Aboriginal%20 Australia: CulturalProtocolsandPracticesPolicyFINAL. pdf www.museumsaustralia.org.au/ userfiles/file/Policies/ccor_final_ NSW Government Policy and Guidelines for feb_05.pdf Aboriginal Cultural Performance: An introductory guide for heritage www.daa.nsw.gov.au/policies/ managers (such as local councils policyreeperformance.html and State Government agencies) and heritage practitioners to the Guidelines developed by the NSW State procedures and sources of information Government for agencies to consider when for studying Aboriginal history and engaging Aboriginal people in cultural heritage: performances, or when conducting a Welcome to Country or other Aboriginal www.heritage.nsw.gov.au/docs/info_ cultural protocol. aboriginal.pdf

Welcome to Country and FATSIL Guide to Community Protocols Acknowledgement of Country Guidelines for Indigenous Language Projects and Protocols for NSW Public Schools 2004: and TAFE (NSW Department of Education and the Aboriginal Education Consultative www.fatsil.org/papers/ Group, 2004): FATSILProtocolsguide.pdf

www.aecg.nsw.edu.au/resources.php This protocols guide, provided by the Federation of Aboriginal and Torres Welcome to Country and Strait Islander Languages, (FATSIL), is Acknowledgement of Country Fact Sheet for Aboriginal and Torres Strait Islander (Reconciliation Australia, 2009): communities and their consultants.

www.reconciliation.org.au www.fatsilc.org.au/languages/fatsilc- protocols-guide/background-to-the- (follow the links to ‘Resources’ and then arts-law/protocols-guide ‘Facts and Figures’) This Fact Sheet includes sections on the difference between a Welcome and an Acknowledgement of Country. Also check out the other useful resources on this website, including the info about ‘How does a Welcome to or Acknowledgement of Country help address Aboriginal or Torres Strait Islander disadvantage?’

Building cultural futures 84 PROTOCOL DOCUMENTS

Artform, museums and galleries www.visualarts.net.au/practicaladvice/ default.asp?page=IndigenousArtsProtocol Cultures: Protocols with working s/IndigenousArtsProtocols with Aboriginal and Torres Strait Islander Artists (various) (Aboriginal Media Protocols and Torres Strait Islander Art Board of the Australia Council, updated in The Greater Perspective, Protocol and 2008). The Aboriginal and Torres Strait Guidelines for the Production of Film and Islander Arts Board of the Australia Television on Aboriginal and Torres Strait Council has produced five Indigenous Islander Communities (SBS Television, a protocol guides for working with publication by Lester Bostock): different kinds of arts. The guides reflect the complexity of Indigenous www.sbs.com.au Australian culture, and provide information and advice on respecting Indigenous Elder Lester Bostock first Indigenous cultural heritage. Very produced this guide in 1990. It has well respected guides that give useful since been reprinted and put online. advice for anyone wanting to work in Although produced to assist people partnership with Indigenous people on working in television and radio it has an projects. Copies are free to download excellent introduction and overview about or can be ordered by email. Indigenous culture and history, as well as how to understand the different ways Go to the Australia Council’s that Indigenous and non-Indigenous people Aboriginal and Torres Strait communicate, and the key things to be Islander Arts homepage at www. respectful of and sensitive to. Follow the australiacouncil.gov.au and search links to the policies section of the SBS for ‘Protocols’ or lists of resources/ website for electronic copy. publications. The guides were also available from the website of one of Cultural Protocols for Indigenous Reporting the authors - Indigenous lawyer Terri in the Media (Message Stick Online, ABC) Janke, at www.terrijanke.com.au/ publications.html www.abc.net.au/indigenous

Arts NSW: The ABC’s Indigenous program, Message Stick, has produced an Indigenous www.arts.nsw.gov.au/wp-content/ Protocol publication for its journalists, uploads/2011/03/Arts-NSW- as well filmmakers, producers and ABORIGINAL-PROTOCOLS- documentary makers to understand and DESIGN_140311.pdf apply Indigenous Protocols, particularly when reporting stories involving Indigenous Museums & Galleries NSW: people. In 2011 a copy was also available to download from: www.mgnsw.org.au/uploaded/ resources/Fact%20Sheets/ www.wipo.int/export/sites/www/tk/ Cultural%20Protocols/M&G%20 en/folklore/creative_heritage/docs/abc_ NSW%20Welcome%20to%20 cultural_protocol.pdf Country%20Guidelines%202008.pdf

A collection of Culture Protocols NAVA (National Association for the Visual Arts) Indigenous Visual Arts Protocols:

Building cultural futures 85 PROTOCOL DOCUMENTS

Pathways & Protocols: a filmmaker’s Dubbo Koori Interagency Network: guide to working with Indigenous people, culture and concepts (Terry www.dubbokin.com.au/cultural_ Janke for Screen Australia, 2009) protocol.html

www.screenaustralia.gov.au/about_ Wetlands link, protocols for working us/pub_indig_protocols.aspx with Aboriginal people in the Northern Rivers: This guide provides advice about the ethical and legal issues involved www.wetlandlink.com.au/content/ in transferring Indigenous cultural developing-protocols-for-engaging- material to the screen. It is long and aboriginal-people-in-nrm-planning-in-the- includes a lot of detail, but is written northern-rivers-region in a straightforward way with a focus on the practical issues. Better for film- Local Government & Shires makers, researchers and policy makers Association: than high school students. www.lgsa-plus.net/publicart/ Listen, learn and respect: Indigenous section_01/001_content_04.swf cultural protocols and radio (Terry Janke and Nancia Guivarra for the Education and research Australian Television and Radio School, 2006): NSW Department of Education & Training: www.aftrs.edu.au/media/144152/ listenlearn_aftrs_.pdf www.stgeorged.det.nsw.edu.au/ support/abedequity/welcome/work_ SBSi Indigenous Documentary aborig_comm.pdf Protocol: NSW Board of Studies: www.sbs.com.au/sbsi/documentary. html?type=6 www.ab-ed.boardofstudies.nsw.edu. au/files/working-with-aboriginal- Community communities.pdf Working With Aboriginal Communities: A guide to community consultation and A guide produced by the NSW Board of protocols (Board of Studies NSW) Studies about community consultation and protocols, aimed at teachers but City of Sydney: includes good explanations about why consultation with Aboriginal people is www.cityofsydney.nsw.gov. important, outlines of sensitive issues au/Community/documents/ to be aware of when working with AboriginalAndTorresStraightIslanders/ Aboriginal people for anyone working ATSIProtocol.pdf with Aboriginal communities, and practical tips for building successful Respect, Acknowledge, Listen: relationships with Aboriginal groups. Practical protocols for working with Guidelines for Ethical Research in the Indigenous Community of Western Indigenous Studies (The Australian Sydney Institute of Aboriginal and Torres Strait www.ccdnsw.org/ccdnsw/pdf/ Islander Studies, updated in 2010) protocols.pdf www.sectorconnect.org.au/assets/ www.aiatsis.gov.au/research/docs/ pdf/resources/macunity/Aboriginal_ ethics.pdf protocols.pdf These guidelines have been compiled by AIATSIS and are mandatory reading for people applying for research grants, but are useful for anyone

Building cultural futures 86 PROTOCOL DOCUMENTS

intending to conduct research about Indigenous Australia or involving Indigenous communities. The AIATSIS website also includes a range of other useful publications about Indigenous Australia, some of which are free.

Legal NSW Community Legal Centres:

www.clcnsw.org.au/public_resource_ details.php?resource_id=166

Indigenous Portal – Federal Government

www.indigenous.gov.au/ip.dll/SearchR esults?s%3D1772&dsc=1&num=10

Arts Law Centre of Australia:

www.artslaw.com.au/articles/entry/ indigenous-protocols/

The Black Book Online The Black Book Directory lists more than 2700 Indigenous people and organisations working in the arts, media and cultural industries. Search listings by state, Indigenous nation or language group, name and category. A list of 2000 Indigenous works of music, literature and screen productions can be sourced through the Black Book Library on this site. Those registered can edit their own entries. There is also a contributor’s What’s On calendar.

www.theblackbook.com.au

Building cultural futures 87 ACKNOWLEDGEMENTS

Acknowledgements

Researchers: Melissa Abraham, Thank you also for further advice Alison McLeod, Kirsty Brown, Steve and support from: Cindy Berwick Miller and Raymond Ingrey, AECG; Keith Editing: Kirsty Brown, Steve Miller Munro, Museum of Contemporary Cover art and logo concept: Steve Art; Hetti Perkins, Cara Pinchback Miller and Jonathan Jones, AGNSW; Design and layout: Andrew Brettell Melodie Gibson, City of Sydney; Tess Allas, College of Fine Arts; Euphemia For Museums & Galleries NSW: (Phemie) Bostock, Boomalli Michael Rolfe, CEO; Michael Huxley, Aboriginal Artists Cooperative; General Manager; Sarah-Jane Rennie, James Wilson-Miller, Powerhouse Sector Development Manager; Museum; Zona Wilkinson, Penrith Phoebe Arthur, Sector Development Regional Gallery; Djon Mundine; Co ordinator; Rachel Arndt, Touring Susan Charlton, State Records Exhibitions Services Manager; Lillian Authority NSW; Kirsten Thorpe, Lim, Touring Exhibition Services ATSIDA (UTS). Coordinator; Elizabeth Swinburn and Jasmin Dressman, Administration. Printed by: Impress Colour Building Cultural Futures Steering 2/79 Newton Road Committee: Liza-Marie Syron, Wetherill Park, 2164 Arts NSW; Peter White, Regional [email protected] Arts NSW; Charles Trindall, Office of Aboriginal Affairs NSW; Clare ABOUT M&G NSW McHugh, NSWALC; Constance Chatfield, LGSA; Bernadette Selfe, Museums & Galleries NSW (M&G NSW Department of Trade and NSW) is the leading agency to Investment, Regional Infrastructure develop, support and promote and Services; Shian Barker, Arts Law regional, community and public Centre of Australia; Laura McBride museums and galleries across (alt Sheryl Connors/Phil Gordon) NSW. Our focus is on increasing Australian Museum; Barrina South community participation and (alt Teresa Gay/Hilton Naden) Office engagement with NSW museums and of Heritage and the Environment/ galleries to create lifelong learning, DECCW; Ronald Briggs, State Library improved environments and build of NSW; Alison Page, Saltwater harmonious communities. Freshwater Arts Alliance. Museums & Galleries NSW is assisted by the NSW Government through Arts NSW and by the Australian Government through the Australia Council, its arts funding and advisory body.

Keeping Places and Beyond 88 ACKNOWLEDGEMENTS

Keeping Places and Beyond 89