Paang geetch Mulla murrale Paang geetch Wana Barlkan Karli Nyaral angenye Karra BOOMERANG Burong Alye A NATIONAL SYMBOL Kaili Beredie Mangaburunya Yalkabray Wallanu Panketyi Kaile Warlanu Wirlki Iringili Bargan Kowil Belo Karrkarrbeean lanjee Jarradain lanjee Murrawirrie Wallagin lanjee Gidyar Kayle Yarrakoodakoodari Eraka Barakadan Watnah Kylie Warraka Ngamiringa Pirrkala Wadna Coohah Waridila Gaigai Djeb Bol-gang Wongala Bunmariny Kertum Keera Kayle Woodna Juluwarr Dhugarli 8 FEBRUARY — 27 JUNE 2020 Gurrubadu Rikewe A BERNDT MUSEUM EXHIBITION Kurrpartu AT THE LAWRENCE WILSON ART GALLERY Buegarrah Cattum-cattum Ulper-Renye Loangal Kirra Paang geetch Mulla murrale Paang geetch Wana Barlkan Karli Nyaral angenye Burong Karra Alye Kaili Beredie Mangaburunya Yalkabray Wallanu Panketyi Kaile Warlanu Wirlki Iringili Bargan Kowil Belo Karrkarrbeean lanjee Jarradain lanjee Murrawirrie Wallagin lanjee Gidyar Kayle Yarrakoodakoodari Eraka Barakadan Watnah Kylie Warraka Ngamiringa Pirrkala Wadna Coohah Waridila Gaigai Djeb Bol-gang Wongala Bunmariny Kertum Keera Kayle Woodna Juluwarr Dhugarli Gurrubadu Rikewe Kurrpartu Buegarrah Cattum-cattum Ulper-Renye Loangal Kirra Paang geetch Mulla murrale Paang geetch Wana Nyaral Karra Alye Mangaburunya Panketyi Kaile Iringili Bargan Kowil Jarradain lanjee Wallagin lanjee Gidyar Kayle Eraka Barakadan Watnah Ngamiringa Pirrkala Wadna Gaigai Djeb Bol-gang Kertum Keera Juluwarr Dhugarli e Kurrpartu a Western Australia, carved and incised wood with natural pigments, 57.4 x 15.5 x 1.9cm. Gift of O. Mirmikidis, Berndt Museum of Anthropology Collection [2005/0010] Mowanjum, Western Australia, carved wood with natural pigments, 13 x 53 x 1.2cm. Gift of P. Lucich, Berndt Museum of Anthropology Collection [1976/0548]

BOOMERANG - A NATIONAL SYMBOL

Boomerang - A National Symbol sheds light on the Term Language group/region boomerang as material representation of Australian nationhood, focusing on a celebration of its – often Beredie Karkarakala under-recognised – diversity and complexity. It shifts the Djeb NyulNyul narrative from an emblematised icon, and re-positions Koolmee Lanjee Broome area this object within contexts of form, use and meaning. Alye Arrernte Boomerangs – returning and non-returning – as well Karli Warlpiri/Kukatja as throwing sticks were developed and used by several societies around the world. Archaeologists have dated Barlkan Jawoyn Ancient Egyptian varieties to at least 4,000 years ago Wirlki Warlpiri while depictions of these objects also appear in 9,000 Murrawirrie Wangkangurru year-old North African rock paintings. Also used by the Hopi (United States), the Kallar (India) and peoples of Kirra Diyari Vanuatu, Denmark, Holland and Germany, the boomerang Dhugarli Wakaya is now considered an obsolete antiquity in most of these places. By comparison, Aboriginal people in Australia Barakadan Moreton Bay can claim the longest continuous association to this Juluwarr Lardil item – as far back as tens of thousands of years ago - that connects past, present and future realities. It is also here Loangal Buluwandji that boomerangs are intricately enmeshed in the socio- Bargan Yugumbur cultural; with multiple variations reflecting localised Kertum Wimmera networks and relationships. Panketyi Ngarrindjeri

Figure 1. Examples of localised terms for ‘boomerang’ Kylie Noongar Figure 2. Distribution of boomerangs in Australia map by DS Davidson. Reproduced by permission of the American Anthropological Association from American Anthropologist, Volume 38, Issue 1, pp. 76-100, 1936. Not for sale or further reproduction

‘Boomerang’ is a European adaptation of bunmariny – a fishing. Boomerangs have also been exchanged as trade Dharug term spoken by people in the Georges River (NSW) commodities or as part of socio-cultural negotiations area. This is just one of several hundred names used and between family and community groups. Furthermore, the understood by more than 250 Aboriginal language groups performative aspect of boomerangs – especially highlighted in Australia. An extremely small sample of this diverse in this exhibition – has seen their use as percussion variation is listed in Fig. 1. instruments and dance implements in ceremony.

Contextualised within language groups, these terms of In his article ‘Australian Throwing Sticks, Throwing identification can also intersect across communities Clubs and Boomerangs’, Davidson comments that this sharing linguistic, totemic and song-line ties. This immense typological diversity makes the inclusive perspective of the boomerang expands its relational classification of boomerangs a futile effort [1936, p. 90]. connections beyond geographical location. This sentiment was quickly realised during the process of the exhibition’s development. Faced with the task of These various language terms show that the boomerang selecting from the Museum’s collection of around 200 is not a singularly identified object. This diversity further boomerangs, it became clear that each was a distinctive overlaps with varieties of form and use that are distributed entity that, at the same time, collectively shared general throughout the country, across multiple Aboriginal similarities. Furthermore, the multiplicity of this object nations (see Fig. 2)1. Existing as both returning and non- was reflected not just as material culture, but also as returning (the majority) types, boomerangs have been symbols that embody intangible heritage and cultural adapted by Aboriginal people to respond to their living knowledge. Boomerangs are embedded within ancestral and environmental realities – whether in multi-use or narratives and creation stories – whether referred to in specialised forms. As utilitarian tools they are used for song-sequence or depicted in drawings (traditional and hunting game, warfare, making fire, digging bush food and contemporary) that correspond with these oral traditions. Peggy Griffiths, Miriwoong language, Waringarri Dancers, 2000, acrylic on canvas, 102 x 76cm. Berndt Museum of Anthropology Collection [2000/0029] © Peggy Griffiths/ Copyright Agency, 2020

These include the Purlka-purlkakurlu (Old Men Dreaming) Boomerang is a critical response to these past institutional painted by Walpiri artist Paddy Japaljarri Sims2, and displays. The boomerangs occupy the entire gallery space the Djunggara Crow story as depicted in the Birrindudu as the discursive focus, rather than as decontextualised drawing3 displayed in this exhibition. Others such as Peggy examples grouped in a corner showcase. Transition, in Griffiths (Miriwoong) continue to depict boomerangs this case, is redefined as multi-linear; these boomerangs in their work as a method of documenting culture, – as individuals and within groups – demonstrate performance and knowledge. cultural autonomy, technological expertise and ancestral connections that have contemporary relevance. The Historically, boomerangs in exhibition were often categories do not necessarily attempt any particular framed within progressions of technology and function. classification; rather each grouping – and each Transition in this sense mapped a linear development that boomerang within a group – purposely aims to reflect the intersected with notions of social evolution as well as the multiple connections, overlaps and parallels. Furthermore, colonial administration of Indigenous peoples. Baldwin this small percentage of the Berndt Museum’s collection Spencer’s series arrangement at the National Museum on display aims to generate discussion regarding the of Victoria exemplified this tendency to locate collection mapping of culture, acquisition strategies and the role items such as boomerangs within a ‘pan-tribal Aboriginal of museums in nurturing cultural knowledge for future developmental sequence’ (Bennett et al. 2007). They are generations. positioned as static relics within an evolutionary series that was increasingly racialised. The development and display of an exhibition that focused on boomerangs proved to be physically and discursively challenging. Their extensive reach across the country parallels with the multiplicities of form, use and meaning. These in turn reflect the skills, cultural Figure 3. Baldwin Spencer’s arrangement showing proposed development of boomerang from throwing stick, Spencer B, 1922, Guide to the Australian Ethnographical Collection in the National Museum of Victoria, plate 4)

knowledge and agencies of the makers embedded in their localised contexts of community and Country. The boomerang is at once an ancient legacy and contemporary embodiment of Aboriginal agencies – like all material culture, it continues to play a role within communities and also beyond. Although it is rightfully a national icon that unites Australians, each boomerang is embedded within the local – and should also be celebrated as such.

Dr Vanessa Russ, Exhibition Curator

Footnotes Bibliography

1. This 1936 map serves as a basic visual to highlight the idea of distributed 1. Jones, P 1996. Boomerang: Behind an Australian Icon, Wakefield Press, South boomerang varieties and should not be considered as a fixed or final Australia representation. 2. Davidson, DS 1936. ‘Australian Throwing-Sticks, Throwing Clubs, and Boomerangs’, 2. This story was one of many published by Warlukurlangu Artists in Kuruwarri. American Anthropologist, Volume 38, Issue 1 (Jan-March), pp. 76-100 Yuendumu Doors, 1992. 3. Bennett, T, Cameron, F, Dias, N, Dibley, B, Harrison, R, Jacknis, I & McCarthy, 3. Bogi, Birrindudu, Ga’dang Ga’dang, 1945, crayon on brown paper, 42 x 61.3cm. C 2017, Collecting, Ordering, Governing: Anthropology, Museums, and Liberal Bequest of Ronald & Catherine Berndt, Berndt Museum of Anthropology Government, Duke University Press, Durham Collection [1945/0707] - Collected by Ronald & Catherine Berndt during their 1945 fieldwork 4. Spencer, B 1922. Guide to the Australian ethnological collection exhibited in the National Museum of Victoria, 3rd edition, Government Printer, Melbourne Paang geetch Mulla murrale Paang geetch Wana Barlkan Nyaral ACKNOWLEDGEMENTS Karli The Berndt Museum of Anthropology would like to thank community members from the South-West, Pilbara and Kimberley who took the time to discuss the cultural angenyecontent of this exhibition. Given the time-frame for Karra exhibitions and our limited resources, we recognise Burongthat Alye it is not always possible to travel to Country or to sit with Elders, but all efforts have been made to ensure that items displayed in this exhibition are open to the public. The Museum encourages active engagement with Aboriginal community members andBeredie is open to further exchange of Kailiadvice in relation to this show. Mangaburunya Thanks to the Berndt Museum team: Sarah Ridhuan, Sofie Nielsen, Michael Houston, Natalie Hewlett and Isobel Wise for your continued dedication to excellence. YalkabrayThanks also to Clare McFarlane for her design of exhibition- Wallanu Panketyi Kaile related materials, Megan Hyde for ensuring this exhibition reaches diverse audiences and to the Lawrence Wilson Art Gallery install team led by Anthony Kelly and Lyle Branson. The Museum is very grateful to Frank Davey, Nyuna Watson and family as well as Clifton Lockyer for providing Iringili Kowil Wapermission torlanu display photographs of their relatives, Wirlki Bargan community and culture. Additionally, thanks go to art centre managers Mel George (Ernabella Arts Inc.) and Mandi King (Ninuku Arts) for facilitating consultation processes. The Berndt Museum would also like to Beloacknowledge the advice of custodiansKarrkarrbeean Andrew Morrumbi lanjee Dowding and Walter McGuire as well as researchers deeply Jarradain lanjee invested in Aboriginal communities such as Mike Burns and Murrawirriethe Anthropology staff network at UWA. Published by the Berndt Museum at the University of Western Australia, 2020 Wallagin lanjee Gidyar Kayle All rights reserved. ISBN 978-1-925793-21-5

Cover image: YarrakoodakoodariNorseman, Western Australia, carved wood, 51.5 x 48 x 1cm. Berndt Museum of Eraka Watnah Anthropology Collection [1982/0149] Barakadan

Inside cover image: Left to right: Western Australia, carved and incised wood with natural pigment, 63 x 23 x 1cm. Gift of the Royal Historical Society WA, Berndt Museum of Anthropology Collection Ngamiringa Ky[1987/0095]lie Warraka Pirrkala Wadna Wave Hill, Northern Territory, carved and incised wood with natural pigment, 73 x 15 x 1cm. Gift of Ronald and Catherine Berndt, Berndt Museum of Anthropology Collection [1944/0019] Leonora, Western Australia, carved wood, 59 x 19 x 1cm. Gift of H.W. Court, Berndt Museum of Anthropology Collection [1995/0030] South West, Western Australia, carved wood, 59.7 x 14.5 x 0.6cm. Berndt Museum of CoohahAnthropology Collection [1976/0211] Waridila Gaigai Bol-gang Peter Coppin, Nyamal language. Port Hedland, Western Australia, carved and incised Djeb wood, 58 x 18 x 0.8cm. Gift of J. & K. Wilson, Berndt Museum of Anthropology Collection [1976/0145] Kimberley, Western Australia, carved and incised wood with natural pigments, 49.7 x 19 Wongalax 0.8cm. Gift of Neville family, Berndt Museum of Anthropology Collection [1992/0063]Bunmariny Kertum Keera Kayle Woodna Juluwarr Dhugarli

BERNDT MUSEUM THE UNIVERSITY OF WESTERN AUSTRALIA LAWRENCE WILSON ART GALLERY 35 Stirling Highway, Crawley, WA, Australia 6009 GurrubaduOPEN TUES - SAT 11AM - 5PM P +61 (0)8 6488 3707 W lwag.uwa.edu.au Rikewe FREE ADMISSION @LWAGallery CRICOS Provider Code: 00126G Kurrpartu Buegarrah Cattum-cattum Ulper-Renye Loangal Kirra