© Wamud Namok Nayuyungi - The first people Image courtesy Injalak Arts, Northern Territory and Mossenson Galleries, , with the permission of the artist’s family Back www.aboriginalart.org A rts

Volume 9:Issues2-3,December2009 b one ANKAAA Value Statement What is True and Important to Us

Aboriginal culture is central to everything we do and is respected within ANKAAA.

ANKAAA respects and listens to the Aboriginal artists who are its members.

Teaching happens right here on country between families and generations, and that is the right way because it teaches respect for country and culture.

Art is old. It was passed on from our ancestors to our grandfathers to our fathers to us... Art is talking about the land, the sea, about our culture, about our connection, about our kinship relationships – songs, dance, names, places, country, sacred sites. All these things are important to us.

Art is important for communities; it is a life-long journey to respect our culture and stay strong and for children to learn two-ways.

Art centres need to be strong to enable good business and income for artists and families and build a future for our children in their own communities.

ANKAAA needs to be strong on the inside (operationally) so it can be strong on the outside (to effectively serve members and work with the wider sector).

ANKAAA is a meeting place: working together and sharing information between Aboriginal artists and Art Centres, and two-way information between Aboriginal artists, government and industry.

It is important to balance culture and money business in everything.

2 Arts Backbone Volume 9: Issue 2-3 December 2009 Message from the ANKAAA Chairperson - Djambawa Marawili

Darwin Office be living in that country. GPO BOX 2152, DARWIN NORTHERN TERRITORY, 0801 As an Aboriginal art association ANKAAA is now permanently standing strong. We Frogs Hollow Centre for the Arts need to keep on developing it for the 56 McMinn Street, Darwin, NT young people to come along. Ph +61 (0) 8 8981 6134 Fax +61 (0) 8 8981 6048 Email [email protected]

Djambawa Marawili www.ankaaa.org.au www.aboriginalart.org Notice from the ANKAAA CEO – All text and images are copyright the artist, Homeland is a really special place. It Christina Davidson Art Centres or ANKAAA (as indicated) unless is our land. We are breathing on that otherwise stated. ANKAAA Arts Backbone is © ANKAAA 2009. country. We can see the future from ANKAAA has built up a strong new team The views & opinions expressed in this publication that country. We need to make a home of staff this year. From late 2009 there are those of the authors & do not necessarily there for our younger generations, like in reflect those of ANKAAA. will be five fulltime staff in the ANKAAA ANKAAA is a non-profit incorporated Aboriginal other parts of Australia. If the size of the office and a further part time position Association. population of communities on country is commences in February 2010. A big ANKAAA Value Statement (p.2) outlines values growing, we need to settle them down welcome to new staff and thank you to identified by ANKAAA members in planning and create jobs. People will live in their meetings in 2007, with words determined by the team which continues to work very ANKAAA Directors on 06.12.07. homeland and have jobs. Education of all hard with good humour, together with sorts should be developing there: including General Editor: Christina Davidson the ANKAAA membership, to ‘keep art, education about how to manage the Production Team: country and culture strong’. Danielle Cullen and country, improve the country, develop the Jessica Booth economy and of course education about In the first half of 2009 the ANKAAA art. board accepted management of a large ANKAAA is proudly supported by: NT Arts Infrastructure Project (s), funded The art movement is growing up now. through the Aboriginal Benefits Account. Young people are interested. People are This is a new type of undertaking for doing their own patterns and designs ANKAAA and the board and I worked and stories in their countries. We need together closely with business consultant to support them. They are respecting the Peter Shepherd to carefully consider risks country and telling wider Australia and the and benefits of ANKAAA managing the world why everyone should respect the project and to design a separate project country and not destroy it. management structure and project team (see article p.16). The NT Infrastructure It was really important for ANKAAA to Project (s) will deliver projects with $5.8 play a role organizing that artists panel million funding which ANKAAA secured at Gulkula about art and homelands (see for eighteen Art Centres from ABA. report p. 12). It was really important that our senior artists, Directors and CEO were ANKAAA’s 2009 regional meetings have involved. We got the message through been held for: Arnhem Land (Gulkula, very clearly from them that it is all about August); Tiwi (Bathurst Island, October); the land and the art, and that we need and Kimberley (November) and have to see more understanding about the been a wonderful opportunity for members importance of the homelands to art. to share ideas and perspectives. The Katherine regional meeting is scheduled Recently at one of our remote area for 24 November just before the AGM on homelands (Yilpara at Blue Mud Bay) 25 November at Adelaide River. there was a ‘two-way learning centre’ about country and art, which was really Finally ANKAAA thanks all the artists and important and good for our local people. Art Centre Managers, as well as our They saw how outside people (artists and industry partners and major funders for scientists) could come to their country and 2009 - DEWHA, the Australia Council for work and learn with them, hand in hand, the Arts and Arts NT - very warmly for their exchanging knowledge and understanding sharing, support and work together over about the country (see article p. 20). 2009.

No one will tell us to go away. We will Christina Davidson

Volume 9: Issue 2-3 December 2009 Arts Backbone 3 Elcho Arts Makes its Mark By Dion Teasdale, Elcho Island Arts

Artists from Elcho Island have been making their mark across Australia over the past twelve months thanks to the revitalisation of the local Art centre.

Situated in the Arafura Sea about 550 kms north east of Darwin, Elcho Island is known for its many cultural exports. Famous artists who call Elcho home include Geoffrey Gurrumul Yunupingu, the Chooky Dancers and hundreds of visual artists who create Aboriginal art that is exhibited and held in collections nationally and internationally.

Elcho Island Arts has been community managed since 1992 and operates out of the Marthakal Arts Hub in Galiwin’ku (the main town on the island). The Arts Hub is perched on a cliff offering Elcho Arts cultural liaison officer and highly sought-after fibre artist, Mavis Ganambarr, panoramic views of the beach and preparing for her solo exhibition in . Photo: Dion Teasdale. surrounding islands, and has two galleries, a retail outlet, and an artists’ studio.

Over its history, Elcho Island Arts has developed a strong reputation for the quality of work produced by its artists; their respect of clan totems, the originality of their designs and their use of traditional bush materials and natural earth pigments.

Art work produced by Elcho artists include Morning Star Poles (sacred mortuary poles adorned with feathers), Mokuy Spirit carvings, fibre art such as baskets, dilly bags and sun mats, bark and hollow logs, jewellery and works on paper.

This year has been one of the busiest and most successful at Elcho Island Arts. In 2009 artists from Elcho have appeared in exhibitions in Darwin, Sydney, Melbourne, Perth and Brisbane.

After winning the $25,000 RAKA Some of the fibre work created by artists from Elcho Island available from the Elcho Arts. Photo: Dion Award in 2008, this year Morning Teasdale.

4 Arts Backbone – ART CENTRE FEATURES Volume 9: Issue 2-3 December 2009 Star Pole custodian Gali Yalkarriwuy culture tours on homelands, attendance Gurruwiwi was a finalist in the Western at the Garma Festival, refurbishment of Australian Indigenous Art Awards and the Art Centre and visits from Federal the 26th Telstra (NATSIAA) Awards and Government Ministers Peter Garrett and a suite of his work was acquired by the Jenny Macklin. National Gallery of Australia. With group and solo exhibitions Works by fibre artist Mavis Ganambarr planned in capital cities across Australia have featured in three exhibitions as well as in the US and the UK, 2010 nationally - as part of the touring fibre promises to be an even busier and more show ReCoil, in Floating Life at the successful year for Elcho Island Arts and Queensland Art Gallery and in a solo its artists. show at Sydney’s Birrung Gallery. Right: Elcho Island elder, Richard Gandhuwuy, Other highlights of the year have mixing up ochre on the beach of his homeland, included workshops with printmakers Dhambala. Photo: Dion Teasdale. from Basil Hall Editions in Darwin and Below: Morning Star Pole custodian, Gali jewellery-making with Alice Whish Yalkarriwuy Gurruwiwi performed the Banumbirr Designs from Sydney, visits from seven ceremony on-board the Orion cruise ship in April. cruise ships, the introduction of artist led Photo Dion Teasdale.

Volume 9: Issue 2-3 December 2009 ART CENTRE FEATURES – Arts Backbone 5 In An Invitation - Buku Larrnggay Mulka at the 3rd Moscow Biennale By Faith Thompson Nelson, Ngukurr Art By Andrew Blake, Buku Larrnggay Mulka

At the end of June I went to London I was invited to include one of my for my first solo exhibition at Rebecca paintings in this show because I am from Hossack Gallery on Charlotte Street in this area – my Father’s country is Utopia London. It was great - I had people but I was brought up in my Mother’s from all over the world coming and country - Limmen Bight. I met Germaine asking me about my work. There were Greer, who opened the exhibition, and many guests at the opening. I spoke we discussed my work. to a lot of people and showed them the book written by Simon Normand I visited Buckingham Palace and saw and my mother Maureen Marrangulu the Royal Guard on horseback. I visited Thompson about her country called Australia House and a lady took us on Marranbala Country. a tour and looked at the old photos. I went to the Museum of Natural History I also visited Rebecca’s other gallery where I saw big dinosaur skeletons and in Conway Street where there was an was invited to an exhibition at the British exhibition of paintings by Utopia artists. Museum. I journeyed to the centre of the earth to go on the underground rail system. We took a ferry down the Thames and saw the London Eye and Above Left: Faith Thompson Nelson in Big Ben; we also went on one of those front of her . Photo: Ngukurr Arts, big red buses and in a really fancy Northern Territory. black taxi with automatic doors. Above Right: Faith Thompson Nelson at Regent’s Park. Photo: Ngukurr Arts, Northern My favourite parts of the trip were Territory. visiting the two gardens – the Queen’s Middle Right: Faith Thompson Nelson with Rose Garden, I liked the smell of it – a Germaine Greer & Rebecca Hossack in beautiful perfume, and the Avenue London this year. Photo: Rebecca Hossack Gardens at Regents Park. I also liked Gallery, London. wandering around London watching the Bottom Right: Faith Thompson Nelson at the local people. British Museum with Monet painting. Photo: Rebecca Hossack Gallery, London.

6 Arts Backbone – EXHIBITIONS Volume 9: Issue 2-3 December 2009 In London An Invitation - Buku Larrnggay Mulka at the 3rd Moscow Biennale By Faith Thompson Nelson, Ngukurr Art By Andrew Blake, Buku Larrnggay Mulka

About four months ago Jean-Hubert received avid attention and were known Martin (Curator of the National to move about the venue after lights out. Museums of France, former director of Centre Pompidou and curator of the We attended meetings organised for us landmark exhibition Magiciens de la by Austrade in Moscow with the Vice Terre), invited Djambawa Marawili and Director of the Pushkin State Museum of Nawurapu Wunungmurra to participate Fine Arts and the Director of the State in the 3rd Moscow Biennale. Djambawa run Centre for Contemporary Culture. had continued to maintain his power Both institutions would be more than as a great artist and Nawurapu was happy to put up appropriate space Djambawa Marawili in Red Square. Mobile receiving local and national attention for within hallowed walls if the curatorial phone photo. his carved skeletal forms. work was of standard and if costs/ Photo: Buku Larrnggay Mulka. sponsorship were to be met or sourced Our mission in Moscow was to gauge by us – so we discovered that nothing is perhaps we don’t either but we now the reactions of Russian state run art impossible in Moscow. The commercial know that Moscow has a hunger for the institutions and private galleries to the art and non-profit cooperatives were savvy, new and a momentum giving faith that of the Yolngu of northeast Arnhem Land. enthusiastic and well connected. These in all its apparent new found wealth, Our fall back position was to hang out are the most likely first places to export incredible glamour and tough facades it at the Garage Centre for Contemporary Yolngu art. An interesting cooperative will get through the economic crisis and Culture (a massive constructivist Art Deco – M’ARS the Centre for Contemporary our contemporary art (with its unfrayed bus depot built in 1926) - the venue Arts were showing video installations as hawser connecting the different epochs for Jean-Hubert’s exhibition Without part of the Biennale program and the of Yolngu art) will be enjoyed and Exclusion - the main gig of the Biennale Director enjoyed the idea of working understood internationally. This is where where Djambawa’s and Nawurapu’s with young Yolngu contemporaries of we can be, this is where we are - from art was displayed. On opening night The Mulka Project. the homelands of northeast Arnhem Land Djambawa held court amongst his six to Moscow and with out exclusion. barks - singing his paintings in traditional They liked our art in Moscow. Leonid and flamboyant style, captured by Bazhanov, Director of the Centre for a French television crew for national Contemporary Culture in Moscow, said, screening in November. Nawurapu’s ‘the people of Russia do not yet know Mokuy, carvings of the spirit, also much about contemporary art.’ Well

Dianne, Liyawaday & Djambawa outside the Garage Centre for Contemporary Culture Moscow, 2009. Nawurapu Wunungmurra’s installation at the Photo: Buku Larrnggay Mulka. Moscow Biennale. Photo: Buku Larrnggay Mulka.

Volume 9: Issue 2-3 December 2009 EXHIBITIONS – Arts Backbone 7 Hard Work Rewarded ANKAAA Members Scoop Art Awards

Five prestigious awards have recently the Western Australian Indigenous been received by ANKAAA member Art Awards 2009. Culture and artists. Two artists from Arnhem Land the Arts Minister John Day praised have won prizes at the National ‘her intuitive use of colour and free Aboriginal and Torres Strait Islander Art gesture which reveals an affinity to her Award, August 2009. The Telstra Work country. These daring and vital works on Paper Award was awarded to Glen astonished the judges.’ Anniebell Namundja from Injalak Arts and Crafts Marrngamarrnga was the winner of for his work Likkanaya and Marrayka. the Togart Contemporary Art Award The artwork is a representation of the (NT, September 2009) for Yawkyawk, Yawkyawk Dreamtime story about two an exquisite and detailed sculptural sisters travelling through the country weaving. Anniebell learnt how to where Ngalyod, the Rainbow Serpent weave from her mother and paint from swallowed them whole. Rerrkirrwanga her father, and says: ‘my favourite Munungurr from Buku Larrnggay subject is to represent the yawkyawk Mulka won the Telstra Bark Painting spirit who lives in the water at Kubumi. Culture who won The Artist Award at the Award for her work Gumatj Gurtha. It is my husband’s Dreaming. I represent Third Biennial Melbourne Art Foundation Rerrkirrwanga’s painting depicts her in bark paintings, in my timber Awards for the Visual Arts held at the her husband’s Gumatj clan designs carvings and also in my weaving Art Gallery of in of sacred fire. Rerrkirrwanga is the … I came with the idea to make flat September. The award recognises the daughter of late Djapu clan elder yawkyawks from pandanus … I use outstanding achievement made by an Djutjadjuta Mununggurr, winner of the lots of different colours … colours are Australian artist – someone who has Telstra Bark Painting Award in 1997. important in my work.’ (Maningrida Arts created a significant body of work and and Culture, Feb. 2007) one that has had a considerable impact In July Mangkaja Arts’ Wakartu Cory on Australian contemporary art practice. Surprise was the recipient of the Finally, congratulations to John Western Australian Artist Award at Mawurndjul from Maningrida Arts and Above: Glen Namundja, winner of the Work on Paper Award, 26th Telstra National Aboriginal & Torres Strait Islander Art Award, in front of his artwork Likkanaya and Marrayka, natural pigments on paper, 132 x 104 cm. Photo: Courtesy Museum and Art Gallery of the Northern Territory. Below Left: Wakartu Cory Surprise with her work, Manabularnbularn Warla, atelier acrylic paint, 120 x 90 cm. Photo: Mangkaja Arts. Below: Anniebell Marrngamarrnga with her award winning work, Yawkyawk. Photo: Jim Lee.

8 Arts Backbone – AWARDS Volume 9: Issue 2-3 December 2009 Tiwi Art Network Annual Exhibition By Brooke Ravens, Tiwi Art Network

It’s the biggest Tiwi show of the year - and 2009 didn’t disappoint. Mukumuwu – To be Together was held at the Holiday Inn, Darwin from 12 – 16 August. Coinciding with the Darwin Festival and the 26th Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA), the annual event is a collaboration between the three art centres on the Tiwi Islands: Munupi Arts and Crafts, Tiwi Design and Jilamara Arts and Craft. Installation shot of Mukumuwu – To be Together, August 2009. Photo: ANKAAA. The show was a huge success, with record numbers attending the opening breakfast. John Wilson from Jilamara officially opened the exhibition and

Installation shot of Mukumuwu – To be Together, annual Tiwi Art Network exhibition at the Holiday Inn, Darwin, in August. Photo: Nicolas Gouldhurst. L-R Raelene Kerinauia, Janice Murray, Maria Josette Orsto, Jean Baptiste Apuatimi, Ita Tipungwuti, John Wilson, Margaret Renne Kerinauia, Douglas Vivien Kerinauia, Praxedes Tipungwuti. Photo: Nicolas Jean Baptiste Apuatimi from Tiwi Design Gouldhurst. enthralled the crowd with a performance of her buffalo dance.

Visitors perused the geometric ochre wonders of the Tiwi people. There was a fantastic response with many visitors commenting on the strength of works and the richness and diversity of styles evident in Tiwi art.

Praxedes Tipungwuti and Douglas Vivien Kerinauia, from Tiwi Design, participated in professional development training during the exhibition. We would like to thank ANKAAA for their support in this project. John Wilson Wuribudiwa with his Purukupali sculpture Photo: ANKAAA.

Volume 9: Issue 2-3 December 2009 EXHIBITIONS – Arts Backbone 9 Kimberley Aboriginal Artists, Sharing Difference On Common Ground By Kimberley Aboriginal Artists

Four Art Centres: Warmun Art, Difference On Common Ground is a Minnie and granddaughter Shana Mangkaja Arts, Mowanjum Art show of strength and collaboration and, danced. Gabrielle Nodea, Chairperson and Culture Centre and Waringarri in the context of Country, community of Warmun Art danced and spoke with Aboriginal Arts,united as Kimberley and particular art practice, is an great strength. He explained: Aboriginal Artists (KAA) to stage expression of multifaceted diversity’. their first joint exhibition launched at The most important thing I want to the Holmes à Court Gallery, Perth, Mowanjum artist Leah Umbagai communicate through the exhibition is this October. Sharing Difference On commended Sharon for the selection that our Art Centre is our last line of Common Ground celebrates the breadth of works and the hang which brings defence. It is living the Warmun dream, and diversity of creativity from across together such a diverse body of work. chasing the Gija destiny. Corroboree the Kimberley region. To compliment this She said ‘It was good to have so many and painting are like our archives. This milestone exhibition, KAA Art Centres artists from the Kimberley at the opening is what the Art Centre is. That’s what the also held commercial exhibitions at their in Perth and I met and talked to lots of old people wanted. It keeps us strong respective galleries in Perth: Gadfly people.’ and keeps connection to Country and Gallery, Mossenson’s Indigenart, Randall gives us the strength to live in the white Lane Fine Art, and Seva Frangos Art. The proceedings began with a man’s world. warm welcome to Country by Senior Sharon Tassicker, the Director of Nyoongar man Richard Walley AOM. Chairperson of Waringarri Arts, Carol the Holmes à Court Gallery, said: The Hon. Tom Stephens MLA, gave a Hapke ,writes: ‘Connection to [ownership of] Country passionate and knowledgeable account is common ground for Aboriginal of the art and people of the Kimberley Artists from Waringarri want to share people across Australia. Kimberley as he opened the exhibition. And their culture and demonstrate their Aboriginal Artists was established in the cultural performances by artists then lead dedication to the preservation of their context of this solidarity with the aim the crowd into the gallery. Alan Griffiths Culture through the arts, and to be able of sharing the richness and diversity of frorm Waringarri Art sang in Mirawoong to show our really important places and their art, language and identity. Sharing language, while Agnes, Peggy, Phyllis, to share them with the rest of the world.

During speeches at the Kimberley Aboriginal Artists opening. Photo: Tim Acker, Kimberley Aboriginal Artists.

10 Arts Backbone – EXHIBITIONS Volume 9: Issue 2-3 December 2009 Best of the Best II: Waringarri, Warmun & Warnayaka on Show

In August a group exhibition entitled Best of the Best II at Framed Gallery in Darwin brought together work from Waringarri Arts, Warmun Art Centre and Warnayaka Art. The exhibition was opened by Dr Jacqueline Healy, Director Bundoora Homestead Art Centre with Chris Griffiths from Waringarri Artists, Valda Dixon from Warnayaka Art and Mabel Juli from Warmun Art Centre all taking the mike to say a few words to the opening night crowd.

Anne Phelan from Framed Gallery said, ‘it is always a delight to work with such professional art advisors as the three from these Centres who give their heart and soul to the job and we were grateful that so many artists could come to enjoy the limelight for a few hours.

Gabriel Nodea, Chairman of Warmun Arts, at the opening of the exhibition. Photo: Tim Acker, Kimberley Aboriginal Artists.

We want the rest of the world to take and others addressing the Kimberley some notice. To take some interest in and its art and culture. Contact www. what we actually have here – a very kimberleyaboriginalart.com.au to rich culture. White culture hasn’t been purchase the catalogue. interested for so long.

Kimberley Aboriginal Artists would like thank Janet Holmes à Court for hosting their inaugural joint exhibition and acknowledges her strong commitment and support to put them on the map. ANKAAA also assisted artists’ travel to the opening. KAA are planning to tour Top: Minnie Lumai, Chris Griffiths & Chris Griffiths the exhibition nationally following its Jnr in front of Waringarri Dancers by Alan Griffiths debut in Perth. Photo: ANKAAA. Above: Warnayaka artists L-R Louisa Napalgarri The exhibition is accompanied Payton, Judy Napangardi Martin, Biddy by a 96 page colour catalogue Nungurrayi Long, Mercia Napurrula Lewis, containing: statements by Indigenous Cover of Sharing Difference on Common Chamain Brown, Rosie Napurrula Tasman, Lily leaders from the Art Centres and Ground exhibition catalogue. Photo: Tim Nungurrayi Hargraves, Judy Napljarri Walker, essays by Pat Dodson, Judith Ryan Acker, Kimberley Aboriginal Artists. Valda Nangala Dixon. Photo: ANKAAA.

Volume 9: Issue 2-3 December 2009 EXHIBITIONS – Arts Backbone 11 Art and Homelands Movement - ANKAAA Panel at Garma 2009 Gulkula, East Arnhem Land

Senior artists came together from across the Top End for a forum convened by ANKAAA, addressing the relationship between contemporary art and their homelands. Panelists stressed the vital and abiding relationship between homelands and the Indigenous art movement. For a full transcript of the discussion, please go to www.ankaaa.org.au.

“…Homeland is really important to me… It’s where I can breathe fresh wind, where I can walk along the beach or in the bushes – that’s giving me strength. And all those things are all you need under the land. People who are living in the country, they know. They are getting strong by their land and their patterns.”

Djambawa Marawili

“I would like to bring my people back up in the plateau so they can sit at home, look after home…because everything in the bush, our homeland, it’s a spiritual country – connected with our stories beyond our belief, from generations after generations after generations.”

Dean Yibarbuk on behalf of Wamud Namok

“I didn’t move to the outstation because I like it that way… The reason is that I will be handing over properly and professionally their lives back into the land. That is the number one story… “I want to try to get help…I need help for my …That is the only life over there… Go and get your fresh food – homeland.” fish, wild honey, shell, eat fresh. That’s the purpose for homelands… Freddie Timms …That this culture is strong and maintained; that is the purpose.” ANKAAA Panelists:

Richard Gandhuwuy Djambawa Marawili: Yilpara Homeland, Blue Mud Bay, North East Arnhem Land; Buku Larrnggay Mulka Art Centre; ANKAAA Chairman.

Wamud Namok (deceased): Kabulwarnamyo Homeland, Central Arnhem Land Plateau, West Arnhem Land; Injalak Arts, Gunbalanya. Supported by: Dean Yibarbuk and his grandson Ray Nadjamerrek.

Freddie Timms, Ngarrmaliny (naramali), Janama: President Jirrawun Arts, Wyndham, WA; ANKAAA Director.

Richard Gandhuwuy: Dhambala Homeland; Chairperson Elcho Island Arts, L - R: Freddie Timms, Ray Nadjamerrek, Wamud Namok, Dean Yibarbuk, Dion Marthakal Homelands Resource Centre, Galiwin’ku. Teasdale, Richard Gandhuwuy and Djambawa Marawili. All photos: © Yothu Yindi Foundation Panel chairperson: Christina Davidson, ANKAAA CEO.

12 Arts Backbone – Top end festivals Volume 9: Issue 2-3 December 2009 OutANKAAA and About! at Garma 2009 Gulkula, East Arnhem Land

1. 2. 3.

4. 5.

6. 7. 8.

1. ANKAAA members (R - L), Maryanne Sturt, friend, Myra Herbert, Valda Dixon, Donna Burak, Jennifer Jackson. 2. Maryanne Sturt, ANKAAA Director, Waringarri Art, Kununurra. 3. ANKAAA Board of Directors Meeting at Gulkula, August 8. 4. ANKAAA Group Photo: (back row L - R) Fabian Marawili, Isaiah Nagurrgurrba, Richard Ganduwuy, Ruth Nalmakarra, Shirley Minygululu, Freddie Timms, Ray Nadjamerrek, Thisbie Purich, Donna Burak, Danielle Cullen, Dean Yibarbuk (middle row L - R) Katie O’Connell, Brian Farmer, Maryanne Sturt, Richard Birrin Birrin, Tony Nadjalaburnburn, Christina Davidson (front row), Peter Minygululu, Myra Herbert, Wamud Namok, Valda Dixon, Djambawa Marawili. 5. Gapan Gallery print exhibition, Buku Larrnggay Mulka Centre. 6. (L - R) Lydia Miller, Executive Director, ATSIA, Australia Council for the Arts, Dr Mark Bin Baker, Chair, ATSIA, Australia Council and Djambawa Marawili, Chair ANKAAA. Key Forum plenary, August 8. 7. ANKAAA 2009 Arnhem Regional Meeting. 8. Ruth Nalmakara, ANKAAA Director, Acting Chairperson, ANKAAA Board of Directors Meeting, August 9. 9. ANKAAA campsite: (L - R) Ray Nadjamerrek, Dean Yibarbuk, Tony Nadjalaburnburn, Brian Farmer, Richard Birrin Birrin, Isaiah Nagurrgurrba. 9. All photos: © Yothu Yindi Foundation

Volume 9: Issue 2-3 December 2009 Top end festivals – Arts Backbone 13 Starting a Permanent Collection in Gapuwiyak Art Worker Focus, Marcus Pascoe by Claire Summers By Tara Leckey

A permanent collection of fibre work Wanapuyungu, Project Leader Marcus Pascoe has been working for has been developed in Gapuwiyak Maningrida Arts and Culture (MAC) with funding from Arts NT. The project Works in other mediums will be for nine years. He was originally was initiated to coincide with the acquired for the collection as funds employed through the CDEP program establishment of the community’s allow, and one day Gapuwiyak Culture as the Art Centre’s gallery assistant new culture centre, and the result is and Arts hopes to build a special and was responsible for serving a beautiful collection of forty fibre museum for our collection. customers, organising freight, ensuring works created by twenty-nine artists conservation standards were met, from Gapuwiyak and some of the helping to catalogue and tag artworks nearby homelands. The collection was and for conducting tours of the Djomi exhibited at the culture centre opening Below: Basket with String Handles by Rudy Museum. In 2008 Marcus was event in June this year. When the Bidingal. Photo: Claire Reynolds. appointed Gallery Supervisor. Marcus weavers saw their work displayed for Bottom: Diving Duck by Penny Wanapuyungu. has learnt many news skills through everyone to see, they were very proud. Photo: Claire Reynolds. computer training funded by ANKAAA and uses the AMS database to find information about artworks, artists and customers. ANKAAA has funded Marcus to travel into Darwin to participate in the Darwin Aboriginal Art Fair and the MAC Gallery exhibition several times. He helps hang the shows and gains a great understanding of the different ways Balanda (non-Indigenous people) appreciate and buy Indigenous artwork. Marcus then returns to work and explains to the community how galleries operate and what happens to the work once it leaves Maningrida. Marcus works incredibly hard and brings a wonderful enthusiasm to the work place.

Below: Marcus Pascoe with Marion Scrymgour Project workers Cait Wait, Silke Photo: Maningrida Arts and Culture. Roth and Lucy Wanapuyungu worked closely together to make sure that as many weavers as possible were represented in the collection, which includes mats, baskets, string bags, necklaces, a diving duck and an echidna.

‘We made this collection because we are famous women! [laughs] We talked a lot about the young kids, for the future, so they can see our work if any ladies are gone. We can show people our work, show them how we get the dye and make everything from the bush’. Lucy

14 Arts Backbone – KeEping Places and art worker focus Volume 9: Issue 2-3 December 2009 nagawaranin ngini ngawula imanka - Keeping Our Spirit Alive By Cher Breeze, Jilamara Arts & Crafts Arts

Since Jilamara Arts and Craft was with knowledge of Tiwi language, art, and program improvement, the artists formed in 1988 there has been an songs, dance, natural resources and of Jilamara envision their teaching will ongoing process of artists teaching history. The artists teach the students continue for many years to bridge the young people culture through dance, many different aspects of their culture gap between what we know and what song and art. This year Jilamara artists in a ‘hands-on,’ open, fun and creative we do. have been working hard, teaching manner. Resources from the Muluwurri not only students from Milikapiti Public Museum enhance each student’s visual School, but senior and junior students language and aid in presenting cultural from Tiwi College. lessons. Students are taught through culture, not about culture. At Jilamara the students are immersed in Tiwi culture through interactions with This exciting way of teaching brings their knowledgeable elders. Learning depth to learning and the students gain about their culture from people they confidence, build respect, improve know and respect as leaders in the communication with older people and community positively enhances their pass on their knowledge to siblings experience, and ensures future leaders and extended families. With an Glen Farmer and Pedro Wonaeamirri give a of the Tiwi Islands are fully equipped ongoing cycle of learning, evaluation lesson on country Photo: Jilamara Arts and Craft.

Reconnecting to Culture - Arts in the Grass: Larrakia Nation Long Grass Project 2009 By Katie O’Connell

Arts NT, will culminate in an exhibition and reconnect you to what is really of artworks at the Darwin Entertainment important to all of us…culture.’ Centre later this year. Many people, through circumstance, become stuck in the long grass of Darwin and are unable to reconnect to their country, family and culture. The program aims to bring this connection back to people in the parks around Darwin and so far has provided great individual and group successes. The art program also provides meals, facilities and support to A new program established by Larrakia the artists. Nation is focusing on the often forgotten long grass mobs in our community. Russell Lilford, Director of Larrakia Larrakia Nation, in cooperation with Nation, is proud of the response and HEAL (Healthy Engagement and the respect that the program is receiving Assistance in the long grass), has within the local and wider community. embarked on a program that provides ‘We can all work together to lift our art materials and tuition to assist long spirits and demonstrate our capacity grass artists in expressing their stories to make a valuable contribution to the Top Left: Priscilla completing a painting at the through painting, in a humbug and community, no matter where any of us camp. alcohol free environment. sleep. The project is not about money, Top Right: Arts in the Grass – Tiwi camp. the idea is that if you are making art you Bottom Right: Arts in the Grass – Tiwi camp. The pilot eight-week program, funded by might see beyond your current situation All photos: ANKAAA.

Volume 9: Issue 2-3 December 2009 Teaching Up – Arts Backbone 15 Darwin Aboriginal Art Fair 2009 - Working Together By Danielle Cullen

In August the Darwin Aboriginal Art Fair (DAAF), organised by Top End Arts Marketing, provided a great opportunity for Art Centres across Australia to represent themselves to the visitors and the art market. ANKAAA provided assistance for seventeen Indigenous arts workers from eight Art Centres to attend DAAF and gain experience in retailing and marketing their Art Centres to the public. They also got the opportunity to meet and network with commercial gallerists & collectors in town for the NATSIAA Awards.

Sponsored arts workers were Judy Manany and Mavis Ganambarr from Elcho Island Arts, David Bullen Rogers from Mangkaja Arts, Marcus Pascoe and Sidney Ali from Maningrida Arts & Culture, Emma Gundurrunbuy and Jane Yalunga said: ‘It was good. For in those booths and meeting them other Raymond Bulumbula from Milingimbi Art next time we’ll take some ochre to show galleries. Next time we’d like to go to & Culture, Linda Nasinga and Selma them. It was good for meeting people, some other Art Centres and go and see Golder from Mardbalk Arts & Crafts, real good. Talk about that Warmun Art. some different galleries.’ Leah Umbagai from Mowanjum Artists, Thinking about taking more painting Nancy McDinny and Amy Friday from next time. All sold! …Good for us Marcus Pascoe said: ‘The first thing Waralungku Arts, Chris Griffiths and mob, sticking together, taking turns that I did at the art fair was set it Agnes Armstrong from Waringarri Arts, working. Like with that ANKAAA T-Shirt, up. Then we served customers and and Roberta Daylight, Jane Yalunga look good…Those other girls (Roberta sold our stuff, then they paid and we and Marika Mung from Warmun Art Daylight and Marika Mung) found it wrote the invoices by hand. We took Centre. good. Good for going round and going them to Pack & Send and showed

16 Arts Backbone – Projects and training Volume 9: Issue 2-3 December 2009 NT Arts Infrastructure Project By Jessica Booth

them the packing room and how design, and draws on twenty two they should pack the artwork to send years experience in business and home. People asked me the story for community development in the paintings. We sold a lot of stuff - Indigenous communities. Our we did well and it was good to learn.’ accountant Michelle Coats is based in Kununurra and has ANKAAA Director Donna Burak manned lived in Numbulwar and Ngukurr. the ANKAAA stand and answered ANKAAA numerous questions from an interested has been successful in securing $5.8 Two major projects made possible by public. Rebecca Laubi from Arts Law million in infrastructure funding for the funding will occur at Jilamara Arts was also on hand to give advice to seventeen member Art Centres from and Craft, Melville Island and Buku artists and to talk to the public. Our the Aboriginal Benefits Account (ABA), Larrnggay Mulka, Yirrkala, for upgrades stand was well attended with lots of administered through the Department of to the the Art Centres and for staff people admiring Peter Eve’s great Families, Housing, Community Services housing and will be self-managed by photographs and picking up industry and Indigenous Affairs. A fantastic the Art Centres. The projects are a information. achievement, this is one of the first times new way of ANKAAA supporting Art ABA funding has been put towards Art Centres and we are privileged to do The 3rd Darwin Aboriginal Art Fair Centre infrastructure. so with the support of a committed and was a major success with total sales expert group of individuals in our Project reaching over the $600,000 mark ANKAAA has developed a strong Management Team. and an estimate of a further $200,000 team of qualified professionals to work generated in on-sales. alongside of the already established The first phase of equipment and small ANKAAA staff to manage fifteen of the project delivery will be completed by infrastructure projects with Art Centres. the end of 2009. Building works will The team has a wealth of collective be undertaken over the coming two knowledge of working with Indigenous years. ANKAAA has also secured communities. Paul Nowland, Project ABA funding to employ a Development Manager and Construction Manager, Officer starting February 2009, to assist (Nowland Builders Pty. Ltd.), grew up Art Centres with further applications for in Milingimbi and has over thirty years infrastructure support. experience in the NT building industry. Legal advisor Dominic McCormack, See www.ankaaa.org.au for further (Bowden & McCormack Lawyers), lived information on the project team. in Wadeye for fourteen years and is an interpreter of Indigenous language. Peter Shepherd (Business and Community Development Pty. Ltd.), has consulted Below: Independent Project Advisor, Peter extensively as an Independent Advisor Shepherd, working with the ANKAAA Board From P.16 Bottom Left: ANKAAA Director, Donna guiding the project management and of Directors decision making on the NT Arts Burak and Katie O’Connell at ANKAAA Art Fair Infrastructure project. Photo: ANKAAA. stall. Photo: ANKAAA. P16. Top Right: Marika Mung & Jane Yalunga from Warmun Art Centre. Photo: ANKAAA. P.16 Bottom Right: Leah Umbagai from Mowanjum Artists Photo: ANKAAA. Above: Marcus Pascoe from Maningrida Arts & Culture. Photo: ANKAAA.

Volume 9: Issue 2-3 December 2009 Projects and training – Arts Backbone 17 Sharing the Knowledge The Motika Project By Christopher Durkin, Kalumburu Arts Project By Warlayirti Artists

In September Ruth Nalmakarra and Kalumburu they set out to harvest Over the last few months Warlayirti Artists Emma Gundurrupuy from Milingimbi Arts pandanus and plants to make dyes. in Balgo has received funding from the and Culture in Arnhem Land came to The pandanus was easy to find, but the Community Road Safety Program (WA Kalumburu in the North Kimberley. Some roots for dyes were more difficult. Every Local Government Association) and the of the people in Kalumburu had asked day the ladies worked with about twelve Department of the Attorney General for them to come and teach them to senior students who learned how to through the Proceeds of Crime Grant weave with pandanus. collect the pandanus, the dyes, how to program for the Motika Project. prepare them and then to start weaving Before they arrived, some of the people a basket. The Motika Project is an arts-based went out and collected boab roots, project produced by Warlayirti Artists smashed them up and started to make It was a fantastic experience for with the communities of Balgo, Mulan string so they could practice. This was everyone to learn from each other and and Billiluna. This three year project part of a weekly art class some of the to meet people from different places. draws on community members’ lived Kalumburu Arts Project artists do with the The artists from Kalumburu had a few experiences of the ‘motika’ (motor car) as senior school kids. tears in their eyes when they had to say a ‘vehicle’ to explore a range of social, goodbye. cultural, economic and justice-based issues When Ruth and Emma arrived in experienced by living in remote communities. The project will take the form of workshops and exhibitions in photography, advertising and painting and ultimately a new film work about this all-important part of contemporary Indigenous culture.

The first stages of the project commenced in September with film and photography artists Gaby Mason and Lotte Waters engaging the community agencies in Balgo and Mulan to develop a team of photographers and camera operators from the two communities. The group created two short road safety ads and a poster campaign for exposure in local Indigenous media. The next stage of the project sees a range of young men engaged in a series of painting and photography projects.

For more information on the Motika Project contact Warlayirti Artists on (08) 9168 8960 or e-mail [email protected].

Top: Emma Gundurrupuy (Trainer), preparing dyes. Above: L-R Chris Durkin, Emma Gundurrupuy (trainer), Letesha, Douglas, Cameron, Ruth Nalmakarra (trainer), Talina, Anna. Images courtesy Kalumburu Arts Project, Western Australia. Above: Motika Project promotional image Thanks to ANKAAA for funding the project. Photo: Warlayirti Artists.

18 Arts Backbone – Projects and training Volume 9: Issue 2-3 December 2009 ‘A Wonderful Comparative Perspective on Landscape’ Mangkaja Artist Residency: 2007 - 2009 By Katie McGuire, Mangkaja Arts

Sometimes opportunity appears year before. Three generations of artists be exhibited at Australian Galleries, quietly like a wildflower seedling of the Cherel family joined Mandy on Melbourne, in late 2009. Not only pushing through the soil between a journey back to paint at Painted Rock has the experience been enriching for clumps of Spinifex. Projects which are (Imanara country). It was Katrina’s and all involved, ‘the project has provided a encouraged to blossom naturally are Rohanna’s (pictured) first visit. wonderful comparative perspective on bound for success! When renowned landscape’ (Howard Morphy, 2009). artist Mandy Martin walked into the With the support of the Department of Mangkaja Arts humble gallery at Fitzroy Culture and the Arts, Mandy Martin Crossing in 2007, no one suspected returned to Mangkaja Arts in 2009 the birth of an extraordinary three-year to extend the project working at four collaborative project. Martin camped communities with fifteen artists. The at Fossil Downs (Imanara country) artists painted country together in situ with Janangoo Butcher Cherel and, and later produced a folio of exquisite encouraged by Mandy McGuire (then etchings based on the original paintings. manager), took the old man on his final journey to country to spend the day The Painting Country project and painting. printmaking workshop culminated in two high profile exhibitions for Mangkaja In 2008 Mandy Martin and master artists. The Imanara print folio was printmaker Basil Hall returned to the shown in Etched in the Sun at Rebecca Katrina, Rohanna and Isaac Cherel at painted valley to work on a print folio inspired Hossack Gallery, London, in May rock Imanara Country, 2008. Image courtesy by the paintings at Fossil Downs the this year and paintings and prints will Mangkaja Arts, Western Australia.

Life in the Kimberley with Lisa and Aquinas By Jeremy Smith

In October 2009 a fantastic body of years developing their artistic skills 6 November, and in June 2010 when work by Fitzroy Crossing artists Lisa Uhl in workshops in Fitzroy Crossing, the the exhibition will open at the Moores and Aquinas Crowe was showcased pair were keen to take their practice to Building Contemporary Art Gallery in at Mangkaja Arts. For one week, Life the next level. With a groundswell of Fremantle. in the Kimberley with Lisa and Aquinas community support behind them, Lisa transformed the Mangkaja Art Centre and Aquinas proudly unveiled their art studio in to a gallery space – twenty work to a crowd of nearly 200 people. of Lisa’s paintings on canvas and Aquinas introduced each of his films paper were exhibited, as were three to the audience and explained the of Aquinas’ films. The works tell the inspiration behind his films, while Lisa unique and touching tales of these two proudly showed her paintings. incredible young disabled Aboriginal artists. The event included singing and dancing and Mungarri cooked in the ground. Mangkaja Arts and Disability in The event also provided an ideal the Arts, Disadvantage in the Arts, opportunity to premiere the Mangkaja Australia (DADAA) partnered with the Artist Biography Films Rough Copy. artists and secured a grant from the Department of Culture and the Arts (in Lisa and Aquinas will travel to Perth to partnership with the Disability Services attend the opening of their exhibition Lisa Uhl and Aquinas Crowe at Mangkaja Studio Commission). Having spent over three at DADAA’s Freight Gallery on Friday Photo: Mangkaja Arts.

Volume 9: Issue 2-3 December 2009 Projects and training – Arts Backbone 19 Japanese Woodblocking and Footprints on Blue Mud Bay Etching Workshop By Angus Cameron, Nomad Art Darwin By Chris Meizis, Munupi Arts and Crafts

Baniyala is the home of the Yithuwa and scientific knowledge. At night the Printmakers Jacqueline Gribbin and Paul Madarrpa people at Blue Mud Bay in group watched archival films depicting Kovesi from Northern Editions recently Eastern Arnhem Land. In October 2009 Yolngu culture and looked at images lead a five-day workshop at Munupi Arts Nomad Art Productions invited a group of each other’s work. Around the and Crafts on Melville Island, supported of artists from around Australia to take campfire they discussed culture, history, by funding from ANKAAA. They worked part in a cross-cultural exchange at a sea rights and events. In response, together with Tiwi artists in the making traditional campsite recently constructed each artist depicted the experience in of woodblock prints – an old style of at the community. their own way; thinking, observing, Japanese printmaking. photographing and drawing one of the Yolngu artists Djambawa Marawili, most pristine and culturally significant The artists found it challenging in the Marrerra Marawili, Liyawaday places in Australia. beginning, but excitement grew as they Marawili, Marrnyula Munungurr and began to understand the woodblocking Mulkun Wirrpanda participated in the Printmaker Basil Hall set up a temporary process. After cutting fingers whilst printmaking workshop with printmaker printmaking studio and images were etching designs came the fun part - Basil Hall. They worked alongside translated onto zinc plates. The project choosing colours and spreading paint. visiting artists Fiona Hall, John Wolseley, will culminate in a selection of limited The designs came alive, resulting in bold Jorg Schmeisser and Judy Watson and edition etchings which will be launched and intricate patterns in vibrant colours were accompanied by ethno-biologist at the 2010 Darwin Festival. Our and pale pastels. Seeing their finished Glenn Wightman, anthropologist thanks to the Sidney Myer Foundation, pieces was the highlight for all involved, Howard Morphy and photographer NT Research and Innovation Board, Arts with the women admiring each other’s Peter Eve. Together they camped, NT, Australia Council for the Arts, Buku new work. cooked, walked the country, shared Larrnggay Mulka, Basil Hall Editions, the stories and made art. ANU Research School of Humanities, NRETAS and the wonderful generosity The artists made trips to country visiting and hospitality of Djambawa Marawili ancestral sites and sharing traditional and the Baniyala Community.

Top Right: Donna Burak learning Japanese woodblock printing techniques from printmaker Jacqueline Gribbin. Photo: ANKAAA.

Left Top: Under the knowledge tree at Baniyala listening to Djambawa Marawili Photo: Peter Eve. Left Bottom: Welcoming Bunggal and smoking ceremony at Baniyala Community Photo: Peter Eve. Middle Bottom: Artists and scientists with Laynhapuy Rangers on the flood plains at Blue Mud Bay. Photo: Peter Eve.

20 Arts Backbone – Projects and training Volume 9: Issue 2-3 December 2009 Following in their footsteps By Pedro Wonaeamirri (in conversation with Barry Hayes, Jilamara Arts and Craft)

In September I went to Sydney to do Six months or a some public talks for the Art Gallery of year after a person New South Wales about the Pukumani dies, the in-laws of poles, tutini, in their collection. The the deceased are poles were collected by Dr Stuart commissioned by the Scougall and Tony Tuckson. They were family to carve the made in Milikapiti, Melville Island poles to be placed and were taken down to Sydney for around the burial exhibition at the Gallery. It was the 50th site. anniversary of their arrival and they were being moved from the bottom level Fifty years ago of the gallery to the ‘Grand Court’ for when these poles permanent display. were carved, the old people were I worked with Jonathon Jones, a Curator very strong. They had their own style of can go to Sydney to see them and other from the Gallery, talking to hundreds carving and painting. Today, myself and people can see how important they are of people over three days about the other artists carve pukumani poles for to us Tiwi. poles, how they were made and used ceremony and for exhibition. in the past and today and how they Pedro Wonaeamirri (and curator Johnathan Jones) relate to Tiwi death and to the spirit of It is important that the Art Gallery of speaking at the Art Gallery of New South Wales. Tiwi people. The pukumani pole for us New South Wales keep these poles so Photo: Johan Palsson, Art Gallery of New South Tiwi is like a monument, or headstone. that the next generation of my people Wales.

Dictionary of Australian Artists Online By Vivien Johnson

of the big missing parts of the picture of awards, have exhibitions, travel for art we are trying to build with business and so on. Several managers the DAAO. were keen to have post-graduate students from the University come to So in the last week of September, work with artists to write biographies for DAAO Editor-in-Chief Vivien the DAAO. Johnson from the University of NSW accompanied ANKAAA CEO Christina If you are interested in taking part in this Davidson on a road trip that took us project, check out the DAAO at www. from Darwin across Arnhem Land. daao.org.au or email the DAAO Editor The Dictionary of Australian Artists We visited Injalak Arts and Crafts at on [email protected]. Online (DAAO) is a free national Gunbalanya, Maningrida Arts and resource which aims to include accurate Culture, Bula’bula Arts at Ramingining, biographies of all Australian artists, Buku Larrnggay Mulka at Yirrkala and Indigenous and non-Indigenous. That Gapuwiyak Culture and Arts. Vivien met is an enormous task, which will take a with managers and artists and explained long time to complete, but already the and demonstrated the DAAO. Several DAAO contains over eight thousand Art Centres joined up to the DAAO entries. Many of these are Indigenous on the spot. They can now contribute artists from deserts and cities, but the their artists’ biographies to the DAAO biographies of Aboriginal artists from themselves and then keep adding Dorothy Djukulul and Professor Vivien Johnson, the Top End and the Kimberley are one information to their entries as artists win Bula’bula Arts, Ramingining. Photo: ANKAAA.

Volume 9: Issue 2-3 December 2009 News – Arts Backbone 21 Out and About!

Elcho Island elder and artist, Richard Gandhuwuy found time at this year’s Garma festival to talk art and Freddie Timms, Chris Durkin and Bonnie Deakon. the homelands movement with Federal Minister for the Arts, Peter Garrett. Photo: Dion Teasdale. Photo: ANKAAA.

Tiwi Region members and ANKAAA staff at Tiwi Regional Meeting. Photo: ANKAAA.

Kevin Rudd, Colin Barnett, Carol Hapke & Button Jones at the East Kimberley Ord Expansion Project. During the event Kevin Rudd announced support to Waringarri Aboriginal Arts for infrastructure funding supporting art centre upgrades and staff housing for Kalumburu Community. Photo: Nathan Dyer.

Djambawa Marawili singing, Anna Schwartz in background, at Moscow Biennale this year. Image courtesy Buku Larrnggay Mulka, Northern Territory.

Patrick Mung Mung and Betty Carrington at the opening of Kimberley Aboriginal Artists exhibition, Sharing At the Stone Country Festival 2009, Injalak Arts. Difference On Common Ground, at Holmes a Court Gallery, Perth, in October. Photo: ANKAAA. Photo: Tim Acker, Kimberley Aboriginal Artists.

22 Arts Backbone – Out and About Volume 9: Issue 2-3 December 2009 Out and About! Out and About! Boxer Milner Tjampitjin 1934 - 2009 By Warlayirti Artists

In June this year Warlayirti Artists lost one of its most respected and prolific artists, Boxer Milner Tjampitjin. Milgna Milgna was an old man who was his country: Purkitji and Kandimalal – Sturt Creek and Wolf Creek Crater. One of the most innovative colourists in Australian art, his career spanned over 18 years.

Boxer was a senior law man and custodian of the country Tjukurrpa (Dreaming) stories and songs of the Sturt Creek, Purkitji. A highly inventive artist, he meticulously rendered At the Kimberley Regional Meeting, Warmun Art Centre, November 2009. Photo: ANKAAA. intricate patterns. His signature motif was a geometric grid that depicted the phenomenon of ‘milk water’ that runs after the rain has Wesfarmers Fellowship Consultation Workshops fallen in the clay soils upstream of Billiluna. These patterns, in their strength and variations, depicted the drama of the weather and transformation of the land by the waterways. The Australian National Gallery, Wide national consultation has taken in partnership with Wesfarmers, place to help develop the Fellowship He once commented about his work, ‘I like my is planning an innovative and Program and in September and October paintings because I paint the dreaming of my exciting new Fellowship Program to ANKAAA was very pleased to partner country. Sturt Creek brings back memories of support professional development of with the Fellowship consultancy firm Cox my old people and tribe and my country. I like Indigenous Arts Workers. The program, Inall Ridgeway to support consultation working to earn my own money… painting commencing in 2010, will equip workshops in Darwin and Broome. keeps me busy.’1 Indigenous people to work in roles such as curating, marketing, management, Boxer had solo exhibitions in 2000, 2003 art handling, registration, publishing and and 2005 and has shown overseas. He fundraising. is represented in major Australian and international public and private collections including the National Gallery of Australia, Art Gallery of South Australia, National Gallery of Victoria, Kerry Stokes Collection, Laverty Collection, Artbank, Berndt Museum of Anthropology, University of Western Australia, Kluge Ruhe Collection, USA and Helen Read L-R Rosie Goodjie, Nada Rawlins and Daisy Collection. The exhibition Balgo: Contemporary Andrews at the Wesfarmers Fellowship Australian Art from the Balgo Hills, from the Consultation Workshop in Broome. Artbank collection and including Boxer Milner’s Photo: ANKAAA. work, is presently touring internationally.

It is thanks to Boxer Milner that the stories and songs of his country and the ‘milk water’ continue to run.

1 Balgo 4-04 , New paintings from the Kutjungka Aden Ridgeway and Nada Rawlins at the Region, Warlayirti Aboriginal Corporation 2004 p.40 At the Wesfarmers Fellowship Consultation in Wesfarmers Fellowship Consultation Workshop in Darwin. Photo: ANKAAA. Broome in October. Photo: ANKAAA.

Volume 9: Issue 2-3 December 2009 Out and About – Arts Backbone 23 Obituary - Wamud Namok ANKAAA DirectorsExecutive & StaffStaff

ANKAAA Board of Directors 2009-2010 One of the Northern Territory’s most researchers from both the social and Printmakers Jacqueline Gribbin and Paul distinguished and respected Indigenous natural sciences. He was also a regular KovesiChairperson: from NorthernDjambawa Editions Marawili recently Buku Larrnggay Mulka leaders has passed away aged 83 on speaker at regional land management lead a five-day workshop at Munupi Arts Arnhem Land Region his country at the remote West Arnhem conferences. He has been extremely and Crafts on Melville Island, supported Land Outstation of Kabulwarnamyo. generous with his knowledge taking byDeputy funding Chairperson: from ANKAAA. Cyril James They Kerinauia worked Tiwi Design Wamud Namok was made an Officer on an important role as teacher to both together with Tiwi artists in the making Tiwi Region in the Order of Australia for his services non-Aboriginal people and younger of woodblock prints – an old style of to the arts and Indigenous land generations of Aboriginal kin. JapaneseTreasurer: printmaking.Alan Joshua Darwin/Katherine Region management in 2004. Wamud Namok has been one of the TheRuth artistsNalmakarra found it challenging in the Born on the Arnhem Land Plateau in region’s most important and loved artists. beginning,Milingimbi Artbut and excitement Culture grew as they Arnhem Land Region 1926 Wamud Namok spent much of His works are held by most major state began to understand the woodblocking his life travelling across the traditional cultural institutions in Australia process.Richard Birrin After Birrin cutting fingers whilst walking tracks of Western and Southern and overseas. He is also known as the etchingBula’bula designs Arts came the fun part - Arnhem Land Region Arnhem Land hunting, participating in last Aboriginal artist to have painted choosing colours and spreading paint. ceremonies, trading traditional works on the walls of rock shelters in TheValda designs Dixon came alive, resulting in bold commodities and maintaining his western Arnhem Land. His knowledge of andWarnayaka intricate Art patterns and Cultural in vibrant Aboriginal colours Corporation extended kin networks. As a youth he the contemporary significance of rock andDarwin/Katherine pale pastels. Region Seeing their finished worked in the tin mining industry and art in the region was unparalleled and pieces was the highlight for all involved, Freddie Timms gave otherwise unrecognised service represents a link with the past and a with the women admiring each other’s Jirrawun Arts in the Katherine region with the military particular way of life which has now newKimberley work. Region during the Second World War. His changed forever. Rosie La La extensive travel has been the basis for Yaruman Arts & Culture his exceptional knowledge about In late September this year he saw the Kimberley Region places, their land ownership status, their rock country lands of the West Arnhem Maryanne Sturt physical peculiarities, available Plateau declared as an Indigenous Waringarri Aboriginal Arts resources and religious significance as Protected Area at a ceremony attended Kimberley Region well as their history passed on by by the Environment Minister Peter Garrett Donna Burak previous generations. and other dignitaries. The Munupi Arts and Crafts Association declaration was a great step towards Tiwi Region In his senior years Wamud his vision of bringing his people back Brian Farmer Namok worked as a consultant to care for their traditional lands. Jilamara Arts and Craft to anthropologists, art historians, Tiwi Region botanists and a diverse group of other ANKAAA STAFF

Left: © Wamud Namok, Kunj and Wak Wak Right: : © Wamud Namok, WakeWaken - Ankunj Djang Chief Executive Officer Christina Davidson – [email protected] au (Sugarbag dreaming) Photos: Injalak Arts. Resource and Development Officer Danielle Cullen – [email protected]

Resource and Development Officer Madeline Challender – (Starting January 2010)

Administration Officer Katie O’Connell – [email protected]

Administration Assistant Cherrie Bush - [email protected]

24 Arts Backbone Volume 9: Issue 2-3 December 2009