BUKU-LARR|GAY MULKA CENTRE

Yirrkala NT 0880 Australia - phone (08) 8987 1701 - fax (08) 8987 2701 art@yirrkala.com - www.yirrkala.com - abn: 66 988 958 476

Buku-Larrnggay Mulka Centre Submission to the Standing Committee of Indigenous Affairs

Inquire into and report on the growing presence of inauthentic Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise for sale across Australia, including:

Response to the terms of reference:

• the definition of authentic art and craft products and merchandise; • current laws and licensing arrangements for the production, distribution, selling and reselling of authentic Aboriginal and Torres Strait Islander art and craft products and merchandise; • an examination of the prevalence of inauthentic Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise in the market; • options to promote the authentic products for the benefit of artists and consumers; and • options to restrict the prevalence of inauthentic Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise in the market.

About Buku-Larrnggay Mulka Centre & History

Buku-Larrnggay – “the feeling on your face as it is struck by the first rays of the sun (i.e. facing East)

Mulka – “a sacred but public ceremony.”

Buku-Larrnggay Mulka Centre is an Indigenous community owned and governed art centre located in Yirrkala community, NE Arnhem Land in the Northern Territory, approximately 800km east of Darwin. Our primarily Yolŋu (Aboriginal) staff of 20 service over 300 artists from 25 homelands within a radius of approximately 200km.

The Centre is divided into two sections: Buku-Larrnggay is the commercial arm of the centre. The building includes 3 gallery spaces, an auditorium and print studio. Artworks are exhibited nationally and internationally and artists are represented in major Australian and International public and private collections.

Buku staff member Bitharr Maymuru serving customer photo by Nicholas Gouldhurst

Buku staff members Bruce and Josh cutting bark photo by Pep Phelan

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Buku staff member Patrina and larrakitj with customer photo by Nicholas Gouldhurst

The Mulka Project - includes an award winning and internationally renowned museum, a digital production studio and recording studio. The museum collection includes bark paintings from the 16 clans, the Yirrkala Church panels, over 80,000 historical photographs and historic films. Filmmakers from the Mulka project film important ceremonies and are also involved in creative projects.

Baniyala community leader Djambawa Marawili and Ishmael Marika from the Mulka Project filming “Rangers in Place.

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History of Art The art of the Yirrkala region has been developing an appreciative audience since the township was founded as a mission in 1935. Work from Yirrkala was amongst the earliest commercial Aboriginal art marketed by Methodist Overseas Mission. There is strong evidence to suggest that the art emerging from Yirrkala in the mid 1950s was a catalyst in the non-Aboriginal art world’s realisation that Indigenous Australian art is a unique and profound independent art tradition – the equal of any other global form. Further, the artists of Yirrkala were amongst the first Indigenous Australians to recognise the potential use of visual art as a political tool and put this into practice with the now famous Yirrkala Church Panels (on display in our museum) and Yirrkala Bark Petition (currently on display at Parliament House in Canberra) dating from 1963, also the Wukidi Installation in The NT Supreme Court, Darwin and the Saltwater Collection in the Australian National Maritime Museum.

When government policy shifted and self-determination came to communities in Arnhem Land, the artists saw the establishment of a community controlled art centre as critically important to further their economic independence, cultural security over sacred designs, and to maintain political and intellectual sovereignty.

In 1976, the Yolŋu artists established ‘Buku-Larrnggay Arts’ in the old Mission health centre as an act of self-determination coinciding with the withdrawal of the Methodist Overseas Mission and the Land Rights and Homeland movements. In 1988, a new Museum was built with a Bicentenary grant and this houses a collection of works put together in the 1970’s illustrating clan law and also the Message Sticks from 1935 and the Yirrkala Church Panels from 1963.

Our Artwork The Yolŋu people are all capable and entitled to express their sacred identity through art. The artists who work through Buku-Larrnggay Mulka Centre are men and women of all ages. The major clans serviced by the art centre are; Gumatj, Rirratjingu, Djapu, Manggalili, Marrakulu, Madarrpa, Gälpu, Dhalwangu, Dätiwuy, Ngaymil, Djarrwark, Djambarrpuyngu, Wangurri, Warramiri, Dhudi-Djapu, Gupapuyngu and Munyuku.

The artists of Buku-Larrnggay Mulka are internationally renowned for their innovative and high quality arts practice. The art centre is known for the use of natural materials and exhibits and sells the following:

4 Larrakitj (memorial poles) - in time past the poles held the bones of the dead and formed an important part of funeral rites. Today the Yolŋu continue their cultural tradition without the human remains, selling their art and reviving the life and disseminating the beliefs of their ancestors. Painted (and sometimes carved) hollow stringy-bark trees, they depict the geological origins of different clans and within complex geometric and latterly more organic designs, they speak of their system of community.

Nawurapu Wunuŋmurra's Waŋupini larrakitj photo Tim Acker 2016

Nuwayak (bark paintings) - after the wet season deluge, gadayka (stringybark eucalypt), is stripped of its bark, which is then cured by fire, weighted and left to dry. Locally obtained earth pigments are ground down with water on a course rock to make a paint. A brush called a marawt is made of human hair. The artist then paints their miny’tji, or sacred designs, belonging to their clan.

Lightning 2017, by Nonggirrnga Marawili Earth pigments on Stringybark @ Tarnathi 2017

5 Fibre work is the practice of weaving Bol’pu (dilly bags), bathi (coiled baskets) and Ŋanmara (Woven Mat) from the leaves of the pandanus and the bark of the kurrajong continues today. Making these things is very labour intensive. Gathering the materials can be quite exhausting. The spikey pandanus leaves are sometimes difficult to harvest, followed by the careful task of flaying the leaves before hanging them to dry. The dyes used are from the bulbs, roots or bark of various woodland plants. Once the material is collected, trimmed, dried and dyed the weaving begins. This is almost always done by women in groups. Men have been known to weave ceremonial or sacred objects but these are not for sale.

Basket on beach photo Tim Acker

Yidaki (Didjeridu) – Didjeridu is a non-Aboriginal term for an Aboriginal wind instrument that has numerous Aboriginal names. Prior to European colonisation, the instrument was limited to the Northern extremes of Australia, in particular Arnhem Land. Amongst the Yolŋu clans of North East Arnhem Land, yidaki is the generic name for the naturally occurring termite hollowed trunks of young Eucalyptus trees that are cut and shaped into a musical instrument. This name is correctly used for instruments from this region that have been made and decorated solely by Yolŋu people. All other instruments should be called Didjeridus, unless they are made by an Aboriginal person and called by their local Aboriginal name for the instrument.

Buku staff Djuwakan showing customer yidaki photo by Nicholas Gouldhurst

6 Carvings - Yolŋu artists also create sculptures decorated with painted or incised designs. Pieces are available from small decorative objects made from soft woods to larger works in hardwood based on sacred ceremonial objects. Limited edition prints – Buku-Larrnggay Mulka has operated a Yolŋu run a print studio for over 21 years. The art centre is famous for its beautiful limited edition prints and organises an annual exhibition at the Garma Festival called the Gapan Gallery where is showcases the work of its printmakers.

Question 1 - How does Fake Aboriginal and Torres Strait Islander Art affect you and your community? Why is it important to do something about this? “We haven’t created something that was never there. The artworks we make are connected to us, to our land and our songlines. It has always been this way. They are our deep clan stories and we are held to our traditional laws. Our artworks are visual translations that are connected through the songlines which links us to our country and our ancestors”.

“The Scots have their clan tartans and Royal families across Europe have their Coat of Arms. Our miny’tji (clan designs) are the same. They explain where you are from, identifies you, this is what we refer to as our djalkarri. Djalkarri is a form of ID and gives us ownership of country”

For example: My yaku (name) is Banduk Marika. My skin name is Gamantjan My country is Yalanbarra (Port Bradshaw), Yirrkala and Dhambaliya (Bremmer Island) My clan is Rirratjiŋu My Likan is Gunitjpirr

Every Rirratjiŋu person has the above elements to their identity, to their clan and their country. This is like a passport and gives our permission to paint our artworks. No-one else has permission to do so.

Our connection to our country, our history and our knowledge informs our artistic practice. If we break it, we get into big trouble and are brought into account by our elders. There is ceremony that takes young men through law. They need to learn the Yolŋu law. It’s a bit like being a Law student going though University and then doing their articles. My father gave me, and my sisters the knowledge and permission too. He handed down his responsibilities to us. However, because we are women we can not be the lawmakers. The men have to do this. In the context of painting, we can only paint stories open to the public. There are elements of Yolŋu law that cannot be revealed in the art or performance.

For us, our works are not just beautiful artworks. It is a privilege to own one. You become a type of custodian and need to look after it and not abuse our laws and culture. It causes us a great deal of pain when we see our clan designs copied by

7 people who don’t understand their importance or have permission to do so”. Banduk Marika

Question 2 - Should the Federal Government change the laws relating to Fake Art? What changes do you suggest? Current Australian Consumer Laws (ACL) are inadequate and do not protect Indigenous artists from the impact of fake Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise available on the market. It hurts culture and also prevents artists from having important commercial opportunities, which in turn support their families and communities.

We would like to see the ACL laws tightened and see the prohibition of sale of inauthentic ‘Aboriginal style’ work in Australia and the world.

Question 3 - What can we do to better promote and support the creation of authentic Aboriginal and Torres Strait Islander Arts? We understand that surveys conducted by Australian tourism agencies continually reveal that international and national visitors want to have authentic engagement with Indigenous culture and art. It is terrible that tourist’s first introduction to Indigenous art is often fake ‘Aboriginal style’ trinkets sold at airports and tourist shops around Australia. These outlets are doing nothing to promote Indigenous art and culture and this is confusing the consumer. Labelling on products is often misleading and false. This rips off the consumer and hurts our culture and is stopping important commercial opportunities for our artists. It also sends a message that Aboriginal and Torres Straight Islander arts and crafts are not important or valued in Australia.

This is a tragedy as Aboriginal and Torres Strait Islander work is one of the most rich and exciting art movements in the world and is unique to Australia. There is a wonderful opportunity for Australia to promote and celebrate First Nations art and culture on the world stage. Australia should be considered an art and cultural destination. The proliferation and availability of Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise cheapens this message.

Funding and resourcing Indigenous owned and governed art centres across Australia is key to sustaining a dynamic and high quality Aboriginal and Torres Strait Islander arts sector.

Art Centres are artist’s businesses and provide the following: • Work with artists of all ages and abilities • Access to independent income • Develop and support artistic excellence and innovation • Contribute to individual and community wellbeing • Empower artists to develop personally and professionally • Direct links to national and international audiences and opportunities • Provide impeccable provenance for all artworks produced • Are ethical social enterprises and provide a transparent value/supply chain

8 • Support intergenerational learning and the transmission of cultural knowledge • Support both established and emerging artists • Make a significant contribution to Australia’s national identity • Support for a wide range of cultural and community activities . Question 4 – What else can we do as a community to stop Fake Art? Last year the Indigenous Art Code and ArtsLaw conducted research and found that up to 80% of Indigenous souvenirs in tourist shops are fakes. This is shocking and needs to stop. As a community we can stop Fake Art by the following: - Support Aboriginal and Torres Strait Islander artists and their art centres by providing adequate funding and resourcing to enable the creation and supply of arts and crafts to the market.

- Strengthen Australian Consumer Law to protect the consumer and Indigenous artists from the impact of fake Aboriginal and Torres Strait Islander ‘style’ art.

- Increase consumer education via the Indigenous Art Code’s programs and initiatives.

- Provide education programs informing Aboriginal and Torres Strait Islander artists about their rights via ArtsLaw’s Artists in the Black programs.

- Support Art Centre peak organisations such as ANKAA, Desart, KuArts, IACA, and ACHWA who provide invaluable advocacy and support to art centres and artists. Ensuring arts worker training and the professional development to art centres continues.

Question 5 - Would you like to add anything else? Artist’s Statements "Ngäpaki (non-aboriginal) should respect yidaki ga Yolngu. We are the first people to play yidaki, first people singing ga dancing bunggul djäma (ceremony) with bilma (clapsticks).” Burrngupurrngu Wunungmurra

"I just want to say that people should respect yidaki. Because of where it comes from, where it originated. Don't make it, or use it for bad reasons. Respect it. Don't make fun of it. Play for fun, to entertain. Use it, and keep it, and respect it always.” Milkayngu Munuggurr

"So it's really hard nowadays that people just want... want to make up a didjeridu. Firstly they'll think.... think that is made by Yolŋu People, but they copy it from, copy it from Yolŋu People. I didn’t go to internet and pick it up... I’m carrying on my old man's tradition.” Watjuku Gurruwiwi

9 “Yolŋu are fortunate, we still have our country and culture and we want to educate the world so that people will respects us for who we are and why we fight for our rights.

I was recently in Melbourne with my daughter to do an artist’s floor talk at the Bayside Gallery about Yirrkala prints. It was wonderful to see my daughter Ruby step up and talk to the public about Yolŋu culture and artistic practice. For me as a mother it was fantastic to see her confidence and how she shows respect for her culture and is becoming a curator and artist in her own right. It is so important for us artists to go and speak to the public about our work and it’s meaning. When people begin to understand. They look at the work and culture differently. You can see how exciting it is for them. It transforms people’s understanding and relationship to culture. Our responsibility is to nurture and encourage our young people. Fake art is another barrier for our young people. Please stop it, our art and our culture is their future” Banduk Marika

Image: Ruby Alderton is the daughter of Banduk Marika and the granddaughter of Mawalan#1 Marika. Most of her family are or have been known for their contribution to the reputation Yolŋu art’s high regard.

VIDEO SUBMISSION Wukun Wanambi’s submission via video - https://vimeo.com/241108242/04a8794a7f Please note that this video has also been sent as a larger file via Dropbox

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