ANKAAA ASSOCIATION OF THE NORTHERN, KIMBERLEY AND ARNHEM ABORIGINAL ARTISTS

VOLUME 2, ISSUE 4 The Arts Backbone DECEMBER 2002

INSIDE THIS ISSUE: ANKAAA ANNUAL GENERAL MEETING — Christmas Dates .. 2 55 PEOPLE AND 3 DAYS OF NETWORKING, HARD WORK AND FUN !!!! Dried fruits and nuts 3RD, 4TH AND 5TH OF DECEMBER 2002 AT THE NTU BY STEPHANIE HAKWINS Warmun Art Centre 3 Volunteer program Over the 3 days of ANKAAA AGM events we ANKAAA and GARMA 2003, GST and its had over 55 participants from the ANKAAA impact on Indigenous Artists, and the upcom- Yidaki— 4 membership including artists from Balgo Hills ing ANKAAA strategic plan. That evening we The Right Way Today WA, Tiwi Islands NT, NT, Turkey were hosted by RAFT Artspace in conjunction Feature Art Centre: 5 Creek WA, Kununurra WA, Katherine NT, Yir- with the support of AUSTRADE NT to a view- Mimi Arts and Crafts, rkala NT, Maningrida NT, Oenpelli NT, Jabiru ing of FIBRE: An Exhibition of woven Art. Katherine NT NT, Manyallaluk NT, Daly River NT as well as This gave everyone a chance to unwind after Darwin based artists. the official business of the day and mingle with Feature Artists: 6 international delegates from AUSTRADE on a Manuel Pamkal , Manyallaluk Arts and The first day was updating the membership on relaxed level. Crafts the progress of the ANKAAA book. The style and format of the individual Art Centre’s essays The last day of events was the ANKAAA “Fun Upcoming Exhibition 7 which have been written by Flick Wright in col- Day” filled with 11 presentations from varying December 2002— laboration with the Art Centres. At this stage 11 organisations including Fiona Carter from March 2003 of these essays have been completed to a final artsMARK, Albert Koomen from the ABC, New ANKAAA 8 draft stage and will be completely finalised by Cathy Craigie from the Australia Council, Mar- Executive and members the 31st January 2003. At this point the Tiwi tin Shub from NATSIVAD, Donna Hunter & Islands have been photographed by Peter Eve. Coby Martin-Jard from ATSIC, Peter Dummett SPECIAL POINTS The participants were shown the images to date from TNT, Austrade delegates including David OF INTEREST: which received rave reviews. The budget and Crook (USA), Aya Fujii (Japan) and Teresa funding situation was outlined to the member- Pezzimenti (Italy) and Art Centre presentations • ANKAAA Office will be ship and ideas flowed for other funding sources. including Injalak Arts and Crafts, Elcho Island closed from the 19th Arts and Crafts and Arts. The day December—13th Janu- The following day saw the official ANKAAA finished with a tour of Northern Editions print- ary business discussed at the AGM. Jennis Warin making studio’s at the NTU. The presentation from Laynhapuy Homelands presented the Audit day is important for the ANKAAA Member- • Matt Longworth has for 2001-2002 with assistance from Djambawa ship as most of the artists live in remote com- been appointed as the Marawili. The AGM saw increase in member- munities and rarely have the opportunity to new ANKAAA IT Devel- ship to ANKAAA with 4 Individual artists and 5 network and meet with other stakeholders face opment Officer com- new Art Centres joining the ANKAAA fold (see to face. It is important for us that people work- mencing on the 13th page 8 for new members). A new ANKAAA ing closely with the industry are given the January 2003 Executive was appointed unanimously by the chance to share information and develop future membership (see page 8 for new ANKAAA projects. Thanks to all presenters and partici- Executive Committee). For the first time pants to the ANKAAA AGM events. ANKAAA now has a full Executive of 12 Com- mittee members (3 from the 4 regions ANKAAA A special big thanks from the ANKAAA staff, represents). The AGM also included some executive and members to the Vice Chancellors changes to ANKAAA Constitution which have Office at the NTU for their generous support in Exhibition been forwarded to the Office of the Registrar of providing a venue and accommodation to host Development Aboriginal Corporations (ORAC) for approval the AGM for a second year running. Fund and acceptance. Other agenda items included Applications are invited from curators, artists and community groups for developing touring FIBRE—AN EXHIBITION OF WOVEN ART exhibitions of NT contemporary visual art and craft. From the 23rd of November till the 7th December 2002, Darwinites and visitors were treated to Projects are generally funded FIBRE: an exhibition of woven art, showcasing weavings by leading Aboriginal artists from 6 for up to $4000. major Art Centres—Buku-Larrnggay Mulka (Yirrkala), Bula’bula Arts For information and guidelines (Ramingining), Elcho Island Arts and Crafts (Galiwin’ku), Injalak Arts and Crafts (Oenpelli), contact - Nicole Sarfati Maningrida Arts and Culture (Maningrida), and Marrawuddi Gallery (Bowali Visitors Centre, Ph 08 8924 4192 Fax 08 8924 4181 Email : [email protected] Jabiru). The exhibition was a collaboration between ANKAAA and RAFT Artspace. Fibre was a unique opportunity to view the diversity of Arnhem Land weaving styles and colours which included a contemporary mix of weavings from mats of every shape and size to vibrantly coloured bags to spotted camp dogs and plunging mermaids. P AGE 2 V OLUME 2, ISSUE 4

NORTHERN EDITIONS CHARGING AHEAD

Northern Editions is about to wel- etchings which are being editioned Entertainment Centre, at the end of come Greg Mallyon, formerly of for a proposed print exhibition at November 2002. Port Jackson Press, as Manager of NTU scheduled for 2003. Northern Editions, commencing this Northern Editions has a new website December. Northern Editions is Recent activities have been work- which will be developed further next unfortunately saying goodbye to shops conducted by Monique Auric- year to include a catalogue of current Marketing and Business Manager, chio at Warlukurlangu Art Centre, prints: Rose Cameron, who will be the new Yuendumu and following this, www.ntu.edu.au/northerneditions Marketing Officer for Tiwi Art Net- Paddy Fordham from Western Arn- work. hem Land completed 2 lithographs For further information contact and a large etching at the Northern Monique Auricchio 08 8946 6325 This year, Northern Editions has Editions studio. Perth based artist, had a very exciting year working Irwin Lewis, visited the studio for a with many fabulous artists. In Au- two-day workshop of etchings gust there was the Maningrida which were received well at the women’s print exhibition, Weave, at Contemporary Art Fair in Mel- the NTU Gallery, which launched a bourne last month. new suite of dry points, printed in the Northern Editions studio, on the Leon Stainer conducted the TAFE theme of woven objects. Remote Area Printmaking Program at Munupi Art Centre, Melville Is- Balgo artists, Lucy Yukenbarri, land resulting in many beautiful Helicopter, Nora Wompi, Susie etchings. They are currently being Leon Stainer and Helicopter from Bootja-Bootja, Eubena Nampit- editioned by Northern Editions as Warlayirti Artists. jimpa and her daughter Jane, spent well as etchings by Daly River art- Image courtesy of Northern four days in the Northern Editions ists from Merrepen Art Centre. Editions © 2002 garden working on screenprints and These were exhibited at the Darwin

CHRISTMAS DATES … DRIED FRUITS AND NUTS ...HO HO HO!!

The ANKAAA office will be closed from the 20th December to the 13th January 2003

Bula'bula Arts will be closed 20th December to 7th January 2003 Injalak Arts and Crafts will be closed from 23rd December to 10th January 2003. Mangkaja Arts Resource closed from 24th December to 27th January. Maningrida Arts and Culture closed the official public holidays only. Merrepen Arts closed lunchtime 24th December to 2nd January 2003 Mimi Arts and Crafts will close 24th December to 2nd January 2003 ANKAAA would like to wish Munupi arts is closed for 19th December to 19th January 2003 everyone a Merry Christmas Tiwi Design will be closed from 23rd December to 30th January 2003 and safe prosperous New Yirrkala Arts will be closed from 22nd December to 6th January 2003 Year—we look forward to Waringarri Arts will be closed 22nd December to 6th January 2003 working with you all again in (hours for January 9am – 3pm daily) Art centres not listed will be open excluding Public Holidays. 2003 ! Call or email for exact times.

CORRECTION /CLARIFICATION: Who’s WHO AND WHAT’S NEW … WHO’S In the ANKAAA The Arts Backbone Rose Cameron has been appointed to the Apolline Kohen has taken on the posi- position of Tiwi Art Network Marketing tion of Arts Director at Maningrida Vol 2. Issue 3 pg 1 Defunding of Art Officer. Rose joins the Tiwi Art Network Arts & Culture. Centres”. Warlayirti Artists have after working with Northern Editions print- been de-funded “operational costs” making at the NTU. Congratulations to Iza- Matt Longworth will start with however ATSIC did provide some bela Sulek and family on the arrival of baby ANKAAA as the new IT development “capital” funding for the mainte- Jesse. Officer on the 13th January 2003. nance of the Art Centre vehicle.

Tony Collins has been appointed as Man- ager at Elcho Island Arts and Crafts. THE ARTS BACKBONE P AGE 3

WARMUN ART CENTRE VOLUNTEER PROGRAM

Warmun Art Centre trialed a Volunteer they both had an interest in indigenous check that everything was working Program from June- September 2002. art, had traveled and spent a little time in well, or to re-work situations that The primary purpose for setting up such communities was advantageous. weren’t working. a program was three fold. 1). The number of direct visitors during I suppose the greatest fear we had was This year we briefly advertised in Art the busy ‘dry season’ had increased sig- getting lumbered with a ‘fruitcake’ for Monthly and have spoken to numerous nificantly and required a growing amount three months, so we established a three visitors to the Art Centre about the of Coordinators time. week cooling off time. A chance for both program for 2003. Obviously having 2). Documentation, artist amenity issues, parties to review the situation and con- people working at the Centre generated packing and email / customer inquiries sider how things were going. a lot of interest from visitors about were being relegated to after hours, gen- how they or a friend or relative may be erally finishing at 11 pm most evening. We basically allowed the volunteers to involved. 3). Coordinators wished to manage their spend time getting to know the artists for time and resources, keep their sanity and the first week and then gradually made So far we have received 15 inquiries enjoy the busy season. them aware in the second week of jobs for the information pack. If the time that needed doing on a daily basis, i.e. and commitment suits people, we have Warmun Art Centre Coordinators, Rudy preparing the tea, assisting with the hand- asked prospective volunteers to supply Panozzo and Carolynne Hamdorf had run ing out of canvases, picking up artists a written statement about themselves volunteer programs with community from the camp, documenting stories, pho- and their interests, including three festivals in regional Victoria and were tographing work and entering it into the referees. In 2003, we will run two aware that to make the program work database, packing and boxing work etc. programs, of three months each. One there needed to be a firm commitment Both Annette and Shane chose the types beginning April, May, June, the sec- made by the artists and the Art Centre. of job roles they were keen to undertake. ond from July, August, September. It was important to provide basic training We first sought to secure some accom- for new skills and to ensure volunteers Art Centres are incredibly busy and modation for the proposed volunteers. had set jobs in which they had control and frenetic places. Volunteers may solve Talked to the artists about bringing in authority. Providing variety and enough the lack of man-power in the short volunteers and discussed the benefits to work was also an important issue. term, but ultimately increased staffing the artists, i.e. greater attention and sup- We established a work commitment of 4 levels do need to be considered at a port. We were able to provide free ac- hours per day, but most days our volun- regional and community level. Particu- commodation within the community for teers worked longer. On week-ends we larly if there is an expectation to in- the volunteers and also assisted the vol- invited the volunteers to go out bush if we crease sales revenue, project activity, unteers passage to Warmun. were going. They came to the Darwin exhibition programs and artist devel- Telstra Art Award and by the end of their opment programs. We produced a Volunteer Pack, contain- stay were being taken out bush with the ing information about the role, a ‘duty artists. Overall establishing a volunteer pro- statement’, code of behavior, information gram has created a sense of calm and about the region and the Art Centre. This The fact that the artists knew the volun- manageability in an increasingly bur- was forwarded to the volunteers before teers were staying for a few months, that geoning industry. It is definitely worth their commencement. they were there to help them and that they the commitment. were open and accommodating people We had spent the first part of the year made the whole program work well. Carolynne Hamdorf canvassing interested Art Centre visitors Manager about the V.P. And luckily we had an It also provided a far greater social and Warmun Art Centre expression of interest from two mature relaxed environment for the Coordinators, PMB Turkey Creek individuals. Annette Orr, a visual artists which generally is a busy and stressful Via Kununurra from Perth, and Shane Le Plastrier, a work period. visual arts graduate, opal miner, social Western Australia 6743 worker and volunteer enthusiast, from Even though the Art Centre didn’t pay for . the volunteer’s time, it was necessary to Web: www.warmunart.com support the volunteers both financially Email: [email protected] Both had visited the Art Centre prior to and socially. We covered the fuel cost of Ph: 08 91687496 commencing as volunteers, so had gained Shane’s trips out bush with artists and Fax: 08 9168 7444 a glimpse of the conditions and environ- Annette’s photographic processing where ment. This proved ideal. Both started at the Art Centre received duplicate copies. the same time and completed their volun- We also shared many meals together. teer role at the same time. The fact that We had regular informal ‘meetings’ to

ANKAAA BROCHURE NOW AVAILABLE The brochure includes a map that shows the location of 26 art centres, many of which are based in remote aboriginal communities in the Top End of the and the Kimberley region. The map is the first of its kind for the Top End, depicting locations for the art centres. The brochure includes examples of work produced and background information on the Aboriginal owned art centres. Available from ANKAAA and ANKAAA Art centres contact ANKAAA on 08 8981 6134 or [email protected] P AGE 4 V OLUME 2, ISSUE 4

YIDAKI—THE RIGHT WAY TODAY STORY BY JEREMY CLOAKE, ASSISTANT MANAGER BUKU LARRNGGAY MULKA

Hearing this traditional style for the first time complex rhythm structures of traditional was a profound experience which inspired me Yidaki compositions has become a to travel to Australia. point of international focus for scores of non-Aboriginal Didjeridu players. Today Four years later at age twenty I bought a beat people travel from all corners of the globe to up 1972 Corolla and began a slow journey up Arnhemland to learn traditional playing the coast of Queensland into the central deserts techniques from Yidaki masters (such as and into the Western regions of Arnhemland. Djalu Gurruwiwi) and to purchase Yolngu- Along this journey I met and stayed with many made Yidaki in recognition of the instru- Aboriginal and non-Aboriginal Didjeridu and ments' exceptional quality and undisputed Yidaki makers. I heard many different styles of authenticity. playing, but nothing I experienced came close to the feelings that stirred within me when I felt The appropriation of Yidaki by non- the power and authority contained in live tradi- Aboriginal players is one of constant con- tional song from Arnhemland. The land and the cern for Yolngu. Opinion varies from one of people of Arnhemland shifted something inside openness to absolute prohibition. The large me and I returned to New Zealand consumed international market that now exists for with those feelings. Didjeridu is appealing to many Yolngu who choose to support themselves through the In 1997 I began an independent recording commercial sale of Yidaki. In any case, my project and 2 years later released the CD Reso- personal opinion is that non-Aboriginal nance. The contemporary Didjeridu composi- Didjeridu players should pay respect to an tions recorded on this CD are influenced by age old sacred tradition by learning about traditional Arnhemland playing styles, making the traditional context in which Yidaki ex- them technically difficult to mimic. This was a ists. direct contrast to most other contemporary CDs and as a result was well received by Didjeridu Purchasing authentic Arnhemland Yidaki communities around the globe. It has been supports Arnhemland Aboriginals, the own- praised as " one of the most exciting Didj CDs ers of one of the worlds oldest musical tradi- I've listened to in a long time. All the playing tions. on this CD is at a very high level." - Ed Drury Yidaki by Badikupa Gurruwiwi painted USA. Instruments for sale through the Buku with sacred Galpu clan designs featuring Larrnggay Mulka centre can be viewed Wititj, the ancestral rainbow serpent. Image In 2000, I emigrated to Australia and returned online by visiting courtesy of Buku Larrnggay © 2002 to Arnhemland that same year, staying at www.aboriginalart.org/buku Gunyungarra and Yirrkala communities. I was and clicking on 'the art' amazed at the overall quality of Yolngu Yidaki, Email: [email protected] My name is Jeremy Cloake. I work at Buku the bush identification and selection processes Larrnggay as a Yidaki specialist. and instruments' craftsmanship. Later that year, In recent years, the demand for Didjeridus I was offered work during the olympics at a that play well has increased large Didjeridu gallery in central , to within Australia and amongst the international assist with the sale of Arnhemland Yidaki. marketplace. I help meet the needs of musi- While working there, I found it difficult to cians, collectors and retailers worldwide by promote other types of Didjeridus as I felt they advising instrument selection. As a result, were inferior to Arnhemland Yidaki and in Yolngu Yidaki are spanning further across the many cases made by non-Aboriginal artists. globe and getting the international recognition they deserve. Early in 2001, I was offered work at the Buku Larrnggay Mulka centre. I Jeremy Cloake and Ngongu Ganambarr With more numbers of Yolngu Yidaki in the felt blessed with this opportunity and in April I Performing at the NT Export Awards. marketplace, the contrast between authentic, returned to Yirrkala and Image courtesy of Buku Larrnggay quality instruments and 'didj's' is becoming started on CDEP employment. Mulka © 2002 glaringly apparent. A year further on, my time is now consumed I work with many different craftsmen includ- by responding to numerous emails, updating ing Djalu, Datjirri#1, Badikupa, Ngongu,Yali the website, shipping Yidaki worldwide and and Gurraramawuy to name a few. This work writing articles. involves bush trips, documentation, quality control and mediatory roles. Recently Steph Today, Didjeridus are produced from many Hawkins visited Buku Larrnggay and asked different materials including pvc, agave cactus, me to write an article explaining the clay, bamboo and various types of artificially story of how I got to be here. hollowed wood by people across the globe. Didjeridu are played in a huge variety of con- I was given my first Didjeridu on a cold temporary settings including festivals, night windy night in Auckland, New Presentation of the NT Export Awards clubs and new age scenes, mostly by non- for the Art and Entertainment sector. Zealand back in 1992. I taught myself the Aboriginal people. basics including circular breathing and I Image courtesy of Buku Larrnggay Mulka © 2002 wanted to learn more about the origins of Despite this, the recognition of Arnhemland Yidaki. I discovered traditional recordings by Aboriginals as traditional owners of Yidaki is Ph: 08 8987 1701 (Tribal Voice) and early field growing amongst the general public and like- See page 8 for more on the NT Export recordings by Alice Moyle and A P Elkin. wise the authority of their voice. The rapid Awards. THE ARTS BACKBONE P AGE 5

FEATURE ART CENTRE: MIMI ARTS AND CRAFTS, KATHERINE NT

The membership of Mimi is made up of in the bin” project to entice locals to use the Aboriginal artists and other Aboriginal wheelie bins rather than the ground for their stakeholders from all parts of the Katherine rubbish. Aboriginal children painted the Region. The region spreads over some wheelie bins at Mimi and Mimi had a Kriol 180,000 square kilometres and spans from and an English message made up for the sides south of Lajamanu to north of Pine Creek and of the bin. These 12 bins were then from the WA border to the Gulf of strategically placed in Katherine as part of a Carpentaria. larger council survey/project. In Naidoc week this year children from near Because Mimi is not dedicated to a single communities were invited to join in activities community or family group, the styles of the of painting; pandanus collecting, natural art and craft that it supports are many and colouring and weaving with artists and Entrance to Mimi Arts and Crafts. Image varied. The multi-layered dot paintings of the craftspeople. This was most successful and courtesy of ANKAAA © 2002 desert part of the Region are possibly the will be built upon next year. During the most internationally renowned style. The Friendly Games which happens in Katherine cross-hatched ‘rarrk’ style of the Arnhem every year when children from remote Mimi Arts & Crafts is one of the oldest Land part of the Region is also well known community schools get together, Mimi were Aboriginal art and craft centres in the around the nation and the world, especially in involved again with a talk in the gallery and a Northern Territory. It was established as particular academic circles. However, in look at all the work then a chance to make part of an enterprise to create and secure between these two extremes of style and something of their own. This was a great employment for persons in the geography, sit many others. The specific style success and we are wondering what to do Aboriginal community of the Katherine of the Kimberley influenced western area. with the marvellous works that were donated Region. The differing ‘naïf’ styles of the Fitzroy back to the gallery by the very generous Crossing and the Ngukurr / Minyerri areas artists.

and the Tablelands styles. The first Mimi gallery was situated in a very During the Tourist Season Katherine receives modest demountable in the “old Yulgnu An interesting contemporary addition is the more than 280,000 tourists a year and the Yards’ in Pearce Street, Katherine town. In divergent convergence of styles that has figure is rising annually. This gives the the intervening years the gallery has moved happened with change and that has sprung up Aboriginal art and craft product a huge several times to different premises in the with the shifting around and the urbanisation showcase opportunity. Mimi intends to town until they finally returned ‘home’ to the of artists who settle for periods in places service the Aboriginal community by Yulgnu yards immediately following the sometimes far from their own lands evolving servicing the tourist visitors as well as the 1998 Australia Day Flood. styles that speak of their travels and the fine art and gallery areas of the market.

different knowledge's that come with those To this end Mimi will cover all areas from Since its establishment, Mimi has had a travels. Aboriginal artists are interpreting small intricate paintings to carefully crafted varied career. In the early years Mimi was their contemporary world in works of colour, carvings with future plans to access training very active resourcing and servicing the art design and imagery that express who they are and education that will see new media arts and craft needs of Aboriginal communities now as well as expressing their rich and and crafts as part of their future inventory. and family groups throughout the entire complex history. This fast moving dynamic is We encourage ANKAAA Art Centres to Katherine Region and beyond, and marketing an exciting aspect of Aboriginal art and craft collaborate with us to the benefit of all. product on their behalf. At least one and and Mimi are interested in supporting this Watch us grow again!! sometimes more dedicated field officers trend, too. spent most of the year travelling by road, Barbara Ambjerg Pedersen water and air in the, then even more than Mimi works in conjunction with the Manager/Coordinator now, remote outback of the country, Diwurrawurra-Jaru Language Centre to Mimi Arts & Crafts Aboriginal Corporation supplying materials and gathering product for research and collate CVs for artists who use 6 Pearce St. PO Box 920 sale to the art market of the day. the centre and this is a big task given the Katherine NT 0851

spread of artists and craftspeople involved. Ph: 08 8971 0036 In later years Mimi became less involved This work is in progress at the present time Fax: 08 8971 0139 with travelling out to communities and relied but more dedicated staff are needed for the Email: [email protected] mainly on ‘buying in’ from artists and task. Valuable information is disappearing craftspeople who mainly brought their work quickly through death of many of the regions in to the gallery. After the 1998 flood, things artists and craftspeople and Mimi considers became very difficult for Mimi and in 1999 the collation of this information to be an the then Manager/coordinator left and Mimi important role. went into caretaker mode. In 2000 they stumbled to a halt when funding was not Another important role is to engender forthcoming but were supported by interested interaction between generations of artists and bodies and re-opened for a three month trial craftspeople and also with the children. To period May-July in 2001. Funding was again these ends artists are encouraged to work in denied, however, and they again closed the the gallery even though there is not a specific doors until November 2001 when the present working area. Mimi hope that in the not too Manager/Coordinator took up the position distant future this will change with the and the challenge to resuscitate and addition of dedicated ‘wet’ and working areas reconstruct Mimi to become a strong and and a specific training area added. This is on viable business, training and tourism venture the wish list at the moment. with the original role of creating and securing employment for the Aboriginal Community Several projects have been successfully of the Katherine Region as its goal, carried out involving Aboriginal children. especially but not exclusively in the arts and Interior of Mimi Arts and Crafts. Together with the local Town Council and craft production area. Image courtesy of Mimi Arts and Greening Australia, Mimi worked on a “Put it Crafts © 2002 P AGE 6 V OLUME 2, ISSUE 4

FEATURE ARTIST: MANUEL PAMKAL, MANYALLALUK ARTS AND CRAFTS

paintings are sold through Manyallaluk flying fox used to be human. Later on Art and Craft Centre and are in high they became flying fox. If you look demand. One painting was accepted into closely you can see how they still look the 2000 Telstra Indigenous Art Show a little bit like people. Bolung can kill and awarded honourable mention. In you if you do the wrong thing. In the 1986 and 1988 he won first prize at the olden days, and even today, aboriginal Barunga Festival Art show. people taught young people the right way. They were careful about cooking Manuel's father taught him traditional crocodile and emu eggs. You cook methods and told dream- them slowly on the coals so the egg- time stories about what happened a long shell doesn't break. If you cook eggs time ago when all the animals were hu- too fast or throw them on the fire to man. Nowadays Manuel relates these cook, Bolung can hear eggshells ex- same stories to his sons and nephews and ploding, which makes him angry. teaches them traditional painting tech- Bolung rises from the ground and swal- niques. He believes strongly that Abo- lows the person who did it. You must Manuel Pamkal with winning riginal culture must be kept alive and also be careful cooking meat. Some- painting. Image courtesy of passed on to the next generations. As times in a ground oven, heat Manyallaluk Arts and Crafts © Manuel describes his painting, Bolung is from the coals makes meat juices siz- 2002 the kangaroo-headed rainbow serpent. It zle. That hissing noise is dangerous. winds back and forth, the same as the Bolung hears it and doesn't like it. The The winner of the $2500 Katherine Katherine River. It has a huge body with person cooking can stop the hissing Prize for Art was Manuel Pamkal of large bones like a buffalo's. There are sound by stamping the ground around Manyallaluk Community. In its 27th water lilies growing from Bolong's back. the fire with a digging stick. If the cook year the Katherine Prize exhibit is one When you see lilies on the water, you forgets to do that, Bolung becomes of the highlights of the town's Flying know that Bolung is below. Bolung also angry and eats that person. Fox Festival held every August. has two big horns on his head. Bolung When an aboriginal lad goes through can be male or female. The female is the ceremony and is circumcised, he can't This year for the first time several mother of all the animals but she has a go near the water until he has gone Manyallaluk artists entered the special relationship with the flying fox. through all the man-making ceremo- competition. In his opening remarks She swallows them up and carries them nies. If he breaks this law, it is very Mayor Jim Forscutt welcomed the in her belly. When she finds a new feed- bad. Bolung might send a huge rain or participation of Aboriginal artists and ing place, she regurgitates them so they come up and kill that fellow. said he looked forward to even can feed. When Bolung wants to swallow Long ago, before us, when the first greater representation in years to come. them again, they fly in a circle and down people (naiyuyungi) were here, Bolung Manuel’s painting depicted the story of into her mouth. Flying fox feeds all would eat anybody who did the wrong the Flying Fox, the Rainbow Serpent night. Just before sunrise they all return thing and would vomit their bones. and the Katherine River. The judge, to the same area where their mother is Those old bones then became rocks, Caroline Rannersberger, felt his paint- waiting. Bolung knows when and where trees, land formations, and special ing was representative of the Katherine the trees are flowering. Flying fox eats dreaming places all over Arnhem Land. region and described it as a “labour of Woolly Butt flowers in the early Dry but You can still see those places today. love”. Manuel is one of the leaders of also likes flowers from other trees. No Manyallaluk community. Currently the matter what season, you always find For more information contact Council President, he has regularly held flying fox along the Katherine River. At Kathleen Donald, Manager office in past years. He works as a sen- places away from the river, you only see Manyallaluk Arts and Crafts ior tour guide at Manyallaluk and is them at certain seasons when their fa- PMB 134 Katherine NT 0851 [email protected] also an accomplished artist. His vourite flowers bloom. In the dreamtime Ph: 08 8975 4306 Fax: 08 8975 4724

5 SECOND SNAP SHOTS … 5 SECOND SNAP SHOTS … 5 SECOND SNAP SHOTS … 5 SECOND SNAP

Tiwi Design are being represented at the Twined Together Travelling fibre work from the stone country of Woodford Folk Festival (north west of Exhibition Injalak Arts and Crafts has Arnhem Land. The major component of Brisbane) from 27th December to the 1st received development funding of the travelling exhibition will be January - Art and Craft on display, $85,000 from DCITA through Visions contemporary work from the cultural workshops and performances. for its innovative project - 'Twined community. Five Tiwi Artists will be present. Together' 'Twined Together' will The other portion of the exhibition, highlight the work of women artists in historic baskets, is designed to show the Gawerrin Gumana, winner of the Telstra western Arnhem Land who work with continuous links with past traditions in First Prize for the 19th Telstra National fibre to produce a range of work from the fibre area that have been ongoing Aboriginal & Torres Strait Islander Art string bags to coiled mats. The since the earliest collections were made Award was also voted as this year's exhibition, catalogue and education kit in the 1890s and even beyond to People's Choice for his hollow-log that is being developed is designed to examples of fibre revealed on rock art memorial pole Birrkuda Ringgitj show the dynamic and unique aspects of in the region. P AGE 7 V OLUME 2, ISSUE 4

UPCOMING EXHIBITION SCHEDULE DECEMBER 2002—MARCH 2003

DECEMBER 2002

Meridian: Currents in Australian Art, Museum of Contemporary Art, Sydney 28 November 2002 - March 2003 Fea- tures 16 Australian artists including Kitty Kantilla

Student Works – students from 2002 Certificate II in Art and Craft, Coomalie Cultural Centre, Batchelor NT 27th November – 30 January 2003

Miyalk Djama (Recent Women's Work from Ramingining), Indigenart, Fremantle, WA 28 November - 18th Decem- ber 2002

A selection of art from Injalak, Western Arnhem Land Art, Dinjy Gallery, Richmond, , December 2002 – January 2003

All that Gija Country - Group educative show by all the artists from Warmun Art Centre, Flinders University Art Museum- Adelaide, 14th December – February 2003

5 x 7, Five Warmun Women showing seven precious works: Colleen Carter, Katie Cox, Madigan Thomas, Mabel Juli, Betty Carrington. Hotel Sofitel, Melbourne December 2002 – January 2003

Tokwapi Ngirramini (Every Story), Munupi Arts and Crafts, Onshore Gallery (Barwon Heads) VIC, 27th December – 19th January 2003

Palya Minyari, Warlayirti Artists, Thornquest Gallery, Gold Coast, QLD, 17th December - 8th February 2003,

JANUARY 2003

Pumpuni Jilamara, Tiwi Art, Yiribana Gallery of Aboriginal and Torres Strait Islander Art, Art Gallery of NSW, Sydney 5th July 2002 – 5th January 2003

Recent Paintings by Maria Josette Orsto and Therese Ann Munkara, Tiwi Design, Gallery Gabrielle Pizzi, Sydney, 14th January - 8th February 2003

Waterhole, Group Show including Kimberley Region Art centres Raft Artspace and Grant Pirrie Gallery, Sydney, 10th - 25th January 2003

''Works form the East Kimberley", Art Gallery of NSW, Sydney Opening 10th January 2003, coinciding with the Sydney Art Festival. A body of works drawing on pieces from the AGNSW Collection as well as private collections. Artists symposium to be held on Wed 15 Jan. Official opening 10 January 2003. Artists present Hector Jandany, Goody Barrett and Lena Nyadbi

FEBRUARY 2003

Out of the Dilly Bag; Ramingining, Central Arnhem Land, Bright!, St Kilda, Victoria, 5th February - 1st March 2003

MARCH 2003 Jilawarnti, Jimmy Nerrimah Solo Show, Mangkaja Arts, Artplace Perth WA 6th - 30th March 2003

Spider Snell, Tommy May and Charlie Nunjun, Mangkaja Arts, Raft Artspace Darwin NT 7th - 29th March 2003

Yiri Kiri Bodya Making Fine Lines, Framed Gallery, Darwin NT 14th March – 4th April 2003

Please note dates, titles and venues all correct at time of printing and updates will be made when information is received. To add information to this page please email the Industry Development Officer [email protected] ANKAAA THE ARTS BACKBONE NEWSLETTER AND BACK ISSUES ANKAAA ARE NOW AVAILABLE ON-LINE FROM WWW.ANKAAA.ORG.AU

Association of the If you would prefer to receive your copy of “ANKAAA The Arts Northern, Kimberley and Backbone Newsletter” via email as a PDF file. Please email Arnhem Aboriginal Artists [email protected] with your preferred email address.

GPO Box 2152 YIDAKI ON-LINE—WINNERS OF AN NT EXPORT AWARD

Darwin NT 0801 On Saturday night 19 October an award. As part of the took place in Melbourne on the 2002 Northern Territory formalities, Ngongu was November 26 where Prime Frog Hollow Centre for the Export Awards were presented invited on stage to play Yi- Minister John Howard spoke. in Darwin. Yirrkala art centre daki. Many people com- Arts won first prize in the art and mented on the sound of Yirrkala Art Centre boasts 56 Woods St Darwin 0800 entertainment category in rec- Ngongu's traditional playing some of the finest Yidaki ognition of the 5 fold increase and the amazing acoustics of available as well as of Yidaki export sales over the the Yidaki itself. bark paintings, memorial Phone: 08 8981 6134 last 2 years. This is a result of The evening progressed poles, weavings and carv- Fax: 08 8981 6048 Yolngu artists successfully towards a video presentation ings. Major export markets promoting the superior acous- of the finalists. The winners for Yidaki are Japan, USA, Email: [email protected] tic qualities and authenticity were announced in each UK and Europe. More re- of North East Arnhemland category and invited on cently smaller markets in Web: www.ankaaa.org.au Yidaki over mass produced stage to speak. "It is a proud Iceland, Spain and Italy have 'airport didj's'. moment for the art centre" been developed. Edited by Stephanie Hawkins, ANKAAA said Jeremy, "it is great that Industry Development Officer © 2002 The prize was accepted by the traditional owners of this Visit the web site and see for Yirrkala art centre assistant art instrument are finally getting yourself - ANKAAA is a non-profit Incorporated co-ordinator Jeremy Cloake the recognition they right- www.aboriginalart.org/buku Aboriginal Association and is proudly and Yolngu Yidaki craftsman fully deserve." The flood of email - sponsored by the following - Ngongu Ganambarr. The eve- hand shakes, business cards [email protected] ning was a black tie event with and photographs that fol- around 200 people attending. lowed continued until well Tel. (08) 8987 1701 Amongst these people were after midnight. Yirrkala art Fax. (08) 8987 2701 many finalists, pensively sit- centre then became a finalist ting in anticipation of winning in the national awards which

New Members for ANKAAA ANKAAA STAFF

Indigenous Art Centres Susan Congreve—Manager Stephanie Hawkins -Industry • Jirrawun Aboriginal Art Corporation Development Officer. – Kununurra WA Matt Longworth—IT • Larrakia Nation Aboriginal Development Officer Corporation (LNAC) – Darwin NT Erica Luchich—Office Manager • Mardbalk Arts and Crafts Centre Aboriginal Corporation – Warruwi ANKAAA EXECUTIVE Community, Goulburn Island NT COMMITTEE • Mowanjum Artists Spirit of the Wandjina Aboriginal Corp. Djambawa Marawili—Chairman (MASWAC) – Mowanjum Community BJ Timaepatua WA Robert Puruntatameri • Yirrebii Arts and Crafts – Glenn Hill Terry Ganadila WA Gabriel Maralngurra Darwin Based Independent Artists Pedro Wonaeamirri Joan Nagomara Freddie Timms • Mr Gary Lee Mark Nodea Gallawurr (Mr Daniel Lee) • Alice Snape • Mr Anthony Lee Hermy Munnich • Mr Josh Thomas Rex Wilfred Welcome to the new ANKAAA Welcome to all new ANKAAA members ! Executive elected at the 2001- We look forward to working with you in 2002 ANKAAA AGM ! This project has been assisted by the 2003. Commonwealth Government through the Australia Karen Mills—Public Officer Council, its arts funding and advisory body.