Arts

25 Years of Keeping Art, Country and Culture Strong 1987 - 2012 Backbone Volume 12: Issue 1, August 2012

25th Anniversary Edition www.aboriginalart.org Working Together: ANKAAA 25 Years of Keeping Art, Country and Culture Strong 1987-2012 By Christina Davidson, ANKAAA CEO

Darwin Office GPO BOX 2152, DARWIN ‘ANKAAA was - is - an organisation to both artists working through community Art NORTHERN TERRITORY, AUSTRALIA 0801 for Aboriginal/Indigenous people and Centres and those working independently. In Frogs Hollow Centre for the Arts still remains.’ Djambawa Marawili AM, March 1995 a large number of Aboriginal 56 McMinn Street, Darwin ANKAAA Chairman1 artists attended an Extraordinary Meeting in Ph +61 (0) 8 8981 6134 Fax +61 (0) 8 8981 6048 Darwin where the importance of Aboriginal Email [email protected] The Association of Northern Kimberley people being on the board was discussed www.ankaaa.org.au and Arnhem Aboriginal Artists celebrates (the strong Kimberley contingent included www.aboriginalart.org its 25th year in 2012. When ANKAAA the first Indigenous Chairman, Mr May, www.facebook.com.au/ANKAAA. aboriginal.artists started in 1987 under the name ANCAAA Queenie McKenzie, Rusty Peters and Peggy This publication contains the names of Aboriginal – the Association of Northern, Central and and Alan Griffiths). In December 1995 an people who have passed away. Arnhem Aboriginal Artists - the governing all-Indigenous AGM at Black Point, Cobourg All text and images are copyright the artist, Art Centres or ANKAAA (as indicated) unless board was not yet Indigenous. Felicity Peninsula passed a new constitution otherwise stated. ANKAAA Arts Backbone is Wright recalls: ‘Originally ANCAAA was consolidating and reaffirming Aboriginal © ANKAAA 2012. The views & opinions expressed in this publication are those of the a bunch of art advisers (primarily non- membership and leadership of ANKAAA authors & do not necessarily reflect those of Indigenous) coming together to talk shop. ANKAAA. Aboriginal Corporation. There was a lot of debriefing, sharing ANKAAA is a non-profit incorporated Aboriginal Association. information and drinking. No one had any Today, 25 years on, ANKAAA has Editor: Christina Davidson idea of how big the ‘industry’ would become over 5,000 members and supports 49 Publication Coordinator: Jessica Booth over the next 25 years nor how important Aboriginal-controlled Art Centres and Special thanks to John Saunders for research on a role ANCAAA’s children, ANKAAA and artists’ groups working across some one ANKAAA’s history and to Chris Durkin for his Desart, would play in all that. But we knew million square kilometres of country in collaboration with artists for this issue. ANKAAA is proudly supported by: that Indigenous artists in remote communities Northern Australia. The all-Indigenous were doing something really special, really board is made up of representatives of important and totally unique. Even if no one the four ANKAAA regions – the Tiwi much was buying it. No two communities Islands, Arnhem Land, Kimberley and had the same cultures or were making the Katherine/Darwin. ANKAAA’s Indigenous same art and nowhere else in the world was leadership is supported by advisors expert something of such antiquity being expressed in various professional areas and by a and celebrated and shared in contemporary strong commitment to continuous ongoing forms.’2 In March 1987, at the founding governance and Indigenous leadership ANCAAA meeting in Darwin, the first training. ANKAAA Business is conducted objective of the draft aims and policies in the shared language English, but this was: ‘That Aboriginal art is controlled by is the first language of only a minority of Aboriginal people’. members, many of whom speak four or more Indigenous languages. The story of how ANKAAA came to have an Indigenous board will someday need Since 1995-6 ANKAAA Chairmans Mr to be told in detail. Some important policy Tommy May and Djambawa Marawili AM and governance decisions were made have emphasised that ‘the important thing after 1992-3 when the desert Art Centres about ANKAAA is that it is an organisation left to set up their own association, which where Aboriginal people are the bosses’. Publication design: became Desart. These included the structural In February this year the board updated the

Cover images: (Clockwise from top left): decision that ANKAAA membership would ANKAAA Values Statement [opposite page] Mungatopi family dancing Yirrikipayi (Crocodile) comprise of ‘adult people of Aboriginal to also emphasise the goal of Indigenous at Milikapiti, Tiwi Islands. Photo: Jilamara Arts and descent ’ living in the regions and be open and non-Indigenous people walking together, Craft. Guirr Guirr Ceremony by Warmun dancers, ‘side by side, no one in front no one East Kimberley, late 1970s – 1980. Photo: behind’. Warmun Art Centre. Warlpiri women practicing 1 November 2011, ANKAAA AGM traditional dancing for their European exhibition tour, Lajamanu, 2012. Photo: Michael Erglis. Sea 2 Felicity Wright, ‘ANCAAA/ANKAAA first 8 Rights Bungul Celebration, Baniyala Homeland, Years’ (draft), email to Christina Davidson, 14 Blue Mud Bay, 2009. Photo: Isaiah Balcombe. June 2012

2 Arts Backbone – ANKAAA 25th ANNIVERSARY Volume 12: Issue 1 August 2012

25 Years of Keeping Art, Country and Culture Strong 1987-2012

13 1 1. The Meeting Place, poster for national touring exhibition of mural created by the 87 artists attending the Kaltja/Business: Industry or Culture Conference, 1996 at NT Uni, a 2 partnership with ANKAAA. 2. Rover Thomas, The Meeting Place, 3 1996. 3. Artists Installation NT Uni, The Meeting Place, 1996. Photos (1-3): ArtBack NT (Penny Tweedie and the NTU School of Fine Art). 4 4. ANKAAA Collaborative Art Work, 2004. 5. ANKAAA Collaborative Art Work 2004, Angus Cameron (ANKAAA) 5 interviewing Freddie Timms. 6. ANKAAA AGM, Darwin, 2001. 7. KALACC Festival 2005 (L-R): Freddie Timms, Gary Lee, CJ Kerinauia, Richard 6 Birrin Birrin. 7 8. Gary Lee and Karen Mills, Garma Festival of Traditional Culture. 9. ANKAAA AGM 1995, Black Point, Cobourg Peninsula. 10. Karalmulurk - ANKAAA Headquarters 8 Building at Bagot Community Darwin, 1988. 11. KARNTA – ANCAAA Exhibition of Australian Aboriginal Women’s Art, exhibition tour of South-East Asia, 1988. 12. Arnhem Regional Meeting 2002, Elcho Island. 10 9 13. Will Stubbs and Stephanie Hawkins, Arnhem Regional Meeting, 2002. All photos: ANKAAA unless otherwise stated.

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4 Arts Backbone – ANKAAA 25th ANNIVERSARY Volume 12: Issue 1 August 2012 strong in our hearts, bodies and in our spirit.’ Ruth Nalmakarra, Milingimbi

‘Art and culture is very old and is a living culture. It has been here since time began. I especially want to send a message out to the younger generation that are still coming up. You need to be strong and you can grow in confidence and follow in our footsteps and one day you will become one of the ANKAAA directors. It’s important that we give our culture, our language and connection to the land, because that’s who we are, ‘My strongest reflection on ANKAAA’s ‘The Land cannot talk, but those people the people of this nation.’ Peter Jigili, history over the years is of former who are in that country, they can talk, Lajamanu Chairperson Mr. May’s positive we are here to represent our Country.’ determination about Aboriginal people Djambawa Marawili AM, Blue Mud ‘Now I take back the knowledge from having control of their own Art Centre Bay other communities. I have people from management and sharing culture other Art Centres and we all come through art. A legacy that Djambawa together. We discuss whatever we Marawili has continued to build on need, or problems with the Art Centre, and strengthen. I think ANKAAA has they bring it to the AGM and from been well served by two outstanding there we try to settle it. ANKAAA is Chairpersons who have provided doing right for every organisation, continuity and excellent leadership to which is good. I’d like ANKAAA to the organisation throughout the years, get even bigger, stronger, because especially Djambawa who has either it’s one organisation that is helping all been chair or part of the executive since Art Centre communities up North… 1995.’ Karen Mills, Darwin and there is a lot of ground to cover so to speak.’ Brian Farmer Illortamini, ‘Then he started in the job, Terry Milikapiti Djambawa Marawili. He was taking over from me. He was still a young fella. Top: ANKAAA Board 2010-12. Centre: Mr. He started and I was still there, teaching ‘Art and culture is our moieties, totem Tommy May being painted for a ceremony at and showing him every time, how to and ceremonies that hold the land, KALACC 2008 (image courtesy Wes Morris) run a business. Until he understood sea and people. It’s come from the Below: ANKAAA AGM 2011. All photos: everything and then I moved back into paintings, weaving, carving. It is our ANKAAA, unless otherwise stated. Mangkaja job.’ Mr Tommy May, Fitzroy ceremony that Yolngu people sing, Crossing dance and story. Culture makes us feel

Volume 12: Issue 1 August 2012 ANKAAA 25th ANNIVERSARY – Arts Backbone 5 Becoming an Artist By Djambawa Marawili AM

When I was a young man, around Buku Larrnggay Mulka Art Centre). sixteen or seventeen, my father taught There were only a few older people me how to make galpu (spear throwers) making art at that time. My father and spears and we used them to Wakuthi Nuwandjali Marawili was catch food. He also taught me how one of those artists. He started painting to make bilma (clap sticks) and yidaki at Numbulwar where I was born. My (didgeridoo). Then when my knowledge father was really professional in Yolngu was building up, my father decided knowledge. He kept that knowledge to teach me how to become an artist. waiting for the right time when I was My early work was in the style of ready for it. I paint the same mintji my mother’s clan as well as my own (patterns/designs) as he did - ‘mintji’ for patterns and designs and stories. My fire. father taught me how to paint designs on bodies, how to make sand sculpture From those old patterns I became more and also how to make arm bands for independent over time and extended initiation and men’s ceremonies. my vision for my art to make it become more interesting and exciting for I used arm bands, head bands, bilma everybody to look at and to feel the and spears when I was a professional connection within the art. Some of those dancer touring around with the Culture bark paintings and sculptures look very Foundation mob. We toured around dramatic. But it is the knowledge that Australia and overseas to Paris. When originally comes from the particular I started making bark paintings later country where the story has been on I sold them to Yirrkala Arts (now created and given from our ancestral

6 Arts Backbone – ANKAAA 25th ANNIVERSARY Volume 12: Issue 1 August 2012 beings, to my grandfather, to my mother’s clan, to my father, then to me, and which I am passing on to my sons and daughters and to my clan group and to my mother’s clan group.

Now today there are a lot of ‘Young Gun’ artists doing bark painting, sculpture and other art forms like video. They are building up their own skills and vision and making very dramatic and exciting art. Today the art is really reaching out to the wider world and getting into galleries in other countries and building communication with people who have different languages and different cultures and different art.

Those early artists in the 1920s and 1930s did not really give the clear message to wider Australia. They were making objects to make relationships Top page 6: Opening of the Biennale of Sydney installation, Pier 2/3, Sydney Harbour, 2006. Lower Left page 6: Djet, 1997 Left page 7: Baru at Yathiikpa, 2007 Centre Page 7: Baru at Yathikpa, 2009 Top Right Page 7: Baru Yolngu, 2012 Image below: Djambawa Marawili, with the explorers, missionaries and the Dhukal Wirrpanda, Marrirra Marawili in Macassans who visited Arnhem Land. ceremony at Yilpara homeland. But they did not know that our people Bottom: Djambawa Marawili dancing at Groote were documenting their own rights. The Eyelandt Cultural Festival c. 1984. art and the story and the significant All photos: Buku Larrnggay Mulka. sacred sites and objects, these are the key knowledge in each clan. This goes right across the very different ANKAAA regions all across Northern Australia, through the Kimberley, down to the desert, up to the Tiwi Islands and also over to Queensland and the Torres Strait. The Indigenous artists do have the right to document and talk for their own countries. This country was already documented by our ancestral beings. We are the archaeologists and the anthropologists. We know what is in the sea and what is in the land.

(Transcribed with Christina Davidson)

Volume 12: Issue 1 August 2012 ANKAAA 25th ANNIVERSARY – Arts Backbone 7 Reflecting on ANKAAA’s Beginnings By Djon Mundine OAM – founding member of ANKAAA

and by funding a marketing company, formation of the Association of Northern Aboriginal Arts and Crafts Pty Ltd. (‘the and Central Australian Aboriginal Artists company’), to lift the status of this art into (ANCAAA). The press conference was the ‘fine art’ world. These moves were fronted by Milingimbi Birrkili arts worker made, a little naïvely, to remove con Alfred Gungupun (dec.) who stated that Djon Mundine OAM is a member of artists and crooks from the marketing the government’s proposal was a real the Bundjalang people of Northern of Aboriginal art. It should be noted threat to Aboriginal artistic expression New South Wales. He worked as an that on the whole, this art was defined and practice that would potentially turn art advisor at Milingimbi, Maningrida as that created in remote, ‘traditional’ it into a mere tourist product. Control and Ramingining from 1979 – 95 communities only. would be given to bureaucrats in that spending 11 years with Bula Bula most culturally and spiritually vacant Arts. Djon was very important in In the 1980s both these funding place - Canberra. We made the front the foundation and early years of responsibilities were transferred to the page of the NT News (‘Let My People ANKAAA (ANCAAA). He was an newly created Aboriginal Development Go’) and ABC Radio National. active member of the governing Commission (ADC) to release Australia committee in the initial years when Council funds and to utilise the non-Indigenous people were the main supposedly abundant monies of ADC. ones working at board level. In the same period a loose association At the all-Indigenous ANKAAA AGM of federally funded community artist in 1995 at Black Point, Cobourg cooperatives was formed in Arnhem Peninsula , Djon reminded members Land, largely led by Peter Cooke based of the change made after the desert in Maningrida. The organisation was people broke away to form Desart in similar in purpose to other industry 1992, when new rules were made associations: to discuss ‘the market’, to so ‘you had to be an Aboriginal set ethical and employment standards person to be a member of ANKAAA’. and to define its role in that particular But still for a time, ‘quite often the historical (colonial) moment. There art advisors, mainly white people, was an inkling that the present funding came as representatives of Aboriginal situation was not likely to continue. people’1. Mr Ngarralja Tommy May recalls: ‘ .... we were only black In the late 1980s the federal fella people ....and we did it. We government moved to change the Initially we fought for a report on the had one black fella from somewhere funding source of the salaries of place of visual art in the communities away [Djon] and he helped us to do community positions, by making them concerned, and the placing of said everything alright. Very kind’.2 positions of the company now known artworks in the Western art world. We as Inada Holdings Pty Ltd. This would then pushed for the implementation When the Australia Council for the Arts have, in effect, given ‘the company’ a of that document, the Altman Report was established in the early 1970s the monopoly over Aboriginal art production [Aboriginal Arts and Crafts Industry, Aboriginal and Torres Strait Islander and deprived a ‘grass roots’ voice of Australian Government Publishing Arts Board funded Aboriginal visual arts their artistic expression. It was against Service, Canberra, 1989]. A few years at two levels: by funding community- the principle of self-determination in that later art advisors themselves took a based art and craft advisor positions it took control of visual art expression step back, allowing Aboriginal artists (formerly positions held by missionaries), from local community artists. to run our arts organisations as was the original intent of our political actions. A number of meetings, which included 1 Minutes ANKAAA AGM, Black Point Cobourg Penninsula, 10-12 December 1995, p.3. the art communities of the desert as Top Left: Early years ANCAAA logo. well as the Top End, were hurriedly Above: Craft Advisor Extraordinaire… Djon 2 Mr Ngarralja Tommy May, 19 June 2012. organised and a press conference held Mundine in ANCAAA Newsletter No.1, July ANKAAA Recorded Interview with Chris Durkin. 1987. All photos: ANKAAA. Introduction, Christina Davidson. in 1987 to announce our action and the

8 Arts Backbone – ANKAAA 25th ANNIVERSARY Volume 12: Issue 1 August 2012 The Aboriginal Memorial: Twenty-Five More? By Bula’bula Arts

The Aboriginal Memorial, on permanent 2013 marks the 25th anniversary of Above : Ramingining artists, The Aboriginal display in the entrance foyer of the Aboriginal Memorial. Communities Memorial 1987-88, installation of 200 the National Gallery of Australia, throughout the Northern Territory hollow log bone coffins, natural earth Canberra, stands as a monument to the have experienced the effects of pigments on wood, height (irregular) 327 Aboriginal people who died, and were ‘The Intervention’ despite stringent cm. National Gallery of Australia, Canberra. denied a proper burial, in the first 200 opposition have now had another ten Purchased with the assistance of funds years of Australia’s occupation. Created years of ‘Stronger Futures’ imposed from National Gallery admission charges at the time of Australia’s Bicentenary, the upon them. At this critical time, the and commissioned in 1987. Photo: John Memorial represents the deep political artists of Ramingining are reiterating Gollings. Below: Cover of an ANKAAA chasm between white and black the importance of the messages and (then ANCAAA) newsletter, 1988, showing Australia at that time, and stands as a meanings of the Aboriginal Memorial by an illustration of The Aboriginal Memorial. testament to the enduring resilience of producing twenty-five new hollow logs. Photo: ANKAAA. Indigenous Australians. Some artists involved participated in the original Aboriginal Memorial; others are Each of the 200 dupun (hollow logs) part of a new generation of established in the installation represent one year artists keen to express their views. The of colonisation. Used traditionally to artists hope that the works will find a house the bones of the deceased, the public home once completed. intricately painted hollow logs reflect Yolngu kinship systems, ancestral The Aboriginal Memorial is one of traditions and rights to land. Under the Australia’s most important works of 20th direction of then Bula’bula Arts Advisor, century art, and should be understood Djon Mundine OAM, 43 artists from not only as a war memorial, but a Ramingining and surrounds created the powerful testimony to the continuing Memorial, which was initially presented strength and determination of Aboriginal at the 1988 Biennale of Sydney. people and culture.

Volume 12: Issue 1 August 2012 CULTURE TO ART – Arts Backbone 9 Making Tutini Both Ways By Jonathan Jones, Art Gallery of New South Wales

The Tiwi Pukumani ceremony is the Don Burakmadjua and Charlie Quiet Above and Below: Laurie Nelson Mungatopi final goodbye when Tiwi people pass Kwangdini, who used traditional (c.1923-deceased), Bob One Apuatimi (1925- away. An important part of Pukumani techniques to produce contemporary 1976), Jack Yarunga (c.1910-1973), Don is the creation and placement of tutini sculptures. These new tutini, which the Burakmadjua (1925-1995), Charlie Kwangdini (Pukumani posts) around the gravesite. artists chose to create for outsiders, were (c.1905-deceased), artist unknown, Tutini The first Pukumani was led by Tiwi made with hard and heavy ironwood; (Pukumani graveposts) 1958, natural pigments ancestor Purukupali for his son Jinani, the tutini used for ceremony are made on ironwood. Gift of Dr. Stuart Scougall 1959 who was the first Tiwi to pass away. from bloodwood timber. Since then, © Estate of the artists, courtesy Jilamara Arts and Purukupali made tutini for the first time Tiwi artists have been making tutini both Crafts. Photo: AGNSW. for his son, a tradition that continues ways, for ceremony and for exhibition. today for all Tiwi. These tutini created for AGNSW were In 1958 senior Tiwi artists from the the first major commission of Aboriginal community of Milikapiti on Melville artwork by any public art gallery. Island created for the first time a set They broke new ground, establishing of seventeen tutini for exhibition, not a precedent for Tiwi and Aboriginal ceremony. By beginning this new way culture more widely to be displayed of making tutini, these artists shifted within art galleries, not museums. The traditions and started an important tutini are a centrepiece for the AGNSW conversation with mainstream Australia. and remain significant for Tiwi who can come to the gallery, see the old men’s The tutini were commissioned by work and connect with their ancestors. Aboriginal art collector Dr. Stuart Scougall and Art Gallery of New The AGNSW has continued this special South Wales (AGNSW) Deputy connection to Tiwi artists at Milikapiti, Director Tony Tuckson. The artists and holds a strong collection of works included Laurie Nelson Tukialila, Bob by Kitty Kantilla, Freda Warlapinni, One Galadingwama, Jack Yarunga, Pedro Wonaeamirri and Timothy Cook.

10 Arts Backbone – CULTURE TO ART Volume 12: Issue 1 August 2012 Dance Totems Tell a Story By Rachael Umbagai, Mowanjum Artists

Dance totems in the Kimberley tell a plywood because it is lighter, easier to the opening of an Art Centre, when story in traditional performance. Totems, carry and more durable. What makes important visitors come to the community song and dance all come together to the totems important are the images and during welcomes to country. illustrate the story being told. Totems will painted on them. have pictures and images of landscapes Image: Dancers from Mowanjum performing with and animals that are of special cultural The custodians for particular songs painted dance boards. Photo: Mowanjum Artists. importance. Some of the pictures would oversee the making of the might be relevant to different language totems. A particular group who have a groups. Some totems are culturally connection to the stories of the totems sacred and can only be seen by certain would find the raw materials to be used groups of people, such as initiated men. in their production.

Traditionally totems were made from Totems are used for ceremonial purposes bush timbers and natural fibres such as like celebrations of cultural law, winning human hair and plant fibres and painted of native title claims, in cultural festivals in natural ochres. Today totems are and for entertainment. They might made with modern materials such as also be used for significant events like

Volume 12: Issue 1 August 2012 CULTURE TO ART – Arts Backbone 11 Kurlama – The Cycle of Life By Gordon Pupungamirri, Tiwi Design

Early in the dry season we start new We all come together for the Kurlama life, new seeds and new foods; we ceremony. It is an open ceremony for keep the country alive and strong with everyone; both men and women sing. the Kurlama Ceremony. It is after the In the old times it would last four or five ceremony that we burn our country. days with two song men from each clan We have four clans on the Tiwi Islands: singing their song cycles well into the the Takaringuwu (scaly mullet) from the night. Nowadays the ceremony runs for salt water, the Miyartuwi (pandanus) less time and the clans help each other the bush people from inland, the out with their singing. Wanaringa (sun) people from the stony cliffs next to the ocean and the Jilartuwi If anyone has passed away since the (jabiru) people from the swamp country. last Kurlama, this ceremony will send them back to their country to join their ancestors to protect the country and its people. When we call out to our country, they hear us, see us and protect us.

Left: Margaret Renee Kerinauia, Kurlama (tunga) 2011, natural ochres on bark. Right: Ita Tipungwuti, Kurlama 2010, natural ochres on linen. All photos: Tiwi Design.

Barlini Ngirraminni (Old Stories) and Justin Puruntatameri By Nina Puruntatameri, Munupi Arts and Crafts

Justin Puruntatameri is my grandfather, ceremonies for many years but he never the youngest brother of Tepomitari did any artwork until recently. Now he’s Kurupu Puruntatameri. He is an old in a lot of exhibitions. ceremony man. He is the leader for the Wantarringuwi Pukarringnuwi tribe, He uses the comb to do painting on who have Kirriliminga (Jungle Fowl) and the canvas, and that’s what they used Jurrukukuni (Owl) dreaming. to do in the early days when they were preparing for the Tiwi Kurlama When someone passes away we join ceremony. They used coconut leaf for in with their ceremony and then we the lines, which they chewed up to dance our own dreaming. Justin and make it soft. You can see that Justin is my father, Romuald Puruntatameri, were used to painting on bodies by the way our leaders for this and now Marius he paints on canvas. Puruntatameri is taking over. He was taught by my father. Image: Justin Puruntatameri with his first commissioned work, 2010. Photo: Munupi Arts Justin started painting canvas only in and Crafts. 2010. In June he and old lady Cornelia Tipaumantimirri, his niece, started painting. He was painting body paint with a wooden comb (Pwoja) for Tiwi

12 Arts Backbone – CULTURE TO ART Volume 12: Issue 1 August 2012 Jilamara Arts Official Opening of Kutuwulumi Gallery By Cher Breeze, Jilamara Arts and Craft

Work has been completed on the new visual room enables visitors and the building and renovations at Jilamara community to watch video footage of Arts and Craft, located at Milikapiti, past Tiwi ceremonies and exhibitions Melville Island. As part of ANKAAA‘s and to listen to audio recordings of application to the Aboriginal Benefits past and present artists. The museum Account (ABA) on behalf of member demonstrates the history of Tiwi art and Art Centres, funding was received for culture, and cultural education programs seventeen Art Centres and administered are conducted with Milikapiti School, through the Department of Families, Tiwi College and visiting schools. Housing, Community Services and Indigenous Affairs (FaHCSIA). This ANKAAA Director and Jilamara artist, funding enabled Jilamara to construct a Brian Farmer Illortaminni states: ‘This new gallery and office building, named development will bring more people to Kutuwulumi Gallery after the late Tiwi the community of Milikapiti and help artist Kitty Kantilla, and to renovate promote and strengthen Tiwi art and existing buildings to establish a new culture for future generations of Tiwi space for the Muluwurri Museum and people’. an art preparation and packaging area complete with new kitchen. The new Kutuwulumi Gallery and Muluwurri Museum were officially The beautiful new gallery was designed opened on 15 March 2012 along by Troppo Architects and is the with the delayed opening of the showpiece of the Art Centre complex. Murrunungumirri Carver’s Shed, named It enables Jilamara to better display after Jilamara carver Paddy Freddy the work of artists and to attract more Puruntatameri. visitors to Milikapiti. Timber used in the construction was sourced from Tiwi The opening was a huge success, Forestry and milled from locally grown with over 300 people celebrating stringybark. with Jilamara artists. Men, women and little boys danced with such passion Top Left: Dancing at the Jilamara Arts and Craft As part of the redevelopment, the after Pedro Wonaeamirri performed a opening. Top Right: Interior Muluwurri Museum Muluwurri Museum collection was smoking ceremony and officially opened Right Second: New Kutuwulumi Gallery interior digitised and catalogued before the Gallery. Tiwi College students from above. Right Third: The front entrance of the being moved to its new location. The cooked up a storm, serving buffalo new Troppo Architects building. Right Fourth: Rear renovation has improved the display of burgers, barra burgers and wallaby of new Troppo Architects building with opening the museum’s significant collection of curry. This special day will remain with crowd. Right Above: Dancing at the Jilamara Arts Tiwi artefacts and artworks. An audio- us all for many years to come. and Craft opening. All photos: ANKAAA.

Volume 12: Issue 1 August 2012 KeEping Places – Arts Backbone 13 Arts Worker Focus unDisclosed: 2nd National Indigenous Art Triennial By Steve Anderson, Tiwi Design By Tina Baum, National Gallery of Australia

Gordon Pupangamirri, Tiwi Design The National Indigenous Art Triennial alongside the powerful and innovative Gordon Pupangamirri has worked at (NIAT) is an initiative of the National carved barks by Guynbi Ganambarr Tiwi Design Aboriginal Corporation Gallery of Australia and began in (Buku Larrnggay Mulka), of the Yirrkala since the early 1980s. Gordon is a 2007 with the inaugural Culture region. From northern Western Australia current ANKAAA Director and also Warriors exhibition curated by then come the mesmerising and colourful served on the Board in the 1990s. He is Senior Curator Brenda L. Croft. The topographic paintings of country by a senior artist renowned for his carvings 2nd National Indigenous Art Triennial: Bidyadanga artist Daniel Walbidi of birds (Tokapuwi) and Pukumani poles. unDisclosed is curated by guest curator (Bidyadanga Artists). Tiwi Design artist Throughout his career Gordon has Carly Lane, a Kalkadoon woman Marie Josette Orsto’s intricate and exhibited both domestically and abroad. of North-West Queensland currently delicate paintings of important Tiwi Gordon was chosen as a pre-selection residing in Perth. NIAT provides an culture feature as part of the entrance judge for this year’s NATSIA Awards in opportunity for mid-career Indigenous to the exhibition and Buku Larrnggay Darwin. curators to undertake a large-scale Mulka artist Nyapanyapa Yunupingu’s national exhibition showcasing experimental and expressive barks As a longstanding member of the Tiwi Australia’s Aboriginal and Torres Strait fittingly feature at the exit. Design Board Gordon brings a wealth Islander artists. of experience and knowledge to the unDisclosed was at the National Gallery management of a busy Art Centre. Curator Carly Lane: ‘…unDisclosed of Australia, Canberra, from 11 May – His contribution to governance offers alludes to the spoken and unspoken, 22 July 2012 and will tour nationally in a vision mindful of the need to employ the known and the unknown, what can 2013: Cairns Regional Gallery, Cairns, successful strategies to sustain the Art be revealed and what cannot. The QLD (from 22 February 2013); Anne Centre model in a market which has exhibition captures the duality of the & Gordon Samstag Museum of Art, recently been sluggish, due to global disclosed and undisclosed in each of University of South Australia, Adelaide, economic pressures. the works of art and within the exhibition SA (from 3 May 2013); Western Plains itself. It explores the artists’ motivations Cultural Centre, Dubbo, NSW (from Gordon comments: ‘Today Art Centres and inspirations and hints at the 3 August 2013). http://nga.gov.au/ need to maintain a share of the market undercurrent of knowledge, stories and Exhibition/unDisclosed/Default.cfm in order to survive. We do this at Tiwi histories that artists reveal - or choose not Design by opening up our Art Centre to to reveal - in their work’. Above: Members of ANKAAA’s Arts Worker other Indigenous communities to engage Extension Program together with exhibiting artists: with us. We are happy to share our Of the twenty artists featured in (L-R) Nyapanyapa Yunupingu, Kevin Winunguj, culture as our artwork is unique. We unDisclosed, six are ANKAAA members: Guynbi Ganambarr, Yinimala Gumana, Alan have had to reinvent ourselves to survive husband and wife Bob Burruwal and Joshua Jnr and Max Gumana. Photo: ANKAAA. over the past forty years by translating Lena Yarinkura (Maningrida Arts and ancient designs in contemporary Culture), whose lyrical, woven, life-sized language’. Above: Gordon Pupangamirri. forms of Wurrum and Yawk Yawks sit Photo: Tiwi Design.

14 Arts Backbone – art worker focus / EXHIBITIONS Volume 12: Issue 1 August 2012 Ms Yunupingu: Marking Time at the Museum of Contemporary Art By Keith Munro, Museum of Contemporary Art

Gulumbu Yunupingu was a senior artist whose successful professional practice was recognised in a recent major exhibition held as part of the new Museum of Contemporary Art Australia building launch in March 2012. The inclusion of her work not only reflected the theme and title of the exhibition, Marking Time, but her place as an important Australian artist.

The exhibition investigated the different ways we perceive time and its passing, highlighted by eleven Australian and international artists. Artworks across a range of media sought to extend time, wind it back or make it circular. An extensive selection of works from the this exhibition and experienced Ms It was fitting, then, that a selection of last ten years of her professional practice Yunupingu’s work. And I am sure they detailed bark paintings and larrakitj was presented; from small to large scale are all the wiser for it. by Ms Yunupingu filled one of the bark paintings and ambitious larrakitj. two major new exhibition spaces. Each piece is intricately painted with its Top: Installation view of Ms Yunupingu’s works Visitors were invited to understand the own personality, depth and complexity, in Marking Time, Museum of Contemporary Yolngu perspective of time through not only honouring the stories passed on Art, Sydney. Photographer Alex Davies. Ms Yunupingu’s signature artworks to her through the Yunupingu School of Above: Installation view of Ms Yunupingu’s representing Garak - the universe, painting, but also her gift of this wealth work in Marking Time. All photos: Museum of everything within it, and ways of of cultural knowledge to our guests. Contemporary Art. understanding our place in it. In total 126,561 people attended

Volume 12: Issue 1 August 2012 EXHIBITIONS – Arts Backbone 15 Mangkaja Arts Celebrates its 21st Anniversary: ‘Wirrinyiya Ngaragngarag Birra Ngamoo Ngamoo’ - In This Shelter, Everybody Has Been Making Artefacts and Paintings for a Long Time

Ngarralja Tommy May: ‘In the desert you make mangkaja on the jilji (sandhills); you can’t build it on the parapara (low ground between the jilji). You have to build it on the jilji, to keep dry and stop it from washing away. You need strong wood to build it and a fire inside’.

It is the drive to keep on painting; the artists’ connection to country and culture; and the artists’ pirlurr (spirit) that has continued to burn inside Mangkaja, that have made and kept the centre strong. Gail Smiler, who worked at Mangkaja throughout the 1990s and whose parents were painters, reflected on the foundations: ‘When people came from Mangkaja Arts Resource Agency, Fitzroy with more than 80 works by 29 artists. country, people were always thinking Crossing, launched their anniversary about country, they would sing for exhibition on 25th May at Tandanya, The exhibition recognises Daisy country. Singing for dancing is different Adelaide’s National Aboriginal Cultural Andrews, April Jones, Nada Rawlins to singing for country; I used to hear my Institute, to celebrate the Kimberley Art and Dolly Snell as the four women who father singing for country, crying. That’s Centre’s 21st anniversary since its first exhibited at Tandanya in 1991 and why Mangkaja was strong; the singing major public exhibition. who are still painting today, celebrating and painting came together’. them alongside works by the first artists The artists’ first major exhibition, and artists painting now. Mangkaja The exhibition and reflections on Karrayili, was hosted at Tandanya in Chairperson Mr Mervyn Street Mangkaja’s history can be viewed September 1991, while Mangkaja was comments: ‘Mangkaja has been running online at www.mangkaja.com. still part of Karrayili Adult Education for a long time. The first artists made it Centre. Mangkaja went on to become strong’. Above: Opening night at Tandanya: (L-R) Tommy an Incorporated Association in 1993. May, Mervyn Street, Kat Ferguson, Pippa Tabone, ‘Mangkaja’, a Walmajarri word for wet Eva Nargoodah. Photo: Mangkaja Arts. Below: Some artists at the launch shared weather shelters, was the name chosen Installation view, Mangkaja Arts 21st Anniversary memories of the 4000 kilometre journey for the Art Centre in the 1980s, when at Tandanya NACI, 25 May – 26 August, 2012, to Tandanya in an old bus in 1991. the Australia Council funded the building Centre gallery. Photo: Tandanya NACI. Others pointed out artworks by their of a place for artefact production grandparents, included in the first for communities surrounding Fitzroy exhibition and now on display again Crossing.

16 Arts Backbone – EXHIBITIONS Volume 12: Issue 1 August 2012 GADAWULKWULK means SHELTER: Barayuwa Mununggurr and Ruark Lewis at the Cross Art Projects By Bengitj Ngurruwuthun and Jo Holder

Barayuwa’s and also his grandfather’s (father’s father’s) motherland… Our ancestors and Elders, in the past together they cared for and protected our land and sea through ceremonial systems. Now today we are passing on this knowledge to our next generations for our future generations to see and learn the knowledge from the past’.

Lewis’ linear designs resonate with A recent cross-cultural exhibition by Lewis to his birthplace, the Wandawuy Barawyuwa’s preparatory drawings Barayuwa Mununggurr and Ruark outstation near Blue Mud Bay. They in light and dark ochre pigments, Lewis at the Cross Art Projects (XAP), camped on the beach of Yarrinya, now hidden beneath the surface of Sydney, aimed to help bridge the vastly making recordings of daily activities his painting. The artists are working different heritages of the art communities of collecting food, fishing and making to realise a museum installation about of Yirrkala and Sydney. XAP aims to shelters. Yarrinya is the country of the this place using aspects of historic and provide a platform for conceptual Munyuku clan, renowned for their contemporary Yolngu art, installation content in Indigenous contemporary art, contribution to gaining Sea Rights over and collaborative works. http:// side by side with art from urban areas. their waters. Barayuwa’s mother Bengitj www.crossart.com.au/index.php/ The artists hope to help connect city- Ngurruwuthun is a painter and her mununggurr-a-lewis.html based audiences with contemporary brother, the late Dula Ngurruwuthun, a Yolngu culture. senior artist who mentored Barayuwa. Above: Installation view of works by Barayuwa Mununggurr and Ruark Lewis at The Cross Art Mununggurr has twice invited Ruark Bengitj Ngurruwuthun: ‘Yarrinya is Projects, Sydney. Photo: The Cross Art Projects.

Book Review - Larrakitj: Kerry Stokes Collection By Chris Durkin, ANKAAA

a mortuary ceremony that may have been in process for several years or even decades. Traditionally, the bones of loved ones would be placed in the larrakitj on country, during an elaborate ceremony. The larrakitj are adorned with clan designs, and have been integrated into the fine art market. They are powerful, symbolic objects that also I was flying back from Yirrkala when compose the Aboriginal Memorial at the I opened Larrakitj: Kerry Stokes National Gallery of Australia (see page Collection. I had just bought it for the 9). Larrakitj: Kerry Stokes Collection is ANKAAA library and had made the wonderful for its insightful text, great art mistake of thinking it was just another art and beautiful photographs of country book. The book is a survey of larrakitj courtesy of respected photographer (or memorial poles) from the Kerry Peter Eve. Stokes collection. The logs themselves are made from the stringybark tree, Left: Cover of Larrakitj: Kerry Stokes Collection. hollowed by termites and harvested Photo: ANKAAA. Right: A floodplain near by Yolngu for use in the final stages of Buymarr, Arnhem Land (detail). Photo: Peter Eve.

Volume 12: Issue 1 August 2012 EXHIBITIONS – Arts Backbone 17 Bigger and Better: ANKAAA’s Arts Worker Extension Program in 2012

The Arts Worker Extension Program organisations based in Darwin including projects. – ANKAAA’s intensive nine month Outstation Gallery, Nomad Art, Don development program for eight high Whyte Framing, the Maningrida Arts This group travelled on to Canberra for achieving, long serving Indigenous and Culture Shop and Tiwi Art Network. a five-day placement at the NGA under arts workers is designed to increase the stewardship of Wesfarmers Arts artworkers professional skills, industry In the weeks following the group Indigenous Fellowship convenor, Peter knowledge and networks. Now in its training, ANKAAA staff visited each of White, during which participants spent second year the innovative program the participants on-site in their community time with the Gallery’s conservation includes hands on group training, one to Art Centres for one-on-one follow up and public programs teams and gave one mentoring and industry placements training in computer skills and digital presentations to the NGA’s gallery in leading arts institutions nationally and photography, and conducted workplace guides. a new Graduate Program. and job description assessments. The second group’s arrival in Canberra Group training kicked off in March with In May, the participants split into two coincided with the opening the 2012 a week long workshop in Darwin where groups and headed south for interstate National Indigenous Art Triennial at the participants received lap top computers placements with some of the program’s NGA, and all eight participants took and training focused on improving key public institution partners: the part in a two-day program of artist and internet usage, taking and editing digital National Gallery of Australia (NGA), curatorial floor talks. photographs, presentation skills and use the National Gallery of Victoria (NGV) of social media. and the Centre for Cultural Materials While the first group returned to the Conservation (CCMC) at the University Top End, the second group travelled to The training block also included of Melbourne. Melbourne for a week-long conservation excursions to the Museum and Art training program at the Centre for Gallery of the Northern Territory One group visited Sydney first, Cultural Materials Conservation at (MAGNT), where participants were spending time with the Indigenous, the University of Melbourne, and also given a behind-the-scenes tour and public programs and retail teams at toured the National Gallery of Victoria gained insight into preparations for this the Art Gallery of New South Wales store, Museum Victoria, Murrup Barak year’s Telstra National Aboriginal and and the Museum of Contemporary Art, Centre and Koorie Heritage Trust. Torres Strait Islander Art Awards. and participating in a public program at Koskela, a Sydney-based design The arts workers participated in Participants also toured commercial company partnering with remote intensive, practical conservation training galleries and industry support community artists on new art and design with staff members from the CCMC,

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18 Arts Backbone – Projects and training Volume 12: Issue 1 August 2012 which included treatment of water NGA’s Peter White at NGA. 2. Map of AWEP and mould damaged works from the participant Art Centres across the four ANKAAA Warmun Community Collection, the regions. 3. Rosaleen performing conservation treatment of which ANKAAA facilitated treatment on a bark painting at CCMC, at CCMC after Warmun’s recent floods. Melbourne Uni. 4. Kevin being filmed discussing The group also delivered a lecture to bark conservation. 5. Judith Ryan, NGV with Melbourne University staff and art theory Kevin. 6. AWEP 2012 ladies behind the scenes students about their roles within their Art at MAGNT, Darwin. 7. Regina, Janice and Centres and communities. Marilyn discussing fabric retailing. 8. Max making conservation boxes, CCMC, Melbourne Uni. 10 In June the graduates of AWEP 2011 9. AWEP ladies at MAGNT. 10. Marilyn and came to Darwin for a two-day mentoring John doing computer training. 11. Kevin at the workshop with the 2012 program Maningrida Arts and Culture Shop, Darwin. 12. participants. All took part in a one-day AWEP team at the National Museum of Australia, Artist Biography and Artwork Story Canberra. 13. Rachael at the NGV, Melbourne. Recording workshop with consultant All photos: ANKAAA. Lockie McDonald. The 2011 graduates took on leadership roles during the workshops and all participants, past and present, strengthened industry networks. 11 AWEP 2012 culminates at this year’s Darwin Aboriginal Art Fair, during which 5 participants will complete networking and recruitment assignments ahead of a formal graduation ceremony at the Darwin Convention Centre.

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Volume 12: Issue 1 August 2012 Projects and training – Arts Backbone 19 Working Together on the Warnayaka Building Upgrade at Lajamanu

We started early on by involving the Art ‘It’s good to be working with Centre board and artists in the project you mob. I got new skills. I planning stages. They helped develop learned a lot, thank you.’ Isaiah the scope of works in accordance with Lewis, arts worker, Warnayaka Arts the available budget. Louisa Erglis, Art Centre Manager, facilitated valuable By Paul Nowland, Project Manager, communication with all involved and at ANKAAA NT Arts Infrastructure all times we talked about the importance Projects of local employment.

The recently completed Art Centre extension for Warnayaka Arts at ‘Working with the guys so far Lajamanu, managed by ANKAAA’s NT at Lajamanu has been a good Arts Infrastructure Project and funded learning curve for not only me through the Aboriginal Benefits Account, but the guys that work for me. has demonstrated the value that can I was impressed to see all the be added to a building project by boys work in together…without employing local workers. one single issue. It was a real credit to Colbert Constructions ‘It’s good working with Colbert Many builders will tell you it is too hard to have the local guys on board constructions. We’ve done lot and costly to employ local Indigenous to help renovate the art gallery.’ of work. I’m very keen to keep people on construction projects in Colin Colbert, Managing Director of working you mob.’ Neil Cooke, remote communities. I have to admit Colbert Constructions Lajamanu that the ‘system’ doesn’t make it easy and there are often many challenges. Colin Colbert, Managing Director of However, it is well worth trying. Colbert Constructions, is dedicated to using available local recourses to build community capacity wherever possible. Local employees were partnered with skilled tradesmen and workers in Colin’s team. The idea was that each local employee worked side by side with a worker from Colbert Constructions. The project moved ahead at a speed faster than anyone had expected, maintaining high quality workmanship at all times.

‘I have found the guys to be good, honest and hardworking people with a good sense of humour. I would be happy to ‘I was able to witness how have them on our work crew.’ white Australians and Mark Talbot, plumber Indigenous people were able to work side by side. These Far Left: Brendan Payton (Aka) painting guys showed enthusiasm and windows. Middle Left: Jeff and Scotty installing an aptitude to carry out tasks windows. Top Right: Isaiah Lewis touching up that would be the envy of many the welding. Above: Neil Cooke and Simon tradies.’ Simon Bish, foreman Bish bolting down base plates. All photos: ANKAAA.

20 Arts Backbone – Projects and training Volume 12: Issue 1 August 2012 trade assistants and Colin’s tradies shake hands and make heartfelt speeches of appreciation. They are going to miss each other - six weeks building and eating together has created strong bonds and mutual respect.

By Louisa Erglis, Manager, Yes, it is going well. Colin the builder The artists begin to come to paint again. Warnayaka Arts confirms the Warlpiri men are putting ‘Hey we can’t paint inside…the floor in the hours and he is interested in is too beautiful…we can paint outside It’s the final meeting before renovations employing them on jobs outside of like Yuendumu!’ Whatever you want begin. Paul Nowland, representing Lajamanu…good people are hard to artists, it belongs to you. ‘Hot water. ANKAAA and the Art Centre, and find. Cold water. Flash tiles in the bathroom Colin Colbert of Colbert Constructions and kitchen!’ It’s buzzing again. Thank arrive in Lajamanu. The Warnayaka Later, the build is very near completion. you to ANKAAA, Paul Nowland and Art board, artists, staff and manager The Manager is back in Lajamanu after Colbert Constructions from Warnayaka convene at the Art Centre. The Board a month in Darwin Hospital. The Art Arts. elects three liaison officers: Peter Centre looks fantastic. The windows are Jangala Jigili (Warnayaka Chairman great. The veranda looks impressive. Top Left: Warnayaka Art, after the and ANKAAA Director), Jerry Jangala The ladies have their own small shed renovation. Top Right: Before the renovation. Patrick (Warnayaka Director and elder) now too. There is room for women and Photos: ANKAAA. Below: (L-R) Simon Bish, and Neil Jupurrurla Cooke (staff member children to paint outside, a photography Neil Juparrurla Cooke, Hayden Lacey, and trades assistant, plumbing). studio, storage areas, a new visitor’s Mark Talbot and Isaiah Jungarrayi Lewis bedsit, new toilets! And more. celebrating the completion of their build The Art Centre manager becomes ill and six weeks working together. Photo: and is suddenly out of the picture - Another week and the builders finish. Warnayaka Art. Warlpiri staff and members are the We have a last BBQ together. Warlpiri first point of contact for the builder. The team consists of four Warlpiri staff and four non-Indigenous tradesmen, paired off. Start time is 8am; the Warlpiri men want a 7.30am start. Everything is negotiable. Simon is foreman - it’s his call. Warlpiri sometimes don’t listen. Neil will be there 7.30am every morning… Isaiah will follow Neil’s lead. The foreman Simon may feel he’s still got control. Aka and A.J. will work more flexible hours with competing community demands.

Monday morning 30th April 2012. Finally, the build has begun. The guys are on time and work is happening.

Volume 12: Issue 1 August 2012 Projects and training – Arts Backbone 21 ANKAAA Digital Archiving and Keeping Place Support Program

Digital Hard Drive Back Up Harvesting Traditional Update to Go Hunting Online Program Knowledge - New Project Resource for Art Centres

In November 2010, ANKAAA ANKAAA in association with Buku- held Regional General Meetings at Larrnggay Mulka, Yirrkala, and each of its four regions in Northern Mowanjum Artists, Derby, and Australia. During lively and varied supported by the Centre for Cultural discussions, the issues of digital Materials Conservation, University of archiving and of keeping places for Melbourne, will host onsite workshops The 2011-12 Update of the Go Hunting culture were examined. Flooding in for conservators at Art Centres in May Indigenous Art Centre Online Resource many communities around that time and October 2013. (IACOR) is now active. ANKAAA also served as a reminder of the threats funded and managed this major project to valuable Art Centre records and on behalf of Indigenous Art Centre peak important cultural documents. bodies nationally.

ANKAAA has since initiated a new Go Hunting is the only online resource Digital Hard Drive Back Up Project for information regarding best practice supported by the Australia Council in Art Centres, and was developed in National Indigenous Arts Infrastructure 2007-8 by Indigenous-governed peak Program. Participating Art Centres bodies Desart and ANKAAA, joined by receive a hard drive from ANKAAA to Ananguku Arts, SA and UMI Arts, QLD. back up their invaluable digital records, This project will help conservators ANKAAA, Ananguku Arts and Desart images, films, interviews and songs. The develop a better understanding of the will now jointly manage the site. hard drives are returned to ANKAAA for physical and cultural environments confidential storage in a fire-proof safe. from which many artworks and objects Indigenous-owned Art Centres across ANKAAA will resend hard drives to Art in their collections come, and will Australia have access to the site, Centres to update stored data every six demonstrate the harvesting, handling including members of new support months. and use of natural materials in works organisations Aboriginal Art Centre of art. The project will build upon Hub Western Australia (AACHWA), ANKAAA hopes that through this ANKAAA’s close working relationship supporting greater WA and the project, important cultural and historical with the Centre for Cultural Materials Indigenous Art Centre Alliance (IACA) in information will be safe for future Conservation, which recently hosted Far North Queensland. generations. training sessions for the ANKAAA Arts Worker Extension Program. All content has been updated and important new information and resources Involving conservators from national have been contributed by ANKAAA, arts institutions, Aboriginal master artists Desart and partners including Arts Law and arts workers, this project will be and the Australia Council. documented by The Mulka Project, Yirrkala, and is designed to support Go Hunting is full of information, two-way learning and sharing of resources and templates about funding, traditional and contemporary scientific recruitment, arts development, artist knowledge. The project is funded as an contracts and careers, the Indigenous Inspiring Australia Initiative, supported Art Commercial Code of Conduct, by the Australian Government through Resale Royalty Scheme, tax issues, the Department of Industry, Innovation, cataloguing, archiving, and more. Visit Science, Research and Tertiary www.gohunting.com.au. Above: Jilamara Arts and Craft have their Education. hard drive! Cher Breeze demonstrates. Photo: Above: Sophie Lewincamp (CCMC), Alan Joshua Above: Go Hunting website. Photo: ANKAAA. ANKAAA. Jr. and Kevin Winunguj. Photo: ANKAAA.

22 Arts Backbone – Projects and training Volume 12: Issue 1 August 2012 ANKAAA Delivers Training Across the Top End Arts Worker Focus: Jonathon Saunders

Jonathon Saunders, ANKAAA’s Resource and Development Support Officer, has been with ANKAAA for two years, starting as the Arts Administration Indigenous Trainee in 2010. His traineeship and support officer position have been funded by NT Jobs Package through the Office for the Arts.

Whilst completing his traineeship, Jonathon supported the ANKAAA team during many regional meetings, and ran the stencil component of the T-shirt workshop with Tim Growcott at the There have been some really great supported through the Australian 2011 ANKAAA AGM Conference. ANKAAA-supported training and Government’s Visual Arts and Craft professional development projects Support Program (VACS) and Arts NT. Jonathon completed a Cert. IV in completed so far this year, which have Training & Assessment, which has assisted members to build their skills and Above: Gunga Weavers with artists from Yirrkala assisted him to support arts workers share knowledge. Yarliyil Art Centre in with their ghost net creations. Below: Jessica during ANKAAA’s Arts Worker Extension Halls Creek hosted artists from Yaruman Wraight (The Ownership Program) and Ruby Program. He was also a participant, (Ringer Soak) for a collaborative wood Alderton (Buku Larrnggay Mulka). All photos: undertaking an internship at the block and screen-printing workshop. ANKAAA. National Gallery of Australia in 2011. The Gunga Weavers of Darwin travelled to Yirrkala for a ghost net Jonathon completed a Cert. II in weaving workshop in collaboration InDesign through Fearless Media, with artists from North East Arnhem and has utilised these skills in many Land. Young Buku Larrnggay Mulka ANKAAA publications. Jonathon artist and arts worker Ruby Alderton illustrated ANKAAA’s ‘How to get the spent time working with and being Resale Royalty’ poster, which was a big mentored by ‘The Ownership Project’ hit at Art Centres across the Top End. and Alcaston Gallery, Melbourne. Jack Puatjimi produced some beautiful Jonathon is currently working on work during a two-week residency ANKAAA’s Digital Archiving and at Canberra Glassworks. Merrepen Keeping Place Support program, Arts, Language and Culture conducted researching the history of ANKAAA and screen-printing workshops for fabric designing T-shirts for ANKAAA’s 25th production. ANKAAA hopes to provide anniversary. He also holds a Bachelor further support for members to undertake of Visual Arts (Honours) degree, Charles professional development projects this Darwin University, and is a practising year under this responsive ANKAAA artist. Above: Jonathon Saunders with Marilyn training and development program Nakamarra. Photo: ANKAAA.

Volume 12: Issue 1 August 2012 Projects and training / art worker focus – Arts Backbone 23 Innovation in Indigenous Fabric and Fashion Design By Louise Hamby (ANU), Lorna Martin (Injalak Arts) and Claire Summers (Babbarra Designs)

financial climate Indigenous fabric design has also captured the attentions of fine art audiences. The affordability and adaptability of fabric design makes it appealing to a range of markets.

While screen-printing emerged in the early 20th century, it was only introduced to Gunbalanya, Western Arnhem Land, in the 1980s. Laying the foundation for today’s dynamic and respected Injalak Art and Culture Centre, screen-printing provides employment and income to the Art Centre’s daluk (women) and binninj (men) artists. There has been a departure from designs hand cut from ruby lith film, a technique introduced Northern Australia has a rich and by Ray Young and similar to techniques varied history in Indigenous fabric and employed at Tiwi Design. Injalak artists fashion design. Bima Wear on Bathurst now use a freehand painterly technique, Island, now in its 43rd year, is one of applying acrylics directly to film and the region’s oldest fabric and garment to fabrics, reflecting and revealing the design centres. Tiwi Design, also on hand of the artist. Bathurst Island and in operation since 1969, has developed its screen-printing Injalak has recently experienced significantly and now works with increasing demand for printed fabrics independent designers to create unique and T-shirts. Designs created by fashion items. ANKAAA Director Regina Injalak artists under the direction of Tim Wilson of Durrmu Arts, Peppimenarti, Growcott (Top End Textiles) have been has created a range of screen-printed released as the Dry Season Collection fabrics in conjunction with Sydney (see www.injalak.com). design firm Koskela. These initiatives indicate the dynamism and growth of Indicative of the growing interest in this art form. The upcoming Remote printed fabrics by Indigenous artists, a Textiles Forum at Injalak Arts in August Remote Textiles Forum will be held at will profile the medium as an important Injalak Arts and Crafts on 25 August market sector and look at opportunities 2012. Information will be shared Top Left: Regina Pilawuk Wilson, Syaw textile for further development. about hand-printed fabrics and the design for Koskela. Image courtesy Koskela / use of digital processes, which can Durrmu Arts. Photo: Andrew Cowen. Top Right: Babbarra Designs, Maningrida, an offer a means of sustainable, high Jennifer Wurrkidj, Bush Flowers 2011, hand arm of Bawinanga Corporation, is well quality production. Louise Hamby, printed lino-tile design with acrylic pigment on known for its innovation in lino-printing who worked with Injalak artists on 100% silk. Photo: Babbarra Designs. Middle and silkscreen designs. Designs are the project Twined Together, and Right: (L-R): Rose Cameron (Director of Nomad inspired by a rich cultural heritage and is an Adjunct Fellow in the Digital Art), Fiona Sivyer, Valerie Kirk (Head of Textiles utilise modern printing techniques on Humanities Hub at ANU’s Research Australian National University), Dr. Louise 100% natural fabrics. Products lend School of Humanities and the Arts, Hamby (Post-doctoral Fellow Australian National themselves to fashion and interior design will convene the forum, which will also University). Photo: Nomad Art. Above: Swimwear markets across Australia and beyond. It be supported by ANKAAA. For more designed by amitiwi, in collaboration with Tiwi comes as no surprise that in this difficult information: [email protected] Design. Photo: ANKAAA.

24 Arts Backbone – ART CENTRE PROJECTS Volume 12: Issue 1 August 2012 Ngurra Art Rebuilds

The Kimberley Region is about to get its Community Hall in anticipation of newest remote Aboriginal community the re-opening of Ngurra Art, and Art Centre. Ngurra Art, located on the the Art Centre will support more than outskirts of the Ngumpan community, thirty artists working across the three will open in the second half of 2012. communities. Ngumpan is approximately halfway between Broome and Kununurra (or Construction of the new Art Centre is 90 kilometres east of Fitzroy Crossing), nearing completion. It will feature indoor and the new Art Centre is less than and outdoor artist studio spaces, two one kilometre off the Great Northern galleries, a retail outlet, offices and an Highway. ablutions block.

The previous Art Centre in the In the future, the site will also be home community was tragically destroyed by to a camping ground and the Art fire in 2010. Since then, the Ngumpan Centre will offer a range of services to community has partnered with Kurungal tourists passing along the Great North Top: Ngumpan Community members and artists Council to rebuild Ngurra Art to Highway, including culture tours and at the new Art Centre, March 2012. (L-R): service the Council’s three communities: visitor information on local sights and Louise Chestnut, Malachy Hobbs, Butcher Wise Ngumpan, Wangkatjungka and attractions. (seated), Gordon Tighe, Rosalee Steele, Janet Kupartiya. Spink, Lillie Spink, Donita Spink and Amy Palmer. Once the Art Centre is operational Above: Exterior of the Art Centre building, under A temporary painting studio has been ANKAAA looks forward to welcoming construction. All photos: Ngurra Art. operating from the Wangkatjungka Ngurra Art as members.

Moving Country at Yarliyil Art Centre By Hannah Quinlivin, Project Coordinator Yarliyil Art Centre

Country and cars are interconnected in the lives of people in remote regions of the Kimberley. Broken-down and swallowed up by the desert, cars become part of country itself as new ‘landmarks’, with their own trajectories, social history and stories.

Artists at Yarliyil Art Centre at Halls Creek have embarked on a new project, exploring this relationship by capturing country on car parts collected from their own backyards. A series of new works painted in acrylic on car panels, hub cabs and tyres was displayed as part of NAIDOC week. These works open up a conversation about the contemporary lived Left: Susan Peters working on her painting on a experience of moving through country. tyre and hubcap. Photo: Tim Pearn. Above: Stan Brumby salvaging car parts from his backyard. Photo: Vanessa Bertagnole.

Volume 12: Issue 1 August 2012 ART CENTRE PROJECTS – Arts Backbone 25 Swags Project Confronts Perceptions of Ngambala Wiji Li-Wunungu Homelessness By Anna Weekes, Larrakia Nation Arts - Strong Yanyuwa Voices

Miriam Charlie from Waralungku Arts (Borroloola) speaks about a collaborative recording between the Yanyuwa ladies and musician Shellie Morris.

Shellie Morris is my cousin; she came back to us years ago. Old people ‘Swags’ developed out of Arts in the The swags were installed in public welcomed her back here to the Long Grass, a project run by Larrakia spaces and passers-by invited to lie community and embraced her. It’s very Nation Arts, Darwin, and HEAL (Health inside and listen to stories from the important to us that she found her family Engagement and Assistance in the Long long grass community. ‘Swags’ has here at Borroloola. Last year she came Grass). Driven by a desire to share the been presented at the Darwin Festival, home to Borroloola and recorded some stories of resilience and cultural integrity Katherine Regional Arts Festival and the songs in her grandmother’s tongue with that lay hidden in Darwin’s large Alice Desert Festival. The collection has us. This is the Yanyuwa language but the homeless community, ‘Swags’ strove to grown to seventeen swags including a singing also includes Karwa, Kudanji address social exclusion and the impacts collaboration made with Tangentyere and Marra language groups. of stigma on the homeless community Artists and Yarrenyty-Arltere from Alice through art, creating unique, handmade Springs. We started this project in 2011 in and hand painted swags with stories partnership with Shellie, Barkly Arts recorded by the artists playing through The swags await their next journey. and the Yanyuwa song women. We speakers in the pillow. There is encouragement for them to recorded last year and some of 2012. tour further south of the NT to share the Everyone did a fantastic job. It is very ‘Swags’ explores Australia’s often- art and stories and to raise awareness important for us to put our traditional stigmatised view of homeless Australians about the complexities of homelessness language music out into the world. We living rough in the long grass, and displacement in the NT. performed together at Dance Site in comparing the iconic ‘jolly swagman’ Tennant Creek last year and then again who ‘camped by the billabong’ For more information contact: arts@ at the Sydney Opera House for the with the often untold reality for those larrakia.com. Deadly Awards. The old people are experiencing homelessness. very proud to sing their songs and they Above Left: Passers-by lying inside swags to hear never realised that they could sing out in Artist mentors Bunji Elcoate and Anna the stories of the artists, Alice Springs. Photo: the world and have a voice. Now they Weekes worked with Larrakia Nation Larrakia Nation Arts. know. Arts Centre and HEAL to engage artists and non-artists to produce their very own Image: Ngambala Wiji Li-Wunungu Album Cover. swag with their story. Photo: Waralungku Arts.

26 Arts Backbone – ART CENTRE PROJECTS Volume 12: Issue 1 August 2012 Godinymayin Yijard Rivers Arts and Culture Centre Obituary: Brandy Tjungurrayi Opens By Cath Bowdler, Director, Godinymayin Yijard By Sally Clifford, Warlayirti Rivers Arts and Culture Centre Artists

On 29 May the communities of the Western Desert and the Kimberley, the Indigenous art community of Balgo Hills and Warlayirti Artists lost a significant senior law custodian, artist, family man and community leader with the passing of Brandy Tjungurrayi. Tjungurrayi passed suddenly surrounded by his family in Balgo. Brandy was a much- respected lawman and holder of ceremony for business from Kiwirrkurra across to Kunawarritji and up to Balgo and Billiluna. He was also strong in his painting, becoming energised in the last few years as he passed on his beloved ‘ Naroo’ Tjukurrpa to grandsons Shannon and Marcus Gibson. For Warlayirti Artists he played that essential monitoring role - what Godinymayin Yijard Rivers Arts and Indigenous and non-Indigenous cultural should and shouldn’t be painted - and Culture Centre (GYRACC) is a new expression together. in doing so kept culture strong amongst cross-cultural enterprise in the Katherine the commercial challenges of an Art Region. GYRACC evolved out of the GYRACC is managed by the Katherine Centre. As magic would have it, only desire of the people of Katherine to Region Cultural Precinct Ltd through its days before he passed away he was have a contemporary meeting place in Board of Management. The official working with the New Media Centre which to celebrate, learn, create and opening celebrations took place on July at Warlayirti on a documentary sharing share culture. 14th, 2012. his artefact-making skills with the young men. A beautiful gift now for all - Godinymayin Yijard Rivers Arts and Check out the web site for information everyone at Warlayirti will miss him Culture Centre is uniquely positioned to about what’s on http://www.gyracc. dearly and he is irreplaceable. provide arts development, presentation org.au/ and educational opportunities for all sectors of the Katherine community and Top: Exterior and detail of the new Godinymayin the wider region. Underpinned by the Yijard Rivers Arts and Culture Centre, Katherine. ‘two way’ learning philosophy, it aspires Photo: GYRACC. Below: Dorcas Ashley, Beswick, to become a ‘model for reconciliation’ in teaching bush toy making during workshop at the community through the presentation Katherine Arts & Culture Centre opening, 14 July, of exhibitions and performances of 2012. Photo: ANKAAA.

Above: Brandy Tjungurrayi, Naroo 2007 (detail), acrylic on canvas, 75 x 150 cm. Photo: Warlayirti Artists.

Volume 12: Issue 1 August 2012 ART CENTRE PROJECTS / Obituary – Arts Backbone 27 Obituary: Gulumbu Yunupingu 1945 - 2012 By Will Stubbs, Buku Larrnggay Mulka

Gulumbu was one of four women who by 1985 had translated the Bible into Gumatj. In 2004, when she won first prize in the National Aboriginal and Torres Strait Islander Art Award, she said it perhaps compensated for her previously unacknowledged biblical labours.

Her compassion for others was her dominant trait. It was common to see her comforting others in their last days. Not long before she died, Gulumbu said: ‘When a person is sick, or maybe dying, people gather around to sing and dance, laugh and cry to make that person happy. It is what we Yolngu do’.

As an artist she worked across many media. In 2000 her work was selected for the World Expo in Germany. Demand for her work increased after she won the 2004 Telstra award and was invited to participate in the Musée du quai Branly project in Paris. In 2006 she was named Deadly Visual Artist of the Year.

Gulumbu was experimental with the use of different ochres to obtain new pigments for her work and in her handbag she would often have a Gulumbu died in May this year at her married Yirrkala church panel artist selection of rocks she had collected. home in Gunyungara (Ski Beach), Mutitjpuy Mununggurr, raising four surrounded by family and serenaded children. In 2007 her only son and a The exhibition Marking Time, recently at by sacred songs of the whale. For the daughter died, and an accident left Sydney’s Museum of Contemporary Art, previous six days 50 to 100 people another daughter in a wheelchair. displayed a retrospective of Gulumbu’s camped around the Nhulunbuy hospital work (see page 15). It was a huge keeping vigil. She had always been the Gulumbu was committed to bilingual highlight to travel to Sydney earlier this first to assist those in need. education and taught in the early year to open the show. At the opening days of the homeland movement. She of the Musée du quai Branly in 2006 Gulumbu, sister of Galarrwuy (former studied as a health worker and had Gulumbu said: ‘I will leave you with NLC chairman and Australian of the great knowledge of bush medicine. three things: past, present, and future. Year) and Mandawuy Yunupingu (lead She established Dilthan Yolngunha, a That’s all I can say’. singer of Yothu Yindi and Australian of traditional healing centre in northeast the Year) was born on Inglis Island in Arnhem Land. She worked closely Above: Gulumbu Yunupingu, Garak 2011, the English Company Islands north of with Galarrwuy and Mandawuy at natural earth pigments on hollow log, dimensions Yirrkala. the Garma Festival to educate non- variable. © The artist. Photo: Buku Larrnggay indigenous people about Yolngu life. Mulka. She went to school in Yirrkala and

28 Arts Backbone – Obituary Volume 12: Issue 1 August 2012 Art Centre News

Nyapanyapa Yunupingu, of Buku This year the Motika Project at Warlayirti Larrnggay Mulka, is currently exhibiting Artists, Balgo Hills, has culminated in as part of the 18th Biennale of Sydney, the creation of three short films – Balgo presenting an animation series titled Breakdown by David Lans Mudgedell Light Painting, a projection taken from a and Motika Graveyard and Night set of 110 drawings created in white- Driver by Azman Nanguri. In addition, paint pen on clear acetates. 27 June the New Media Program is currently - 16 September 2012. developing a men’s artefact-making documentary in which intergenerational The new Maningrida Arts and Culture male community members share skills Image: Installation view of Gunybi building is complete. The community, and experiences through the creation of Ganambarr’s work at Annandale Galleries. artists and staff are excited about their artefacts. Photo: Annandale Galleries. new Art Centre and can’t wait to play hosts at its official opening later in the The 2012 Tiwi Footy Grand Final Sale Jilamara Arts & Craft have been busy year. exceeded expectations given the poor with multiple exhibitions: Earth on weather conditions and cancellation Paper III, Maitland Regional Gallery, At long last, and with support from of the Sea Cat Ferry to the island on NSW (25 June – 26 August), From ANKAAA, Elcho Island Arts has its the day. Approximately 500 visitors Bark to Canvas - Jilamara Group new outdoor workspace finished. This made their way to Bathurst Island to see Exhibition, Outstation Gallery, Darwin includes the beautiful blue sail shade the artworks for sale by Tiwi Design, (6 July – 3 August), Tiwi Art Network structure atop a new concrete slab for Jilamara Arts and Craft and Munupi Arts Exhibition at the Holiday Inn, Darwin artists to utilise. and Crafts. The Tiwi Bombers won the (10 - 17 August). The Art Centre has NTFL grand Final the night before the art been continuing to keep culture strong The senior women artists of Karungkarni sale – with huge celebrations across the – teaching Tiwi culture to students at Art Centre have been painting their bush Tiwi Islands. Milikapiti School, and congratulates food dreaming designs under the shade Timothy Cook and Pedro Wonaeamirri trees of the Kalkarindji Preschool - the Image: Tiwi Footy Grand Final Art – finalists in the 2012 NATSIA Awards, first stage in the beautification of the Sale 2012, Tiwi Design. (L-R): Douglas Darwin. preschool building, which will soon be Vivian Kerinauia, CJ Kerinauia, Gordon enhanced by the artists’ designs. Pupangamiri (ANKAAA Director). Photo: The mentoring group at Injalak Arts ANKAAA. has been working with boys from the school passing on cultural skills and knowledge. The boys have been learning cultural stories, spear making, drawing techniques and other projects such as media production. Girls have also been learning weaving from the old ladies. Biddy Wavehill from Karungkarni Art Centre has had her bush food dreaming In a celebration of strong women, the designs selected to adorn the large iconic Merrepen Arts Festival’s 25th glass panels in the new building. Biddy Gunybi Ganambarr, Buku Larrnggay anniversary was themed around sisters and her husband, Jimmy Wavehill, Mulka, recently enjoyed a sell and friends coming together. Activities attended Urban Art Project’s workshop out exhibition, From My Mind, at included the popular Fi Weaving Tours, and foundry in Brisbane late last year Annandale Galleries, Sydney. To cultural dancing, bush tucker tasting and where the designs were finalised. view images and the exhibition essay a wonderful artwork display. by art critic John McDonald: www. Image: Biddy Wavehill creating her bush annandalegalleries.com.au food dreaming design. Photo: Karungkarni Art Centre.

Volume 12: Issue 1 August 2012 News – Arts Backbone 29 ANKAAA News

ANKAAA Board Governance Training, February

ANKAAA 25th Anniversary Northern Australia at Northern Editions’ Public Events, August Nan Geise Gallery (Charles Darwin In February members of the ANKAAA University). The exhibition will be Board of Directors undertook two days In celebration of ANKAAA’s 25th opened by Franchesca Cubillo, Senior of customized governance training anniversary, and in conjunction with the Curator of Aboriginal and Torres Strait with Alan Sambono and Bianca-Rose Telstra National Aboriginal and Torres Islander Art at the National Gallery of Gregory from the Office of the Registrar Strait Islander Art Awards, please join Australia, at 10.30am on 11th August of Indigenous Corporations (ORIC). A the ANKAAA Chairman and Directors 2012. The limited edition prints will be very warm thank you to ORIC’s fantastic at 6pm on Friday 10th August on the available for purchase. Indigenous staff for their comprehensive lawns of the Museum and Art Gallery training, which was thoroughly enjoyed of the Northern Territory for traditional ANKAAA has produced a series of by all. dancing from each of the four ANKAAA 25th Anniversary T-Shirts with designs regions – Arnhem Land, Tiwi, Kimberley by member artists from each of the four Above: ANKAAA Board Governance and Katherine/Darwin. Join us at the membership regions: Freddie Timms Training (customised)– with ORIC’s Alan Museum and Art Gallery of the Northern (Kimberley), Glen Farmer (Tiwi Islands), Sambono and Bianca-Rose Gregory. Photo: Territory to celebrate Indigenous culture Thelma Dixon (Darwin/Katherine) and ANKAAA. and 25 years of keeping art, country Isaiah Nagurrgurrba (Arnhem Land). and culture strong. New ANKAAA Business Plan

Above: Dancers from each of ANKAAA’s four regions will perform at the opening of the 29th Telstra NATSIA Awards. Photo: ANKAAA.

Following consultations with the ANKAAA membership in 2011, the ANKAAA Board are busy completing the new ANKAAA Business Plan 2013- 2017, with excellent support from ANKAAA’s etching project has Matrix On Board consultant, Michelle culminated in the creation of a Image above: One of four 25th anniversary Taylor. Members are welcome to make collection of handmade artist books t-shirt designs. Original artwork by Isaiah further submissions up until 20th August containing limited edition etchings Nagurrgurrba. Photo: ANKAAA. 2012. Please send to Belinda Harrison: by artists from each of ANKAAA’s [email protected]. four regions, celebrating the diversity Image left: Title page of Big Family artist book, of the membership. The books and with etching by ANKAAA Chairman Djambawa Above: ANKAAA Business Planning: Michelle etchings will be exhibited in Big Marawili AM. Photo: Northern Editions. Taylor (Matrix on Board) and ANKAAA Director Family 2: Artists’ Book and Etchings Peter Jigili, February 2012. Photo: ANKAAA. by ANKAAA Members From Across

30 Arts Backbone – News Volume 12: Issue 1 August 2012 Out and About

1. Peter Yu (Chair, NAILSMA) and Sam Johnston (Traditional Knowledge Centre, United Nations Uni) at the Northern Indigenous Experts Sustainable Indigenous Economic Development Forum (http://www.nailsma.org.au/projects/ indigenous-experts-forum/dvd/naief-forum-dvd- news-story.html), Mary River, June 2012.

2. Annette Kogolo (Mangkaja Arts), Christina 1 Davidson (ANKAAA CEO) at NIE Sustainable 2 3 Indigenous Economic Development Forum, Mary River, June 2012.

3. Rachael Umbagai (ANKAAA AWEP Graduate Mentor) and Pania Bailey-Jenkins (NT Department of Business and Employment) at AWEP networking event, June 2012.

4. Arts Worker Extension Program (AWEP) crew at the football, Melbourne. (Front to back): Rosaleen Parks, Rachael Umbagai, Max Gumana and 4 5 Kevin Winunguj.

5. ANKAAA AWEP crew with staff at National Museum of Australia, Canberra.

6. ANKAAA AWEP crew at Murrup Barak Centre for Indigenous Development, University of Melbourne, May 2012.

7. Robyn Sloggett and Marcelle Scott (Centre for Cultural Materials Conservation, University of Melbourne) being thanked by Alan Joshua Jnr (ANKAAA Director) for hosting internship for 6 7 ANKAAA AWEP conservation training.

8. David Fischl (author of The Book of the Board) leading advanced governance workshop at the Australia Council for NATSIA partner organisations, attended by ANKAAA.

9. The opening panel at the Burning Issues symposium, Ancestral Modern exhibition, Seattle Art Museum, USA, June 2012. (L-R): Tlinglit artist Preston Singletary, Brenda L. Croft, Djambawa Marawili AM and Liyawaday Wirrpanda. Photo: 8 Will Owen.

10. (L-R): Dr. Chris McAuliffe, Isaac Cherel, Graham Lands and Quentin Sprague at the Ian Potter Museum of Art, University of Melbourne.

11. Alan Joshua Jnr (ANKAAA Director) and Tom E. Lewis (Djilpin Arts), VCA, Melbourne, May 2012.

12. Installation view of Jonathon Saunders’ 9 10 exhibition, DVAA, June 2012.

All photos ANKAAA.

11 12

Volume 12: Issue 1 August 2012 Out and About – Arts Backbone 31 Back Page News ANKAAA DirectorsExecutive & SStafftaff

ANKAAA Board of Directors 2011- Lee-Ann Buckskin was recently further information: www.culture.arts. 2012Printmakers Jacqueline Gribbin and Paul appointed Chair of the Aboriginal and gov.au Chairperson-Kovesi from NorthernDjambawa Editions Marawili recently AM Torres Strait Islander Arts Board of Buku-Larrnggaylead a five-day Mulka workshop at Munupi Arts the Australia Council for the Arts. This A review of the Australia Council for Arnhemand Crafts Region on Melville Island, supported is an historic appointment as Lee-Ann is the Arts, the Australian Government’s Deputyby funding Chairman- from ANKAAA. Gabriel Nodea They worked Warmun Art Centre the first female Chair appointed to the arts funding agency, was announced together with Tiwi artists in the making Kimberley Region Board since its establishment in 1973. by Mr. Simon Crean on 19 December Tofreasurer- woodblock Peter prints Jigili – an old style of 2011. The review that followed JapaneseWarnayaka printmaking. Arts and Culture recommended some far-reaching Darwin/Katherine Region changes to the Council’s structure TheSecretary- artistsB foundrian F armerit challenging Illortamini in the Jillamara Arts and Crafts (culture.arts.gov.au/review-australia- beginning, but excitement grew as they Tiwi Region council-2012). ANKAAA responded Rbeganuth Nalmakarra to understand the woodblocking individually and jointly with the national process.Milingimbi ArtAfter and cutting Culture fingers whilst Arts Peak group. ANKAAA Chair etchingArnhem Region designs came the fun part - Djambawa Marawili AM recognises choosingAlfred Lalara colours and spreading paint. Anindilyakwa Art and Culture Centre that the Aboriginal and Torres Strait The designs came alive, resulting in bold Arnhem Region Above: Lee-Ann Buckskin speaking at Islander Arts Board (ATSIAB) of the Fandreddie intricate Timms patterns in vibrant colours Reconciliation Week Celebrations, Australia Australia Council has played an Jirrawunand pale Arts pastels. Seeing their finished Council for the Arts, Sydney. Photo: ANKAAA. outstanding leadership role in the piecesKimberley was Region the highlight for all involved, development of the Indigenous arts withQuebec the Namalawomen admiring each other’s The Indigenous Art Code is a national industry and the crucial contribution newWaringarri work. Aboriginal Arts Kimberley Region system to improve the way Indigenous historically and today of a board Regina Pilawuk Wilson artists are treated by dealers. It is a comprised of Indigenous leaders. Durrmu Arts set of rules for dealers to make sure ANKAAA strongly advocates for the Darwin/Katherine Region that artists are treated with respect. It preservation of the dynamic and Miriam Charlie demands that dealers should pay artists representative ATSIA Board. Waralungku Arts Darwin/Katherine Region fairly, act honestly, respect Indigenous John Peter Pilakui culture, have proper agreements with ANKAAA would like to welcome some Jilamara Arts and Crafts artists and keep proper records and very experienced Art Centre managers Tiwi Region report to artists about their dealings. back to remote Art Centres. Peter Jones, Gordon Pupangngamirri The Code also has the ability to impose who worked at Tiwi Design in the early Tiwi Design Tiwi Region sanctions where dealers breach the 1990s, is now managing Bula’bula Code. For more information: www. Arts, Ramingining. Jonathan Kimberley, ANKAAA Stand-in Directors indigenousartcode.org the first manager of Warmun Art Centre Lily Roy Milingimbi Arts and Culture - Arnhem Region (1998-2001) has returned to the Alan Joshua community to manage the Art Centre. Ngukurr Arts - Darwin/Katherine Region We wish them both all the best. Alan Dededar Mangkaja Arts - Kimberley Region Jean Baptiste Apuatimi, Tiwi Design, Robert Edward Puruntatameri Munupi Arts - Tiwi Region and Djambawa Marawili AM, Buku Larrnggay Mulka, are exhibiting in ANKAAA Staff Chief Executive Officer Image: Indigenous Art Code logo. Australian Contemporary Indigenous Christina Davidson [email protected] Art II at Chiaroscuro Gallery in Santa Resource and Development Officer The Federal Government’s new Fe, New Mexico, USA, in association Chris Durkin [email protected] National Cultural Policy – the first in with Vivien Anderson Gallery, Resource and Development Officer nearly 20 years - is due for release Melbourne. Jean Baptiste has also co- [email protected] later in 2012. ANKAAA made a joint published a suite of lithographs with the Resource & Development Support Jonathon Saunders [email protected] submission during the public consultation Tamarind Institute, Albuquerque, New Administration Officer process with fellow Indigenous art peak Mexico, USA. Belinda Harrison [email protected] bodies Desart and Ananguku Arts. For NT Arts Infrastructure Projects Manager Paul Nowland [email protected]

32 Arts Backbone – News Volume 12: Issue 1 August 2012