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Volume 9, Issue 2 August 2020 Read NEWS Volume 9 Issue 2, August, 2020 About IACA A word from the IACA President IACA, the Indigenous Art Centre Alliance, is the peak body that supports and advocates for the community-based Aboriginal and Torres Strait Islander art and cultural centres of Far North Queensland. Contents IACA works under the guidance and direction of a majority Volume 9 Issue 2, August, 2020 Indigenous Management Committee and is a not-for-profit organisation. There are currently 13 member art centres spread across the islands of the Torres Strait, the Gulf of Carpentaria, IACA Contacts Cape York and the tropical rainforest and coastal regions of Far 4 - 5 Elliot Koonutta: Email: [email protected] North Queensland. Pormpuraaw Art Centre Phone: +61 (0)7 4031 2745 6 - 7 Meredith Arkwookerum: Office Pormpuraaw Art Centre 16 Scott St Indigenous Art Centre Alliance members: Parramatta Park IACA Chair Phillip Rist. Image: IACA 8 - 9 Michael Norman: Queensland 4870 Badu Art Centre / Badhulgaw Kuthinaw Mudh - Badu Island Pormpuraaw Art Centre Australia An interview with the IACA Your thoughts on IACA’s response Bana Yirriji Art Centre - Wujal Wujal to COVID Travel restrictions and President Phillip Rist Lila Creek: Postal Erub Arts - Darnley Island cancellation of members conference 10 Bana Yirriji Art Centre P O Box 6587 and move to online training? Girringun Aboriginal Art Centre - Cardwell Has the lockdown affected you Cairns IACA has taken a very practical Gab Titui Cultural Centre personally? Queensland 4870 approach and provided online training 11 Sonya Creek: HopeVale Arts and Culture Centre It has been a blessing in disguise to Australia to its members which has worked well Bana Yirriji Art Centre be able to spend time with family. Not Lockhart River Art Centre and enabled the art centres to learn rushing and travelling as I have been in Facebook Mornington Island Art new things and have had the time to the past. We have had time to reflect 12 - 13 Erub Arts innovates through www.facebook.com implement their new skills in the art Moa Arts / Ngalmun Lagau Minaral - Mua Island on what is important and we realise the challenges with huge @IACAQLD centre. The Advocacy work IACA has Pormpuraaw Art and Culture Centre as long as we have each other we can wave of support done to provide extra funds for the Wei’num Arts - Western Cape York survive anything. In my house we have six Instagram art centres has been amazing and so @iacaqld Wik and Kugu Art Centre - Aurukun grandchildren, my daughter and partner 14 Melanie Gibson shines as gratefully received. manager, Hopevale Art & Yalanji Arts - Mossman Gorge all in the house together, it’s been busy and noisy but we’ve all been well and Culture Centre Twitter Yarrabah Arts and Cultural Precinct @IACAqld IACA member locations we hope to carry this togetherness and What is your outlook for the future? I believe the landscape has changed connection out of this time and keep it in 15 Virtual conference for IACA forever we are still not sure how that Website our day to day lives . and its members www.iaca.com.au will all look when this disease is gone 2019-2020 IACA Management Committee: but we are an adaptive and resilient How has the lockdown affected the Joelene Roughsey: mob we’ve been adapting for 1000s of 16 - 17 IACA board? How was the first Zoom Mornington Island Art Phil Rist - (President) EO Girringun Aboriginal Corporation years and I think the future is bright. I Board Meeting? Centre hope we can learn from this time, take Vikki Burrows - (Treasurer) Manager Bana Yirriji Art Centre We haven’t been able to meet as often the good and make change, especially Abe Muriata - Artist Girringun Aboriginal Art Centre as usual we’ve had one Zoom board regarding the environment. There 18 - 19 Amanda Gabori: Solomon Booth - Board Chair Ngalmun Lagau Minaral Art Centre – Moa Arts meeting, but for us as an Indigenous will be some pain, but we need to be Mornington Island Art Harold Ludwick - Board Director Hopevale Aboriginal Art Centre organization the Zoom meetings don’t innovative and embrace the change provide the ability to engage with one John Armstrong - Manager Mornington Island Art that needs to occur. Lex Namponan: another and make decisions with the 19 Eric Orcher - Artist Yarrabah Arts and Cultural Precinct Wik and Kugu Art Centre proper cultural authority required. The Margaret Mara - Wei’num Arts and Crafts technology doesn’t allow us to be guided Phil Rist by eye contact, body language and 20 - 21 My remote workshop President, experience, by Nephi facial expressions, nor the importance IACA Management Committee of what is not said as much as what is Denham said. As the chair I can’t embrace the Zoom technology, there is no Kinship and 22 - 23 Moa artists embrace new Phil Rist is the executive officer of the fellowship there with the computer screen; possibilities through their Girringun Aboriginal Corporation and we need that cup of tea and face to face Deputy Chair of the North Queensland weaving yarn. It has affected our ability to make Land Council. Phil is a widely respected IACA supports the Nywaigi Indigenous leader whose Indigenous Art Code decisions with cultural authority, but we’ve made the best of it and have delayed skill and determination has played a key role in establishing the Girringun Cover image: culturally important decisions until we can IACA programs and events receive financial assistance from the Queensland Government through Arts Aboriginal Corporation as one of the Collective Weaving Project for Moa Queensland’s Backing Indigenous Arts initiative, from the Federal Government’s Ministry for the Arts through meet face to face again and engage in most successful Indigenous community- the Indigenous Visual Arts Industry Support program and the Indigenous Languages and Arts program and the and St Pauls weavers. Image: Moa Arts Australia Council for the Arts . true customary decision making. based organisations in Australia. Elliot Koonutta: “I’m carrying on what the old people taught my generation. Pormpuraaw Arts Their stories are in my artwork.” and Cultural centre I was born in Aurukun in 1964 and I am a Wik Mungkan man. My grandparents brought me up. When I was 15 we returned to our ancestral country on the Kendall River for a couple of years. It truly was the best time of my life. We lived in a tin shed with 15 other members of my immediate family. There was a bush airstrip close by, so every week we had supplies delivered. We also lived on bush tucker. We returned to Aurukun after a cyclone destroyed our shed and camp area. In both Aurukun and at the Kendall River I watched the old people make spears, woomeras and carvings. I kept it on my mind that when my turn came, I would do it too. I worked on cattle stations for a while before I got a 3-year scholarship to study music in Adelaide. That was a great time. I love music and art. When I returned to Aurukun in 2004 I started making woomeras, spears and boomerangs. When the Pormpuraaw Art Centre opened in 2005, I developed my carving and painting skills. Then I explored lino-prints, etching and ghost-net sculptures. It makes me feel good because I’m carrying on what the old people taught my generation. Their stories are in my artwork. Now I’m passing their knowledge to the next generation. I like working with young boys and teaching them how to make spears and woomeras. I love helping out at youth culture camps in Pormpuraaw and Woree. My ghost net work helps to educate people about the needless destruction of fish and turtles that become caught in illegally discarded nets. I have exhibited my works at CIAF for 10 years and DAAF the last 3 years. My artwork has been exhibited in Melbourne, Sydney, Paris, Geneva and New York City. I have been one of the most successful Pormpuraaw artists in terms of sales. It is a great way to make my own way in the world. I want to become the best artist I possibly can be, and then pass my skills onto my grandchildren. I would love to travel the world with my artwork then move back to my homeland on the Kendall River. I dream of building my own house on that beautiful country, where I lived in my youth. Maybe even build a school where I could teach the kids how to make spears and woomeras. Elliot Koonutta teaching spear making. Image: Pormpuraaw Arts and Cultural Centre 4 5 Meredith Arkwookerum: “I started painting in 2018 when I was 60 years old. Art brings me happiness. Pormpuraaw Arts and I just love colour.” Cultural centre I was born in Aurukun in the late 1950s deciding which colours will work best on during the Mission times. I am a Kugu my paintings. I am inspired to paint my Mu’inh woman. My homelands of homeland and totems because that is my Thadjakulin and Konthe are situated identity. I enjoy working with colours that between Aurukun and Pormpuraaw are the same as the bird feathers, sea, on Christmas Creek, Upan Waalang. I clouds, grass and pretty flowers of my was forced to grow up in the Aurukun homeland. I like when other people look dormitory. Presbyterians ran the at my paintings. I think they are attracted dormitory, the church and the town. to the bright colours I use. When I go In those days the last family groups home after painting at the art centre in the were coming out of the bush so their morning I use an application that allows children could get an education.
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