DRAWING THE LINE BETWEEN NATIVE AND STRANGER

Thesis submitted in accordance with the requirements of the University of for the degree of Master of Fine Arts by Research

by

Fiona Melanay MacDonald

March 2010 ABSTRACT

Drawing the Line between Native and Stranger

Fiona MacDonald

The Research Project Drawing the Line between Native and Stranger explores the repercussions of the foundational meeting at through a culture of protest and opposition.

The project took form as sets of print works presented in an exhibition and thus the work contributes to the ongoing body of Art produced about the ways that this foundational meeting has shaped our culture.

The Research Project is set out in three broad overlapping categories: Natives and Strangers indicated in the artwork by the use of Language and specific historic texts; Environment; the cultural clash over land use, and Continuing Contest — the cycle of exploitation and loss. These categories are also integrated within a Legend that details historical material that was used in the development of the key compositional elements of the print folio.

The relationship between Native and Stranger resonates in the work of many Australian artists. To create a sense of the scope, range and depth of the dialogue between Native and Stranger, artists whose heritage informs their work were discussed to throw some light from their particular points of view.

In conclusion, a document and suite of print-based work traces the interaction and transformation of both Native and Stranger despite a relationship based on antagonism and ambivalence.

ii CONTENTS

CHAPTER 1 ...... 6 SETTING THE SCENE...... 6 CHAPTER 2 ...... 26 THE WORK OF OTHER PLAYERS ...... 26 William Henry Fernyhough...... 29 Tracey Moffatt...... 30 Mulkun Wirrpanda...... 31 Bea Maddock...... 33 Guan Wei...... 34 Juan Davila ...... 35 CHAPTER 3 ...... 37 DRAWING THREADS: THEMES ...... 37 Native and Stranger ...... 37 Land and Environment ...... 39 Continuing Contest ...... 40 CHAPTER 4 ...... 45 THE ARTWORK LEGEND: NATIVE AND STRANGER ...... 45 Along the coastline from bay to bay...... 45 Casting shadows ...... 47 Legend: images and words...... 47 CHAPTER 5 ...... 62 CONCLUSION...... 62 BIBLIOGRAPHY ...... 65

APPENDIX ...... 73

iii LIST OF ILLUSTRATIONS

Order Page 1. Millennium Tympanum, 2000 7 2. Public/Private, 2006 8 3. Drawing a line between Native and Stranger, No.’s 1 and 2, 2010 12 4. Mob, No. 18, 1993 13 5. Gauguin Suite No. 7, 1990 16 6. M o S, No. 1B (Colbee and nine Governors), 1994 19 7. Sea of Hands, 1997 22 8. Face to face (Treaty Now), No.’s 5, 9, 13, 2000 23 9. Fall Wall, 2005 27 10. W. H. Fernyhough, Ombres Fantastiques, No.1, 1836 28 11. Tracey Moffatt, Nice Coloured Girls, 1987 (film still) 29 12. Mulkun Wirrpanda, Yalata (3598O), 2009 30 13. Bea Maddock, Terra Spiritus...with a darker shade of pale, 1998 32 14. Guan Wei, Echo, 2005 33 15. Juan Davila, A Panorama of Melbourne, 2008 (detail) 34 16. Drawing the Line, No. 4, 2010 46 17. Drawing the Line, No. 8, 2010 50 18. Drawing a line between Native and Stranger, No.’s 3, 4, 2010 64

iv ACKNOWLEDGMENTS

Thank you to the individuals who gave their approval to the Millennium Tympanum project: Moira Cann, George Cann jnr and John Cann; Marcia Ella, Gary Ella, Mark Ella and Glen Ella; Laddie Timbery and Jeff Timbery: Eleanor Williams-Gilbert: Doreen Unicomb.

Acknowledgment is made of the La Perouse Local Aboriginal Land Council and Metropolitan Local Aboriginal Land Council. Metropolitan is the custodian of Sydney Language and the Kevin Gilbert Trust.

Valuable advice and assistance were received over the long gestation period of this project from the following community members, curators and cultural and education officers. Nerida Campbell, Judy Duke, Ken Foster, Barbara Keely-Sims, Jim Kohen, John Lennis, Allen Madden, Irene Munroe, Hettie Perkins, Herb Sims, Stephen Thompson, Ken Watson, Ellen Waugh, Joseph Waugh, Keith Vincent Smith and Eric Riddle.

Research was made possible by Botany Council Local History Archive, George Hanna Memorial Museum, Randwick District Historical Society, Rockdale City Library Local History Collection, La Perouse Museum, National Parks and Wildlife Service, Garden Project Royal Botanic Gardens, Mitchell and Dixon Libraries State Library of NSW, National Library of Australia and State Archives Office.

Special personal thanks to art curator and friend Jo Holder for her support, encouragement and wise counsel throughout.

My thanks also go to Michael Kempson for his sympathetic and astute supervision of this research project.

Thanks to Richard Crampton, Coordinator Digital Print & Copy College of Fine Art UNSW for technical support and production.

Thanks especially to my family for their patience and forbearance from the start.

v Chapter 1

SETTING THE SCENE

The project and print artwork Drawing the Line between Native and Stranger explores the legacy of Botany Bay as white Australia’s foundational site. In April 1770, two vastly different civilisations met in a large estuary originally called Kamay (Gamay) when a sailing ship pulled up alongside people fishing from canoes. Official Australian history began on the thin stretch of sand they called Kundull. The site wears the consequences of this extraordinary encounter and the ensuing contest for justice, ownership and management.

Drawing the Line between Native and Stranger (2010) revisits this fraught archival space first charted in a public art project at Sydney International Airport for the Sydney Olympics. Re-making the earlier large-scale installation as an archival work on paper is a reminder that public art projects themselves do not guarantee monumentality or even permanence. Millennium Tympanum (2000) comprised laser cut anodised aluminium silhouettes and words in English and (Sydney Language) installed along the bulkhead of the terminal’s Departures Pier B, a length of 26 metres, and two ground level interpretation stations. In this case, Sydney Airports Corporation sold the airport soon after the Olympics to Macquarie Bank and most art commissions were removed to allow for a more commercial use of public space.

6 Millennium Tympanum, 2000 Installation view Sydney International Airport

Today public art commissions are as vulnerable and ephemeral as any archival document or for that matter landscape. My work Public Private (2007), comprising eight paper shopping bags made from aerial photographs over painted with stencilled text, shows the radically altered shapes of the bay and harbour over several decades. The re-shaping is ceaseless. Dredges work day and night to deepen the Bay and expand Port Botany. Bland concrete and glass towers crowd out Sydney’s former lively working harbour: the latest is the state’s massive privatisation and development at the former Hungry Mile wharves renamed, without irony, Barangaroo after Bennelong’s wife (who died in 1791). As Sydney Opera House is at Bennelong Point, the aim is to dignify a blatantly capitalist precinct. Here re-naming also obliterates maritime working class history and enhances property values with the phonetic strangeness of an indigenous name.1

1 Historian of Eora culture and language, Keith Vincent Smith notes Bennelong and Barangaroo are from the north side of the harbour. Ace Bourke and Smith curated the exhibition Eora: Mapping Aboriginal Sydney 1770 – 1850, Mitchell Galleries State Library of NSW in 2006.

7 Public/Private, 2006 Paper bags constructed from poster prints with acrylic text, 8 parts, each 55 x 37 cm Source images: RTA aerial photographs

Botany Bay and glittering Sydney Harbour remain the most popular single signifiers of Australia to the world. The coastline linking the two harbours is the first sight of the New World for many new arrivals by sea or air. The print folio Drawing the Line between Native and Stranger takes as its field of view the coastline between Cape and Cape, from the northern arm of Botany Bay to North Head and the entrance to . Instead of drawing rocky inlets, arcs of shining sand and grids of red tiled roofs, the work is a metaphoric timeline charting the repercussions of the apocryphal first encounter of Stranger and Native, the world’s dominant European culture and the world’s oldest culture.

The title, Drawing the Line between Native and Stranger takes up eminent historian and anthropologist Greg Dening’s idea of the edge of land/edge of sea as a temporary zone of encounter, a place of relative peace and performative space. Dening recognises the serious inequalities in the encounter, in particular the victor’s power over interpretation. No outsider can mediate between the dispossessed living and the voiceless dead, but the Native/Stranger tableau reconstructs the high stakes.

As Dening writes in Mr Bligh’s Bad Language: Passion, Power and Theatre on the Bounty (1992):

8 There is now no Native past without the Stranger, no

Stranger without the Native. No one can hope to be

mediator or interlocutor in that opposition of Native and

Stranger, because no one is gazing at it untouched by the

power that is in it. Nor can anyone speak just for the one,

just for the other. There is no escape from the politics of our

knowledge, but that politics is not in the past. That politics

is in the present.2

My coastline/timeline therefore, links the innocence of scientific fact finding with the larger and darker historical narrative of colonial and imperial relations. Cook’s instructions after leaving Tahiti were in the language of imperial competition — to look for a great southern continent. The primal scene on the thin strip of white sand abutting the blue waters is heavy, not just with the perfume of scientific wonder but the foreboding of invasion and conquest.

The first encounter at Botany Bay, directed by the British Admiralty and part-funded and scripted by the Royal Society, was a product of the Romantic Age, a period between the high watermarks of James Cook's first encircling of the world on the Endeavour (1768 to 1771) and Charles Darwin's voyage on the Beagle researching what became his theory of evolution by means of natural selection (1831 to 1836). These long research field trips were designed to educate and communicate with a specialist and general public. The Admiralty demanded Cook’s official journal and all diaries be turned over to an appointed historian to sanitise for publication. Official historian John Hawkesworth’s turgid rendering of

2 Greg Dening, Mr Bligh’s Bad Language: Passion, Power and Theatre on the Bounty, 1992, p. 178

9 Cook’s pithy Endeavour Journal is widely regarded as “prolix, abstract and much given to philosophical direction”.3 A second and livelier account was artist Sydney Parkinson’s A Journal of a Voyage to the South Seas, in His Majesty’s Ship, The Endeavour, , 1773, posthumously published and edited by his brother Stanfield Parkinson. Parkinson’s remarkable watercolours and coloured drawings (over 1000), including over 700 rendered by Banks as copper-plate etchings known as the Florilegium, were bequeathed by Banks to the British Museum (Natural History), London. Neither botanist Banks nor Daniel Solander published their Endeavour Voyages, although several versions have since been published.4

Contrary to the voyage of discovery industry, a small but significant number of artists, writers and philosophers saw the threat and self-interest in the unequal relations opened by these high-minded encounters. Mary Wollstonecraft Shelley famously defines devastation in her prophetic novel Frankenstein; or, The Modern Prometheus (1818) in the anguished search by a re-animated monster for his soul. Art historian Ludmilla Jordanova observes the ominous darkness cloaking the intense figures in Joseph Wright of Derby’s otherwise deadpan demonstration , such as An Experiment on a Bird in the Air Pump (1767) and The Alchemist in Search of the Philosopher's Stone (1771).5 Humorists saw the distorted face of vanity in the mirror. Humour, as Simon Critchley observes, “both reveals the situation, and indicates how the situation might be changed.”6 Popular drawings by renowned satirists James Gillray and Thomas Rowlandson as

3 This is a criticism of Hawkesworth’s account made by Richard Holmes in The Age of Wonder: How the Romantic Generation Discovered the Beauty and Terror of Science, 2009, p. 44. 4 The notable versions of Banks’ Journals are those edited by J.C. Beaglehole in 1961 and by Paul Brunton, State Library of NSW, 1998. The National Library of Australia has the Endeavour voyage Journals online. 5 Ludmilla Jordanova, Defining Features: Scientific and Medical Portraits 1660-2000, exhibition catalogue, National Portrait Gallery, London, 2000. 6 Simon Critchley, On Humour, Routledge, 2002, p. 16.

10 well as satirical poems, fictional letters and amusing cartoons depict the Pacific protagonists not as morally daring Civilized Man or glorious Scientific Mankind but as self-interested, pompous and base clay. In many, the behaviour of wealthy aristocrat Joseph Banks with Tahitian girls amuses and his butterfly net and magnifying glass are put to suggestive use. My inspirational source material is the contrast between a panoramic view of the noble Pacific Savage presented by Jean-Gabriel Charvet titled Les Sauvages De La Mer Pacifique, 1804-05 (National Gallery of Australia) and a small album of sharply observed silhouette caricatures of colonial class and race relations in Sydney titled Ombres Fantastiques drawn by William Fernyhough in 1836 that sits in the satirical tradition (Mitchell Library State Library of NSW).

The red coastline/timeline in Drawing the Line between Native and Stranger comprises selected encounters from the moment of first contact. Silhouetted images from the terra firma of official inscriptions — colonial medallions, images from illustrated journals (by Cook, Banks and Parkinson) — are jostled by Ombres Fantastique style cut outs of more recent local history to the Bicentennial and texts to the present day. The red line traces Enlightenment curiosity and colonial incursion, native and stranger, call and response, recognition and misinterpretation. Red is the colour of the Ensign flag thrust into the sand at Kundull by James Cook on April 29, 1770. Such fleeting, off-record sketches, like family snaps, overturn the standard, top-down ways of history introducing the idea of history as an active process and transformative re-telling. Greg Dening’s Stranger/Native abstract may take us into a shared social dimension and open the possibility of a right of reply.

11 Drawing a line between Native and Stranger, No.’s 1 and 2, 2010 inkjet print from digital image on archival paper, 54 x 83cm each (edition of 3 with 2 artist’s proofs)

My work often uses the archival resources usually called Local History or Local Studies to interrogate the history of capital and labour, trading networks and geopolitics. These troves are random not curated, miscellaneous not institutionally marshalled, and often throw up key ‘off- record’ viewpoints or awkward images. My key Local Studies work is a sixteen-year undertaking using archives from my hometown of Rockhampton. The works were surveyed for the first time as Local Studies: A view from a Central Queensland Archive at Artspace Mackay in 2009.7 The source archives for the Tympanum and Drawing the line between Native and Stranger range from municipal archives such as

7 Local Studies spans five bodies of work: two site-specific, Universally Respected at the Rockhampton Club (1993) and Close at Rockhampton Botanic Gardens Interpretive Centre (1995), Mob (1993) Mori Gallery and others in included in curated exhibitions; School in Photography is Dead. Long Live Photography, curator: Linda Michael at Museum of Contemporary Art, Sydney (1996) and Close in Seven Histories of Australia curator: Clare Williamson for the Australian Centre for Contemporary Art in Melbourne (1995).

12 Botany Council’s excellent George Hanna Memorial Museum to the Mitchell Library’s Australiana collection. I take up a discontinuous narrative drawn from these archives asking the viewer to join the dots between available visual evidence.

Mob, No. 18, 1993 woven sepia photographs, 41 x 33 cm Source images: J H Lundager portraits of Darumbal child, Yaamba c. 1890 and Alma Moodie child musician, Mt Morgan c.1907. Source images courtesy: the Central Queensland Collection Rockhampton Regional Council Libraries, the Capricornia Collection University of Central Queensland

To the Strangers, the Bay and the new South Continent was an utterly unknown place, a tabula rasa or blank slate. James Cook, Joseph Banks and artist Sydney Parkinson write vividly about Botany Bay describing an infinite and mysterious nature waiting to reveal her secrets. Cook reflected in his Endeavour Journal that “They live in a Tranquillity which is not disturb’d by the Inequality of Condition: The Earth and sea of their own accord furnishes them with all things necessary for life”, to which, as Parkinson scrupulously observed, the Botany Bay clans responded in Dharawal language “Warra, warra, wai” meaning “go away”.

The Strangers ignored the injunction and fired warning shots, wounding a Native resister. They stayed in Botany Bay for eight days bathed in gentle

13 autumn light, with Cook mapmaking and Banks and Daniel Solander, who learnt his botany from the Carl Linnaeus, gathering natural and ethnographic specimens. Sydney Parkinson sketched furiously and rapturously described a land where, “though it was the beginning of winter everything seemed in perfection.” The accounts by Cook and Parkinson are open-minded and speculative. Perhaps Cook who did his apprenticeship on the Quaker-owned ship the Freelove shared a common public spirit with the Quaker, Sydney Parkinson. Aristocratic and wealthy Banks is more dismissive.

The Strangers’ speculation on the Native social structure is even more vexed than the wildly differing re-telling of the first encounter. Many assume the influence of Jean-Jacques Rousseau’s On the Origins of Inequality (1753), an essay illustrating the concept of the Noble Savage. Rousseau, a believer in Plato’s Republic of select land-owning male citizens, asserts that the nasty side of the human condition — oppression, desire and pride — derives not from nature but society. French explorer Louis Antoine de Bougainville described Tahiti in such glowing terms, popularising Tahiti (or O taheite as Banks correctly re-named it), as a paradise where men and women lived in innocence away from the corruption of civilisation. Arriving at Tahiti several years later Cook’s expedition stayed for three months observing the Transit of Venus. All the Journals harmonise with a rosy view despite the many misunderstandings.8

Tahiti was a leisurely encounter in a beautiful but ambiguous paradise confirming, to a point, Rousseau’s ideas of the Noble Savage. As art historian Bernard Smith established in the seminal work European Vision

8 Banks wrote a long anthropological essay On the Manner and Customs of the South Sea Islands and amassed a private museum’s worth of Pacific Culture artefacts. Louis Antoine de Bougainville published Voyage autour du monde, 1771. With Supplément au voyage de Bougainville Denis Diderot retells Bougainville's landing on Tahiti along with the description of the Tahitians as noble savages as a critique of Western ways of living and thinking.

14 and the South Pacific, 1768-1850 (1960) it was at Matavai, Tahiti that James Cook established the European vision of the Pacific. To explore the implications of vision is what inspired my work Fruiting Bodies (1990) in Temple of Flora (curated by Jim Logan shown at ), Gauguin Suite, (1990) and O Tahiti Nevermore (1990) (at Mori Gallery) that also responded to postmodernist ideas about Age of Discovery. The Endeavour visited seventeen other islands and circumnavigated the two islands of Aotearoa New Zealand, guided by Tupaia, who spoke highborn Tahitian and understood Maori language.9 Banks famously mused that, as other travellers collected animals like tigers at huge expense, why couldn’t he collect Tupaia?10 Tupaia’s map of the Sea of Islands (Taputapuatea) includes the area around Samoa, Tonga and Fiji, an empire controlled by sea people. Tupaia gave Cook lessons on the protocols he should obey in encounters with island people and urges Cook to show respect when he arrives on the beach. He should bring gifts, not trade. He should show obeisance to the titles of ownership of the land and sacred places.

9 Adrienne Kaeppler, James Cook and the Exploration of the Pacific, Bonn Museum, , 2009. Kaeppler notes that Cook and his men reported to Tupaia on this part of the voyage. 10 Banks did collect Tupaia. But catastrophe struck the Endeavour when they reached their first Colonial port, Batavia and the crew was overcome with malaria and dysentery. Half the crew died including Parkinson and Tupaia. Knowing he was dying, Tupaia wrapped himself in red the colour of his priestly robes.

15 Gauguin Suite, No. 7, 1990 black and white photo-montage 35 x 25cm.

In contrast, encounters along the eastern coastline of Australia were quick and tentative, the eight-days at the Bay being the sole planned sojourn.11 When they landed at Kundull Cook’s party found only empty dwellings. To conciliate, they left beads, cloth and objects. In return they stole forty or fifty wooden implements. Not surprisingly Cook notes the Natives were both reclusive and hostile “and we were never able to form any connection with them”12 and “all they seem’d to want was for us to be gone”.13 Meanwhile, Tupaia is intrigued by the simplicity of the canoes and the utter nakedness of the people. So successful was the Native non- engagement policy that Cook and Banks left puzzled and unable to account for the large number of fires along the coast with Cook incorrectly calculating fewer than fifty to sixty people lived around the bay’s

11 The Endeavour was forced to make repairs on the Endeavour River. 12 Keith Vincent Smith noted three vocabularies were collected in 1770 indicating at least three encounters between the Strangers and Natives. 13 Lt. James Cook, RN, Endeavour Journal, 30 April 1770.

16 shoreline. But Cook did complete our modern image of the world and defeat the idea of a mythical southern continent.

James Cook, an expert navigator and cartographer, first chose the name Stingray Bay perhaps as the crew were catching so many stingrays or because the bay is roughly shaped like a stingray with two tails formed by the Cook and Georges Rivers, but re-named it Botany Bay in deference to Banks’ enthusiasm.14 Curator and writer Djon Mundine, seizes on this off- record change — the diary shows the word Stingray ruled out and the new name inserted above — to note the unconscious distinction between salt and fresh water: the seaman sees saltwater (the stingray) and the wealthy botanist sees dry land plants (an estate). Both miss the crucial interrelation between fresh and saltwater and its significance in Aboriginal culture and society. Mundine is re-enacting the first encounter and makes the astute observation from Tribal Warrior Association’s ship Deerubbun on Survival Day, 26 January 2008. He speaks as an equally stern, but black, Captain Cook taking over Tupaia’s captaincy.15

An even bigger question about the nature of property and ownership lurked beneath Cook and Banks’ conflicting observations. As they head north to Torres Straight, they reflect and perhaps confer on these fleeting encounters and come close to the Noble Savage idea. In the print folio I use Cook’s famous reflection, “They live in a Tranquillity which is not disturb’d by the Inequality of Condition …”. Banks is more condescending: “Thus live there — I had almost said happy — people, content with little nay almost nothing.”16

14 Op. cit., 29 April 1770. 15 Ace Bourke, Lines in the Sand: Botany Bay Stories from 1770, 2008 Catalogue Hazelhurst Regional Gallery, p. 7. 16 James Cook, Endeavour Journal, 22 August 1770; Joseph Banks, Journal, August 1770, National Library of Australia at http://southseas.nla.gov.au/journals/banks/17700420.html

17 These insights added to the later interpretation of the land as terra nullius, a wilderness open to claiming. Eighteen years later, the now Sir Joseph Banks also now President of the Royal Society, oversaw and legitimated the correctional convict settlement. The arrival of Governor Arthur Phillip and the convict convoy was catastrophic. The foundation was and remains opposed to notions of geographic and regional legality. Botany Bay and Port Jackson rapidly became the epicentre of mass deaths from smallpox and other introduced disease and violence increasingly caused by competition for resources. These deaths and violence left deep scars on the memories and imagination of victims and perpetrators.

Phillip’s landing on 26 January is officially celebrated as Australia Day and unofficially as Survival Day. The implicit white supremacism of conquest has polarised into a jingoistic affair with the extremist riots at Cronulla Beach in December 2005 and on-going affrays on Australia Day ignited by toxic anti-refugee ‘border protection’ political stirring. Cronulla’s symbolic white sand/white Australia image gave vicious scenes of flag waving, youths tattooed with the appropriated Southern Cross and racial terror a global reach. In response to the sharp growth in nationalism and political acts expressing a neo-imperialist disregard for the independence and autonomy of peoples and places, many Australian artists have turned to the symbolism of the First Encounter.17 The echoing question about strategies to reclaim history is rephrased in the context of Ace Bourke’s research exhibition Lines in the Sand: Botany Bay Stories from 1770 (at Hazelhurst Art Gallery, 2008). My work, like that of the

17 For examples of artists working on racism and refugee policy see exhibition catalogues Border Panic Reader, Performance Space, 2002, ed., Cassi Plate; Lucky Country (still different), Hazelhurst Art Gallery, 2007, ed., Ron and George Adams and web site Riotous Suburbs 2006 curator Jo Holder which included my work http://crossart.com.au/index.php/Archive-Pre- 2007.html

18 many artists in Lines in the Sand, is attentive to the two civilizations meeting at this line. 18

M o S, No. 1B (Colbee and nine Governors), 1994 woven cibachrome prints 50 x 40cm.

Two museums commemorate First Contact at Botany Bay. Both museums include researched displays of Aboriginal history pre-contact, but there is no monument to Aboriginal history or consideration of the effects of the white invasion. Cook’s Landing Place and Museum at Kurnell is run by National Parks and Wildlife and at La Perouse there is a museum devoted to the French explorer Jean-Francois de Galaup, Comte de Laperouse at the site of his 1788 landing, five days after Phillip and the First Fleet.

To some extent the Museum of Sydney on the site of First Government House attempts to present the point of view of Native and Stranger. I contributed foundational portraits to the Museum with M o S series.

Journalist John Pilger dramatically highlighted the lack of Native voice and commemorative presence in the book and video Secret Country: The First

18 Fiona MacDonald, Log Cabin — JCI, 2005, a woven print and artist statement, in Lines in the Sand, op cit., p. 52.

19 Australians Fight Back (1985). Writer Bruce Dawe similarly asks in the poem For the Other Fallen, “You fought here for your country. / Where are your monuments?”19 Djon Mundine famously responded with the idea and realisation of The Aboriginal Memorial, a work by artists of Ramingining in Central Arnhem Land. The Memorial comprises 200 works — one for each year of occupation to 1988—that form a forest of dupun (painted hollow long bone coffins) and eloquently reclaims history, emerging in triumph as the nation’s cultural centrepiece and an acclaimed international masterpiece.20 After 12 years of the History Wars (called in the US under President Bush the Culture Wars) fuelled and led by conservative Prime Minister John Howard, Mundine again takes up the discourse about a right to negotiate history:

Finally after travelling full circle, today there are serious if

somewhat forced recognitions of the natural beauty of the

water and surrounds, and attempts to restore the

environment; and connect and listen to Aboriginal people.21

The logic of the meeting, proposed by Mundine, is diametrically opposed to the top-down rhetoric of the Federal Intervention into Northern Territory Aboriginal Communities now rebadged as a more working family friendly, ‘Closing the Gap’. This seems another case of re-naming to obliterate history and promote more of the same as a difference.

Public space is always contested. The Aboriginal Memorial conceived for the forecourt of Parliament House was rejected and now stands at the

19 Cited in K.S Inglis assisted by Jan Brazier, Sacred Places Sacred places: War Memorials in the Australian Landscape, Miegunyah Press at Melbourne University Press, 1999. 20 The Memorial: A masterpiece of Aboriginal Art, exhibition catalogue, Musée Olympique Lausanne, 1999. 21 Ace Bourke, 2008, op cit., p. 11

20 National Gallery of Australia. As the French writer Henri Lefebvre asked, "What is an ideology without a space to which it refers, a space which it describes, whose vocabulary and kinks it makes use of, and whose code it embodies?"22 Lefebvre’s model of the production of space involves a dialectical relationship between three elements: physical or lived space, perceived space and social or conceived space. Conceived spaces refer to the conceptual arrangements that enable certain spaces to be manipulated by authorities but equally connote the idea of explicit interventions of a social, political or artistic nature. However Lefebvre also cautioned that new social relations demand new spaces, and vice-versa.23

The artwork Millennium Tympanum at Sydney Airport was a sanctioned intervention in the official trajectory of public art. However a subversive footnote, the Artwork Legend, was added and available for readers on site. This key to interpreting the images was positioned under the bulkhead on either edge of the Tympanum. It is rendered in the graphic and visual style of eighteenth and nineteenth century cartoon legends with numbered images, explanatory text and source citation. It was an arch version of the interpretative plaques at natural sites, like the Three Sisters or historical monuments like that at Kurnell itself. In contrast to sanctioned artworks, landing obelisks and figures on plinths, are space claiming interventions; most famously the Aboriginal Embassy in Canberra, union pickets, industrial and environmental blockades. The most resonant of these have a high vernacular visual content and/or work with artists. In history the best known examples are the Yirrkala Bark Petition (1963) presented to Parliament by traditional owners claiming land rights and protesting against bauxite mining and Peter Drombovkis’ colour

22 I am indebted for this observation to Catriona Moore and Jo Holder in their exhibition catalogue essay for my exhibition Local Studies: Legend and Legacy, Wollongong City Gallery (2010) 23 Henri Lefebvre, The Production of Space, Blackwell 1991, (1st published In French in 1974) p. 59.

21 photograph of a wild river, Morning Mist, Rock Island Bend, Franklin River, (1979), for the Wilderness Society calendar and the Federal election campaign. To the ranks of these august works could be added Sea of Hands 1997, developed from an idea of mine to physically represent the Citizen's Statement on Native Title. This statement was authored by Phil Glendenning, National President of Australians for Native Title and Reconciliation (ANTaR) and launched earlier in the year by Charles Perkins. The concept was put forward by Jo Holder founder of Australian Artists Against Racism! (AAAR!). The first installation was held on the 12 October 1997 when 70,000 coloured plastic hands, each one carrying one signature from the Citizen's Statement, were installed in front of Parliament House in Canberra. Sea of Hands continues to grow now numbering 300,000 hands/signatures.

Sea of Hands, Canberra 1997

Such strategic thinking about cultural identity comes from about two decades of cutting-edge artistic and curatorial ventures amongst the odd commercial gallery, project space, regional gallery and larger indigenous run-arts centres from Boomalli in Sydney to Bukku-Larnggay Mulka Centre at Yirrkala. These projects/platforms encourage a diversification of curatorial models, and actively contribute to the formation of an interventionist practice of art making and discourse and have directly lead to the formation of current projects such as The Cross Art Projects, Sydney and Ocular Lab, Melbourne. They are accompanied by serious ground-up

22 archival/research undertakings, notably in the visual arts, the Dictionary of Australian Artists Online (recently renamed) at the College of Fine Arts UNSW and funded by the ARC. The DAAO’s core focus projects are Vivienne Johnson’s Aboriginal artists of the Western Desert: A Biographical Dictionary (1994), Joan Kerr’s Dictionary of Australian Artists (1992), Black and White Artists (1999) and Heritage: The National Women’s Art Book (1995) and art historian and curator Tess Allas’ Storylines research project (2007-2010).

These initiatives are rarely seen at state and national levels but their quiet breadth, depth and weight underwrites major gallery shows such as Culture Warriors, Australian Indigenous Cultural Triennale (curator Brenda L. Croft, National Gallery of Australia, 2007) and extraordinary collection surveys like They are Meditating (curator Djon Mundine, Museum of Contemporary Art, 2007) and Floating life: Contemporary Aboriginal Fibre Art (curator Dianne Moon, Queensland Art Gallery, 2009.) The shift in museum thinking about rights of reply and redress is seen in the displaying of historic Indigenous art alongside contemporary art notably the Ngan Jila Centre Culturel Tjibaou in Noumea, New Caledonia opening in 1998.24 Similarly, it is seen in re-presentations of ethnographic collections such as at the South in Adelaide, where I worked on one aspect of this global movement with Face to Face (2000) a permanent introductory display for the Australian Aboriginal Cultures Galleries using images from the curators’ archive to plot the changing relationship between anthropologists from the museum and their Aboriginal informants.

24 My work Aide Mémoire 1998 was created for the inaugural exhibition, Wake Naima, curator Susan Cochrane, 1998.

23 Face to face — Treaty Now (working drawings), No’s 5, 9 and 13, 2000 gouache on paper 35 x 25cm

Projects such as these complicate generalised or easy understanding of what it is to be local, transnational, cosmopolitan or hybrid. They assert what Homi Bhabha has called in the context of The Location of Culture (1994) a performative and enunciatory present. Bhabha targets the limitations of the oppositions, centre/periphery, civilised/savage, enlightened/ignorant and asks the question “Is our only way out of such dualism the espousal of an implacable oppositionality or the invention of an originary counter-myth of radical purity?” However, Bhabha maintains the need for the language of political economy to represent the relations of exploitation and domination in the discursive division between the First and Third World.25 In contemporary art practice while social and relational art projects assert the strategic importance of a strong local identity and local research, they must connect to the global and be mindful of these overarching divisions. My art practice is committed to locating subversive and potentially transgressive historical moments in cultural archives that testify to Third World, working class and feminist struggle.

25 Homi Bhabha, from The commitment to theory in The Location of Culture, Routledge, 1994, pp. 18-28.

24 I share with Bhabha the idea of a negotiated and contingent critical cultural practice and strategy which aims to:

[I] talk of negotiation rather than negation, it is to convey a

temporality that makes it possible to conceive of the

articulation of antagonistic or contradictory elements: a

dialectic without the emergence of a teleological or

transcendent History, and beyond the prescriptive form of

symptomatic reading where the nervous tics on the surface

of ideology reveal the 'real materialist contradiction' that

History embodies.26

It is hard to escape the satirist’s insight that, when looking across the beach of the past, we see ourselves. As a white Australian woman of Scottish/Danish ancestry, my desire to care for less privileged peoples, my wish for courage and determination may be reflected by James Cook. He asks a question on my behalf when he reflects on what he had done, bringing so many material things to the people of this land who seemed so perfectly content without them. He speaks for me when he meditates in his Endeavour Journal wondering what freedom he has to change an awful present. 27

26 Homi Bhabha, op.cit. 27 Ideas about inter-subjectivity discussed in a reading group on post-colonial theory convened by Catriona Moore and Jo Holder in 1995.

25 Chapter 2

THE WORK OF OTHER PLAYERS

A startling number of Australian artists reflect on the European vision when encountering the Pacific and Australia. The six artists discussed here occupy positions along the spectrum of ideas about the meeting of Native and Stranger and have major works commemorating or discussing the meeting. Two are colonial period artists Jean-Gabriel Charvet and William Fernyhough. The others are major contemporary artists.

A beach is a marginal space between land and sea. Mulkun Wirrpanda, a senior traditional Aboriginal artist is from Blue Mud Bay near Yirrkala where freshwater meets saltwater. Her people looked across their beach at the coming of strangers. Mulkun and Tracey Moffatt, an urban Aboriginal artist from Brisbane look out from a beach to a ship. They take up the Native’s point of view. Looking across the beach from a ship are Bea Maddock and immigrant refugee artists Juan Davila and Guan Wei. Maddock and Wei are fascinated by the view from the ocean to the beach, while Davila watches the pageant play out on the beach carefully orchestrating both sides as if a latter-day Fernyhough.

My point in this selection is that what we see and what we make is coloured by language, institutions, myths, memories and daily experiences. Everything different is shaded into familiarity. My concern in Drawing the line between Native and Stranger is to see beyond the normal limits of our vision. The saltwater people and seafarers call these signs of things beyond ordinary vision, the speech of the sea.

26 At the National Gallery of Australia you can see the panoramic wallpapers of Jean-Gabriel Charvet titled Les Sauvages De La Mer Pacifique, 1804- 05. (Manufactured by Joseph Dufour) The Islanders/Savages look across their beach and the colours are brilliant. They are in touch with their ceremonies, objects and surrounds. The overwhelming impression is of triumph in what these people have achieved. For these are Rousseau’s Noble Savages. Inevitably, this rhetoric led to a feeling of disappointment and colonial occupation was a real and catastrophic dispossession. This is evident in Fernyhough’s caricatures of victors and vanquished.

Fall Wall, 2005 Strangely Familiar Installation view UTS Gallery

With the rise of installation art, like many artists including Gary Carsley with his Draguerrotypes, I have also found in wallpaper a useful way of creating an immersive environment for other elements of my work. I used this technique successfully in the installation Strangely Familiar at UTS Gallery in 2005. Working in wallpaper or repeat patterns is particularly appropriate for artists concerned with reproduction media (print, photography, digital imaging). This installation played with the idea of an apparently safe and comforting medium of home being appropriated and subverted. From a distance, my screen printed wallpaper work Fall Wall, 2005, appears to be a chic pattern of autumn leaves. A simple pattern turns out to represent aircraft used by the US Air Force to invade Afghanistan. A reminder that the home may be the mirror of wider neo-imperialist

27 sentiments or wallpaper may be a way of covering more than cracks. A similar conceptual and visual ‘turn’ is used in Drawing the line between Native and Stranger, a rhythmic pattern of busy figures and symbols against a watery background.

28 William Henry Fernyhough Lithographer and draughtsman; born 1809, Staffordshire, Arrived Australia, 1836, died 1849, Sydney.

Ombres Fantastiques No.1, 1836 lithograph 22.7 x 30.2cm.

Fernyhough brought a fashionable drawing style suitable for rendering acute, satirical observation of colonial society but he worked for two audiences: the town of Sydney and fashionable London. A preceding collection of Fernyhough's prints A Series of Twelve Profile Portraits of the Aborigines of New South Wales (1836) was promoted as “a pretty present to friends in England as characteristic of this country”. In this pre- photographic world these profiles were consumed as likenesses, although today they appear as mostly caricatures. Published in 1836 Ombres Fantastiques, of which only two sheets survive, is composed of silhouettes and line work. Both these works recall naval topographic style each with three panoramic bands of busy Europeans mocked by grotesque devilish figures. In the middle of the second horizontal band in Ombres

29 Fantastiques, No. 1, an aloof group of Aboriginals gather around a campfire. In this image Fernyhough has recorded, perhaps inadvertently, Eora holding to their traditional way of life almost 50 years after the arrival of the First Fleet.

Tracey Moffatt Photographer, filmmaker; born Brisbane Australia in 1960.

Nice Coloured Girls, 1987 (film still) Film 17 minutes

Layered over Tracey Moffatt’s story of three contemporary Aboriginal women is the story of the arrival of the First Fleet and the beginning of a cycle of dispossession for black Australians. The film soundtrack slips between colonial past and urban present with voiced snatches of Aboriginal language, sounds of rowboats and a voice reading from William Bradley’s First Fleet Journal. Under the bright lights of Kings Cross the young women pickup a white man. Subtitles explain that mothers don't like their daughters to follow in their footsteps by the act of ‘picking up Captains’. The European way of seeing is suggested by a recurring image of a framed colonial print. The film uses symbolic devices to evoke events and circumstances — the smashing of the framed print, the

30 silhouette of figure in colonial costume climbing a rope ladder and a woman’s arms grabbing at the bag of money all point to conflict, exploitation, subversion and a plurality of perspectives. Moffatt animates Fernyhough’s caricature world but gives it a twist when the girls rip-off the Captain.

Mulkun Wirrpanda Painter, printmaker; born Dhuruputjpi, East Arnhem Land, 1946.

Yalata, (3598O), 2009 natural earth pigments on bark 53 x 52cm.

Mulkun Wirrpanda is a senior Yolngu woman and leader with the status to paint the sacred design (Dhudi-Djapu a miny'tji) that depicts her land at Dhuruputjpi, a coastal area that extends up a river and across tidal plains country around behind the beach at Blue Mud Bay. She paints in traditional

31 materials (stringybark and ground local pigments fixed either with orchid juice or wood glue). The sacred designs Mulkun uses become vehicles for her display of “sophisticated understanding of the fluid and dynamic relationships between fresh and saltwater is given a greater priority than the division of the coast into land and sea. … Yolngu people use their understanding of water flows as one basis for generating systems of coastal ownership, whilst water also provides a source of rich and complex metaphors in wider social life” 28

Mulkun Wirrpanda is mother (by kinship) to senior artist and clan leader Djambawa Marawili who in a recent radio interview spelt out the expressive power of Yolgnu art “The patterns. To me it's like reading in the Bible or reading in the book, or reading in the document.”29 His reference was to the role paintings of place played in evidence to ’s Blue Mud Bay decision that gave exclusive fishing rights in the inter-tidal zone to Northern Territory Indigenous people. Since the 1963 Yirrkala Bark Petition, the Yolngu have used their art in many political and legal battles to articulate their connection to the land and sea.

28 Marcus Barber Where the clouds stand: Australian Aboriginal relationships to water, place, and the marine environment in Blue Mud Bay, Northern Territory. PhD thesis, Australian National University 2005. 29 Damian Garrick Art, law, and the Yolngu people of East Arnhem Land The Law Report, ABC Radio National 18 August 2009.

32 Bea Maddock Printmaker, painter, paper maker, photographer, sculptor; born Tasmania, 1934.

Terra Spiritus...with a darker shade of pale, 1993-98 stencil print, printed in hand-ground Launceston ochre from multiple hand-cut Mylar stencils; letterpress text blind printed; hand-drawn script wove paper 28.4 x 75.8 cm edition of 5; plus 1 artist proof

Maddock’s major work, Terra Spiritus... With a Darker Shade of Pale 30 is a circumlittoral incised drawing of the entire coastline of Tasmania, worked with ochre over letterpress and finished with hand-drawn script. The work navigates the shore line in an anticlockwise direction, returning in the last drawing to feature the entrance to Port Davey. Each topographic feature is identified with both the English and the Aboriginal name effectively creating a bilingual question/answer trope: a nascent conversation echoing between Native and Stranger. The Latin title Terra Spiritus (land of spirit), declares the artist’s intention to express the emotional impact of living in a specific place with a powerful sense of the past.

30 The complete work can be seen at http://nga.gov.au/Landscapes/Pano2.htm

33 Guan Wei Painter, mural painter, sculptor; born Beijing, 1957; arrived Australia, 1990, returned China, 2008.

Echo, 2005 acrylic on canvas 273cm x 722cm (42 panels)

In Echo, Guan Wei layers together two key examples of separate cultures setting the scene for an encounter between two competing philosophies. A panoramic landscape painting by Wang Yuanqi, regarded as the key work of seventeenth- and eighteenth-century Chinese painting, is overlaid with among nine other images of Europeans exploring the pacific, E Phillips Fox’s painting Landing of Captain Cook at Botany Bay, 1770 (1902)31, a history painting in a tradition regarded as the ultimate in the hierarchy of European painting genres. In the tradition of Chinese painting, scrolls were hung side by side to make a finished work of epic scale.

Guan Wei has said about Echo: “The aesthetic value of such a famous Chinese intellectual painting is the harmony between nature and humankind, as well as the abstract expression of the individual’s spiritual pursuits. However, when Captain Cook and his soldiers emerge from the

31 Guan Wei artist statement Lines in the Sand: Botany Bay Stories from 1770, 2008, p.43.

34 wild seascape into such harmony, their courage and ambitious heroism is immediately swallowed and diminished. In fact, these historical European heroes appear more like a group of brutal bandits.”32 The inclusion of colonial derived imagery effectively transposes the work into a local context mobilising it to confront current social issues such as migration and border security, reconciliation and cross-cultural relations. Guan Wei asserts with gentle humour that issues in our recent colonial past will continue to reverberate in the present and the future. 33

Juan Davila Painter, installation artist born Santiago, Chile 1946; arrived Australia, 1974.

A Panorama of Melbourne, 2008 (detail) 1 triptych (3 prints) silkscreen on paper each 100 x 400 cm. whole 100 x 1200 cm.

This 12-metre panorama (comprising three four-metre screen prints printed in grey and black) depicts the processes and effects of occupation and the

32 http://qag.qld.gov.au/collection/contemporary_australian_art/guan_wei 33 Nicholas Jose, Fantastic Cosmographies catalogue essay, Contemporary Art Centre of South Australia, 2006.

35 plight of Native and Stranger in Marvellous Melbourne. The story is told as a tongue-in-cheek evolution of design, from gunya to global. The changes wrought by time are presented as a series of freeze-frames of fashion and architecture icons. The loosely drawn monochrome rendering of this history at once suggests an uncertainty about the land and the necessity to create a place to live. Davila’s acidic clairvoyance travels beyond the past and the present to a future marred by exaggerated postmodernist follies.

36 Chapter 3

DRAWING THREADS: THEMES

Botany Bay, the foundational site for white Australia, is treated in this work as a microcosm for exploring themes that relate to the contemporary Nation. With this in mind, the historical themes relevant to the artwork development are set out in broad and often overlapping categories: Natives and Strangers, Land and Environment and Continuing Contest. These categories are a guide to the scope of the work.

Native and Stranger The Botany Bay clans divided into two linguistic groups, to the north of the bay were Eora or Sydney Language speakers and, in the South, Dharawal speakers. At least five clans spread around Botany Bay were: Muru-Ora-dial at La Perouse, Kameygal on the north western shores of Botany Bay and along , Bidjigal west from Botany Bay along a tributary, north of , Cadigal to the north and Gwyeagal on the southern shore and Kurnell Peninsula.

Sydney Language remnants embedded in the work declare the Native and acknowledge the lives of its speakers. Boatswain Mahroot, who belonged to the land around Cook’s River, explained the impact of the First Fleet on Eora people, language and culture in evidence to the Select Committee on the Condition of the Aborigines in 1845. Mahroot, whose father had been the Kameygal clan head, said that as only four adults from his ‘Botany Bay Tribe’ of over 400 survived, speaking a different language, from the Cumberland Plains around Liverpool possibly either western or

37 people had moved into his country, so about fifty Aborigines lived around Botany Bay. Mahroot stated that the whites’ presence had drastically affected their food supply and netting of fish had severely depleted the supply in the Bay.

White misrecognition and misunderstanding of Indigenous protocol is detailed through official archives. Aboriginal views survive in a handful of accounts such as Mahroot’s testimony. European speculations are less reliable. Journalist Obed West claims in an Account of the Bays and Harbours of Sydney Harbour that he encountered Cruwee “the lone male survivor of Botany Bay tribe” in about 1845. Writing about forty years later, West claims Cruwee said he was camped at Kurnell when Capt. Cook sailed into Botany Bay. “He said they thought the vessels were floating islands”.34 In Eora the name for the strangers from the First Fleet is “Bèerewalgal” meaning “people from the clouds”.35 Today’s Aboriginal historians, such as Eric Willmot, continue the speculative play as puns: with “their white skin they probably thought they looked like fish”.36 For Black humorists this was too good an opportunity to miss: they looked like possums running up and down masts or they looked like ghosts and so the game goes on. artists are fond of Cook jokes for example Paddy Fordham Waniburranga’s bark painting Too Many Captain Cooks (1987), Tracey Moffatt’s ‘Captains’, Brenda L. Croft’s ‘Cook-oo’ photograph and Daniel Boyd’s spoof on E Phillips Fox, We Call Them Pirates Out Here, 2006. Indeed, as Joan Kerr noted in the exhibition Artists and Cartoonists in Black and White (Mitchell Galleries, State Library of NSW and S.H. Ervin Gallery, 1999), Cook jokes are a mainstay of Australian art as is the racial ambiguity of black and white cartooning.

34 Obed West, Old and New Sydney, 1882. 35 Keith Vincent Smith, Eora on the map, in Eora Mapping Aboriginal Sydney 1770-1850 State Library of NSW, 2006 p.1 36 Eric Willmot, : The Rainbow Warrior, Sydney: Bantam, 1987.

38 Land and Environment The botanical party funded by the wealthy Banks, comprised natural historian Dr Daniel Solander (1733-1782), natural history artist Sydney Parkinson (1752-1771) and two black servants. In Tahiti, Banks persuaded Cook of the wisdom of seeking the assistance of Tupaia the legendary leader of the Polynesian island of Raitea, an expert in geography, navigation and spiritual matters (died 1770 in Batavia) and his apprentice Omai (c.1751-1780), a young Raiatean.

Sydney Parkinson’s scrupulous drawings introduced new flora to Western eyes. He wrote that the country was “... very level and fertile; soil, a kind of grey sand; and the climate mild and though it was the beginning of winter ... everything seemed in perfection.”37 He made 94 sketches around the foreshore in less than a fortnight. Parkinson died in Batavia from malaria and other artists worked up his sketches. Meanwhile, Banks and Solander collected, dried on paper in the sun and pressed over 2000 specimens. Solander, trained by Carl Linnaeus in Sweden, enthusiastically applied Linnaeus’s binary nomenclature classification (Systema Naturae, 1735) to all specimens. Linnaeus was also first to describe the delicate interdependence of ecosystems.

Despite the conceptual advances made by Linnaeus, the Europeans ignored Indigenous classification and the intricate relationship of Aboriginal culture with their ecosystem as they had profoundly different ideas on resource use. Banks wrote: “could we have understood the Indians or made them by any means our friends we might perchance have learnt some of these; for tho their manner of life, but one degree remov’d from Brutes,

37 Sydney Parkinson, A Journal of a Voyage to the South Seas, in His Majesty’s Ship, The Endeavour, edited by Stanfield Parkinson, London, 1773.

39 does not seem to promise much yet they had a knowledge of plants as we plainly could perceive by their having names of them.”38

The belief that the land was scarcely inhabited or a wilderness gave rise to the doctrine of terra nullius. This notion, a denial of Aboriginal culture and civilization, had the effect of blanking out the millennia of Aboriginal impact on, and relationships with, species and ecologies on Australian environment. As historian Marcia Langton writes: “There is no wilderness, but there are cultural landscapes.”39

Continuing Contest The theme of loss of common wealth and subsequent enclosure and privatisation and is symbolised by the moment of dispossession—the planting of the Red Ensign flag. With the colonial focus on the Port Jackson penal settlement, the Bay retained an air of paradise, its isolation initially protecting it from rampant development. Middens accumulated over some millennia that formed the shoreline’s distinctive appearance were burnt for lime for building. Later the Kurnell sand dunes disappeared.

From the 1930’s Port Botany steadily expanded use as a port to include from the 1970’s bulk liquid berths, storage and container terminals forcing out recreational users. The destructive pattern continues as with the building of utilities from the former public Bunnerong Power House to the private Kurnell desalination plant; state owned Sydney Ports Corporation dredging, for container shipping, re-shape and pollute the Bay. Two container terminals with six container vessel berths and a bulk liquids berth - accompanied by container support businesses, bulk liquid berth storage facilities and private berths at Kurnell, now account for 70% of Sydney’s

38 Joseph Banks, Endeavour Journal ibid. 39 Marcia Langton, ‘What do we mean by wilderness? Wilderness and Terra Nullius in Australian Art’, The Sydney Papers, vol 8, no.1, 1996, p. 24.

40 total sea transport. This re-location has given the state a ‘windfall’ of Sydney Harbour property to sell to developers.

The isolation was ideal for medical quarantine, penal use and seasonal settlement. During the small pox plague of 1779 the caves at Little Bay became known as the Black’s hospital later the Prince Henry Hospital of Infectious Diseases and Long Bay Gaol were built.40 Dispossessed Aborigines, poor white and Chinese farmers and unskilled workers shared this remote area often working on the villa estates such as Tempe House. They found the sandy soil was easily cultivated. These contrasts in class, occupation and land use continue. Seasonal settlements developed though immigration by Dharawal and other people from further south on the Illawarra coast who moved north to establish homes closer to possible work. These migrants rapidly established a strong association with the land, legitimating their presence by traditional kinship and ceremonial links with earlier owners.41 Finally in the 1890’s, seven acres at La Perouse were gazetted for the Australian Aborigines Mission.42 Matora known as Queen Goosberry of Sydney and Botany Bay and Queen Emma Timbery are still honoured today. Timbery held the initial land grant for today’s La Perouse Local Aboriginal Land Council managed property.43 The Great Depression found the area ideal for shanty towns. Happy Valley and settlements at Kurnell, fondly described as “scrubby, sandy, flea infested beauty spots”, were culturally and racially rich. The upstart suburbs Frog Hollow and Hill 60, an outpost of Port Kembla’s largely Aboriginal community, lasted until

40 Peter McKenzie & Ann Stephen, ‘La Perouse: An Urban Aboriginal Community’, in Max Kelly, ed., Sydney: City of Suburbs, NSWUP, Sydney, 1987, p. 183. 41 Heather Goodall, Invasion to Embassy, 1996, p. 26. 42 Archives Office: Aboriginal Reserves in NSW: a land rights search aid: a listing of archival material of former Aboriginal reserves. La Perouse: 1. AR 22358 Gazetted 30/3/1895. 7 acres 6.5 perches 16/3/1915. 43 McKenzie & Stephen, op. cit.

41 1960s.44 The State Housing Commission, established to overcome post- Second World War housing shortages, built homes and designed suburbs to modern town planning standards.

Beside the Bay, recreation estates and pleasure grounds flourished the grandest being Sir Joseph Banks Hotel and Zoological Gardens beside “refreshing and restoring waters” comprising clear water on a beautiful sandy bottom”.45 At the height of its fame, on Boxing Day in 1851, the Gardens hosted some 5000 of Sydney’s population of 60,000. In the 1880s a Botany Bay Polka was written to accompany popular dances. Just upstream, a bend in the Cook’s River was the site for painter Sydney Long’s Tranquil Waters (1898) an Arcadian view of boys bathing, long believed to have been located elsewhere.46

Water use practices provide a most instructive contrast in land use. The sandy soil of the Botany Aquifer acted like a sponge and a filter, from 1859 to 1886, pumps carried water from the Botany Swamps to the city and surrounding suburbs. Parts of a chimney identify the aquatic archaeology of Botany Pumping Station, dismantled in 1896. By then pollution from noxious industry (a sugar refinery, wool washes and tanneries) had damaged the river. Rail and Sydney Municipal Aerodrome opened the Bay to commercial exploitation. The Sydenham to Botany Railway Line opened in 1925, bringing the decline of grand resort life. The Italian community at Yarra Bay held a Blessing of Fleet until the 1970s and the Bay’s beaches, sea baths and foreshore are enjoyed as they have for generations, retaining a Mediterranean feel as over forty percent of locals are from a non-English speaking background.

44 Eric Eklund, Steel Town: the Making and Breaking of Port Kembla, Melbourne: Melbourne University Press, 2002 p 32 45 Joseph Banks Hotel and Zoological Gardens, listing in Sand’s Sydney Directory, 1857.

42 Each incursion into this pattern of the Bay’s ongoing and irreversible environmental degradation has provoked a crisis response. From the early 1930s resident action groups were formed around Botany Bay to lobby Government for controls on foul smelling air and clean up waterways especially the once wonderful Cooks River and Wolli Valley. In September 1930 a Sydney Morning Herald article raised resident concern with the use of the Bay as a commercial port citing anxiety over the discharge of motor fuel.47 Impact of pollution, shipping and airport noise, erosion of harbour foreshores and a desalination plant remain burning issues. In the 1970s waterfront protesters opposed the expansion of Port Botany to include bulk liquid berths, storage and container terminals and pressed for a relocation of airport facilities to outer Sydney. Conservationists address themselves to saving Kurnell’s remaining sand dune and the Bay’s unique wetlands, especially Towra. An insidious threat is the ongoing groundwater contamination: arsenic in the Botany aquifer and seepage of contaminated by chlorinated hydrocarbons (dioxins) and lead from Orica (the old ICI plant at Banksmeadow) and underground gas storage. As artist Judy Watson’s painting One Night in Bhopal reminds us, the Bhopal disaster was a catastrophe caused in 1984 by a Union Carbide (UCIL) owned pesticide plant when a cloud of gas killed up to 10,000 people within three days in Bhopal, .

Soon after the 2000 Olympics, Kingsford Smith Airport was privatised and given over to Macquarie Bank. Around the same time the, Carr Labor Government decided to re-locate shipping the working harbour from Sydney Harbour into Port Botany and Port Kembla. In 2005, Sydney Ports Corporation obtained approval for the expansion of the existing port through reclamation of 60 hectares of land and associated dredging to

46 Joanna Mendelssohn, Sydney Long (1871 - 1955), Australian Dictionary of Biography, Volume 10, Melbourne University Press, 1986. 47 Sydney Morning Herald, 11 September 1930

43 create shipping channels and additional rail sidings to provide rail access to the new Enfield terminal area (privatised). It is likely that commercial pressure to keep developing will overrule resident and environmental pressure groups. However people continue to struggle against structures of capitalist domination and artists, such as Peter McKenzie, Mervyn Bishop, Micky Allen, Tom Carment, Adam Hill and those in the Stephen Mori organised Kurnell projections, will continue to campaign, document and advocate for environmental and social justice around the Bay.

44 Chapter 4

THE ARTWORK LEGEND: NATIVE AND STRANGER

Along the coastline from bay to bay The compositional spine of the artwork is a strip of red cloth that traces the waterline from Cape Banks in Botany Bay to South Head and on to Rose Bay inside Port Jackson. These two headlands determine the lateral edges of the composition — defining the extent of coast that Phillip Arthur sailed in January 1788 from the Curvee Cove side of Cape Banks in Botany Bay along the coast around South Head into Port Jackson to establish the colony at . Red cloth defines the coast and refers to a key introductory moment in relations between indigenous peoples of the Pacific and Europeans — the exchange of gifts. At Kurnell, Cook’s party left beads, cloth and objects. Later dating of shell middens at Kurnell uncovered remnants of these discarded objects.48 To the British Parliament, the lack of interest in Cook’s gift of useless baubles and clothes was evidence of a lack of civilization. In stark contrast red cloth was so prized by the British that Sir Joseph Banks instructed Captain Arthur Phillip to collect a number of cochineal-infested plants from Brazil in 1887 on his way to Botany Bay with a view to establishing a cochineal dye industry in the new colony.

The loosely laid red coastline of the prints follows James Cook’s topographical mapping project undertaken on behalf of the English Admiralty. Art historians William Eisler and Bernard Smith identified that

48 Vincent Megaw, Excavations of Captain Cook’s Landing Place Historic Site, Kurnell 1968-71 (Sydney: Australian Society for Historical Archaeology,) 1972.

45 the famous Map of Botany Bay by James Cook was probably modified as result of visits to various parts of the Bay after the formal exploration when Cook took only one day “to sound and explore the Bay”.49 According to Eisler and Smith several copies of the sketch were made on the Endeavour and it is not certain which, if any is actually from Cook’s own hand, though many of the charts are by Cook.50

Eighteen years later the convict fleet arrived. Despite the precision navigation enabled by Cook’s charts Lt. William Bradley grumbled with disappointment: “Saw the white cliffs mentioned by Cap. Cook to be 10 miles to the S.ward of Botany Bay; I do not altogether think it a certain mark for Winnowing when you are near Botany Bay, there being many white Sand Hills that shew like cliffs coming up the coast.”51 He was referring to the vast Kurnell sand hills, scene of Charles Chauvel’s First World War epic Forty Thousand Horsemen, and the sand mines that supplied Sydney’s needs, now exhausted but for one dune.

Drawing the Line, No. 4, 2010 inkjet print from digital image on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

49 Map of Botany Bay by James Cook, Botany Bay, in New South Wales in John Hawkesworth, An account of the voyages undertaken by order of His Present Majesty for making discoveries in the Southern Hemisphere, Vol 3., London, 1773. ML Q980/38A3. 50 William Eisler & Bernard Smith, Terra Australis: the Furthest Shore, Australian Bicentennial Authority, 1988. 51 William Bradley, A Voyage to New South Wales: The Journal of Lieutenant William Bradley RN of HMS Sirius 1786-1792, Sunday 20 January 1788.

46 William Bradley was a keen observer of the reaction and dismay caused in the local population to the arrival of strangers: “They were quite naked and had much of the appearance of being well disposed towards us. ... The Natives were well pleased with our people until they began clearing the ground at which they were displeased and wanted them to be gone.”52

Casting shadows The use of silhouettes in Drawing the Line between Native and Stranger salutes Ombres Fantastiques by William Henry Fernyhough, whose sharp and lively caricatures of colonial society are as lively today as when his lithographs were released in 1836. A key to understanding the Native and Stranger artwork is the bemusement and misunderstanding peculiar to most cultural exchange. Hybrid imagery derived from images found in public and private archives floats over of the coastline to represent Water, Air and Earth rhythmically punctuating the length of the set of prints. Air is represented by silhouettes of a boomerang, propeller, wind in the sails and the Aboriginal flag flying over the harbour on Australia Day 1988. Air is life giving breath and included in the work Drawing the Line is The Breath of Life a poem by the late Aboriginal poet, artist and activist Kevin Gilbert. Water sustains canoe, whale and diver while Earth supports Joseph Banks’ botanising and the elegant slow growing plant Xanthorrhoea media (Goodgadie).

Legend: images and words Following is an interpretive commentary on the words and images used in Drawing a Line between Native and Stranger and its companion set Drawing the Line detailing the sources for quotes and images specific to the narrative.

52 ibid

47 Primary source texts that informed the art work are from 1770 to 1988 and thence some key moments to the National Apology in 2009:

i. James Cook, RN, Endeavour Journal, 1770: “They live in a Tranquility which is not disturb’d by the Inequality of Condition.”

ii. Cruwee “we thought the vessels were floating islands” quoted by Journalist Obed West in an Account of the Bays and Harbours of Sydney Harbour. West encountered “the lone male survivor of Botany Bay tribe” about 1845.53

iii. William Ferguson and John Patten, Aborigines Claim Citizen Rights. A pamphlet for Aborigines Progressive Association, 1938. Commentary: A Day of Mourning was observed in Sydney on the anniversary on 150 years of “misery and degradation imposed on the original native inhabitants by the white invaders of this country.” This commemoration held in Elizabeth Street Sydney, is often seen as the beginning of the modern Land Rights movement.

iv. Kevin Gilbert, The Breath of Life, poem From Kevin Gilbert, Breath of life: moments in transit towards aboriginal sovereignty, edited by Eleanor Williams and published in the catalogue for a touring exhibition hosted by Canberra Contemporary Art Space in 1996.

53 Obed West, Old and New Sydney, 1882.

48 v. Commentary: With the Redfern speech in December 1992, Prime Minister Paul Keating acknowledged before the predominantly indigenous crowd at Redfern Park the injustices perpetrated by non-: “It was we who did the dispossessing. We took the traditional lands and smashed the traditional way of life. We brought the diseases. The alcohol. We committed the murders. We took the children from their mothers. We practised discrimination and exclusion. It was our ignorance and our prejudice. And our failure to imagine these things being done to us. With some noble exceptions, we failed to make the most basic human response and enter into their hearts and minds. We failed to ask — how would I feel if this were done to me?”54 Patrick Dodson, chairman of the Lingiari Foundation, later remarked of Paul Keating’s speech “He placed before Australians the truths of our past and the sad reality of our contemporary society. He laid down the challenge for our future, as a nation united and at peace with its soul.”55

vi. Prime Minister Kevin Rudd, National Apology, Apology to Australia's Indigenous Peoples House of Representatives Parliament House, Canberra 13 February 2008. Commentary: The report Bringing them Home: National Enquiry into the Separation of Aboriginal and Torres Strait Islander Children from their Families (Canberra: Human Rights and Equal Opportunities Commission, 1997) had such an impact on the Australian electorate that in 1999 the Australian Parliament expressed: “deep and sincere regret that

54 http://www.keating.org.au/main.cfm 55 Patrick Dodson, Keating's high point for Aborigines, The Age, 7 April 2007, p.7

49 suffered injustices under the practices of past generation” in a Motion for Reconciliation put by Prime Minister John Howard, 26 August 1999. The political progress of Reconciliation culminated in 2008 with the National Apology pronounced by Prime Minister Kevin Rudd. The Prime Minister used the word ‘sorry’ three times in the 360 word statement read to Parliament on the morning of February.

Eora Language Two large linguistic groups lived spread out around Botany Bay with Eora or Sydney Language speakers to the north and Dharawal on the South side. The people inhabiting the area bounded by Port Jackson and Botany Bay and centred on Sydney suffered immediate devastating effects of disease on the arrival of the First Fleet. Consequently, little knowledge about their culture and language remains. There is speculation that these people spoke a coastal dialect of Darug from the west of this region while others believe the Eora spoke a distinct language native to Sydney.56 Some Eora words are recognised all across the continent and it may be possible to reconstruct the now vanished language using contemporaneous word lists compiled by Captain Arthur Phillip, Lieutenant William Dawes astronomer with the First Fleet and Captain David Collins first judge-advocate of Port Jackson. These lists and words from other sources were collated and interpreted by linguist Jakelin Troy and published in The Sydney Language, 1993. Troy says there is little evidence that points to the syntax of the language. The words selected for this project are therefore presented singularly with English translations, to acknowledge the loss and silencing of Eora voices by the onslaught of Colonialism.

56 Melinda Hickson Seeing the past in the present in Aboriginal Sydney Aboriginal Studies Press AIATSIS 2001 p. xxi

50 Drawing the Line No. 8, 2010 inkjet print from digital image on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

Source Images Selected images drawn from field research in local archives and the Mitchell Library have been recreated as hand cut silhouettes and used like stencils for the prints. A background layer for each of the seven prints Drawing a Line between Native and Stranger was made by over lapping silhouettes to form a screen then applied to a manipulated photographic image taken at the mouth of Botany Bay. Over these backgrounds consecutive sections of coastline between Cape Banks and Port Jackson were drawn with a strip of red cloth. Individual silhouettes were applied to create a narrative along the seven separate prints. Text in Eora and English suggest the dialogue between Stranger and Native. This dialogue is taken up in a second group of prints with texts and silhouettes embedded in photographic images from Botany Bay.

i. Invasion Day, 1988 Source: Kevin Gilbert, Aboriginality began in 1788 poem and photograph of a protester waving an Aboriginal flag over Sydney Harbour on Australia Day 1988. Commentary: The image was generated during The Long March which originated in the top end of Australia and concluded in Sydney for 26 January 1988 protesting the 200

51 year anniversary of the European Invasion of Australia. A smoking ceremony to purify and heal the land was held overnight at Kurnell — the site where it all began. Kevin Gilbert (1933-1993) playwright, poet, artist and activist published in an illustrated anthology of his poems in 1988. Gilbert was renowned for his great fight for human rights for Aboriginal people and the struggle for sovereignty, land rights and a treaty, through the Treaty 88 campaign.57

ii. ‘Etruria’: Sydney Cove Medallion — Sailing Dingy Source: Joshia Wedgwood, Sydney Cove Medallion, 1789. Cover plate for The Voyage of Governor Phillip to Botany Bay, compiled from authentic papers (London: Stockdale, 1789). Commentary: Wedgwood had already produced his Am I Not A Man And A Brother? Anti-slavery medallion of 1787 when at the request of Joseph Banks Wedgwood instructed Henry Webber, resident sculptor at his factory, Etruria, to design an engraved vignette to be the Sydney Cove Medallion. The circular, biscuit stoneware was modelled from a small piece of clay sent to Banks from the colony by Governor Phillip. According to Wedgwood the clay was of a “fine texture, and will be found very useful in the manufactory of earthen ware.” Webber’s utopian design became the frontispiece of Governor Phillip’s Account of the founding of the Colony followed by Erasmus Darwin’s exhortatory poem Visit of Hope to Sydney Cove, near Botany Bay. The Wedgwood-Darwin families intertwined through two generations. Charles Darwin was his grandson and the Wedgwood inheritance gave Darwin the leisure time to formulate his theory of evolution. A version of

57 Paul Newbury, Aboriginal Heroes of the Resistance: From Pemulwuy to Mabo, 1999 p 76

52 the Medallion was modified as a woodblock print for the masthead of the Sydney Gazette, the Colony’s first newsletter published on 5 March 1803 by convict editor and printer George Howe. The medallion became the Seal of the Colony of NSW.

iii. Black and White Cocatoo’s [sic] Source: S.T. Skottowe, Black and White Cockatoo from Selected specimens from nature, watercolour 1813 (Collection of SLNSW). Commentary: James Cook wrote: “in the woods are a variety of very beautiful birds such as Cocatoo’s, Lorryquets, Parrots, &c. and crows exactly like those we have in England.” 58

iv. Woman Fishing Source: Joseph Tetley, Woman Fishing, c. 1806 from his Natives of New South Wales. (Collection of SLNSW). Commentary: J. Kohen wrote “Fishing from a bark canoe with a hook and line, probably for snapper or flathead. This method was usually employed by the women, while the men fished with multipronged spears.” 59 Joseph Banks observed “Their canoes ... a piece of Bark tied together in Pleats at the ends and kept extended in the middle by small bows of wood ... which carried one or two ... people ... paddling with paddles about 18 inches long, one of which they held in either hand” 60 Watkin Tench records Cadigal people night fishing as “a

58 James Cook, RN, Endeavour Journal, Botany Bay, 5 May 1770. 59 Jim Kohen, Hunters and Fishers in the Sydney Region, in Mulvaney, D.J., White, J.P. (eds.), Australians to 1788, Vol 1 (1987) p. 355. 60 Joseph Banks, The Endeavour Journal of Joseph Banks 1768–1771 ed. J. C. Beaglehole Vol. 2 (1962) p. 134.

53 constellation of iridescent lights reflected on the water” and “with fires lit on a mud base within their nowey (canoes), fishing and cooking the night's catch.”61 In contrast to the practice of Eora women who skillfully caught fish one at a time, the whites used nets to pull ashore many more fish than could be consumed only to be later wasted. This shift in the way food was won caused Eora women to lose their crucial power to provide for their families, and profoundly destabilised Eora society.

v. Joseph Banks, ‘Botanising’ Source: Botanic Macaroni (London: M. Darby [sic], 1772.) Etching, plate mark 17.8 x 12.6 cm. Commentary: Etchings depicting the protagonists of the Pacific Voyages were popular, especially ones depicting the powerful Joseph Banks. This is one of a series of three caricatures published by M. Darly from July to November 1772. As a double entendre the butterflies chased by Banks in the image refer salaciously to the Banks’ liaisons with Tahitian women. Cartoonists also enjoyed the fact that Linnean classification introduced the concept of sexualised plant life. The companion pieces are satires of scientist Daniel Solander and artist Sydney Parkinson titled variously The Fly Catching Macaroni showing Solander as a human Venus flytrap reaching to net a butterfly and The Simpling Macaroni depicting a very boyish Parkinson using his palette as if a violin. The artist’s identity is unknown. (Collection: National Library of Australia, Rex Nan Kivell).

61 Watkin Tench, Tim Flannery (ed.), 1788 (1996).

54 vi. Boomerang (Sword) Sources: Boomerang carved by Laddie Timbery, 2000 Commentary: The Timbery family operates a Museum at Huskisson Heritage Centre and Laddie Timbery continues the family tradition of Sunday demonstrations at the Loop in La Perouse. The Australian Museum has a fine collection of La Perouse Boomers carved wooden weapons from the 1930’s by makers including Ned Sims and Wesley Sims. The boomerang, like the navigators of the Age of Discovery were windborne and remarkably accurate. The sleek lines of these weapons are echoed in the propeller of the AVRO, Australia’s first airline. vii. Xanthorrhoea media (Goodgadie) Sources: The Voyage of Governor Phillip to Botany Bay, compiled from authentic papers (London: Stockdale, 1789) and David Collins’, Account of the English Colony at Botany Bay, & other settlements in NSW from their Establishment to the Present Time (London: 1798; reprinted London: J. Bailey, 1808); illustrated with 20 engravings all believed to be after Thomas Watling. A sketch by Arthur Bowes Smythe surgeon, Lady Penrhyn, 1787-1789, of the “yellow gum plant” or Goolgadie Forest Grass Tree (Xanthorrhoea media). Commentary: Xanthorrhoea media (Goodgadie) is a plant providing resin essential for manufacture of tools, implements. The resin that melts when heated and sets hard when cool was used to seal fishing canoes. Seaweed was placed on top of the resin and a fire lit to cook fish and keep mosquitoes away. The flowers can be sucked or soaked in water for a sweet drink.

55 Banks observed its use for fishing spears “lances tipped with the stings of sting-rays ... which indeed made them a terrible weapon”62

viii. Man of Port Jackson holding fish Source: Natives of New South Wales 1-12. Pre-1806, three known sets, one held in the Mitchell Library at ML PXB513. A set of Twelve watercolour drawings of Australian Aborigines owned by Rev C.J. Jenner. As Jenner didn’t visit Australia, it is possible the set was painted by an unknown convict, soldier or other artist who sold it to the person who took it to London where it was copied by another artist. The copies were made within a few years after 1807 when Tetley arrived in London. Lt Tetley was in New Holland for approximately six months in 1806 engaged in military duties and involved in fraud. Anthropologist F.D. McCarthy resolved that two sets were copied off the Jenner set which is most likely the original. 63 Commentary: Joseph Banks: “they paint themselves with the colours of red and white: the red they commonly lay on in broad patches on their shoulders or breasts; the white in stripes some of which were narrow and confined to small parts of their body, others were broad and carried with some degree of taste across their bodies .. They also lay it on in circles around their eyes and in patches in different parts of their faces.”64 It is tempting to speculate that the offering of the fish was an act of ritual Gift giving, confirming land ownership and that while offering food to a stranger indicates friendliness and

62 Joseph Banks, op. cit. 63 F.D. McCarthy, A Comparison of Three Sets of Watercolour Paintings of Aborigines, Natives of New South Wales, pre-1806 (Sydney: SLNSW, 1981) 64 Joseph Banks, op. cit.

56 compassion it also meant to confirm the stranger’s status as someone who does not belong and will not stay.65

ix. Crest: kangaroo and cassowary Sources: Sydney Parkinson’s Kangaroo a sketch made near Endeavour River. He was the first European to draw a kangaroo and record its name. His sketch of the first kangaroo was famously worked up by George Stubbs on commission from Joseph Banks. The cassowary is from David Collins’, Account of the English Colony at Botany Bay, & other settlements in NSW from their Establishment to the Present Time first published in London, 1798 and illustrated with 20 engravings all believed to be also after Thomas Watling. Bowman Flag, (Mitchell Library, State Library of NSW). Commentary: The Bowman Flag is the earliest known example of heraldic use of indigenous animals and plants – kangaroo, emu and long Hawkesbury grass. Painted by Mary Bowman on silk from the wedding dress of her mother, Honor Bowman in 1806. The flag was flown from their home near Richmond, NSW possibly to celebrate news of the victory of Lord Horatio Nelson at the Battle of Trafalgar, 1805. An alert kangaroo and emu on a field of long Hawkesbury grass appear look for something in the distance.

x. Compass Source: after ships surgeon Arthur Bowes Smythe (1750-1790), compass drawing in Journal the Lady Penryhn, 1787-89. Commentary: Bowes Smythe’s unusually intricate compass radiates the confidence in the precision navigation technology,

65 Marcel Mauss, The Gift: Forms and Functions of Exchange in Archaic Societies, 1954.

57 especially the Astrolabe, based on Ptolomy’s ancient sphere, which revolutionised navigation.66 Shell middens or monuments, comprising shellfish meals, marsupial, fish and marine animal bones, lined the water’s edge of Botany Bay and Port Jackson, some described as high as 12 metres were amassed over some 7,000 years. Middens from Botany Bay and Port Jackson provided mortar lime for Sydney’s building industry for 50 years. As they were burnt a past architecture was erased. A shell compass in the Art work pulls into play Aboriginal women’s ornamental shell work from the earliest times to today. Several generations of La Perouse women are renowned for their shell work, in particular Lola Ryan and Esma Timbery.67 The poet R.F. Brissenden recalls commemorative events of his childhood and a coastal midden whose ancient occupier he addresses: “We cannot ask forgiveness - but this site/Bears our name now, our mark, as well as yours.”68

xi. Bastille Day, 1965 Source: Front page newspaper photo with caption: “The French Consul-General, M. Armand Gandon, makes friends with a group of aboriginal children at the La Perouse Monument Reserve yesterday. The children, from the same family are (from left) Marcia Ella, 2, Gary, 5, and Mark and Glen, 6. M. Gandon and members of the French community attended a ceremony to mark France’s national day—Bastille Day.” Sydney Morning Herald, 15 July 1965, p1. Courtesy: La Perouse Museum, NSW National Parks and Wildlife Service.

66 William Eisler (ed), Terra Australis: the Furthest Shore, 1988. 67 Tess Allas, Dictionary of Australian Artists Online. www.daao.org.au 68 Inglis, Sacred Sites, op cit.

58 Commentary: The Ella Brothers and sister Marcia became national sporting heroes today mingling in contemporary life with many Eora descendents who have survived all the tribulations of invasion and colonization to play increasingly leading roles in contemporary spheres of endeavour. xii. Whale – rock engraving Sources: Native carvings, Whale, La Perouse, 1893 pencil drawing, W.D. Campbell album Ref: PXD 223/no.5 (Mitchell Library SLNSW) Commentary: Notes written in pencil on the drawing, describe the locality as “being on the high point of the low rocky point at La Perouse. There are only two figures on this rock, a fine carving of a whale 38ft long and its calf 15ft long.” Rock engraving is thought to indicate an area of traditional ritual ceremony. xiii. Cann’s Snake Circus c. 1950 Sources: La Perouse Snake Man George Cann snr c.1938 (Cann family album). Commentary: “All along the coast the sea swarmed with fish of all descriptions from the great whale to the little brim ... the land swarmed with snakes.” Obed West, in his Account of the Bays and Harbours of Sydney Harbour in Old and New Sydney, 1882. La Perouse tourism, from the establishment of the reserve in 1890s to 1950s, thrived aided by the frequent tram service and the winning of a half-day holiday on Saturday. A tourist trade sprang up with local Kooris trading with day trippers wishing to see ‘a vanishing people’ and local entertainment acts such as Cann’s Snake Circus. Locals made and sold souvenirs and artefacts along with fresh fish, honey and oysters. John

59 Cann the last of the legendary snake men of La Perouse retired in January 2010. Perhaps to Aboriginal ears English speech with all its hissing and lisping sounded like snakes. 69 The snake population exploded in the Sydney basin after the arrival of the First Fleet with its stowaway cargo of European rats.

xiv. Charles Kingsford Smith’s Southern Cross: ‘alls well that ends well’ Sources: Photograph of Southern Cross landing at Mascot on June 1928. The Propeller of AVRO 504K, the first Qantas plane manufactured by AAEC in c.1920 Logo of the Diggers Co-operative Aviation Coy. Ltd. The photograph is inscribed “To Sir R. W. Carwyter (?) The Age”, dated 12/6/1928, signed by G.P. Uhlm, Charles Kingsford Smith and 2 others and inscribed “alls well that ends well”. (Botany Bay Library). Commentary: As the name Southern Cross indicates, this was a jubilant and hopeful period. AVRO aircraft were proudly made at Mascot and were proving they could out perform competitors. Many keen aviators had acquired their flying time as Diggers in the First World War and gathered beside the Rifle Club and the suburb of Lauriston both now buried under Sydney Airport.70 This became Mascot Aerodrome, officially opened on 9 January 1920. In 1921 Mascot was sold to the Federal Government to become site of an international airport and, in June 1928 great crowds greeted the arrival of Charles Kingsford Smith’s Southern Cross. In his honour in 1936 the aerodrome was named Kingsford Smith Airport. The Airport

69 Tim Flannery (ed.) The Birth of Sydney (1999). 70 Workers Lauriston Park: The Forgotten Village (Botany, NSW: Botany Council & Botany Historical Trust, 1998)

60 was sold to Macquarie Bank in 2000 after the Sydney Olympics. xv. Diver, Sans Souci Baths Source: Photograph of divers at the old public baths in Sans Souci Park, Rocky Point Road, Sans Souci Reserve. (Rockdale Library) Commentary: Sans Souci, is a French term meaning “without care”, or in modern terms, “no worries”. The sea baths hold fond memories for many generations.

61 Chapter 5

CONCLUSION

This text has traced some features including a selection of literature and contemporary art surrounding the foundational meeting of Native and Stranger at Botany Bay. This includes the significant tradition of dissidence and protest. It began by identifying the moment of First Contact (James Cook) and the arrival of the First Fleet eighteen years later (Arthur Phillip) and the dispossession and death that followed. It went on to unpack the forces that have inspired artists to commemorate and reflect on this encounter. So that, looking back, we can see that Botany Bay has constructed a dissident and alternate Australian identity and popular and oppositional artefacts.

The second section identifies the three key themes in my work and links Native protest and commemoration with environmental and residential protest and activism against-the-grain of the state and multinational corporations. It has also touched on how the Black movement's new ethnicity informed contemporary art discourses and art practices in amateur, mainstream professional and avant-garde circles.

The third section turned to the selected images, their respective archives and significance as evidence to support my claims about dissidence's relationship to modernity. Considering the available evidence, we can conclude that the Natives of La Perouse and the Illawarra have profoundly influenced and continue to influence mainstream culture.

62 Telecommunication and transport technologies were already shrinking the tyranny of Australia's distance and detraditionalising her notions of protest and activism. By the late '70s, working-class kids like me in Brisbane were hearing the American Black, feminist, multicultural and gay liberationist and rightist discourses so that a range of civil rights, black and feminist lifestyles were coexisting in uneasy relationship in Sydney and Brisbane. This text finishes with a reading of Prime Minister Rudd’s National Apology to the Stolen Generations and Prime Minister Keating’s Redfern Park speech [10 December 1992 in the wake of the landmark High Court Native Title Mabo Judgement] to launch Australia's celebration of the United Nations 1993 International Year of the World's Indigenous People. It reads these rulers statements against the statement by William Ferguson founder of the Aborigines' Progressive Association when he with two other Aboriginal leaders, William Cooper and John Patten organized a Day of Mourning conference for Aboriginals, on Australia Day, 1938. That year Patten and Ferguson wrote the pamphlet, Aborigines Claim Citizen Rights! and proceeded to petition Prime Minister Joseph Lyons, for a national Aboriginal policy.

Drawing on work by historians Greg Dening and Marcia Langton, and art historians Joan Kerr and Bernard Smith, curators like Tess Allas, Ace Bourke, Brenda L Croft, Dijon Mundine and Hettie Perkins and post- colonial philosopher Homi K. Bhabha, this text has found that protest by Native and Stranger and the continuing resisting of normalizing discourses in the art world as shaped a significant area of 20th century Australian art including my own.

Returning to Greg Dening’s formulation we see that Native and Stranger have formed a type of supra-individual creative response to the problematic of contemporary art.

63 Many black and white artists, curators and art writers have explored this territory. Nevertheless, they have introduced and continue to introduce to the mainstream, artists who have worked with this history. But they have rarely analysed the ways that this foundational association has shaped our culture of protest and opposition.

This is a small contribution to this ongoing work. A more comprehensive history of the impact of the meeting of Native and Stranger at Botany Bay on twentieth century Australian culture remains to be written.

Drawing a line between Native and Stranger, No.’s 3 and 4, 2010 inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

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72 APPENDIX 1

73 Drawing the Line Between Native And Stranger, No.1, 2010 Inkjet print from digital image on Hahnemuhle Photo Rag 188gsm paper Image size 47 x 75.5cm paper size 54 x 83cm each (edition of 3 with 2 proofs)

74 Drawing the Line Between Native And Stranger, No. 2, 2010 Inkjet print from digital image on Hahnemuhle Photo Rag 188gsm paper Image size 47 x 75.5cm paper size 54 x 83cm each (edition of 3 with 2 proofs)

75 Drawing the Line Between Native And Stranger, No. 3, 2010 Inkjet print from digital image on Hahnemuhle Photo Rag 188gsm paper Image size 47 x 75.5cm paper size 54 x 83cm each (edition of 3 with 2 proofs)

76 Drawing the Line Between Native And Stranger, No. 4, 2010 Inkjet print from digital image on Hahnemuhle Photo Rag 188gsm paper Image size 47 x 75.5cm paper size 54 x 83cm each (edition of 3 with 2 proofs)

77 Drawing the Line Between Native And Stranger, No. 5, 2010 Inkjet print from digital image on Hahnemuhle Photo Rag 188gsm paper Image size 47 x 75.5cm paper size 54 x 83cm each (edition of 3 with 2 artist’s proofs)

78 Drawing the Line Between Native And Stranger, No. 6, 2010 Inkjet print from digital image on Hahnemuhle Photo Rag 188gsm paper Image size 47 x 75.5cm paper size 54 x 83cm each (edition of 3 with 2 artist’s proofs)

79 Drawing the Line Between Native And Stranger, No. 7, 2010 Inkjet print from digital image on Hahnemuhle Photo Rag 188gsm paper Image size 47 x 75.5cm paper size 54 x 83cm each (edition of 3 with 2 artist’s proofs)

80 Drawing the Line, No. 1, 2010 (Cruwee “we thought the vessels were floating islands” quoted by Journalist Obed West in an Account of the Bays and Harbours of Sydney Harbour. West encountered “the lone male survivor of Botany Bay tribe” about 1845. Cruwee “said he was camped at Kurnell when Capt. Cook sailed into Botany Bay.”) Inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

Drawing the Line, No. 2, 2010 (“They live in a Tranquility which is not disturb’d by the Inequality of Condition.” James Cook, RN, Endeavour Journal, 1770) Inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

81 Drawing the Line, No. 3, 2010 (Sydney Parkinson observed, the Botany Bay clans calling out in Dharawal language “Warra, warra, wai” meaning “go away”. Sydney Parkinson, A Journal of a Voyage to the South Seas, in His Majesty’s Ship, The Endeavour, 1773.) Inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

Drawing the Line, No. 4, 2010 (“The Natives were well pleased with our people until they began clearing the ground at which they were displeased and wanted them to be gone.” William Bradley, A Voyage to New South Wales: The Journal of Lieutenant William Bradley RN of HMS Sirius 1786-1792.) Inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

82 Drawing the Line, No. 5, 2010 (“...though it was the beginning of winter ... everything seemed in perfection.” Sydney Parkinson, A Journal of a Voyage to the South Seas, in His Majesty’s Ship, The Endeavour, 1773.) Inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

Drawing the Line, No. 6, 2010 (“There is no wilderness, but there are cultural landscapes.” Marcia Langton, What do we mean by wilderness? Wilderness and Terra Nullius in Australian Art, The Sydney Papers, vol 8, no.1, 1996.) Inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

83 Drawing the Line, No. 7, 2010 (Watkin Tench records people night fishing as “a constellation of iridescent lights reflected on the water”, Watkin Tench, A Complete Account of the Settlement at Port Jackson, 1793.) Inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

Drawing the Line, No. 8, 2010 (These words were collated from primary sources interpreted by Jakelin Troy and published in The Sydney Language, 1993.) Inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

84 Drawing the Line, No. 9, 2010 (“All along the coast the sea swarmed with fish of all descriptions from the great whale to the little brim ... the land swarmed with snakes.” Obed West, in his Account of the Bays and Harbours of Sydney Harbour in Old and New Sydney, 1882.) Inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

Drawing the Line, No. 10, 2010 (A poem by Kevin Gilbert in Breath of life: moments in transit towards aboriginal sovereignty, edited by Eleanor Williams and published in the catalogue for an exhibition hosted by Canberra Contemporary Art Space in 1996.) Inkjet prints from digital images on archival paper, 54 x 83cm each (edition of 3 with 2 proofs)

85 Drawing the Line, No. 11, 2010 (Bruce Dawe similarly asks in the poem For the Other Fallen “You fought here for your country. / Where are your monuments?” Sacred Places Sacred places: War Memorials in the Australian Landscape, 1999.) Inkjet prints from digital images on archival paper 54 x 83cm each (edition of 3 with 2 proofs)

Drawing the Line, No. 12, 2010 (With the Redfern Speech, 1992 prime minister Paul Keating acknowledged before the predominantly indigenous crowd at Redfern Park the injustices perpetrated by non-Aboriginal Australians.) Inkjet prints from digital images on archival paper 54 x 83cm each (edition of 3 with 2 proofs)

86 Drawing the Line, No. 13, 2010 (Cook notes the Natives were both reclusive and hostile “and we were never able to form any connection with them” and “all they seem’d to want was for us to be gone”. James Cook, Endeavour Journal, 1768-1771.) Inkjet prints from digital images on archival paper 54 x 83cm each (edition of 3 with 2 proofs)

Drawing the Line, No. 13 and 14, 2010 (“misery and degradation imposed on the original native inhabitants by the white invaders of this country” William Ferguson and John Patten in the 1938 pamphlet Aborigines Claim Citizen Rights for the Aborigines Progressive Association.) Inkjet prints from digital images on archival paper 54 x 83cm each (edition of 3 with 2 proofs)

87 Drawing the Line Between Native and Stranger Exhibition installation view Wollongong City Gallery, 2010

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