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Wominjeka - a New Beginning WOMINJEKA - A NEW BEGINNING Learning Guide 1 WOMINJEKA – A NEW BEGINNING WOMINJEKA - A NEW BEGINNING CONTENTS 3 ABOUT THIS LEARNING GUIDE 3 PLANNING YOUR VISIT 4 CURRICULUM LINKS AND THEMES INTRODUCTION 5 • THE KOORIE HERITAGE TRUST 6 • THE IMPORTANCE OF THE RETURN OF CULTURAL MATERIALS 6 • DRAWING ON THE PAST, CELEBRATING THE FUTURE EARLY CAREER ARTISTS, INSPIRATION WORKS, ACTIVITIES 8 • MARLENE GILSON (WADAWURRUNG) 11 • GEORGIA MACGUIRE (WURUNDJERI) 14 • MITCH MAHONEY (BOON WURRUNG) 17 • JOSH MUIR (YORTA YORTA/ GUNDITJMARA) 20 • RAYMOND YOUNG (GUNNAI/ GUNDITJMARA/YORTA YORTA) 14 REFERENCES Cover Image: Mitch Mahoney Yan Yan Gorrinj Gorrinj Bunj Koolin – Growing up, 2015, Courtesy of the artist Installation view, Wominjeka: A New Beginning, Koorie Heritage Trust, 2015 Above: Maker unknown Parrying Shield, Victoria, mid-century Courtesy of the artist Koorie Heritage Trust Collection, Melbourne 2 WOMINJEKA – A NEW BEGINNING ABOUT THIS LEARNING GUIDE This learning guide is intended for use as a starting point to generate discussion and activities before, during and after a visit to Wominjeka: A New Beginning. It is designed to be used in conjunction with information provided in the exhibition catalogue, gallery wall texts and on the NETS Victoria website. This resource includes an introduction with information about the Koorie Heritage Trust, and the curatorial themes of the exhibition. The introduction is intended to provide points of departure for further discussion and research, before and after your visit to Wominjeka. Where possible links are provided to articles that would be suitable as reference for commentaries relevant to the VCE Art curriculum. PLANNING YOUR VISIT Before visiting Wominjeka it is suggested that you contact gallery staff to determine the following: • Opening hours, transport and parking options, cloakroom facilities and admission fees • Staff availability for introductory talks and tours • Education and Public Programs, artist talks etc. that coincide with the exhibition Before your visit you may wish to discuss the following with your students: • Various issues covered in the introduction of this guide • Your expectations for appropriate behaviour at a gallery, in regards to the safety of both students and artworks, and given that a gallery is a public space 3 WOMINJEKA – A NEW BEGINNING GENERAL CURRICULUM LINKS CAPABILITIES AND THEMES Engagement with Wominjeka provides students Wominjeka is relevant to many of the five Art subjects with opportunities to address the following general identified in the Australian Curriculum: Directly capabilities: to Visual Art and Visual Communication, and also indirectly it may provide starting points for ideas that • Literacy can be explored through Drama, Dance and Music. • Critical and Creative thinking • Ethical understanding Wominjeka provides an ideal starting point from • Intercultural understanding which to explore cross-curricula projects, fostering collaboration between teachers and students, across the areas of intercultural understanding, ecology, ethics and history. In particular Wominjeka is relevant to the cross-curriculum priority of Aboriginal and Torres Strait Islander histories and cultures. This document is broadly aimed at students from years 4 through to 10 and VCE Units 1-4, however the material may be easily tailored to suit younger students. The material is organised according to the Australian Curriculum for the Arts. Throughout the text, artists, groups and organisations are highlighted in blue to suggest starting points for further research. VCE ART/ STUDIO ART • Artist’s practice, ideas and inspiration • Responding to Artworks: formal analysis, analytical frameworks and interpreting meanings and messages • Exploring artists personal and cultural perspectives • Exploring symbols and metaphors expressed in artworks • Exploring possibilities for materials, processes and techniques • Methods and consideration involved in the exhibition design 4 WOMINJEKA – A NEW BEGINNING INTRODUCTION Use this section to provide points of departure for discussion and research, before and after your visit to Wominjeka. The Kulin Nation refers to an Wominjeka: a New Beginning is an exhibition of new alliance of five tribes or language works inspired by artworks from the collection of The groups from South and Central Koorie Heritage Trust (KHT), a collection that has been Victoria in the area around Port building over the past 30 years. It also celebrates Philip, Western Port, and to the the organisation’s move from its original location on King Street in Melbourne, to The Yarra Building at North encompassing, Boort, Federation Square, a key cultural centre in Melbourne, Maryborough, Daylesford and alongside the National Gallery of Victoria’s Ian Potter Bendigo; and to the Centre, housing the NGV’s Australian Collection, and The Australian Centre for the Moving Image. East, the Howqua and Goulburn river areas. The alliance included The curatorial framework for the exhibition was to the language groups of the invite five early career Indigenous artists to partner with senior artist mentors, and create new works in Wirundjeri people, the Boon response to artworks and objects from The Koorie Wurrung, the Wadawurrung, the Heritage Trust Collection. In this way Wominjeka Taungurong and the Dja Dja celebrates the history of Koorie culture, the KHT, and Wurrung. the next generation of Koorie artists, supported and inspired by their history and culture, and celebrating their contribution to the ongoing vibrancy of their culture in contemporary Australia. THE KOORIE HERITAGE TRUST ‘Koorie’ is a term used by The Koorie Heritage Trust was set up in 1985 by contemporary indigenous Ron Merkel QC and the late Ron Castan AM QC. people, to refer to the Its purpose was to promote greater awareness, understanding and appreciation of Koorie culture Indigenous people of Victoria amongst the broad community; and to respond and New South Wales. to the need for Koorie cultural heritage material to be controlled, managed and curated by Koorie people. The Trust houses several significant collections including a collection of artworks and objects, a photographic collection, a collection of oral history recordings and a reference library. The KHT also assists people to trace their Koorie family history, helping to connect members of The Stolen Generations and their descendants to family, culture and community.1 1. http://koorieheritagetrust.com.au/about-us/history/ 5 WOMINJEKA – A NEW BEGINNING DRAWING ON THE PAST, CELEBRATING THE FUTURE Wominjeka – A New Beginning presents a challenge to early career Indigenous artists to respond to the work of their cultural predecessors, and to do so with the support of mentors who are more established in their own careers. This represents an interweaving of history, with support from ‘elders’ (regardless of their biological age), and a visioning for the future. Framing culture in terms of ‘past’, ‘present’ and ‘future’ is reflected in the common practice for Indigenous and non-Indigenous Australians to ‘acknowledge country’ at public events. An Acknowledgement of Country is a way that we can show awareness and respect for Aboriginal culture and heritage and the ongoing relationship the traditional owners have with their land. It is a demonstration of respect dedicated to the traditional custodians of the land (or sea) where the event, meeting, school function or conference takes place. It can be formal or informal. Here is an example of an THE IMPORTANCE OF Acknowledgement of Country where CULTURAL MATERIALS the language group is not known: “I would like to show my respect and One of the most significant activities of the Koorie Heritage Trust has been to begin the process of acknowledge the traditional custodians collecting and gathering together Indigenous cultural of this land, of elders past and present, materials that have been dispersed far and wide, due on which this event takes place.”3 to the plundering and trade in Indigenous cultural materials during the colonial period. In 2011 Tasmanian Aboriginal Lawyer Michael Mansell commented on the issue in the Sydney Morning Herald: The mentoring artists include: Let’s not forget that many of these items were taken when Aborigines were at their most Maree Clarke (Mutti Mutti, Wemba Wemba vulnerable, when fear of retribution prevented /Yorta Yorta) resistance. There are ethical and cultural issues that burden any private property claims. Moreover, Peter Waples-Crow a society that does not record its history in books becomes ever more reliant on artefacts, drawings Ray Thomas (Gunnai) and rock engravings for its cultural foundation. The claiming of Aboriginal artefacts as the private Lee Darroch (Yorta Yorta) property of collectors, museums and the state deprives Aborigines of the artistic expressions so See the NETS Victoria website for more biographical vital to their continuing story and identity. Unique information about their art practices, here: fighting clubs, drawings of corroboree, woven http://netsvictoria.org.au/exhibition/wominjeka-a- cane and reed baskets can reconnect generations new-beginning/ of Aborigines with their past.2 2. Michael Mansell, Should indigenous artefacts be sent home? Sydney Morning Herald, 10 September 2011 3. http://www.creativespirits.info/aboriginalculture/spirituality/welcome-to-country-acknowledgement-of-country 6 WOMINJEKA – A NEW BEGINNING RELEVANT ARTICLES AND TEXTS Should Indigenous artefacts be sent home? Sydney Morning Herald article on the repatriation
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