Berndt Museum news The magazine of the Berndt Museum at The University of | June 2014 | Number 15 | ISSN: 1329-3117 BERNDT MUSEUM NEWS

Introduction Welcome to the 2014 Issue of the Berndt Museum News. It includes an Wilson Gallery in July. Titled Wildflower overview of 2013 Museum activities, and information about this year, including Dreaming: Shirley Corunna and the a few insights into forthcoming exhibitions, what’s happening at the Museum Coolbaroo League, the exhibition will use with regard to digitisation, and a little about various staff changes. One of a creative visual mix – photos, material these is that John Stanton retired in October last year, and I came on board items, newspaper accounts, music – to as Associate Director in November. showcase Noongar life in 1950s and 1960s . Another short piece by As some readers will know, I’ve been One of the key messages of this Issue Sarah Ridhuan that shows the necessity associated with the Berndt Museum is to confirm that the Museum will and the potentiality of digitisation in for many years, for example, as a be closed for six months from July. preserving and protecting archival member of both the Berndt Museum Some readers will already know about records and images is included in the and Berndt Foundation Advisories, the closure from emails, Facebook, pages that unfold, followed by a piece and as Coordinator of the 2012 Jimmy the Museum website, signage, and authored by Mun Yee Ho, a Practicum Pike’s Artlines exhibition, which is now interactions with staff. The Museum Placement Faculty of UWA Arts student, touring regional Australia. I am also a will re-open on 6 January 2015. who tells readers about her experience at Co-Trustee of the Catherine and Ronald The closure relates to external requests the Museum in Semester 1 this year, and Berndt Estate. On behalf of past and only; inside the Museum we will be her aspirations for future studies. present Museum staff, I would like to working exceptionally hard on getting thank John Stanton for his long-term the three collection domains (Archives, While the six months’ closure work at the Museum, and wish him well Objects and Paintings, Audio-Visual will restrict visitor and researcher for the future. I would also like to thank and Photographic materials) in order, opportunities during that time, we are Sharyn Egan, whose contract expired undertaking a stocktake, revising usually very keen to have visitors to in December 2013, for her dedicated policies and access conditions, and the Museum, and will be so again in work on the Photographic Collection, improving the Museum database. All of January. Most of our materials remain in and for engaging so effectively with us these tasks are to ensure that Museum temporary storage, but we continue to on an external mural that will feature one staff are in a position to do the best job work with colleagues at the University of her paintings and Noongar words of possible to protect and organise the and elsewhere on a campaign toward welcome. Special thanks, too, to Hamida collections, and to ensure accessibility to raising funds for a new Museum that will Novakovich who was a Curatorial communities, researchers, and others. not only provide expanded exhibition Assistant with the Museum for almost It is also because we are working toward space, but also better working conditions 12 months and who is now working the development of a new Aboriginal for staff, emerging curators and visitors toward an MA and an accompanying and Cultures Museum that we hope will be and, importantly, the best conditions forthcoming exhibition focused on Gen-Y built by the University in about five years. possible for storing and conserving Muslim artists. We have been working with a range of Aboriginal cultural material. In the communities, advisories, and UWA staff meantime, we’ve tried to make our on the ACM campaign, as Ted Snell’s current home as welcoming as possible, article in this Issue explains. and will be in a better situation to respond to most requests early next year. In this Issue, too, Eve Chaloupka writes Contents about the wondrous Little Paintings, Please keep in mind that the Museum Big Stories exhibition that she and Kelly will be closed until 6 January 2015 to Recent, current and Rowe co-curated and that featured enable us to ensure the best professional future exhibitions at the Janet Holmes á Court Gallery management of the Collection via ÌÌ Little Paintings, Big Stories 3 at the Lawrence Wilson Art Gallery in qualitatively enhanced access protocols, ÌÌ (Pop) Culture Shock Reflections 6 June-December 2013. Via a focus on and acquisition processes. We send you, ÌÌ Transcending Borders 8 Transcending Borders, Kelly Rowe takes your loved ones, and your co-workers, ÌÌ Wildflower Dreaming 8 an insightful look into curatorial work good wishes for the rest of the year, and on the exhibition where the creative look forward to a continuing association Aboriginal Cultures Museum 9 concentration was primarily on items that respects, treasures and cares for deposited at the Museum a number Australian Indigenous cultural materials, Being a Practicum Placement of years ago by Peter Bridge. Other and the people who created them. student at the Museum 10 notable items in this Issue include Sarah Ridhuan’s conversation about some Professor Sandy Toussaint Digitisation at the Museum 10 of the background research relating to Associate Director, Berndt Museum the current Ukiyo-e: Japanese Prints Recent visits, acquisitions, of the Floating World exhibition, and and looking toward 2015 11 Barbara Bynder’s evocative description of an exciting new exhibition she is curating which will open at the Lawrence

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SOLOMON IMERAGAINYAN AND STANLEY GAMERAIDJ VIEWING PHOTOS AT THE JAMALAK FESTIVAL EXHIBITION SITE, WARRUWI, AUGUST 2013. (PHOTOGRAPH EVE CHALOUPKA) Recent, current and future exhibitions Little Paintings, Big Stories: Gossip Songs of Western Arnhem Land June – December 2013

The Berndt Museum’s exhibition Little Paintings, Big Stories: Gossip Songs of Museum Collection – bark paintings, Western Arnhem Land was installed at the Lawrence Wilson Gallery in the latter carvings, string-bound bark sculptures, part of 2013. This memorable body of work, presented as an audio-visual, sensory sound recordings, photographs, experience to the public for the first time, would not have been possible without musical instruments, Berndt archives the support of the Warruwi community, let alone the generous and publications relating to Western spirit, willingness to share knowledge and foresight of their forebears – the Mawng Arnhem Land. and Kunwinjku storytellers, composers, performers and artists of South Goulburn Island, or Warruwi, who worked with Ronald and during their Throughout the Berndts’ early visits to the Methodist Overseas Mission community between 1947 and 1964. fieldwork in the area – recording and photographing – they amassed a unique The legacy of this connection enabled friendships with the Reverend Lazarus and highly animated collection of small Kelly Rowe and I, as curators and Lamilami and his sister Mondalmi, two bark paintings; rare visual narratives exhibition coordinators, to reconnect eminent figures in the community at the supporting the stories and songs of with the community in 2012 to talk time of their visits. Western Arnhem Land. The exhibition’s about Berndt Museum collection focal point was on one of these song material from the area, and to seek Guided by Warruwi Senior Traditional stories in the open song-dance genre, approval for and determine what might Owner Johnny Namayiwa and a sound recording of the Marrwakara, be suitable to include in an exhibition. Namunidjbuk Estate Traditional Owner or Goanna, story, composed and The exhibition planning stage, assisted Ronald Lamilami, we designed an performed by John Gwadbu, including by historical photographs taken back exhibition and associated public the tiny bark on which he painted the to the community, evoked memories of programs schedule to appeal to as sequence of dramatic events taking Catherine and Ronald Berndt, particularly wide an audience possible, drawing their close collaboration and enduring on the array of material in the Berndt continued on page 4

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KELLY ROWE, JONAH WALAMAKA KUWARTPU, JOHNNY NAMAYIWA, BILLY NAWALOINBA AND EVE CHALOUPKA AT LITTLE PAINTINGS, BIG STORIES EXHIBITION OPENING, 28 JUNE 2013, UWA, PERTH. (PHOTOGRAPH HAMIDA NOVAKOVICH)

place in the song. An animation based with the exquisitely executed ancestral working with communities throughout on the original bark painting’s depiction husband and wife figures – Wurakak Western Arnhem Land to continue of events was created for the exhibition, and Warramurungundji – a range of documentation of the rich classical synchronised with the entrancing, historical photographs, string-bound, song traditions of the region. melodic sound recording, enlarged and bark sculptures and a didgeridu that was projected on to one of the gallery walls. made and played by Lazarus Lamilami in We would like to share with the the early 1960s. community and Berndt Museum News The song was based on events that readers some feedback we received took place in a dream conveyed to the In June 2013, Warruwi Senior Traditional from exhibition visitors: Songman by his ‘two spirit-familiars’ Owners Johnny Namayiwa and Billy ÌÌ Very moving collection enriched by and concerned people who lived on Nawaloinba came to Perth to attend the stories and songs – visually beautiful the Goulburn Islands and adjacent opening of Little Paintings, Big Stories. people, art work unique depiction of mainland of Western Arnhem Land. Jonah Walamaka Kuwartpu, son of life. Thank you. Featuring animal creatures with human Gwadbu the composer, performer and ÌÌ Very good. Bark paintings characteristics, this particular story artist, also flew from Warruwi via Darwin amazing. Liked the animation; about infidelity, deceit and subsequent to Perth to attend the opening on behalf what a good idea. Presentation of punishment, inferred to an indiscretion of his family. It was a deeply moving work is wonderful – heightens the occurring within the community whilst experience and honour to be in the appreciation of the paintings. protecting the identities of the central presence of the three men when they ÌÌ Such talent for story telling in these characters through this disguise. had a private viewing of the exhibition pictures. Creates an interest to learn According to the explanations given to prior to it opening. The exhibition would more from this Australian history. Berndt, these ‘gossip songs’ despite not have been a success without ÌÌ A very rich exhibition. Beautifully having an intellectual component, were their support. presented. I like the different media performed mainly as entertainment whilst and the animation. demonstrating that tragedy could result The depth and significance of Berndt ÌÌ This exhibition has truly opened my from the breaking of cultural mores or Museum collection material such as this eyes and heart to the beauty and the failure to fulfill expectations. is immense and enduring. It provides intricacy of the Indigenous Australian the foundation for Indigenous and culture especially from Goulburn Other bark paintings depicting stories in non-Indigenous researchers working Island. The music is hypnotic and which animals with human characteristics in the area, including anthropologists, follows me around the room as I feature were also displayed, along musicologists and linguists currently look upon the unique and beautiful

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bark paintings. As I am originally the photos of the old people – the have re-emerged to endure over time. from Singapore, this exhibition ones on display and others contained Mardbalk Arts and Crafts Centre has imparted a lot of wisdom and in albums brought back to leave with managers, Brenda and Steve Wesley knowledge about another culture to the community. For many of the artists’ commented recently in the West Arnhem me. I really appreciate how different descendants, this was an opportunity WIRE, fortnightly news from the region, and yet very similar all cultures are. to see the paintings of their forefathers that having copies of the bark paintings Thank you for a magical experience! for the first time and to meet with the and historical photographs on display ÌÌ I was nine years of age when I arrived curators to find out more about the has helped provide inspiration for the with my family at South Goulburn Berndt Museum and its collections. current group of artists from the islands Island. We went to sleep every and adjacent mainland; particularly night to the sound of didgeridoos, The festival was a joyous community working with the older people –the clapsticks and song. I went to school experience, perhaps enjoyed most holders of the stories and knowledge. with Ronald Lamilami. This exhibition by hundreds of Warruwi children. On Little Paintings, Big Stories has breathed took me back to this rare and the final night of the festival, following new life into the Museum’s collection influential time of my life. How I miss it! a hilarious game of creeping up on and created a renewed interest and unsuspecting participants (including the focus on the stories and paintings, In August 2013, following the successful exhibition curators), to be pasted with a evoking intergenerational memories opening of Little Paintings, Big Stories, mixture of ochre and water, there was a and continuities for the community. Kelly and I travelled to Warruwi at the delicious feast, followed by celebratory invitation of the community to participate dancing and singing into the early To obtain a free copy of the Little in their annual Jamalak Festival. The hours of the next morning with Senior Paintings, Big Stories: Gossip Songs of purpose of the visit was to create a Traditional Owner Johnny Namayiwa Western Arnhem Land catalogue, please replica exhibition with copies of the leading the song. contact Rita Bennett at the Berndt unique and inspirited works displayed in Museum (see details on the last page) the Berndt Museum’s semester length The exhibitions – in Perth and at Warruwi with your name, a contact phone number exhibition, to show at the Jamalak − have been a resounding success, and postal address. Festival, then again at the conclusion resonating beyond all expectations of the festival, to be installed where it throughout the community and beyond. Eve Chaloupka is now housed, at the community’s art A reconnection was made between the Little Paintings, Big Stories Co-Curator centre and cultural hub – Mardbalk Arts Berndt Museum and the community and Museum Archivist and Crafts. and the works that their elders created

Considering the age and fragility of the original bark paintings, touring them to exhibit in a hot and dusty outdoor setting where kite flying, football matches, basketball competitions, children’s activities and dancing was going take place over several days, was not an option. Each piece was reproduced as an exact shape and to-scale copy of the original on durable PVC plastic, to enable the replica exhibition to be displayed in a temporary outdoor-shade structure constructed at the sandy festival site. The replicas were so convincingly realistic that several people commented to the curators that they thought they were actually the real bark paintings; and it wasn’t a problem when some of the younger children decided to kick mini footballs from their show bags behind the shade cloth structure, a game to see who could aim successfully to knock the Little Paintings down.

People came from all over Western Arnhem Land – Minjilang (Croker Island), Gunbalanya, or Oenpelli, Maningrida and as far as Jabiru in Kakadu National Park to compete in sporting matches and to attend the festival. There was a lot LAQUISHA KENTISH STANDING BETWEEN BARK PAINTINGS OF ANCESTRAL FIGURES WURAKAK AND WARRAMURUNGUNDJI of interest in the exhibition, particularly AT JAMALAK FESTIVAL EXHIBITION SITE, WARRUWI, 2013. (PHOTOGRAPH EVE CHALOUPKA)

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‘floating world’. Ukiyo, as a concept of transience, was reworked within the context of Tokugawa Edo and visually articulated through Ukiyo-e. Instead of a transient, sorrowful world, the woodblock prints catered to an evanescent reality that justified the decadent and excessive indulgence of an immediate present that would inevitably come to pass.

In hindsight, the excitement and delight I experienced while exploring the ‘floating world’ was not so much the result of learning about the prints in their historical, social and cultural context. Understanding this aspect of the works is undoubtedly important and valuable. However, what really captivated me was the idea that these prints were not obsolete cultural objects from the past, irrelevant to the contemporary world. I could not help comparing the band posters I owned during my teenage years with those of the Kabuki actors. I was entertained by the idea that the courtesans depicted in Ukiyo-e may have been quite similar to the pin-up girl posters and calendars currently hanging on many bedroom walls.

Learning about another culture from the past or present is an enriching experience. At the same time, the question arises: What do these displayed objects actually mean to an audience as well as to individuals like me? To abandon an artefact or artwork in its

RICKSHAW CART, WOODBLOCK PRINT cultural or historical context can result in the knowledge gained about it being (Pop) Culture Shock Reflections somewhat detached. The feeling of being able to relate to the Ukiyo-e prints Ukiyo-e: Japanese woodblock prints and to look past them as simply being and the floating world museum objects, for me, added another dimension to the experience. The February – June 2014 element of ‘exoticism’ is removed and It all began with a simple request to scan the slides of woodblock prints in we are able to view them in a reflexive preparation for the upcoming Japanese Ukiyo-e exhibition. Looking through the manner while still recognising their scanned images, I admired them in an aesthetic sense and made the assumption valuable particularities. that they were objects of ‘fine art’. However, a casual Google search about the prints changed everything and ultimately resulted in a thought provoking (and at That said, the idea that people in times obsessive) delve into the world of Ukiyo-e. contemporary settings could relate to Edo period prints might not be ground Visually, woodblock prints from Edo ephemera of popular culture: Edo breaking. Whilst the interest in Ukiyo-e Japan generate commentary about their period posters of Kabuki actors, famous prints used to be confined to Japanese whimsical beauty and use of delicate, courtesans, iconic landscapes and art enthusiasts and cultural institutions, subtle, soft colours that are not (in the depictions of well-known folk stories. there is definitely a revival amongst the eyes of many outsiders) vulgar or garish. younger generations. Conceptualisations I have to admit that this initial impression Ukiyo as a Buddhist concept referred to of Japanese woodblock prints are being did not particularly excite me. The prints the notion of the ‘sorrowful world’ that grappled away from the domain of ‘high were very beautiful but I could not really highlighted the impermanent nature of art’, reclaiming their original function make much of a connection with them. material existence. The idea of a fleeting as representations and reflections of Imagine my surprise when I discovered reality underpinned Ukiyo-e as an art popular culture. This creative emphasis is that they were basically mass-produced form that represented and reflected the highlighted by projects such as Ukiyo-e

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Heroes, the brainchild of Jed Henry and Dave Bull. Traditional woodblock printing techniques are used to create prints depicting iconic video game characters with a distinctive Ukiyo-e style. Despite slight stylistic variations, anyone exposed to pop culture classics such as Pokémon, Streetfighter and Super Mario would be able to recognise the characters; similar to a person living in Edo Japan recognising famous stories and people depicted in Ukiyo-e prints.

To me, the point of exhibiting objects or works of art from particular societies is not (and should not) be to claim some stance of authoritative, objective knowledge about a culture. Asserting a complete understanding and knowledge of the complexities and intricacies of another culture are now considered offensive and insensitive, not to mention impossible. The importance of respecting the uniqueness of a culture can be supplemented by encouraging gallery/museum visitors to explore connections that allow them to relate to aspects of that culture/society. Interests are piqued and the so-called binary objective positioning does not mar the knowledge gained. A reflexive understanding is cultivated and one is left feeling good about such extraordinary work, and one’s place in visual cultural life and the value of learning.

Sarah Ridhuan ‘I CHOOSE YOU’, WOODBLOCK PRINT Museum Curatorial Assistant

Berndt Research Reminder The Berndt Museum will be closed to all external requests for access to the Foundation Collection (Archives, Objects and Paintings, Photos and Audio-Visual) between 1 July Established via a sum of money bequeathed to UWA by Catherine 2014 and 6 January 2015. and Ronald Berndt, the Foundation’s activities include awards to undergraduate Indigenous students, a small research grants Museum staff are instituting protocols to scheme for postgraduate students working with Australian enhance access to the Collection as part of Aboriginal groups, and the hosting of a Biennial Lecture. Past ongoing preparations toward the opening of speakers include Kim Akerman, Marcia Langton and Martin Nakata. a new Aboriginal Cultures Museum.

We are delighted to announce that Noel Pearson will give the We sincerely apologise to community 2014 Berndt Foundation Lecture on 16 October. groups, researchers and the general public. We will attend to access requests as soon as we can after the six‑month closure.

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holds a lot of clues about how it was made which could lead us to where it was made, by whom and with what.

I considered displaying the vessels on a plinth or shelf and placing some of them upside down or on their side but thought that this might look messy and unfinished. Thinking of the theme of transcendence, the metaphysical world and to a point, magic, I decided that I wanted the vessels to float. Working with Lawrence Wilson Art Gallery’s Exhibition Officer, Anthony Kelly, we discussed materials and designs and came up with a custom designed Perspex shelving system. The vessels float on a clear shelf KOREAN CERAMICS IN TRANSCENDING BORDERS, LAWRENCE WILSON ART GALLERY, 2014 (PHOTOGRAPH ILLKA KADALA) that is suspended about 30mm above a mirrored shelf enabling the viewer to see Transcending Borders the reflection of the base. With gallery May – July 2014 lighting the vessels glow and throw Recently I had the opportunity to curate an exhibition titled Transcending intriguing shadows onto the wall standing Borders that used items from the permanent collection of the Berndt Museum out in space amongst the other objects in a new way. Objects from Korea, donated to the Museum by Peter Bridge in and artworks. Transcending Borders will 1982, were juxtaposed against contemporary artworks focusing on the theme be open until the 12 July. The exhibition of transcendence across time, tradition, religion and space. was completed in partnership with UWA’s Korean Studies. One of the most exciting things about the exhibition and the challenge was the exhibition for me was thinking about displaying them to enable visitors to get Kelly Rowe new ways to display 3D objects. Thirty- as much visual information from them as Transcending Borders Curator and four ceramic vessels were included in possible. The base of a ceramic vessel Museum Associate Registrar

New Exhibition opening on 15 July

Wildflower Dreaming – Shirley Corunna and the Coolbaroo League 1952-19621 July – December 2014 The Wildflower Dreaming exhibition is about a young girl’s journey of discovery and independence. It is also a snapshot of the social life of Aboriginal people in the city of Perth, Western Australia, during the 1950s and early 1960s.

Wildflower Dreaming tells the story of Perth. Some of them were members Shirley Corunna (nee Bynder), a young of the Coolbaroo League. Yamitji woman who, at the age of 17, moved from her home in the country to The Coolbaroo League was an Perth. Shirley’s early years were spent organisation that initially advocated living in camp conditions on the fringe reconciliation and social equality for all of the town, Three Springs, where Aboriginal people through the process wildflowers bloomed each year. Her of activism, in part inspired by the civil relocation was influenced by the offer of rights movement in the United States of employment and a change of lifestyle. America. The foundation members of the Being in the city provided her with the Coolbaroo League were Aboriginal and opportunity to socialise with other young non-Aboriginal people. Their vision was Aboriginal and non-Aboriginal people to work towards reconciliation. During the who were also living and working in early 1950s, in Perth, Western Australia, Aborigines were barred from clubs and 1 The images included here are part of Shirley Corunna’s Personal Collection. pubs and prohibited from entering the people living in Perth to find or create The photograph of Shirley appeared in a city area after 6pm. their own entertainment. The Coolbaroo 1957-58 edition of the Westralian Aborigine League resolved this issue by hosting a newspaper. We are grateful to Shirley and the Corunna family for permission to reproduce Among other things, racist policies and regular Friday night dance for Aborigines; both this image and those shown in this article. legislation caused young Aboriginal non-Aboriginal people were allowed to

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Aboriginal Cultures Museum

A permanent home for the Berndt of Fairway and Stirling Highway on the riches of the collections housed in the Museum has been discussed for Crawley campus. Kerry Hill Architects new museum visitors will be able to many years. To make this a reality won the commission and have designed engage with the rock art dating back The University of Western Australia a wonderful three-storey structure tens of thousands of years through the has consulted with Aboriginal that will meet the needs of Aboriginal use of cutting edge, three-dimensional communities through the State and communities, visitors, scholars, students computer imaging technology. in 2008 invited senior members of and various other audiences. those communities onto campus to When it opens the new museum will assist in the selection of a site and This will be a destination building that enable visitors to explore the rich cultural determine the parameters of the celebrates the living cultures of Aboriginal heritage of Aboriginal Australia through project. That group determined that women, men and children, especially the extensive collection of material the the Noongar people would host the in Western Australia, and allow fuller Berndt Collection and other galleries new museum because it was sited engagement with the vibrancy and and museums at UWA hold. We look on their land and as a result the qualities of Australian Aboriginal art, forward to an exciting future that will University invited Richard Walley to history and culture. A fundamental be accompanied by a dynamic public be our consultant and liaison with principle in the development of the program and community engagement. the Noongar community. project is the advancement of global knowledge, understanding of and Winthrop Professor Ted Snell AM CitWA The museum will be a central respect for Aboriginal culture. We intend Director, UWA’s Cultural Precinct component in the creation of a to create a unique venue for cultural and dynamic Cultural Precinct on campus, artistic expression, and for personal and a hub that will enhance student life, community interaction. promote interdisciplinary discovery, and add to the cosmopolitan community of The new building will also house the the city and the State. The selected site Centre for Rock Art Research and for this iconic structure will be the corner Management, so as well as the great

(small towns east of Perth), made the League immensely popular with Aboriginal people.

Shirley enjoyed helping out at the Coolbaroo dances and briefly held a temporary position of Assistant General Secretary in 1957, the same year she won Belle of the Ball. Shirley competed in two of the bathing beauty contests and won second place in 1958.

Shirley’s story and involvement with the Coolbaroo League dances is encapsulated in Wildflower Dreaming, especially in the photographs but also in memorabilia and newspapers from her private collection.

The exhibition will display 24 front-page copies of the Westralian Aborigine, the first Aboriginal owned newspaper in Western Australia, which was published by the Coolbaroo League. Wildflower participate in the dances by invitation Dreaming, a prelude to Shirley’s only. The Coolbaroo dances were a huge biography being written by her daughter, success. Such events as the annual ball, Mandy Corunna, is the first community Barbara Bynder bathing beauty contests and hosting exhibition not based on an aspect of the Wildflower Dreaming Curator and country-dances in York and Narrogin, Museum’s collection. Museum Deputy Curatorial Director

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Being a Practicum Digitisation at the Museum Placement student at and hope the Berndt Museum for future My name is Mun Yee Ho and I have been working once and sometimes twice a generations week at the Berndt Museum as part of my Bachelor of Arts Practicum Program for Semester 1, 2014. I applied to the Berndt Museum as my host organisation The digitisation process underway at because I developed an interest in museum work during my University studies. the Berndt Museum ensures that data My majors in Ancient History and Medieval and Early Modern Studies, and some and images that have been painstakingly other units I took in the Archaeology, Anthropology, Asian Studies and Art History collected over the years are preserved departments helped me develop an appreciation of the past and of various and recorded in an accurate and cultures. Through my studies I also learned the importance of preserving historical consistent manner. The objects and and cultural materials for our understanding of the world, both past and present. photographic images and archives in the Museum’s collection are key to our Having only visited museums as a intended contexts by placing them in work. By digitising as much material visitor or as a volunteer doing customer museums and galleries. As for my work as we can, we are also enabling service work, I did not know about on the coin collection, it gave me a sense photos and archival information to be the background work that goes into of accomplishment as I felt that I was accessible to the public that, in turn, exhibitions which are educational for contributing something meaningful to will hopefully allow for the continuation historical and cultural knowledge and I the museum, and researching about the of cultural pride and knowledge in the wanted to be a part of that background coins also uncovered an exciting wealth future. The Berndt Museum puts great work after learning about its significance. of historical facts that I had not previously emphasis on community consultation and More importantly, I wanted to work at the known. In addition, working with only six digitisation allows for such communities Berndt Museum because it specialises other colleagues in the office also gave to access information, photographs in Australian Aboriginal art and cultural my working environment a more ‘cosy’ and object images – data that would materials, of which I have not much feel where we got to interact more closely otherwise be lost. knowledge as a foreign student and with each other. My supervisors and would like to learn more about. colleagues were always ready to offer My main task in digitisation at the their help without my asking. Museum is to ensure that data on our My supervisors, especially Kelly Rowe, hardcopy catalogue cards has been helped me to frame an individual My time at the museum exposed me entered onto the online database project that turned out to be Ronald to museum practices that I had not accurately and consistently. I also make Berndt’s coin collection. I also helped considered before, such as proper digitised versions of object images with the out with stocktaking, moving objects techniques in object handling and aim of publicly available material eventually and a bit of object documentation. the dangers of not doing thorough being placed on the website for public These experiences helped me to research regarding the acquisition of access. I feel that my role is to empower understand the processes of object the objects and their socio-cultural and protect past and present cultural life documentation and object handling meanings/ implications. through technological means, which in – the ‘background’ work of museums turn can be used to enrich and educate that I had wanted to learn about through Apart from museum practices, the other the public. My job allows me to truly the practicum placement. most important thing I gained was a appreciate the importance of preserving greater understanding and appreciation information and gives me the opportunity While I was nervous about handling the of Australian Aboriginal art, history and to explore our vast collection. There have artefacts for fear of accidentally causing culture. Australian Aboriginal history been many times when information I have them damage, getting to look at the and culture are very important to my been digitising for a particular object various artefacts and artworks while understanding of Australia, and I am piques my interest and leads me to doing stock-taking and moving the objects thankful to the museum for expanding further research and learn more about the was the best part of it and hearing my my knowledge in this area. Now that my object. In fact, working with digitisation supervisor’s and fellow colleagues’ placement at the museum is concluding, at the Berndt has inspired me to pursue explanations and other information I would like to take note of and remember an Honours degree in Anthropology this relating to them was interesting and all that I have learnt from the museum year. It is my great hope that the work I helped me to better understand the and carry the experience with me as am involved in will allow more people to culture and stories behind them. Some I find new opportunities in museum develop such an interest and encourage of the discussions with my supervisors work in the future. knowledge to flourish and be passed on and colleagues were also enlightening, to future generations. especially on topics about the functions Mun Yee Ho of artworks and artefacts and the Practicum Placement student Sarah Ridhuan implications of taking them out of their Faculty of Arts, UWA Museum Curatorial Assistant

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Visitors to the Museum, recent acquisitions, and looking toward 2015

places. With help from Lawrence Wilson Gallery staff, especially Anthony Kelly, we are now in the process of adding to the creativity of UWA more broadly.

Catalogues from former exhibitions have been carefully removed from storage and then distributed through a number of relevant networks by the Museum’s Administrative Officer, Rita Bennett, to people and places near and far. Catalogues relating to a Papua New Guinea exhibition, for instance, have now found their way back to PNG as well as to Germany, North America, and the UK, whereas others focused on Aboriginal Australia have been circulated to Indigenous and community organisations from Perth to Fitzroy Crossing. WURNA JILJINGURNU KAYILI MARTUWARRKAR BY AMY NGURNTA NUGGETT

We have been privileged to meet with a number of visitors during the last six If readers wish to help expand the months, especially members of the Murujuga group from the Pilbara who, together Museum’s collections via contributions with Winthrop Professor Jill Milroy and Associate Professor Grant Revell from of relevant paintings, artefacts, photos UWA’s School of Indigenous Studies, are working on a project that relates to or archival material, please let us know, Pilbara materials at the University. A fruitful visit also took place with Gija artist, preferably after January 2015. Please also Mabel Juli from the Kimberley’s Warmun Community, who was accompanied by keep in mind that the work must fall within her granddaughter, Nathalie, and Warmun Art Centre Coordinator, Adam Boyd. Collection emphases (primarily, Aboriginal Australia, although we also have a small The Berndt Museum is fortunate to be Terry will do some recording work on the collection of material from India, Japan, supported by an annual acquisition fund Kimberley Collection, and meet with art Korea, and Papua New Guinea), and that from UWA that has helped to expand the students at UWA’s School of Indigenous we will require provenance information Collection. We have recently purchased, Studies. Murungurr and Sandy Toussaint when the material is deposited. for instance, a significant painting by will also participate in a 19 August Public Walmajarri artist, Amy Ngurnta Nuggett, Programs Event at the Lawrence Wilson We are already looking forward to 2015 from the Ngurntakura Wangki exhibition Art Gallery in a conversation about and, in particular, installation of the (Perth’s Gallery Central, February working collaboratively together on Yirrkala Drawings exhibition as a creative 2014) pictured above, and a wonderful the Jimmy Pike Artlines exhibition. means of paying homage to the wonderful textile work titled Wogga: Noongar Six brown paper drawings first produced by Seasons created by eight members A number of deposits have also added Yolgnu artists in their Northern Territory of the Perth-based Kookaburra Club. to the Berndt Collection and we are very Yirrkala homeland in the 1940s. An Late last year, we also co-purchased grateful to contributors for the quality established part of material collected by seven watercolours associated with of these. Examples include a series of Catherine and Ronald Berndt, we will Joseph Bradshaw, more about which brown paper, colour pencil drawn cultural celebrate the original artists and their will be in the next issue of the Berndt maps prepared by 1960s Warburton families in a contemporary setting. While Museum News. Aboriginal groups in conjunction with a selection of the work was first shown archaeologist, Richard Gould, and an at UWA’s Lawrence Wilson Art Gallery in In August this year the Museum will be old photograph of ‘King Wally’ from the 1995 in an exhibition curated by Gillian hosting a visit from Walmajarri artist Kimberley’s Oombulgurri Community that Hutcherson, and a larger selection has and emerging curator, Terry Murungurr was donated by Bernadette Kennedy. recently been exhibited at the Art Gallery Murray. A full-time Cultural Heritage of New South Wales and is now on tour, Officer with the Kimberley Aboriginal Deposited a number of years ago we hope you will join with us when the Law and Culture Centre, Terry’s visit will through the Cultural Gifts Program, Yirrkala Drawings exhibition unfolds at the occur with funding support from UWA’s we are also grateful to Helen and Ben Lawrence Wilson in February next year. Institute of Advanced Studies and the Korman for the donation of 12 paintings WA Department of Culture and the Arts. with the proviso that the works be hung Professor Sandy Toussaint During his time at the Berndt Museum, throughout UWA in public spaces and Associate Director

BERNDT MUSEUM NEWS | Number 15 | June 2014 | 11 Contact

culturalprecinct.uwa.edu.au

Berndt Museum Dr Harold Schenberg Art Centre Lawrence Wilson Art Gallery The University of Western Australia Corner of Fairway and Stirling Highway M255A, 35 Stirling Highway Crawley WA 6009 Australia Tel: +61 8 6488 2854 Email: [email protected] berndt.uwa.edu.au

Aboriginal Cultures Museum campaign If you would like to learn more about the Aboriginal Cultures Museum, or contribute to the funding campaign, please contact Claire Lenyk UWA Development and Alumni Relations Tel: +61 8 6488 8906 Email: [email protected]

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