Ngarranggarni Gija Two-Way Learning and the University of Melbourne Gabriel Nodea and Robyn Sloggett

Introduction knowledge and are responsible for many of the cattle stations, in the Warmun is a small township owned keeping it strong, and for teaching it early 1970s Warmun became a refugee and managed by Gija people in the to future generations. This knowledge camp. People were physically removed east Kimberley region of Western cannot be passed on without the from their country, so that simple acts Australia. Situated between Kununurra permission of the Old People. like finding food and water, as well as and Hall’s Creek, Warmun is also On one level, this article is about complex activities like ceremony and located on the ancient Wirnan an educational partnership between caring for country, could no longer be (sharing and trading) exchange the Grimwade Centre for Cultural carried out. This made Gija people route that stretched inland from the Materials Conservation at the feel disempowered and sad. They coastline around Derby to the west, to University of Melbourne and the felt as if they had been pushed aside that around Wadeye to the north-east. Warmun Art Centre, but it is also from the country they had looked Trade and shared knowledge have about the contemporary influence after through all time, and that they always been an important part of the of Ngarranggarni, which has become could no longer make decisions about social, cultural and spiritual fabric of an important part of the education caring for country. It brought down Gija life, and it was along this route programs at the Grimwade Centre, their spirits and made them feel that Gija people—working through and is now extending beyond like they were losing their strength. complex ceremonial networks— conservation as new academic Children were removed to Wyndham shared resources, cultural products disciplines at the university, such (200 kilometres to the north) for and practices. as history, microbiology and schooling, food was scarce, and life Ngarranggarni is the belief and earth sciences, contribute to the was very difficult.1 knowledge system that guides the partnership. Out of these difficulties, Gija Old Gija way of life. The Gija ancestors People, the clan leaders who held and established Ngarranggarni when Warrambany (angry water), owned Gija knowledge and so were they created the land, the plants, 1974 responsible for the wellbeing of their the animals and the people. The small Warmun township is home communities and the maintenance Ngarranggarni defines who Gija to some 500 Gija people. It is situated of Gija society, determined that people are, and sets out clear rules on the banks of Turkey Creek, with education was critical to the for how to behave properly as a people living on either side of the preservation of Gija society. Soon after member of Gija society. In particular, creek. Warmun had been a trading Warmun was legally incorporated as Ngarranggarni guides contemporary camp and meeting place for Gija an Aboriginal community in 1977, Gija life, governing family and people for generations, but following the Old People, who held senior clan relationships and Gija people’s the enactment of legislation in 1968 Ngarranggarni responsibilities, connection to, and responsibility for, to bring equal pay to Aboriginal approached the Catholic Church to their clan country. The Gija Old people working in the Kimberley establish a school at Warmun, so that People hold the senior knowledge cattle industry and the subsequent children could be educated locally. In about Ngarranggarni. They own the forced removal of Gija people from May 1979 two Josephite nuns arrived,

68 University of Melbourne Collections, issue 20, June 2017 Warmun in the Kimberley TIMOR DARWIN ARNHEM region of north-west Australia. SEA LAND Map by Janet Boschen.

WADEYE KATHERINE

Mitchell Plateau WYNDHAM KUNUNARRA INDIAN KIMBERLEY Lake Argyle DALY WATERS OCEAN Turkey Creek WARMUN King Leopold DERBY Ranges ORD RIVER Bungle Bungle BROOME Range NORTHERN FITZROY Mueller CROSSING Ranges HALLS TERRITORY CREEK

STURT CREEK

PORT HEDLAND PILBARA 100 km

Sister Theresa Morellini and Sister creek at the crossing immediately Art Centre was opened. Today Claire Ahern, and the Two-Way to the west of the township. Her the international reputation of the education structure proposed by the spirit returned to Warmun to pass Warmun artists continues to grow, as Old People was implemented.2 Under on the story of her spirit journey evidenced by the commissioning of this Two-Way system, Gija children across country in a dream to Rover ’s Barramundi Dreaming were taught Western curriculum Thomas who, although not Gija, for the roof of Musée du Quai Branly and educational requirements by the was a respected member of the Gija in Paris, and by the international nuns, and Gija language, knowledge community. Thomas had come from exhibitions to which Gija artists and social responsibility by the Old the desert and settled at Warmun, regularly contribute. People. As the Old People could no where he was accepted as Joolama, longer take children onto their clan and given this skin name, one of Warrambany, 2011 country, they created paintings and 16 Gija names that identify the The Warmun Art Centre is situated objects as educational material. It is eight skin groups. These define the next to Turkey Creek, and is reached these artworks and objects that form relationships and behaviour of Gija by a small one-lane bridge. On Friday the basis of the significant Warmun people to one another, and to Gija 12 March 2011, following days of Community Collection. Many of country.3 This story, known as the heavy rain, warrambany again rushed these Old People became some of Goorirr Goorirr ceremony, became along the creek, which broke its Australia’s most important artists, one of the most important events banks, flooding most of the township including Paddy Jaminji, George in the history of art in Australia. In and completely inundating the Art Mung Mung, Hector Jandany, the passing of knowledge by the Old Centre. The contemporary artworks Jack Britten, Rusty Peters, Rammy Woman to Rover Thomas, the legacy were washed out of the building and Ramsay, Queenie McKenzie, Peggy of this flood was the development of along the creek, and the room that Patrick, Phyllis Thomas, Lena some of the most important art in held the significant Community Nyadbi, Mabel Juli, Nancy Nodea Australian history. Thomas joined Collection filled with water, swilling and Madigan Thomas. the great Gija artists who developed the art and objects around the room In 1974, the passage of Cyclone an art movement that led to the and finally, when the water subsided, Tracy from the Western Australian education of Australians across the leaving them saturated and mouldy.4 coastline to the Northern Territory country, extending knowledge of Gija As soon as Art Centre staff resulted in flooding across the beliefs, lore and history. The name of realised the potential impact of the Kimberley. The newly established Warmun also become known on the floodwaters on the Centre, calls were Warmun township was struck by world stage when, in 1990, Thomas made to secure assistance. Argyle tragedy. The warrambany (angry represented Australia at the Venice Diamonds, part of the mining water) from Cyclone Tracy flooded Biennale. company and operator Turkey Creek, resulting in the death In 1998, after Gija Old People of the Argyle Diamond Mine in of a Gija woman who was in a car and artists decided that they needed the eastern Kimberley, provided that attempted to cross the flooded their own art centre, the Warmun helicopters and staff to airlift the

Gabriel Nodea and Robyn Sloggett, ‘Ngarranggarni: Gija Two-Way Learning’ 69 Community Collection to Argyle Conserving the Warmun this time a number of visits took Diamonds’ offices in Kununurra, Communit Collection, and place between Warmun and the about 200 kilometres north-east Two-Way Learning. University of Melbourne. One of Warmun. Arnhem Northern In the days following the 2011 flood, reason for these visits was to check and Kimberley Artists Aboriginal fibrous mould was observed growing that the treatment of the works was Corporation (ANKA) secured support on a number of artworks, and it was being undertaken in ways that were from its members, in particular clear that treatment could not wait culturally appropriate: that proper Waringarri Artists in Kununurra, and for the approval of grant applications. permissions were in place, that from the Museum and Art Gallery of In consultation with Gija Old People, Grimwade Centre staff and students the Northern Territory, and arranged the decision was made to incorporate and others who might be involved for logistics company Toll Holdings to treatment of the collection into the were properly authorised to do the provide, at no cost, a refrigerated truck teaching program at the Grimwade work, and that the processes for to bring those works that required Centre. In this way, these objects— informing people of progress were conservation treatment to storage at made in order to educate young adequate. A recurring question from the Public Record Office Victoria in people about Gija culture and Grimwade Centre staff concerned Melbourne, some 3,000 kilometres knowledge—would be used to how to undertake conservation away. In the meantime, Warmun educate a new generation of students. properly when dealing with Gija Art Centre staff, artists, and Gija It was Patrick Mung Mung, son of cultural material. A consistent Old People began to work with two the great Two-Way Learning man answer was that to understand how staff members of the Grimwade George Mung, who first identified to behave properly, it is necessary to Centre (Lyndon Ormond-Parker this logical sequence of events come regularly onto Gija country, as and Marcelle Scott) on a plan for the when he visited the University of this is where knowledge is held and treatment of the precious items from Melbourne in October 2011.5 By the best shared. the Warmun Community Collection. time financial support was received In June 2013, the collection In Ngarranggarni, all natural events from a range of philanthropic arrived back in Warmun, where a have a cause and a reason. Ancestral foundations, government agencies new storeroom had been purpose- spirits are responsible for floods. The and departments, and the Friends of built to museum standards, to house Rainbow Serpent was the source of Warmun support network, a program the collection. The return was the floods that led to the tragedy was in place that brought together celebrated with a performance of the at Turkey Creek in 1974, while the Grimwade Centre conservation Goorirr Goorirr joonba. question of what caused the 2011 students and staff with Gija Old It did not take long for the flood remains open. What is clear, People to manage the conservation collection to be reintegrated into however, is that just as the 1974 treatment of the flood-damaged the education programs at Warmun. flood led to the forming of important works. Shortly after the return of the works, new relationships, so too did the Treatment of the collection in students from the Ngalangangpum 2011 flood. Melbourne took two years. During School began to visit the Art Centre

70 University of Melbourne Collections, issue 20, June 2017 Rusty Peters and Gordon Barney at Narwan, teaching University of Melbourne Master’s by Coursework students and Ngalangangpum Warmun community school students. Image courtesy of the Grimwade Centre for Cultural Materials Conservation, University of Melbourne, and the Warmun Art Centre.

for talks from the Old People about Building knowledge members Roseleen Park and Sadie the collection, and a decision was and un erstanding for the Carrington attended a two-day meeting made to build a display and teaching long term in Melbourne. A draft ‘Partnering space in the Art Centre. The Art Following the return of the works Document’ was developed, identifying Centre’s studio manager, Ralph Juli, and further discussions about how what each party needed to do to ensure and staff from the Grimwade Centre best to work together into the future the success of the partnership. This (Sophie Lewincamp, Jordi Casasayas to ensure a long-term relationship was written in plain English following and Vanessa Kowalksi) worked between Warmun and the University discussions in Melbourne and then at together to prepare works selected of Melbourne, both parties decided Warmun. In early April 2014 a group by the Old People for exhibition. that a formal relationship would be a of representatives from the university This space, known as the Narwun, or good next step. In November 2013, travelled to Warmun for the official Cave, has become a focus for teaching the then chairman of the Warmun signing of the agreement. On 8 April language and culture.6 Art Centre, Mark Nodea, and board 2014, at the Warmun Art Centre,

Gabriel Nodea and Robyn Sloggett, ‘Ngarranggarni: Gija Two-Way Learning’ 71 Professor Ian Anderson signed the knowledge, education, and In order to do this, a structured document on behalf of the University chances for employment. education program was needed. of Melbourne, and Mark Nodea Further discussions strengthened the signed it on behalf of the Warmun Teaching and learning has always idea that a formal university teaching Art Centre. Other signatories include been right at the heart of Gija program led by Gija Old People on Rusty Peters, Mabel Juli, Shirley ways—from Bush, to Boarding Gija country would be one of the most Purdie and Patrick Mung Mung from School, to Warlarri (White Tree), important steps in the proper sharing Warmun Art Centre, and Robyn to the Bough Shed, and now and understanding of Gija knowledge. Sloggett from the Grimwade Centre. Beyond—to the University of Gija Old People formalised the decision This partnership brings together Melbourne. that their important knowledge system Gija Old People at the Warmun Art should be taught to students as part Centre and staff at the Grimwade This new and bigger partnership of the Grimwade Centre curriculum, Centre at the University of will concentrate on ‘Two Way and led the discussion about what new Melbourne in a teaching and research Learning’ in Arts and Education subjects, which would incorporate partnership that is built on the Two- and will be about different Ngarranggarni knowledge, should look Way Learning model developed in areas of knowledge, not just like, and who should teach them. As a Warmun more than 40 years ago.7 conservation and art. Universities result, the Grimwade Centre’s Master The Partnering Document opens call these areas ‘disciplines’. by Coursework in Cultural Materials with the following background, under Conservation introduced the subject the heading ‘How we built the idea’: The University is poor at Ngarranggarni Gija Art and Country, understanding its place in which is offered as an elective to The Warmun Art Centre and Australia and wants to learn more students at second-year level. the Centre for Cultural Materials about our Indigenous history and Led by staff and Old People at Conservation at the University how this could make a difference Warmun Art Centre who worked of Melbourne have been working to education and learning into the on the content and program, staff together since 2011, after future.8 at the Grimwade Centre developed major flooding in the Warmun the subject outline so that it could be Community. Although this background approved at Master’s level. Running in does help explain the history of parallel with this development were a A strong relationship grew when the partnership, this is not the number of other education programs, Melbourne University began complete story. It is true that the including training at the University of fixing art works damaged in flood created the partnership, but in Melbourne for Gija artworkers, joint these floods. The partners now Warmun, understanding the cause research programs, and seminars and wish to keep growing the work of the flood itself is a critical part public programs. Although the most they are doing together to bring of understanding what caused the senior Gija people in the Art Centre about more opportunities around partnership to come into existence. managed the development of the

72 University of Melbourne Collections, issue 20, June 2017 University of Melbourne students and staff being welcomed to country with a manthe ceremony, which is a welcome, but also ensures that people are safe while on country. Image courtesy of the Grimwade Centre for Cultural Materials Conservation, University of Melbourne, and the Warmun Art Centre.

partnership—particularly the teaching of Melbourne staff and students, Lena Nyadbi teaching students program—other people helped build students at Warmun, artists and about her country, her history and the strong relationship between the artworkers in the Warmun Art Centre, the importance of being Gija. These two organisations. Richard Thomas, the Friends of Warmun network, and recordings are a rich resource for the chairman of the Art Centre, helped the public. Through these programs, future, and are being added to during put together the first trial of the the aim of the partnership—to each visit as part of Ngarranggarni subject, which was led by Patrick increase opportunities for sharing Gija Art and Country. Mung Mung at Texas Downs Station, knowledge, and to foster education one of the many cattle stations where and employment opportunities for Conclusion Gija people worked after the cattle Gija people to help preserve and share This article outlines what has become industry was established across the Gija knowledge—is being met. a well-known story. A story of how, east Kimberley in the late 1880s. in far-away Melbourne, a greater Richard Thomas’s writings and poetry New technologies understanding of the value of deep about Gija philosophy and history Warmun Art Centre has a well- and rich Australian Indigenous are used in the subject. The Gija equipped media centre. During the knowledge was brought about by Rangers have also strongly supported June 2016 delivery of Ngarranggarni the generosity and support of Gija the program, getting country ready Gija Art and Country, every aspect of Old People, who understand that all for visits and assisting during the subject was filmed. This included exchanges of important knowledge the teaching program by sharing the welcome smoking ceremony, must be Two-Way. It is also the knowledge and helping with logistics.9 undertaken by traditional owners story of the resilience of an old Children from the Ngalangangpum to keep students safe while on Gija and continuous belief system that School also come out onto country country; digging for ochre, led by has an important role to play in and sit with the university students Mabel Juli at the place where her contemporary tertiary education in to watch, listen and participate as the father’s spirit looks after the source Australia, and the preparedness of Old People teach. of her family’s valuable white ochre; Gija people to share this knowledge In Melbourne, an important finding and tasting sugarbag under in appropriate ways. The model for support network has emerged: the the expert guidance of Shirley Purdie; the partnership is not a university Friends of Warmun, who work to introduction to the Art Centre Studio model, but rather one that was built provide additional resources and by Ralph Juli; visiting Redleg’s Cave by Gija people when, at a time of support networks for the partnership, to learn about the story of a white crisis, they saw education as the including fundraising to support man who protected Gija people mechanism that would preserve payments to Gija people for their during the killing times, and who was cultural, social, community and teaching and sharing of knowledge. in turn killed by white station hands individual identity. Overall, the partnership has and to this day protects Gija people; At the centre of these two histories engendered much deeper and the wanga and joonba performed for of Two-Way Learning rests the richer knowledge for University the students; and, most importantly, senior knowledge that is owned and

Gabriel Nodea and Robyn Sloggett, ‘Ngarranggarni: Gija Two-Way Learning’ 73 managed by the Gija Old People, NORFORCE (North-West Mobile Force of the Melbourne’s School of Historical and Philosophical Australian Army). Gabriel is passionate about the Studies, Melbourne Engagement, and Faculty of and the stories of the floods and the preservation of Gija knowledge, culture and history. Arts. Warmun Art Centre continues to provide role of the Ngarranggarni ancestral He is currently working on a Gija history that essential support. figure—the Rainbow Serpent. In encompasses the tens of thousands of years that many cases, stories that are part of Gija people have lived in the Kimberley. Professor 1 Christina Davidson, ‘Warmun Community Robyn Sloggett is director of the Grimwade Collection significance assessment’ (unpublished belief systems such as Ngarranggarni Centre for Cultural Materials Conservation report), Sydney College of the Arts, 2006, p. 24. at the University of Melbourne. Her research are referred to as myths. Today, Gija 2 Catholic Education Office of , interests include attribution and authentication Ngalangangpum School – its history, 2001, people can point to the place where of Australian paintings, the development of the www.ngalawarmun.wa.edu.au/Nga/history- the Rainbow Serpent lives, and Australian art market, collection development it is certainly the case that, at the and history, the materials and techniques of school/historyschool.html, viewed 15 March artists, and the preservation of cultural materials 2017. University of Melbourne, education is held in Australian Indigenous communities. She 3 Warmun Art Centre, ‘Warmun’, information being led by the belief that knowledge holds qualifications in art history, philosophy, and panel, 2009. is generated by the agency of cultural materials conservation (applied science). 4 Vanessa Mills, ‘Flash flood leaves Warmun like a war zone’, ABC Kimberley, 14 March 2011, powerful ancestral spirits. Acknowledgments: Gabriel Nodea and Robyn www.abc.net.au/local/stories/2011/03/14/ The year 2017 brings the third Sloggett presented this paper at the symposium 3163611.htm?site=kimberley, viewed 15 March visit by students for Ngarranggarni The Future of the Object on 14 October 2016, but 2017. there are many people who did the work described. 5 Patrick Mung Mung (Warmun Art Centre), Gija Art and Country. The Elder These include the Gija Old People, staff and personal communication to Robyn Sloggett, owning and managing the teaching board members of the Warmun Art Centre, and 20 October 2011. this year is Mary Thomas, whose members of the Warmun community, including 6 Ralph Juli, ‘Ngarranggarni Gija art & country’, country at Chinaman’s Garden will be the Gija Rangers. The program reflects above all Friends of Warmun Newsletter, no. 1, 2016. the ambition of the Old People at the Warmun 7 Sadie Carrington et al., ‘Conservation and the the focus for the visit. There are five Art Centre, including Rusty Peters, Patrick Mung production of shared knowledge’, in J. Bridgland clans who are yet to host students; at Mung, Gordon Barney, Phyllis Thomas, Lena (ed.), ICOM-CC 17th Triennial Conference both the University of Melbourne and Nyadbi, Peggy Patrick, Nancy Nodea, Betty Preprints, Melbourne, 15–19 September 2014, Carrington, Mary Thomas, Mabel Juli, Shirley Paris: International Council of Museums at Warmun, everyone looks forward Purdie, and Churchill Cann. At the Warmun Art Committee for Conservation, 2014. with anticipation and excitement to Centre, Ralph Juli, Richard Thomas, Jane Yalunga, 8 Warmun Art Centre, and the Centre for Mark Nodea, Roseleen Park and Sadie Carrington Cultural Materials Conservation, University each visit, and remains grateful to the were all important in forging and maintaining the of Melbourne, ‘Gija “Two Way” Knowledge Old People for protecting and sharing partnership. At the University of Melbourne, we partnering document, Bangariny-warriny acknowledge Grimwade Centre staff, especially their important knowledge. jarrag booroonboo-yoo, Two good ideas talking Marcelle Scott and Sophie Lewincamp. This paper was reviewed at the Warmun Art Centre together’, plain English version, 8 April 2014, This article has been independently meeting on 23 May 2017 and modified in line p. 2. peer-reviewed. with comments, then Gabriel Nodea confirmed 9 The Rangers are Indigenous land and sea the changes on 30 May 2017. A final version with managers who undertake cultural and natural Gabriel Nodea is chairman of the Warmun images was approved on 6 June. Financial support resource projects to protect and improve the Art Centre, and deputy director of the Arnhem has been received from the H.T. Reid Charitable biodiversity and cultural values of the region. Northern and Kimberley Artists Aboriginal Trusts, Gordon Darling Foundation, WA Arts, Each Ranger group looks after and manages Corporation (ANKA). For more than a decade the Attorney General’s Disaster Recovery Fund, country using a combination of traditional he has been cultural officer at the Warmun Art the annual fundraising initiatives of the Friends cultural knowledge, Western science and Centre, and before that he was a member of of Warmun network, and the University of modern technologies.

74 University of Melbourne Collections, issue 20, June 2017