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

Total Page:16

File Type:pdf, Size:1020Kb

Ngarranggarni Gija Two-Way Learning and the University of Melbourne Gabriel Nodea and Robyn Sloggett 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 Argyle Diamond Mine 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 Lena Nyadbi’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 Rio Tinto 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.
Recommended publications
  • [2001] Wamw 19 Calder Sm
    [2001] WAMW 19 CALDER SM JURISDICTION : MINING WARDEN TITLE OF COURT : OPEN COURT LOCATION : PERTH CITATION : NORMANDY BOW RIVER DIAMOND MINE LTD -v- CLINTON ANDELA (2001) WAMW15 CORAM : CALDER SM HEARD : 5-6 OCTOBER, 6 NOVEMBER 2000 AND 8-9 FEBRUARY 2001 DELIVERED : 16 AUGUST 2001 FILE NO/S : APPLICATIONS FOR EXEMPTION 10/990 TO 18/990 TENEMENT NO/S : MINING LEASES 80/108 TO 113; EXPLORATION LICENCES 80/2054, 80/2084-5 BETWEEN : NORMANDY BOW RIVER DIAMOND MINE LTD Applicant AND CLINTON ANDELA Objector Catchwords: EXPLORATION LICENCE - exemption – obtaining approvals EXPLORATION LICENCE - exemption - time required EXEMPTION - exploration licence – obtaining approvals EXEMPTION - exploration licence - time required EXEMPTION - mining lease – obtaining approvals Document Name: [2001]WAMW19.doc Normandy v Andela CM Page 1 [2001] WAMW 19 CALDER SM EXEMPTION - mining lease - time required MINING LEASE - exemption – obtaining approvals MINING LEASE - exemption - time required Legislation: MINING ACT 1978 (WA) - s 102(2)(b) MINING ACT 1978 (WA) - s 102(2)(g) Result: Representation: Counsel: Mr R.M. Edel for the applicant Mr M.P. Workman for the objector Solicitors: Gadens Lawyers for the applicant Michael Workman for the objector Case(s) referred to in judgment(s): Re Heaney; ex parte Tunza Holdings Pty Ltd (1997) 18 WAR 420 Ward and Others v State of Western Australia and Others 159 ALR 483 Case(s) also cited: Document Name: [2001]WAMW19.doc Normandy v Andela CM Page 2 [2001] WAMW 19 CALDER SM REPORT AND RECOMMENDATION OF THE WARDEN FOR THE MINISTER - S102(5) MINING ACT 1978 THE PROCEEDINGS 1 Normandy Bow River Diamond Mine Ltd ("Normandy") has made application for the grant of certificates of exemption in respect of mining leases 80/108 to 113 inclusive for the expenditure year ended 28 July 1999 in respect of each mining lease.
    [Show full text]
  • Mr R Peters 1934 - 2020, Springvale Station, Turkey Creek, WA
    Mr R Peters 1934 - 2020, Springvale Station, Turkey Creek, WA BIOGRAPHY: Rusty Peters is a senior Gija man of Juwurru skin. His bush name Dirjji refers to dingo pups looking out of a hole at the sunrise. He was born under a Warlagarri or Supplejack tree on Springvale Station south west of Turkey Creek the same day as his jimarri or age mate Charlie McAdam. His spirit came from a crocodile his father had killed when his mother became pregnant. He grew up on Springvale learning traditional law and working as a stockman and at other things such as welding fences and stock yards. When his father was killed in a tragic riding accident at Roses Yard, the family moved to Mabel Downs where he became renowned as a horse breaker. He lived for some time at Nine Mile reserve at Wyndham after the introduction of award wages forced people off stations but then moved to Turkey Creek where with other senior Gija artists such as Hector Jandany and George Mung-Mung he helped start the school. In 1989 he moved to Kununurra where he was employed at Waringarri Aboriginal Arts as an assistant. He was a long time friend of Rover Thomas, caring for him on most of the trips he made in the later part of his life. He made prints and did some painting while working for Waringarri Arts. He moved to Crocodile Hole when Freddie Timms based the Jirrawun Aboriginal Arts group there in 1997 and began to paint on large canvases. His detailed knowledge of the land and stories from Springvale and neighbouring Moolabulla stations is reflected in distinctive paintings in traditional red and yellow ochres and black charcoal.
    [Show full text]
  • Presentations
    Presentations CHIE ADACHI AND VERONICA DOBSON community language planning within the context of Aboriginal and Torres Strait Islander Australians. She has immensely New ways of learning and teaching Arrente - enjoyed working on the development of online curriculum for developing language and culture course online Central and Eastern Arrernte language and culture with elders from Central Australia. The current paper explores ideas and issues around developing curriculum for learning and teaching of an Veronica Dobson is a highly respected elder from Central Indigenous Australian language. As part of a tertiary course Australia. She has extensively worked on the documentation at the newly established Australian Centre for Indigenous and revitalisation of Central and Eastern Arrernte language Knowledges and Education (ACIKE), the Central and Eastern and culture for many years as an educator. She was involved Arrernte language and culture curriculum has been developed. with establishing the orthography of this language. She also This paper presents a story of developing new ways of has extensive ecological knowledge of the land and takes great transmitting the Arrernte knowledge by creating multimode pride and joy in teaching this knowledge to young generations of learning and teaching space and incorporating the oral as well as non-indigenous people. tradition into non-traditional mode of online teaching with the For her significant contribution and services to the community Arrernte people. as a linguist, naturalist and ecologist, Veronica was appointed This paper also addresses the issues of: a Member of Order of Australia in 2011. She is an author of many books on Central and Eastern Arrernte language, land • Approaching and negotiating protocols to protect and and culture, and a figure that many people come across once share the Arrernte knowledge; they start learning about Arrernte.
    [Show full text]
  • Lauraine Diggins Fine
    5 Malakoff Street, North Caulfield, Vic, 3161 Telephone: (61 3) 9509 9855 Facsimile: (61 3) 9509 4549 Email: [email protected] Website: www.diggins.com.au ABN.19006 457 101 L A U R A I N E · D I G G I N S · F I N E · A R T Memorial Service to celebrate the life of Lauraine Diggins OAM Monday 17th June 2019, The Pavilion, Arts Centre Melbourne TRIBUTES MC: Ruth Lovell, manager, Lauraine Diggins Fine Art Acknowledgement of Country: Professor Margo Neale, Senior Curator and Principal Indigenous Advisor, National Museum of Australia Speakers: Ms Lin Oke, O.T. Group Dr Daniel Thomas, Emeritus Director Art Gallery of South Australia Ms Antonia Syme, Director, Australian Tapestry Workshop Mr Adrian Newstead, Founding Director, Cooee Art Mr Steve Dimopoulos MP, Member for Oakleigh Mr Gerard Vaughan, former Director National Gallery of Australia Ms Anne-Marie Schwirtlich, former Director National Library of Australia (delivered by Nerida Blanche, daughter of Lauraine Diggins) Mr Michael Blanche, husband of Lauraine Diggins Tribute to Lauraine Diggins by Ms Lin Oke Reflections Occupational Therapy Back in 1965, 42 of us 17 and 18 year olds, from around Victoria started our journey into the Occupational therapy profession. Strong bonds of friendship developed amongst us. Lauraine stood out – vivacious, full of fun, elegant, tall – with those long legs that resulted in some of us calling her Lolly Legs. Following Lauraine’s passing we shared our memories and smiled on our reflections. I’m pleased to share some of these reflections with you today. One of our group summed up the closeness of Course 18 in this way: “In 1965 the small campus of the OT School at 33 Lansell Road provided an intimate atmosphere favourable for the development of strong bonds.
    [Show full text]
  • Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
    Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases.
    [Show full text]
  • Remembering Forward: Paintings of Australian Aborigines Since 1960 240 Pages, Hardback, 310 X 240 Mm, 150 Illustrations
    Paul Holberton publishing THIRD FLOOR 89 BOROUGH HIGH STREET LONDON SE1 1NL TEL 020 7407 0809 FAX 020 7407 4615 [email protected] WWW.PAUL-HOLBERTON.NET Remembering Forward Paintings of Australian Aborigines since 1960 Edited by Kasper König, Emily Evans and Falk Wolf The publication Remembering Forward accompanies the exhibition at the Museum Ludwig in Cologne, 20 November 2010 to 20 March 2011, which presents the work of nine of the most prominent Australian Aboriginal artists of recent years: Paddy Bedford, Emily Kame Kngwarreye, Queenie McKenzie, Dorothy Napangardi, Rover Thomas, Ronnie Tjampitjinpa, Clifford Possum Tjapaltjarri, Tim Leura Tjapaltjarri and Turkey Tolson Tjupurrula. This is the first time that an art museum outside Australasia has devoted an exhibition to the works of these artists. The title Remembering Forward refers to the tension among tradition, present and future that determines the demands made of artists. On the one hand, they usually take as their subject the so-called ‘Dreamtime’ of prehistory from which myths of the earth’s and humankind’s creation have been handed down. In that regard they are deeply traditional. On the other, these artists have radically changed their medium and method of art-making over the last forty years. Inherited practices of sand- and body-painting have been transformed such that the paintings are executed in acrylic on canvas or other portable media. These changes afforded the artists entry to the global art market. Thus they have adjusted to address an outside public and keep the images free of those parts of the Dreamings that, in their own culture, are reserved for the initiated.
    [Show full text]
  • Feeling the Past: Indigenous Emotions and History
    Symposium Feeling the Past: Indigenous Emotions and History Dates: 9–10 November 2017 This symposium will examine how and why Indigenous historians, writers, curators, artists and filmmakers use emotions as a means of investigating and Venue: Fox Lecture Hall G.59 narrating the past. Participants will explore how such emotional histories may be First Floor, Arts Building motivated by the desire to heal and reconcile with the past, or to restore a sense The University of Western Australia of community pride and dignity to our ancestors, or express anger and rage over past injustices and their legacies. We will also investigate the techniques used to convey emotions, and to deepen connections, recognition, or acceptance of Convenor: Dr Shino Konishi Indigenous histories, and explore whether such techniques reflect Indigenous ([email protected]) cultural practices and protocols. Website: http://www. historyofemotions.org.au/events/ SPEAKERS: feeling-the-past-indigenous- • Michael Aird (The University of Queensland) emotions-and-history/ • Tony Birch (Victoria University) This is a free event but registration is • Clint Bracknell (Sydney Conservatorium of Music, The University of Sydney) required. Morning and afternoon tea will • Natalie Harkin (Flinders University) be provided. • Barry Judd (Charles Darwin University) Please register with Pam Bond • Shino Konishi (The University of Western Australia) ([email protected]) by • Greg Lehman (University of Tasmania) 1 November 2017. • Leah Lui-Chivizhe (The University of Sydney) • Jill Milroy (The University of Western Australia) • Frances Peters-Little (University of Technology Sydney) • Elfie Shiosaki (Curtin University) • Michael Jalaru Torres (Jalaru Photography) • Jakelin Troy (The University of Sydney) Image: Baptism, Michael Jalaru Torres, 2017.
    [Show full text]
  • WAC-Info-Booklet-2-Spread-LR
    warmunart.com.au Warmun Art is here to celebrate and encourage the expression of Gija culture through the arts, and to support the continued development of innovative contemporary art by both established and emerging Warmun artists. We strive to facilitate this through developing and maintaining a commercially viable arts enterprise, which provides a diverse range of cultural and economic opportunities for both individuals and the community as a whole. Background Art: Jimbirla Ngarrangkarni (Spearhead Dreaming), Lena Nyadbi, 2010. Cover Art: Yunnur (Spring Creek), Patrick Mung Mung, 2010. warmunart.com.au supported by: Everything is rolling in my mind, I can’t stop painting, I like to do it and bring it out through my heart, with the stories. - Kathy Ramsey, Warmun artist and finalist for the John Fries award, 2017 Background Image: Kathy on country with one of her boards. warmunart.com.au Warmun Art Centre (WAC) is a non-profit Established in 1998, Warmun Art Centre quickly Aboriginal Corporation situated in Warmun achieved local and international recognition, Aboriginal Community (previously Turkey Creek), thanks to the leadership and guidance of off the Great Northern Highway, some 200km successful predecessors including the late artists: south of Kununurra. It is a 100% Gija-owned and Rover Thomas, Queenie McKenzie, George Mung controlled community enterprise, specialising in Mung and Paddy Jaminji. The distinctive Warmun fine aboriginal art featuring locally sourced ochre. style of art continues to inspire a new generation The income made from sales of Warmun artworks of Warmun artists who represent Gija art and is split between artists and the centre, with the culture with bold character and exciting diversity.
    [Show full text]
  • Paintings from Warmun ST PAUL St Gallery One 25 September – 23 October 2015
    Paintings from Warmun ST PAUL St Gallery One 25 September – 23 October 2015 These paintings all come from artists working in Warmun, a community of about 400 people located 200 kilometres south of Kununurra in the Kimberley region of far north Western Australia. The Warmun Art Centre there was founded by Queenie McKenzie, Madigan Thomas, Hector Jandany, Lena Nyadbi, Betty Carrington and Patrick Mung Mung, members of the contemporary painting movement that began in the mid-1970s. Warmun Art Centre is owned and governed by the Gija people, its income returned to the community. Today some 50 emerging and established Gija artists work there. The works are by Warmun artists Mabel Juli, David Cox, Lena Nyadbi, Churchill Cann, Gordon Barney, Phyllis Thomas and Shirley Purdie. In these paintings the material is the work; they are earth and mineral as well as images. While they are stylistically very different in approach, all share the ochre, charcoal and natural earth pigments that typify contemporary Aboriginal painting in the Kimberley region. Coloured by iron oxide, ochre ranges from subtle yellow to deep red-brown. Mawandu or white ochre (extensively used in Mabel Juli’s work, alongside black ochre) is distinctive to the Kimberley area. This is a naturally occurring white clay that forms deep in the ground along certain riverbeds. Mixing natural pigments with mawandu provides range of colours including lime greens, greys, and a rare pink, all of which are produced at Warmun and traded with art centres across the region. ‘I don’t paint another country, I paint my own’, says Mabel Juli.
    [Show full text]
  • View Article
    Rover Thomas leats 29, 301 and Paddy JaminJi (cat.28) initiated a renewal of painting in the Eastern Kimberley by lifting the lid on the secret histories of Australia with paintings of country drenched with the blood of Aboriginal victims of massacres; in 1990, with Trevor Nickolls, Rover Thomas was the first Aboriginal artist to appear at the Venice Biennale. Djambawa Marawili leat.81 and John Mawurndjul leats 3, 6, 71. two of the most renowned contemporary Australian artists with a string of international contemporary art appearances to their names, have revolutionised bark painting to make us feel the hum of ancestral powers in the earth itself. And that is not even to mention Albert Namatjira, who beguiled a generation but whose life ended in tragedy. The strong photographic and video component in the last part of the selection reflects the burgeoning of these media around the globe. Tracey Moffatt, one of the most internationally acclaimed contemporary Australian artists, came to prominence in the 1990s with her vibrant, quasi-narrative series of photographs [fig.71, and her film and video compilations looking at gender, popular culture, racial politics and stereotypes leat.1911. Simryn Gill, representing Australia at the 55th Venice Biennale in 2013, considers questions of place and history in her work leat. 1881. The displacement of objects in her photographs echoes our modern-day journeys and migrations. The Australian population, now 23 million, has more than quadrupled in size since 1918, much of that increase from immigration. Since 1945 more than Fig. 8 CHRISTIAN THOMPSON, Black 7million people have settled in the country as new Gum 1, from the series Australian immigrants, including more than 800,000 refugees.
    [Show full text]
  • Indigenous Climate Change Adaptation in the Kimberley Region of North-Western Australia
    Indigenous climate change adaptation in the Kimberley region of North-western Australia Final Report Sonia Leonard, John Mackenzie, Frances Kofod, Meg Parsons, Marcia Langton, Peter Russ, Lyndon Ormond-Parker, Kristen Smith and Max Smith Indigenous climate change adaptation in the Kimberley region of North-western Australia Learning from the past, adapting in the future: Identifying pathways to successful adaptation in Indigenous communities AUTHORS Sonia Leonard John Mackenzie Frances Kofod Meg Parsons Marcia Langton Peter Russ Lyndon Ormond-Parker Kristen Smith Max Smith Published by the National Climate Change Adaptation Research Facility 2013 ISBN: 978-1-925039-87-0 NCCARF Publication 116/13 Australian copyright law applies. For permission to reproduce any part of this document, please approach the authors. Please cite this report as: Leonard, S, Mackenzie, J, Kofod, F, Parsons, M, Langton, M, Russ, P, Ormond-Parker, L, Smith, K & Smith, M 2013, Indigenous climate change adaptation in the Kimberley region of North-western Australia. Learning from the past, adapting in the future: Identifying pathways to successful adaptation in Indigenous communities, National Climate Change Adaptation Research Facility, Gold Coast, 131 pp. Acknowledgment This work was carried out with financial support from the Australian Government (Department of Climate Change and Energy Efficiency) and the National Climate Change Adaptation Research Facility (NCCARF). The role of NCCARF is to lead the research community in a national interdisciplinary effort to generate the information needed by decision-makers in government, business and in vulnerable sectors and communities to manage the risk of climate change impacts. Disclaimer The views expressed herein are not necessarily the views of the Commonwealth or NCCARF, and neither the Commonwealth nor NCCARF accept responsibility for information or advice contained herein.
    [Show full text]
  • A Study Guide by Atom, Jonathan Jones and Amanda Peacock
    A personal journey into the world of Aboriginal art A STUDY GUIDE BY ATOM, JONATHAN JONES AND AMANDA PEACOCK http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins FRONT COVER: (TOP) DETAIL FROM GINGER RILEY MUNDUWALAWALA, NGAK NGAK AND THE RUINED CITY, 1998, SYNTHETIC POLYER PAINT ON CANVAS, 193 X 249.3CM, ART GALLERY OF NEW SOUTH WALES. © GINGER RILEY MUNDUWALAWALA, COURTESY ALCASTON GALLERY; (BOTTOM) KINTORE RANGE, 2009, WARWICK THORNTON; (INSET) HETTI PERKINS, 2010, SUSIE HAGON THIS PAGE: (TOP) DETAIL FROM NAATA NUNGURRAYI, UNTITLED, 1999, SYNTHETIC POLYMER PAINT ON CANVAS, 2 122 X 151 CM, MOLLIE GOWING ACQUISITION FUND FOR CONTEMPORARY ABORIGINAL ART 2000, ART GALLERY OF NEW SOUTH WALES. © NAATA NUNGURRAYI, ABORIGINAL ARTISTS AGENCY LTD; (CENTRE) NGUTJUL, 2009, HIBISCUS FILMS; (BOTTOM) IVY PAREROULTJA, RRUTJUMPA (MT SONDER), 2009, HIBISCUS FILMS 5Z`^[PaO`U[Z GULUMBU YUNUPINGU, YIRRKALA, 2009, HIBISCUS FILMS DVD AND WEBSITE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series.
    [Show full text]