Arts Backbone Volume 14: Issue 1, August 2014 Welcome Djilpin Arts, The Company of People By Djambawa Marawili AM, ANKAAA Chairman By Fleur Parry, Manager, Djilpin Arts

ANKAAA GPO Box 2152, Darwin We are the Indigenous peoples who from. The country, and the art and the Since 2002, Djilpin Arts’ young Northern Territory, 0801 have been living here in Australia for culture are all inter-connected. Our clans Indigenous media participants have Frogs Hollow Centre for the Arts tens of thousands of years. are all connected to other Indigenous developed a wealth of cultural material 56 McMinn Street, Darwin clans and country across Northern in digital formats; reigniting culture in Ph +61 (0) 8 8981 6134 This is a time of great change both in Australia through our inherited patterns the community through films, animations, Fx +61 (0) 8 8981 6048 government policy and in the wider and designs. Ancestral beings travelled documentaries, award-winning music Email [email protected] world - including what is being called across the land meeting different videos, community education videos www.ankaaa.org.au the ‘third industrial revolution’ where languages and connecting us. and YouTube Live technology. Facebook: ANKAAA.aboriginal.artists new communication technologies This publication may contain the names of together with renewable energy forms ANKAAA programs today share The incredible site of Malkgulumbu, mirrored in Djilpin Arts second gallery Aboriginal people who have passed away. are rapidly changing realities of how information and build networks between Beswick Falls, on Jawoyn land is open to space in Katherine. All text and images are copyright of the artist, people can work. the different Indigenous clans and the public just once a year at the end of Art Centres or ANKAAA (as indicated) unless otherwise stated. ANKAAA Arts Backbone is © language groups in the north as well as July for the Walking With Spirits Festival. Djilpin Arts also proudly introduces ANKAAA. The views and opinions expressed in Indigenous people in Northern Australia, learning from new Australians from all The event features traditional dance a new standard in remote this publication are those of the authors and do not most of whom are living on or close to around the world. together with songs and stories told in accommodation. Guests can stay with necessarily reflect those of ANKAAA. their ancestral lands, want to step up dance, music, puppetry, fire and film. us in our architect-designed, award ANKAAA is a not for profit Aboriginal and be fully and humbly part of positive Today it is really important that interested winning, guest facility at Beswick, Corporation. change in this contemporary world. Australians and government realise that ‘Rich in spirit, Culture is powerful The Ghunmarn Culture Centre is situated Djakanimba Pavilions, knowing that Editor: Christina Davidson art is closely linked to employment and medicine, bringing healing to the in Beswick (Wugularr) and is keeping room rates go straight back into a local Issue Coordination: Anisha Stitfold In 2014 the ANKAAA board has been livelihoods for Indigenous people in our community and inspiration and place to the Blanasi Collection of works Indigenous enterprise supporting remote Cover Image: Babbarra Designs’ Helen active in inviting government and other homelands and ‘remote’ communities. understanding to the visitors that we called Gunwinjgu or The Company of art, culture, training and employment. Lanyinwanga print Marebu, (Pandanus Mat). Translated into runway ensemble by Indigenous partners to sit at the table with us and People sometimes say that there are welcome to walk with us’, Tom E. Lewis, People as a way of sharing culture with designer, Caressa Sengstock, for the Inaugural to work together in real partnership no real jobs for Indigenous people in Artistic Director, Djilpin Arts. others, in accordance with the original Australian Indigenous Fashion Week, Sydney to build sustainable futures for the art homelands and remote communities. intentions of the old masters. 2014. Photo: Hamish Gregory industry and for Indigenous culture They are wrong in this. People have to On country with kin and culture since ANKAAA is proudly supported by: and livelihoods (see page 22). We work with us friendly, gently, wisely and 2002, Djilpin Arts has brought new The extraordinary story of David Blanasi want to make sure future generations the jobs will be there in the Art Centres spirit to the remote community of is now available as a full documentary of Australians benefit from our strong and in the country. Beswick (Wugularr), 100kms south east from Djilpin Arts: Kundirri: The life and ancestral knowledge of country. of Katherine. legacy of David Blanasi. ANKAAA is working successfully with In joint projects led by ANKAAA in Indigenous communities and leaders to Djilpin Arts Aboriginal Corporation The Ghunmarn Culture Centre has a Top: Djakanimba Pavillions, Beswick Community Guest Accommodation recent years, the board and membership strengthen employment of local Indigenous has 100% Indigenous membership cafe and retail gallery showcasing Top left: All painted up, Outside the Ghunmarn have worked collaboratively with: people in the network of Indigenous of people from Wugularr and related more contemporary art and artefacts: Culture Centre - Keeping Place to the Blanasi scientists (The Harvesting Traditional owned and governed Art Centres across communities, and from Rittharngu/ including , carvings, fibre Collection, Beswick Community Knowledge project); leading mainstream north Australia, and to promote ongoing Wagalak, Dalabon, Mayali, Mara, art, paintings on canvas and bark and Below: Inside the Katherine Gallery and Cafe arts professionals (Arts Worker Extension culturally based livelihoods for artists, and Jawoyn and Rembarrnga language limited edition and fine art prints. This is All photos: Djilpin Arts Project); and with philanthropic, wants to continue collaborating positively groups. We focus on maintaining, corporate and government supporters, around this. developing and promoting arts and to design new more effective ways of cultural practices of the region that promoting sustainability. Djambawa Marawili AM, ANKAAA represent all our members. Chairman Art is really important for Indigenous Djilpin’s programs link traditional culture people in northern Australia. It is really Baniyala Homeland, North East Arnhem with modern enterprise. Our elders important because it is telling an ancient Land, July 2014 pass on their rich cultural knowledge story about country. About how human to the community’s young people who beings are connected to country and bring energy and vitality to a myriad of hold responsibility for its care. Art is a cultural programs and activities including document. Artists document the land and traditional and contemporary dance, are putting it on show, so that people music, visual arts and multimedia. will understand where the art comes

2 Arts Backbone – ANKAAA Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 ART CENTRE FEATURE – Arts Backbone 3 Gapuwiyak Calling Phone-made Media from – University of Queensland Anthropology Museum, March - August 2014 By Dr Jennifer Deger, The Cairns Institute

‘We decided to name our exhibition Gapuwiyak Calling because we’re calling you through our phones, calling so you can connect to us. We’re grabbing hold of new possibilities using these little things. Maybe you’ll answer us?’ – Paul Gurrumuruwuy

On March 14 the Miyarrka Media phones, featuring a range of video Structured according to Yolngu team from Gapuwiyak celebrated and photographs made by Yolngu poetics of call-and-response, the the opening of their phone media families as well as a selection exhibition takes motif and meaning exhibition in Brisbane. This unique of films made especially for the from the actions of an ancestral and playful show highlights the exhibition, including the new Miyarrka Mokuy (trickster spirit) who lives in creative energy unleashed by mobile documentary Ringtone. the stringybark forests of Arnhem Land. In ancestral times this Mokuy signaled other clans with his dhadalal (a special ) sensuously establishing enduring and ritually significant relationships between places and people across the region. The sound of the dhadalal becoming a way to gather all the clans—dhuwa the space together with the sound generations of Yolngu kin living bones, the sacred designs…they’re all and yirritja moieties—together for of ringing phones, gestures to the through times of enormous social there, but on the inside.’ certain large public ceremonies. possibility of new kinds of digitally stress and change. mediated relationships both within The exhibition was auspiced by As Miyarrka Media’s Paul and beyond Arnhem Land. Gurrumuruwuy says that these new Gapuwiyak Culture and Arts. Gurrumuruwuy describes, ‘It’s a sound technologies open up exciting new everyone can hear. It reaches the ears Much of the content is deliberately possibilities for Yolngu art, especially and the mind, so everyone, all the playful, incorporating ostensibly for younger, digital-savvy generations. clans, will move in and join together.’ ‘foreign’ sound and image elements He sees the camera as a way for accessed via the internet connection Yolngu to show their identities and In this exhibition, gallery visitors are on their phones. The exhibition is an strengthen their culture. ‘On the video All images: Gapuwiyak Calling exhibition at University of Queensland Anthropology Museum greeted by this special dhadalal opportunity to assert enduring and screen you can see Yolngu identity (UQAM) call—a call which as it resonates in meaningful connections between through the bodies. The blood, the All photos: UQAM

4 Arts Backbone – EXHIBITIONS Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 EXHIBITIONS – Arts Backbone 5 Joonba, Junba, Juju: Song and Dance Cycles of the Kimberley By Esther Gyorki, Gallery Coordinator, Warmun Art Centre

Joonba, Junba and Juju are three names from the Kimberley Aboriginal languages given to a specific form of performance driven by narrative.

In Gija and Miriwoong languages the The exhibition, Joonba, Junba, Juju: Gija Media Trainee at Warmun Art word is Joonba. In Ngarinyin language, Song and Dance Cycles of the Centre Nancy Daylight explains: ‘With Junba and in Bunuba country it is Juju. Kimberley, includes a unique collection the video, we can record and memorise ‘When it comes to our law, culture, country and language Gija Bringing together different countries of photography, video and objects how they dance and paint. When people know what is right from what is wrong. Everything from the Top left: Jowari Junba performance and language groups from across the associated with the performances, such old people talk in language, we only Ngarranggarni (Dreaming) to real life events are kept alive in our Gooniyandi dancers: Fabian Davis, Jai Cherel, Kimberley, Joonba, Junba, Juju is part of as masks, painted dance boards, spears know a little bit. But when we put it in Gilbert Cox, Johari Dick, Ty Murray traditional archives, and that archive is our joonba.’ a gradually unfolding project developed and thread-cross totems. It pairs these English at the bottom in a subtitle, we Photo: Mangkaja Arts Resource Agency by Mangkaja, Mowanjum, Waringarri objects with videos of the performances, understand the whole story.’ – Gabriel Nodea , ANKAAA Deputy Chair and Warmun Arts Centre’s Top: Front cover of the Joonba, Junba, Juju Cultural Liaison Officer. Catalogue. Downloadable here: www.warmun. and Warmun Art Centres. This revival as well as discussion by the custodians gfcomms.com.au/wordpress/wp-content/ has strengthened these song and dance of these corroborees. This allows non- Joonba, Junba, Juju was on show at uploads/2014/05/here.pdf cycles in the region. At the heart of to understand TactileArts, Darwin, 9 August – 1 Photo: Mowanjum Arts and Culture Centre this project is the concept of sharing more about the traditions of Aboriginal September 2013, and UTS Gallery, Bottom left: Dougie Macale performs Goorirr and exchange – wirnan/wunan – the culture and giving the younger Sydney, 29 April – 23 May 2014. Goorirr Photo: Alana Hunt, courtesy of Warmun Art Centre sharing of performance, of knowledge, generations of Indigenous Australians a Above: Joonba, Junba, Juju exhibition at of objects. modern means of relating to the stories Above: Gabriel Nodea performs Binyjirrminy TactileArts, Darwin of the elders. Photo: Alana Hunt, Warmun Art Centre Photo: Warmun Art Centre

6 Arts Backbone – EXHIBITIONS Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 EXHIBITIONS – Arts Backbone 7 Flow of Voices (In 2 parts) at The Cross Art Projects, Sydney Martuwarra: A Sonia Kurarra Solo Exhibition Includes works by Jacky Green, Stewart Hoosan and Nancy McDinney ReDot Gallery, Singapore, 2014 By Jacky Green with introduction by Jo Holder, founder and director, The Cross Art Projects By Sonia Kurarra, artist, Mangkaja Arts Resource Agency Aboriginal Corporation

Martuwarra is my river country. This painting is all about the Fitzroy River which flows down through Nookanbah where I live. All kinds of fish live in the water, we catch big mob of fish here. I like Parlka (Barramundi). We catch Catfish and Brim here too. Nganku (Shark), Wirritunany (Swordfish) and Stingray also live here. These fish live in these waters long after the flood has gone.

Also this painting is about Barramundi swimming on the surface of the water, you can also see the wakiri (pandanus tree) and rocks all around. When the Barramundi get tired they go back into the rock holes. These rock holes hold all the Parlka (Barramundi) that live in the river. Kalputu (water snakes) also live in these rock holes and swim all around the palma Jacky Green, Map of Borroloola – Our Land and things (creeks) and all around the wakiri that going on over the top of it, acrylic on linen, 2013 grow in the river. Photo: Silversalt Photography

Produced by Waralungku Arts and The displacement, through to the present recognise, things from their world, the Cross Art Projects, Flow of Voices refers day, arguing for proper monitoring, roads, houses, showground and airport. to the landscape of the mighty McArthur consultation and reparation in But there are so many more things in the River system and to the voices of the exchange for resource extraction and country that they can’t see. They are all Sonia Kurarra, Martuwarra, atelier acrylic paint on linen, 2013 traditional owners and managers raised damage by mining corporations. the sacred sites that we live amongst. The Photo: Mangkaja Arts Resource Agency Aboriginal Corporation in defense of their culture and lands. sacred places bind us with the country. Jacky Green’s work: Map of Borroloola Flow of Voices is a case study exhibition – Our Land and things going on over Government keeps talking about and writing project on contemporary the top of it, was part of Part One, expanding the town, but they gotta talk art, post-colonial relations and mining in accompanied by the artists’ statement: with us. They gotta learn what’s in the Australia's remote Gulf Country, and its country. They can’t just put things on tiny central town of Borroloola. This painting is a little bit like a map of top of our sacred sites like the mining the country around Borroloola, a town companies do. We feel our culture is Two exhibitions were staged at The in the southwest Gulf of Carpentaria starting to get pushed aside. It’s not Cross Arts Projects in Sydney between where us Gudanji, Garrwa, Mara and being recognised properly. Borroloola April and June 2014, covering the Yanyuwa people have been yarded-up is our place and our land. Whitefellas shift from ‘Good to Bad’ through like cattle by the government. gotta learn about country, how to take paintings and text; recounting the care of it proper way. To do this they Indigenous experience of the frontier When whitefellas look at the painting gotta work with us. days: lawless massacres, resistance and they can only see the things that they

8 Arts Backbone – EXHIBITIONS Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 EXHIBITIONS – Arts Backbone 9 YAMA: Installation and Digital Art in Lajamanu By Neil Jupurrurla Cooke, Warnayaka Art and Cultural Aboriginal Corporation

inside with hot and cold water, washing machines and fridges. But in the old days we watched the fire burning outside, and the stars shining in the sky - no television - we went to sleep early, or told stories until we went to sleep.

In the 70s it started to change; we had streetlights along the roads, and they started to build new houses that we moved into. It was hard on those floors in the house; at first I didn't like sleeping on the cement. Now we are used to the houses, and it's good too. We are living in a new way. It's a new lifestyle - but we still think about the humpy, look back to our grandfathers and grandmothers, aunties and uncles, how they used to live in the bush. I feel sad to think about that because we aren't living that way anymore. Now we pay rent. New things came in - and even though I'm right in my life today, deep in my heart, I still think back to those days.

We can't go back to the way we used to live. But when we look forward, we want to live in a house where we feel comfortable; maybe we have an air conditioner or fan to keep us cool, or YAMA is an experimental multimedia art installation have a shower in the light, and a mirror at the Warnayaka Art Centre, Lajamanu. to comb our hair or shave our whiskers. We can get up and go to the toilet in the night - no snakes, nothing like that. ‘The project incorporates digital art, Now that we understand about all this, sheets of iron on the sides and up on the Before, we used to feel the snake going traditional structures and painting, it's good to make more videos and roof, and cover that with calico to make past in the night. We can't hear the sound, photography, video, and photos to give to our kids. those humpies tight and stable. During dogs anymore, they sleep outside, and performance and is sponsored by the rainy season we used to hear the rain we have television inside. We have a the Australia Council's Indigenous It's about knowing your family lines and pouring down on the iron outside. kitchen and everything where we can Experimental Art Fund’, Gretta Louw, what you're related to - your jukurrpa cook on the stove. We've got to learn Digital Artist and Project Manager. (dreaming); we are all related to our The humpy kept us cool during the hot to live like we want to be. But it's still country. I want to make this project for weather too. Sometimes we had a important to remember country, how to This YAMA project is a way for me to my community, so that they can support doorway and put a sheet of iron on live there. That’s all in Yama. remember and honour the times when me and help me to keep culture strong. the ground just outside, with wood on All images: The replica humpy, used to house digital and non-digital I was a young boy. Back then we top for a fire, so that we could sleep artworks, sculptures, and community events at Lajamanu Community didn't know about photos - even if the Back in the 50s and right through to outside during the cold season. We had All photos: Gretta Louw superintendent took a photo of us, we the 70s, we were living in humpies; no lights, just firewood. Today we've didn't know. After, when they showed collecting sheets of iron to make them. got electricity and we have to pay for the picture to us, we used to think 'Hey! They used to grab forked tree branches, it with our power card - even for light How come? It was only a machine!' six of them, and put a rail across, and put and to watch TV. And we have showers

10 Arts Backbone – EXHIBITIONS / Keeping Places Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 EXHIBITIONS / Keeping Places – Arts Backbone 11

Australian Indigenous Fashion Week 2014, Sydney

Praxie and my work placement. By Evangeline Cameron, Djilpin Arts, ANKAAA AWEP 2013 Graduate

ANKAAA Arts Worker Extension Program 2013 Graduates, Evangeline Cameron, Djilpin Arts and Praxedes Tipungwuti, Tiwi Design attended the Australian Indigenous Fashion Week, 2014 with Belinda Foster, ANKAAA. We also answered questions during a Injalak Arts at Fashion Week. Babbarra designs at Fashion Travel was made possible through a press conference on how the dresses By Felicity Wright, Mentor Week. By Claire Nicholl, Quick Response Grant of the Regional and fabrics were made and how Manager Manager, Babbarra Designs, Arts Fund, Arts NT. people get the local colours to make the Maningrida Women’s Centre natural dyes for the pandanus. We also Artists Selina Nadjowh and Priscilla machinist, and the importance of the Praxie and myself had many different worked on our own Art Centre stalls. Badari travelled from Gunbalanya, In April this year, Babbarra Designs sustainability of their employment for jobs to do at the fashion show in Sydney. West Arnhem Land to Sydney for was invited to present at Sydney’s them and their families into the future. We were able to watch the first fashion the inaugural Australian Indigenous inaugural Australian Indigenous First we had to pack all the show bags show but for the second show we had Fashion Week, April 2014 held at the Fashion Week’s Design Forum Creative The Babbarra Designs sewing team with little biscuits and little shampoos to be out the back helping. Sydney Town Hall. Both women were Lab Sessions. An overarching theme for is using the patterns created during and conditioner and moisturiser. excited about the flight and first trip to the forum was the building of ethical the collaboration to produce items It was really good fun and I would love Sydney. Selina got the window seat frameworks for design collaborations for sale. These are available at The We had to lay all the outfits out and to do it again next year. and watched the changing landscape between fashion designers and Darwin Aboriginal Art Fair in August. label them with the models’ names, beneath her for the whole flight. And it Indigenous fabric producers. The ready for them to change into really fast. was Priscilla’s first trip on a jet. women from Babbarra Designs The trip was funded through We helped dress the models, zip up spoke about their collaboration with ANKAAA’s Training and Development their dresses and get the right earrings, Injalak’s collaborations with Darwin Sydney Indigenous designer Caressa Support Program (TADS). bracelets and shoes together for them. based Albertini designer Adriana Injalak fabrics are now available Sengstock. A collaboration sponsored We had to really focus when we were Dent and Cambodian NGO design through the Art Centre. by Spotlight Australia. The collection out the back. It was so busy. collective Artisandesigner saw the www.injalak.com/online-store was shown on the runway at AIFW. Top: Artists, Raylene Bonson and Lenny Goya- Top left: Djilpin Arts stall at AIFW Airra with Babbarra Designs manager, Claire creation of a number of runway (L-R) Lancetta Ashley, Rachel Palmer and Nicholl at the Babbarra Designs stall, AIFW There were people everywhere and Evangeline Cameron outfits. The garments featured fabric It was the first time Raylene Bonson Photo: Babbarra Designs everyone had a different job. There Photo: ANKAAA designs by Selina Nadjowh, Reuben Top: Injalak Dress. Selina Nadjowh and Priscilla and Lenny Goya-Airra of Babbarra Above left: Babbarra Designs speaking at the was a photographer taking pictures of Top: Evangeline and Praxie with two of the Manakgu, Isaiah Nagurrgurrba, Maath Badari with Albertini’s ball gown. The full skirt of Designs had travelled to Sydney. They Design Forum Creative Lab Sessions at AIFW. each model just before they went out on models at AIFW Maralngurra and Geoffrey Nabegeyo. Selina’s Lambalk (Sugarglider) design drew rounds showed great courage speaking to (L-R) Caressa Sengstock, Claire Nicholl, Raylene Photo: ANKAAA of applause from the audience Bonson and Lenny Goya-Airra the catwalk. There was a person doing a room full of fashion aficionados Above: Tiwi Design stall at AIFW, funded Photo: ANKAAA Photo: ANKAAA make up. I would love to learn how to through ANKAAA’s TADS program Women’s and men’s clothing and Above: Injalak designs on the runway at AIFW and media. They spoke about their Above: Babbarra Designs on the runway do the make up. Photo: Tiwi Design accessories made from hand-printed Photo: Injalak Arts work as a textile artist and textile Photo: Hamish Gregory

12 Arts Backbone – Event News Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 Event News – Arts Backbone 13 Jilamara Arts and Craft Boabs - Large and Small A collaboration with The Australian Print Workshop By Cathy Cummins, Manager, Waringarri Aboriginal Arts

Jilamara Arts and Craft, The iconic Kimberley boab tree comes Arts workers Richard Bloomer and The smaller cast aluminium boabs are Melville Island and The in many shapes and sizes and the artists Kenny Griffiths were involved in creating a unique corporate gift commissioned at Waringarri Aboriginal Arts are well the large moulds for the bronze boabs by Wesfarmers to commemorate their Australian Print Workshop known for their beautiful boab engravings. and the plaster casts used to make the centennial year. 15 artists were selected (APW), Melbourne have aluminium sculptures. ‘We had to make for this creative partnership and a full set a long-term creative As part of two significant creative the big boabs with our hands making of 15 engraved boabs has been gifted partnerships and supported by ANKAAA, the shape of the boab first…with the to both the National Gallery of Australia relationship spanning Waringarri artists and arts workers invited small boabs we found good shaped and the Art Gallery of Western Australia. over 20 years. Brendan Hackett of Blueprint Sculpture, boabs and cast them in plaster to make a Melbourne metalwork foundry to the moulds. Afterwards we poured share his skills in casting and mould plaster ready for the artists to use…’ The recent printmaking workshop making to create three giant bronze says Kenny Griffiths Jnr. funded through ANKAAA’s Training and boabs and 1500 smaller boabs cast in Development Support Program (TADS) polished aluminium, creating new market Two of the giant boabs were renewed artistic connections and skills possibilities for these unique artefacts. commissioned by Landcorp when for both emerging and established Waringarri Aboriginal Arts won a West Jilamara artists and marked Jilamara’s ‘It’s giving us opportunities to do different Australian open public tender to install 25th anniversary. things with the boab nuts…not many artwork in Kununurra’s new Coolibah people have seen boabs before, so with Estate, while the third bronze boab The linocuts produced were editioned this project we are just trying to get it out has been purchased by the Shire of at the Art Centre and the copper there…’ says Waringarri artist and arts Wyndham East Kimberley as an entry etching plates printed at the APW worker Lorisa Hunter. statement at the Kununurra Airport. workshop in Melbourne.

Top left: The Waringarri giant boabs Bottom left: Waringarri artist engraving a Top left: ANKAAA Arts Worker Extension Program plaster mould 2014 participant, Jimmy Mungatopi making an Top: Arts worker Richard Bloomer making plaster etching plate. His painting, in the background moulds represents Purukuparli, Bima (Wai-ai) and Jinani. Above: Arts Worker Extension Program Natural ochres and acrylic binder on canvas participant, 2014, Selina Gallagher with Margaret Left: Proof of layered print by Raelene Kerinauia Beebe working on giant boabs wax moulds All photos: Jilamara Arts and Craft All photos: Waringarri Aboriginal Arts

14 Arts Backbone – ART CENTRE PROJECTS Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 ART CENTRE PROJECTS – Arts Backbone 15 ANKAAA Arts Worker Extension Program 2014 Building on a growing Indigenous network

Above: AWEP participants with (centre) Jonathon Saunders, Resource Support Officer, Above: Kieren and Jonathon Saunders, Resource Support Officer, ANKAAA and (left) Franchesca Cubillo, Senior Advisor Indigenous art at The National ANKAAA during an AWEP site visit at Merrepen Arts, Culture and Gallery of Australia Language Aboriginal Corporation, Daly River, NT

will lead the Indigenous Art Centre sector training blocks with hands-on training from participants and industry partners into the future.’ and mentoring tailored to meet the across Australia. As Mally Pindan, professional and personal development Mowanjum Art Centre, sums up: Art works used in workshops at museums needs of individual arts workers and also and galleries often include objects made to meet with Art Centre managers. ‘I learnt so much I find it hard to ANKAAA’s Arts Worker Extension strong and continued support of major by important family members of AWEP describe!’ Program (AWEP) is the only intensive art institutions across Australia and their participants, and promote rich learning An important part of the nine-month professional development program with professional staff. This year once again experiences for the institutions’ staff as program are presentations prepared and The program is currently funded by the a focus on building skills and career participants travelled to Canberra, well as the visiting arts workers who delivered by arts workers about their Art Department of Culture and the Arts, pathways for Northern Australian Sydney and Melbourne over two weeks share precious knowledge of stories and Centres and their work in them. In 2014 WA, the Tim Fairfax Family Foundation, Aboriginal arts workers. Each year, and met many professionals at major cultural contexts. Deborah Wurrkidj from these were delivered at the Australian the Department of Business, NT, INPEX four intensive professional development institutions who generously donated their Top left: The AWEP participants at Parliament Babbara Designs, Maningrida, reflects: National Gallery of Australia and the Ichthys Pty and the Ministry for the Arts. modules are delivered to nine high time and expertise. Arts workers gained House, Canberra. (L-R) Rachael Morris, DJ Marika, ‘I’ve been working at Babbara Designs University of Melbourne and will be a Deborah Wurrkidj, Selina Gallagher, Jimmy potential participants from the ANKAAA valuable knowledge in conservation, Mungatopi, Serena Pinday, Evangeline Cameron, for a long time – working hard, making highlight at the Darwin Aboriginal Art For further information on the program membership. The first two take place in archiving, preservation and curating Mally Pindan, Rhoda Hammer, Kieren McTaggart designs and printing the fabric. Now it’s Fair in August. please contact ANKAAA and be sure Darwin. They are followed by a two- through tasks, demonstrations and hands Top: Rhoda videoing Rachael during the Film- time for me to speak up – to tell others to join the arts workers at the Darwin week interstate trip with workshops, on workshops. making workshop at ABC Open, Darwin, with about what I do, how important it is and The program continues to receive Aboriginal Art Fair in August. iPads on loan from NT Libraries visits and short internships at leading how I can teach others about art and excellent feedback and encouragement Middle: Samantha Hamilton, Centre for Cultural cultural institutions across Australia. The Franchesca Cubillo, Senior Advisor of culture’. Kieren McTaggart from Merrepen Material Conservation at Melbourne University final module takes place at the annual Indigenous art at The National Gallery with Deborah preparing for a conservation Arts in Daly River reflects: ‘I’m a young Darwin Aboriginal Art Fair in August. of Australia, which has hosted the workshop person working at our Art Centre, doing Canberra program for four years now, Above: Jimmy and DJ at the conservation my artwork and helping the other artists AWEP is designed to increase arts reflects on the programs benefits: workshop, CCMC, Melbourne University get things done. My family told me I workers’ professional skills, knowledge and All photos ANKAAA needed to step up – go out into the world industry networks to further their careers in ‘I strongly believe in and support and learn more, and bring those things Northern Indigenous Art Centres. ANKAAA’s Arts Worker Extension back here. At first I didn’t want to do that, Program. The professional development but now I’m feeling proud and can see There is also an alumni component – opportunities, both short term and long- it’s something I need to do’. the AWEP Graduate Program offering term, that this program enables cannot be ongoing professional development and undervalued. The gallery, in particular the As part of the program, ANKAAA networking opportunities to increase Aboriginal and Torres Strait Islander Art staff visit participants’ Art Centres. Site long-term sustainability and keep the department, has watched with excitement visits allow arts workers to showcase network of graduates alive and strong. and quiet confidence in the growing their work on site at their Art Centres

collective of confident, knowledgeable, Opposite right: Rhoda presenting at The in Indigenous communities. They also ANKAAA is very fortunate to have the and empowered arts ambassadors who National Gallery of Australia, Canberra provide the space to follow up on group

16 Arts Backbone – ANKAAA projects Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 ANKAAA projects – Arts Backbone 17 Wukun Wanambi’s Indigenous Arts Management The Australia Council for the Arts’ Chosen Grant Program Graduation

The Australia Council’s Aboriginal and Ngalim-ngalim bush trips. Family Collaborations. Sharing weaving skills. Wukun Wanambi belongs to the Dhuwa Torres Strait Islander Division ‘Chosen’ By Alana Hunt, Warmun Art By Cathy Cummins, Waringarri By Regina Wilson, Durrmu Arts moiety and is an active member of the grant program supports senior artists Centre Aboriginal Arts Marrakulu clan, Arnhem Land. and cultural practitioners to mentor early The workshops are once a week on a career artists. Phyllis Thomas is one of four Gija ‘It was good seeing all the families Monday from 1 o’clock for about one hour As well as being a highly acclaimed women, including Mabel Juli, Shirley working together and the old people at Peppimenarti Primary school. and successful artist, Wukun Wanambi Intergenerational instruction of this kind Drill and Shirley Purdie, who are teaching and the younger ones is the Arnhem Region Stand-in Director is primary to the art industry but is not leading a series of focused bush trips learning from them to carry on the art We take the kids out to collect on the ANKAAA board and Director usually financially supported in remote for the ngalim-ngalim (girls) of Warmun, and culture.’ ANKAAA Director and pandanus and sand palm and show of Buku-Larrnggay’s media centre, The communities. Four Art Centres from the supported by the Australia Council for Chairperson, Waringarri Aboriginal them how to strip it. Then we dry it out. Mulka Project. ANKAAA regions received funding for the Arts Chosen program. Arts, Dora Griffiths. Next week we’ll do the dying with the cultural mentoring projects in 2013 – natural colours from bush and berries. At The Mulka Project, Wukun facilitates 2014 in this innovative program. When Phyllis was young she worked on As part of the Chosen Project initiative And after that we will start the weaving media projects and mentors young Turner Station, but often preferred to run funded by the Australia Council of Peppimenarti style baskets. Yolngu in accessing training and The Yilpara Homeland Studio Project away into the bush with the old women. Waringarri artists have been working employment at the Media Centre. (North-East Arnhem Land) involves She loved walking all over the country on a series of family collaborations. Six It’s a little bit rough for the kids, they are mentoring of young artists during with her mother’s mother and the other family groups including senior leading only little still from nine years old to 12 In March this year, Wukun graduated intensive contemporary ceremonial old women, hunting, collecting dingo artists, emerging artists, young artists year old and there are between 10 and from the The Wilin Centre for Indigenous practice and will be reported in the scalps and looking for gold. and their children have painted panels 12 children. Arts and Cultural Development’s course December ANKAAA Arts Backbone. depicting each family groups’ traditional in Indigenous Arts Management. Other stories of projects so far, follow. Of the Ngalim-ngalim bush trips Phyllis country. The idea initiated by artists as And all the kids do a corroboree too. says, ‘We got to learn them for singing, part of the Chosen Project demonstrates They love doing it. The course provides specialist training, dancing and hunting. Like how me-fella how culture has always been passed knowledge and skills, preparing bin’ learn from our old people, fishing from one generation to the next. When the work is all finished we participants for leadership roles in the In his graduation ceremony acceptance with spinifex nets, you know. When you Senior artists from the six family groups might take it all along to the Darwin Indigenous arts sector and seeks to speech Wukun spoke of how he camp out you gotta take your own billy encouraged their children, grandchildren Aboriginal Art Fair this year. encourage more Indigenous ownership appreciates the friendships, which were can, make your own fire and cook your and even great grandchildren to and employment.* formed over the duration of this intense Below: Phyllis Thomas painting Gemerre at own feed. You can’t go humbug people, participate in the project. The completed That way they will get ready for doing course, and the camaraderie between Warmun Art Centre. Of this work Phyllis Thomas says, ‘This is them scars (gemerre) the old people you gotta sing out long way. That’s what panels will be displayed at Waringarri this when they are older. The four study areas of this four week the group and level of help participants used to cut across their bodies’ we learnt and that’s what we gonna Aboriginal Arts. intensive program, were: Indigenous gave each other during the study Photo: Warmun Art Centre teach today.’ Arts and Cultural Identity; Indigenous period. Arts Industry and Marketing; Indigenous Protocol, Policy and Law and Arts and *Although this was the eighth and final Project Management. year of this course, a similar course will be offered again in the future. ‘It is a very intense course’, says Tiriki Above: Wukun Wanambi Onus, Lecturer in Indigenous Knowledge Photo: Jacinta Keefe, Courtesy of the Wilin Centre and Cultural Practices at Melbourne for Indigenous Arts and Cultural Development University.

‘And Wukun took to the course Above: Working on a family panel Photo: Waringarri Aboriginal Arts extraordinarily well and was a great asset to his fellow participants. Being the only NT participant and in fact the only participant from remote Australia everybody learnt from his great insight Above: Regina Wilson takes time out from into the Yirrkala community, and the her practice as a fine artist to share her strong Mulka Project’. traditions with children at the Peppimenarti Primary School Photo: Durrmu Arts

18 Arts Backbone – Teaching Up Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 Teaching Up – Arts Backbone 19 Harvesting Traditional Knowledge one-day workshop on Melville Island ORIC Introduction to Corporate Governance workshop, Darwin. The Mulluwurri Museum: Rediscovering, Preserving and Sharing Cultural Knowledge at Jilamara Arts and Craft By Brian Farmer, Jilamara Arts and Craft and ANKAAA Director for the Tiwi Region

In Febuary this year, ANKAAA arranged I am thinking about all the Art Centres and facilitated Brian Farmer, ANKAAA when I am at these meetings. My Art Director for the Tiwi region, to attend Centre is Jilamara Arts and Craft, but a three-day ‘Introduction to Corporate I’m also thinking about Tiwi Design and Governance’ workshop in Darwin. Munupi Art and Bima Wear. I’m thinking about them too. Hosted by ORIC, (The Office of the Registrar of Indigenous Corporations), We have to think ahead, not behind for the training included corporations our grandchildren. from across the Top End of Australia. Participants were Directors from We have to look after the young Tiwi Aboriginal corporations based in who have just come out from school. We Yirrkala, Kununurra, Darwin, Katherine have to find them employment at the Art and the Tiwi Islands. Centres and use their fresh knowledge and teach them the right ways so that This meeting really opened my mind. they can run their own businesses when We talked about Governance. How to they are older. run our organisations. It is important to know where we are We also spoke about the money side of heading, to have a long-term vision and The fourth and final workshop in and other conservation problems in things, where to get funding for example look into the future as Tiwi Art Centres. Top: Brian Farmer at work, Jilamara Arts and Craft, Milikapiti Community, Melville Island the ANKAAA Harvesting Traditional tropical climates using cheap materials and looked at Philanthropy. Because together we are strong. That Above: Brian Farmer with Hannah Roe, ORIC Knowledge project 2013-2014 was available at the supermarket. NT-based way we have got more voice and more Regional Manager based in Darwin held at Jilamara Arts and Craft, Melville conservator Carolyn McLennan discussed That knowledge helped me get my strength and that way the government All photos: ANKAAA Island on Tuesday 27 May. conservation techniques and practices picture straight. It was all really good can maybe hear us better. with the other participants. Several artists, information that I could then bring back ‘The Mulluwurri Museum: Rediscovering, arts workers and Art Centre manager, to my people. That’s my philosophy. My belief. Preserving and Sharing Cultural Madeleine Challender from Waralungku Knowledge’ brought together over 30 Arts in Borroloola also attended to share artists, arts workers and Art Centre perspectives and learn more about managers. community collections as Waralungku All-Tiwi Governance Training Arts is embarking on building its own Jilamara’s senior artists Aileen new Keeping Place. Puruntatameri and Rachel Puruntatameri Two governance training days for Tiwi Art The group also did a role-play on how led participants in a demonstration of This project is an Inspiring Australia Centres were organised by ANKAAA, in to conduct a manager performance how to make the traditional Tiwi Mara’wi science, engagement and communication May and June. review. Participants also had a session in dress. Artist Patrick Freddy Puruntatameri initiative, funded through the Australian language without Art Centre managers explained how traditional techniques Government Department of Industry, 22 board members and arts workers or ANKAAA staff, to discuss issues involved in making the dress were revived Innovation, Science, Research and Tertiary Top: Aileen Puruntatameri and Rachel from Jilamara Arts and Craft, Munupi Art, around board responsibilities and at Jilamara and have found their way into Education. It is part of the ANKAAA Puruntatameri demonstrating how to make a Tiwi Design and The Tiwi Art Network employment of staff. the art produced at the Art Centre. Digital Archiving and Keeping Place Mara’wi dress attended the sessions. Support Program supported by the Middle: Patrick Freddy Puruntatameri with Thanks to Peter Shepherd and everyone his carving of ‘Jinaini’, the child of Wai-ai and Curator of Aboriginal and Torres Strait Australia Council for the Arts. The days were facilitated by business from Tiwi who attended! Mana. Purakapali, who passed away. Patrick is holding Islander Programs at the National a book called The Goddess and the Moon - The consultant Peter Shepherd and took place Museum of Australia, Andy Greenslade, sacred Art of the Tiwi Aborigines by Sandra Le at the TITEB building in Nguiu, Bathurst. spoke about the ‘Encounters Project’, a Brun Holmes. Artists from Jilamara Arts and Crafts Top right: Peter Shepherd conducting are reviving the production of certain ceremonial collaborative exchange with the British Peter introduced central concepts of governance training for Tiwi ANKAAA members, objects found in old photographs from this book Art Centres and Managers Museum including Tiwi art and leading governance and explained how to draft Above: Natural materials used for making the Right: Wilhelmena ‘Bulla’ and Maree to exhibitions in 2015. Andy also shared Mara’wi dress meeting agendas, minutes and different Puruntatameri from Munupi Art useful tricks on how to deal with mould All photos: ANKAAA ways boards can delegate to managers. All photos: ANKAAA

20 Arts Backbone – Keeping Places Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 Governance – Arts Backbone 21 ANKAAA Board of Directors Working Together SAM – Stories Art Money, for Sustainability in the Indigenous Arts Industry database training, Darwin News

Barangaroo National Centre for Indigenous Art and Culture

Barangaroo is a 22-hectare site on the traditional lands of the Gadigal people of the Eora Nation. It is the site of a proposed new National Indigenous Cultural Centre.

ANKAAA Board member Lily Roy (Arnhem Land), ANKAAA CEO Christina Davidson, and Resource and Development Officer Jonathon Saunders joined Indigenous leaders from around the Northern Territory for a consultation about the proposed centre in Sydney at Frogs Hollow Centre for the Arts in May, Top: Day one of SAM training at CDU hosted by ANKAAA. Right top: A PowerPoint presentation by Adam Griffiths The discussion was convened by Right middle: Two ANKAAA AWEP Aden Ridgeway of Cox Inall and participants, Stanley Taylor (foreground), Mowanjum Artists, with Jimmy Mungatopi Ridgeway. Lily Roy, Christina Davidson (background), Jilamara Arts and Craft and ANKAAA Chairman Djambawa Above: ANKAAA Board in discussion with key funders. Funders centre Top: Group Shot of ANKAAA Board of Directors, staff and key operational Right below: Pauletta Kerinauia, Jilamara Arts Marawili AM also attended a national from left: Ministry for the Arts – Lyn Allen (Assistant Secretary, Creative funders, 13th March, Frog Hollow Centre for the Arts, Darwin and Craft and Bernadette Mungatopi, Munupi Art consultation in Sydney earlier this year. Industries, Canberra) and Libby Lawler (Assistant Director, IVAIS Central Above: The ANKAAA Board of Directors ‘sing’ in representatives of with Jonathon Saunders, ANKAAA Management, Darwin); The Australia Council, Lydia Miller (Executive ANKAAA’s key operational and core program funders to their meeting in It is important that Indigenous Cultural Director, Aboriginal and Torres Strait Islander Arts Division) and Mark Darwin on 13th March - ’to bring them into our minds and into our bodies Stapleton (Director ATSIA), Sydney; Arts NT, Angela Hill (Director), Darwin and into our souls’ Centres like Barangaroo educate, All photos: ANKAAA In April, 25 arts workers, artists and Art preserve and showcase Indigenous Art Centre managers from across the four and Culture. ANKAAA regions attended a two day The ANKAAA Board of Directors invited spoke for the four ANKAAA regions – the project funding and sales income was training program held once again at the three main government funding Kimberley, Arnhem Land, Tiwi Islands discussed. Key funders were thanked for CDU’s School of Indigenous Knowledges agencies who give operational funding and Katherine/Darwin. their essential support in this area over and Public Policy. to ANKAAA and many Art Centres, a number of years. Ideas for working to the first 2014 face to face board In the morning, the ANKAAA Board together, to create efficiencies, reduce Adam Griffiths and Marina Aberu Silva meeting in Darwin on March 13th, to talked about ANKAAA’s vision for the red tape and plan realistic pathways for from CompNet led the sessions along with talk about the importance of sustainable future, for the grandchildren and for sustainability for ANKAAA and the northern Anna McLeod, Axis Arts and ANKAAA’s funding for Art Centres and the support for artists in community Art Indigenous arts industry were discussed. Jonathon Saunders and David Mackenzie.

Indigenous arts industry. Centres. In the afternoon, the Board Including the importance of working The training covered a comprehensive Above: (L-R) Richard Evans, Barangaroo met with each funding body separately together to allow effective integration of two-day schedule in all areas of SAM, the Delivery Authority; Dr Mathew Trinca, Director Senior representatives of the Australia to discuss more detailed issues about diverse non-government funding. online artwork management system. National Museum of Australia; Lily Roy, ANKAAA Council for the Arts, the Ministry for ANKAAA funding and to make clear the Director, Milingimbi Art and Culture; Alan Murray, Metropolitan Land Council, Sydney; the Arts and Arts NT were formally importance of sustainable and reliable The ANKAAA Board invites and looks Feedback has been positive. Kanethia Aden Ridgeway, Cox Inall Ridgeway; Jonathon welcomed by the ANKAAA Board of funding to Art Centres. forward to continued joint discussion Griffiths, gallery assistant from Waringarri Saunders, ANKAAA Directors with a ceremonial song and about maintaining and growing the Arts in Kununurra enjoyed ‘meeting new All photos: ANKAAA clap sticks. Board members introduced The value gained from operational and strong northern Indigenous arts industry. people form different Art Centres’ and themselves using their own language core program funding as a government learning ‘a whole new level of working and story, skin group and clan and investment generating substantial additional on SAM’.

22 Arts Backbone – Governance Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 ANKAAA projects – Arts Backbone 23 Numbulwar History By Jangu Nunduribala, Coordinator, Numburindi Artists News

Before working at the Numbulwar School Ella Gia and me put them all up and Waringarri high-end fashion Yinimala Gumana speaks at The Cotton On Foundation Leadership and Governance as the linguist, I worked for the longest everyone came to see themselves or their Melbourne University competition years at the Clinic. Looking after the old relatives who have passed away in those people. I still care for them now and photographs. Everyone was really excited translate for them, outside of school hours and happy to have those photographs where I work every day. and so many people have asked for copies. We’ve ordered them, but I don’t The old ladies and me used to take the know when they’ll come. kids out bush and teach them things there. I helped the lady put names to the people Then I became a teachers assistant at the in the photographs. It’s really good to see school. That teacher is the principle now those old people in the photos. Congratulations Dhalmula Burarrwanga On the 27th May, ANKAAA Chairman and I’m still here as the linguist. for creating the winning bag design of Djambawa Marawili AM and CEO I myself am in those photos when I was a During ANKAAA’s 2014 Arts Worker the Cotton On Foundation competition. Christina Davidson attended the I was the cultural advisor last year, but that young girl. Extension Program interstate trip to the 2014 Australia Council NIAIP Forum Above: Cotton On Foundation reps Trina and money is gone, so that finished. southern states, Yinimala Gumana, David with the Yirrkala Printmaking team at the ‘Leadership and Governance’ in Sydney. I remember that anthropologist from Gangan homeland and Chair of Buku- print gallery in Buku-Larrnggay Mulka’s new I would like to learn something more. Holland coming to Numbulwar with his Larrnggay Mulka in Yirrkala, north east extension. (L-R) Trina Finn, Bawu Gurruwiwi, Annie This event was facilitated by Mark Yettica- Studd, Monuy'ngu Marika, Godut Ganambarr, Maybe how to go about writing a wife and his daughter. They stayed when Arnhem Land gave a talk on cultural David Wocjinski, Dhalmula Burarrwanga, Burrthi Paulson and brought together Chairs and children’s book, you know. I’ve done a lot Numbulwar was a fairly new mission traditions and art practices of his Marika CEO’s of Indigenous Arts organisations of work for this community and still now and he sat down here for a long time region. Yinimala was the guest mentor Photo: Buku-Larrnggay Mulka from across Australia to share experiences I attend a lot of meetings. I look after the that old man. for the AWEP participants during their and learn together. It was insightful to children and the old people still. Every Melbourne visit. find how much the different organisations Sunday I go to church. I sing in the choir I remember all them old people who are have in common. Thanks Australia Above: Yinimala Gumana giving his talk at and sometimes I go there of an evening to no longer with us. They took him out into Waringarri artists Phyllis Ningarmara, Judy Melbourne University Council, you've done it again! watch the young ones do the actions and the bush and showed him how they did Mengil, Dora Griffiths, Minnie Luami and Photo: ANKAAA Above: (L-R) Leo B Akee, Chairperson UMI listen to them singing. hunting and things. And he wrote down Alan Griffiths have been working with Arts, Cairns; Darrell Harris, Executive Officer their stories. And now he gave us back all fashion designer Roopa Papenmmaraju UMI Arts, Cairns; and Djambawa Marawili AM, Recently the community got a lot of those pictures. to create a stunning collection of beautiful Lena Nyadbi, winner of the Chairperson ANKAAA Photo: ANKAAA photographs returned to them from designer garments. Aboriginal Award, 2014 West Holland, in Europe. A young lady came www.roopapemmaraju.com Australian of the Year Awards all the way from there and brought them Above: Waringarri artist, Dora Griffiths’ back to us. fabric design for fashion designer, Roopa Papenmmaraju’s collection Mitsui and The Tiwi Plantations Corporation to export Acacia Photo: Roopa Papenmmaraju woodchips from the Tiwi Islands

An enormous congratulations to Lena. Left: Jangu Nunduribala viewing the returned Above: Jilamara Arts and Craft’s senior artist and board member, Pedro Wonaeamirri presenting his large scale photographs Above: Lena Nyadbi, Warmun Art Centre commissioned Puruntjiti (message stick) to representatives of the Japanese woodchip export company, Mitsui Photo: Roper Gulf Regional Council Photo: Warmun Art Centre Photo: Terry Larkin

24 Arts Backbone – ANKAAA Art Centre News Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 News – Arts Backbone 25 Obituary: Mrs Dixon Out and About By Madeleine Challender, Manager, Waralungku Arts

On June 9th, the community of Borroloola and Robinson River lost an important senior Garrwa woman and leading artist from Waralungku Arts.

Mrs Dixon was one of the main custodians for Garrwa law and knowledge and contributed significantly to the recording Supporters of the Tuyu Buffaloes, the winning team of language and songs for the of this year’s grand final, Boniface Timapatua (BJ), community, including working Derrick Timapatua, Clayman Kerinauia and Paul Ullungwurra in front of the flag designed by Alan with linguist, Ilana Mushin to Kerinauia write the Garrwa dictionary. Photos: James Courtney She was renowned for her paintings featuring her life Eager buyers at the 2014 Tiwi Island Football grand final art sale on Bathurst Island, in March. Supported annually by ANKAAA volunteers growing up at Robinson River Photos: James Courtney looking after nanny goats, as Dr Tom Calma, AO with ANKAAA Director Lily Roy at the opening breakfast of the Australian Indigenous well as the traditional stories Leadership Centre (AILC), Darwin. The breakfast event was attended by Lily Roy and Christina Davidson, and hunting grounds. Her ANKAAA CEO, on Friday 13th June Photo: Fiona Morrison unique artworks, her sense of humour and kind personality made her well loved across the arts community.

Mrs Dixon was one of Installation of the Warmun Art Centre exhibition: the founding artists of the Artist, Lily Nungarrayi Hargraves with Senator Warmun: Gija Contemporary Art of Western Waralungku Art Centre and for Northern Territory Nova Peris OAM at Australia, at the Harvey Art Projects, Idaho, USA Warnayaka Art - Lajamanu. Two strong law Photo: Harvey Art Projects will be sadly missed by all women taking the time to meet each other her relatives and the wider ANKAAA Chair, Djambawa Marawili AM, at The Photo: Warnayaka Art community. Australian Indigenous Leadership Centre, Redfern, Sydney in May Photo: ANKAAA Above: Tiwi ANKAAA Arts Worker Extension Program graduates, Edward Yunupingu, Munupi Art and Vivian Warlapinni, Tiwi Design about to enjoy the Garmlalang Festival performance of Djuki Mala, after setting up the Tiwi Art Network and Buku - Larrnggay Mulka collaborative exhibition at The Darwin Entertainment Centre, as pictured left Photos: The Tiwi Art Network Three Numbulwar Ngarrgu (Wallaby) senior students visited ANKAAA for advice on how to establish an Art Centre. The students run the Numburindi Arts student enterprise business, which is integrated into a year 11 Creative Arts subject and awards the students credit for their Northern ANKAAA Arts Worker Extension Program Waralungku Arts staff member and ANKAAA Territory Certificate of Education and Training. Graduates 2011, Miriam Charlie (left), Arts Worker Extension Program Graduate, Shown here, Trenix Numamurdirdi, Anisha Stitfold Waralungku Arts and Praxedes Tipungwuti, 2011, Miriam Charlie, won 1st and 2nd (ANKAAA), Katelyn Manggurra, Tracey Patterson Tiwi Design re-unite at the 2014 ANKAAA Tiwi Prize in the Open Photography Competition Left: Belinda Foster and Anisha Stitfold, (Ambrose Solutions) and Valda Rogers at the Harvesting Traditional Knowledge Workshop at Borroloola Show, and also 1st and 3rd in ANKAAA, volunteering at the Merrepen Arts ANKAAA Office in June animal photography. Congratulations Miriam! Festival 2014 in May Photo: Selina Uibo Photo: ANKAAA Photo: Waralungku Arts Photo: Katherine Times

26 Arts Backbone – Out and About Volume 14: Issue 1, August 2014 Volume 14: Issue 1, August 2014 Obituary – Arts Backbone 27 ANKAAA Merrepen Arts Festival 2014 Directors and Staff

ANKAAA Board of Directors generations of performers accompanied by 2013-2014 mesmerising traditional vocals. Chairperson – Djambawa Marawili AM Buku-Larrnggay Mulka and Baniyala Art Centre Arnhem Region The fashion performance which followed Deputy Chairman – Gabriel Nodea also included artist’s voices. Like Warmun Art Centre young designer Kieren Karritpul, who Kimberley Region recounted the inspiration for his designs Acting Treasurer – Dora Griffiths Waringarri Aboriginal Arts in a soft meditative voice while the Kimberley Region models appeared to great applause. Secretary – Peter Jigili Warnayaka Arts and Culture Darwin/Katherine Region The Gary Lang NT Dance Company Ruth Nalmakarra performed an extract from his latest Milingimbi Art and Culture The 27th Merrepen Arts Festival at work Mokuy Arnhem Region Nauiyu community on the Daly River, NT, (spirit), before Lily Roy Milingimbi Art and Culture from 30 May – I June brought to life, the it was back to Arnhem Region high quality printed fabrics the Art Centre fashion. Beautiful Dorothea Fejo is internationally recognised for. weavings, Larrakia Nation Darwin/Katherine Region coolomons and Alan Joshua Hundreds of visitors together with flowers were Ngukurr Arts community members appreciated combined with Darwin/Katherine Region newly printed fabrics hung in long fabrics draped Annette Kogolo Mangkaja Arts lengths ceiling to floor in the Art Centre over the local Kimberley Region courtyard in a stunning display of colour models bodies, Brian Farmer and design. in a thoroughly Jilamara Arts and Craft Tiwi Region engaging John Peter Pilakui On Saturday night the audience enjoyed performance. Individual Member a cultural performance – Ngangiwetimbi Tiwi Region Jedda Puruntatameri Demarrgu: Old Stories New Ways - Top Left: Textile Installation Munupi Arts and Crafts Association featuring dance, music and fashion centred Photo: ANKAAA Tiwi Region around the traditional stories of the Nauiyu Above: Model, Kelisha Stevens at the Merrepen artists and choreographed and produced Festival Fashion show, 2014 ANKAAA Stand-in Directors Photo: John Tsialos by Grace Lillian Lee, from the Torres Strait. Freddie Timms Below: Models, Delphis Miler, Fiona Cooper, Warmun Art Centre – Kimberley Region The festivities opened with a performance Louise Marranya and Cynthia Page at pre-fashion Francesca Puruntatameri by Numbulwar’s renowned Red Flag parade photo shoot Munupi Arts and Crafts Association – Tiwi Region Dhumbala Dancers, including three Photo: John Tsialos Wukun Wanambi Buku-Larrnggay Mulka – Arnhem Region

ANKAAA Staff Chief Executive Officer Christina Davidson: [email protected] Manager Operations Delivery Vanessa Kredler: [email protected] Resource and Development Officer Guy Hancock: [email protected] Resource and Development Officer Jonathon Saunders: [email protected] Resource and Development Officer (0.5) Anisha Stitfold: [email protected] Administration Officer and PA to CEO Belinda Foster: [email protected]

28 Arts Backbone – Event News Volume 14: Issue 1, August 2014