Arts BACKBONE Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Homelands Edition

Mariah Morrell Park Ngadumiyerrka Pandanus Park Tinkarli Wudapuli Mariniri Mount Catt Ngalingkadji Pandayal Tirralintji Wuggubun Marla Marla Mount Jean Ngallagunda Pantijan Tjoungouri Wulaburri Marlinja Mowanjum Ngalpa Ngalpa Paradise Farm Tree Point Wulkabimirri Marlwon Mowla Bluff Ngamakoon Parnta Turkey Lagoon Wulununjur Marralum Mt Maiyo Ngangalala Parrulyu Uguie Wumajbarr Marramarrani Mu-Gurta Nganmarriyanga Paru Umbakumba Wumirdin Marraya Muckaty Ngappamilarnu Parukupan Uminyuluk Wunara Marrkalawa Mud Springs Ngarantjadu Patch Up Un-Marr Wunburri Marrkolidjban Mudginberri Ngardinitchi Patonga (Airstrip) Village Camp Wundigalla Martjanba Mudhamul Ngarinthi Patonga (Homestead) Wada Wadalla Wungu Marunbabidi Mudjarrl Ngarlan Burr Peppimenarti Wada Warra Wuppa Matamata Mudnunn Ngarlu Ngarlu Perrederr Wadeye Wurankuwu Mataranka Town Camp Mulan Ngarnka Picininny Bore Waidaboonar Wurdeja Mawulyumanja Mulggan Ngayawilli Pickertaramoor Wakurlpu Wurlbu Mcdonalds Yard Mulgurram Ngildu Pigeon Hole Walangurrminy Wurrumenbumanja Mcgowan Island Mulingi Ngilipitji Pine Creek Compound Waldnarr Wurrumiyanga Menngen Muludja Ngipin Pingala Walka Wurwula Mercedes Cove Mumeka Ngukurr Pinja Wallaces Lagoon Wutunugurra Merrepen Mumpumampu Ngulupi Pirlangimpi Walpiri Wuyagiba Mewirnbi Mumukala Ngulwirriwirri Policemans Hole Waminari Yakanarra Mia Maya Mundud Ngumpan Punjarriji Wanakutja Yalukun Miali Brumby Mungalawurru Ngunarra Purrukuwurru Wanamulnyundong Yaminyi Middle Lagoon Munget Ngunthak Putjamirra Wandangula Yanbakwa Mikginj Valley Mungkarta Ngunulum Putulu Wandawuy Yandarinya Milba Mungurrupa Ngurrara Puyurru Wangkatjungka Yangulinyina Milibunthurra Munjari Ngurrutiji Railway Dam Wanmarri Yanungbi Milikapiti Munji-Marla Ngurtuwarta Ramingining Warby Yanyula Milingimbi Munmarul Nguyarramini Rarrdjali Warmun Yardoogarra Millargoon Munthanmar Ngyallawilli Raymangirr Warrayu Yarralin Milmilngkan Munyalini Nicholson Block Red Creek Warruwi Yarramurral Milyakburra Murgenella Plains Nikawu Red Lily Watdagawuy Yarri Yarri Mimbi Murphy Creek Nilargoon Red Shells Wauk Yarrunga Mimina Murranji Nillir Irbanjin Rittarangu Weemol Yartalu Yartalu Mindi Rardi Murtulki Nillygan Robe River Junction Werenbun Yathalamarra Mingalkala Muruning Ningbingi Robinson River West Island Yawuru Miniata Myatt Norman Creek Rockhole White Gum Park Yederr Minjilang Nabarlek North Island Rocky Springs White Rock Yedikba Minmarama Park Nabbarla Kunindabba Nudugun Rollah Wigu Yikarrakkal Minyerri Nadilmuk Nulawan Rorruwuy Wiitin Yilan Mirima Nadirri Nulla Nulla Rurrangala Wijilawarrim Yilila Mirridi Naliyindi Nulleywah Sabina Wilgi Yimidarra Mirrnatja Nama Numbulwar Sandridge Willowra Yinguwunarri Mistake Creek Namerinni Nummerloori Sandy Bay Windjingayr Yinyikay Miwul Namugardabu Nunju Yallet Scott Point Windong Yiramalay Mobarn Nangak Nuradidgee Snake Lagoon Wogyala Yirra Bandoo Mole Hill Nangu Nygah Nygah South West Island Wollagalonng Outstation Yirralalem Momob Nanyingburra Nyilil Spring Peak Woodycupaldiya Yirringa Monbon Napagunpa Nyumwah Takapimiliyi Woolah Yirrkala Moolooloo Nauiyu Old Mission Tappers Inlet Woolaning Yiyili Mooloowa Ndjudda Pago Tara Woolergerberleng Yudu Yudu Moongardie Neem Pakulki Taracumbi Wooliana Yulbara Mooronga Nemarluk Palmerston Indigenous Tigers Camp Worrimbah Yulmbu Morard Ngadalargin Village Timor Springs Wudaduk Yungngora ANKA: Working Together to Keep Art, Culture and Homelands and Art Country Strong Homeland Movement By Christina Davidson, ANKA CEO

Darwin Office revival of traditional knowledge, ‘Our homelands and Art Centres are GPO BOX 2152, DARWIN involving reinvigoration of NORTHERN TERRITORY, AUSTRALIA 0801 our universities and art academies, language, knowledge of country, Ph +61 (0) 8 8981 6134 though they are not funded for this role. of ceremonial practice and cultural Email [email protected] Homelands are where our young people forms including song and dance cycles and inherited patterns www.anka.org.au learn our culture, all our songs, clan Facebook: ANKA - Arnhem Northern & and designs. The contemporary Kimberley Artists, Aboriginal Corporation designs and patterns, dances, renaissance of Aboriginal art is kinship, names and stories. grounded in this classical revival Northern Kimberley and Arnhem Aboriginal based in the homelands. Artists, Aboriginal Corporation (ANKA) is the peak Our homelands are where we hold body for Aboriginal artists and 47 Aboriginal The health of homelands today owned community Art Centres and artist groups Ngarra, holy ceremonies that honour has not been nurtured by recent in the Kimberley, Arnhem Land, Tiwi Islands and our spiritual foundation on our land government policy. The last Katherine/Darwin regions of Northern Australia. ANKA Katherine/ Darwin Regional General Meeting 2009, Mabunji in-depth national evaluation of ANKA is a fully Indigenous governed not-for-profit and sea country. These are really big Homelands Resource Centre, Borroloola. Artists from Warnayaka Arts, Lajamanu charting locations of their homelands on goggle maps. homelands, the 1986-87 House Homeland Movement is Yothu Yindi’s first album Aboriginal Corporation. Founded in 1987, ANKA is gatherings that bring together people released in March 1989 on the Mushroom Australia’s first peak body for Indigenous art. of Representatives Inquiry - Return from many clans. It is where we go to Country: The Aboriginal Homelands Record label. Illustrations Gulapa Screenprints. Reproduced with permission. The names of 729 homeland centres in Movement in Australia, took a very positive This publication contains the names of much more deeply into our sacred view of homeland centres and their futures. Aboriginal people who have passed places and lands. These ceremonies are ANKA's regions of northern Australia are away. listed on the cover of this Homelands Edition However, the tendency in policy since has Homeland Movement - lyrics what feeds our art, makes it strong and of Arts Backbone. The map on p.22-23 been to view homelands through a deficit Back in the 1970s there was movement on the land The artists, Art Centres and/or ANKA own the lets it speak of what I am, who we are. charts their locations. This map reminds us lens as a drain on the public purse. Rather Yolngu people moved back to their promised land copyright of all text and images contained in this visually that the country between the big than appreciating the very significant publication. Photographs have been taken by The wheel was a turning People can feel this in our art. The land Aboriginal settlements in Northern Australia strengths of homelands and homeland ANKA Staff, unless stated otherwise. ANKA Arts And the feeling was right is not empty, but is full of art and culture. people, and the many benefits they offer for Backbone is © ANKA. cannot talk, but we can speak for it through Dhuwa, Yirritja people returned to their land The map shows not just the Art Centres Australia, including in land care, art, and in The views and opinions expressed in this our artwork and reach across cultures.’ which market, and help nurture, sustain developoing understanding of the continent Power to the people publication are those of the authors and do not and preserve Aboriginal art, but also the and national identity. Djambawa Marawili AM, 2010* Power to the land necessarily reflect those of ANKA. homeland centres where much of the art is Power for cultural revival Djambawa Marawili AM ANKA Chairperson produced and which are the conceptual In 2019-2020 the time is ripe for a Editor: Christina Davidson Power for survival painting at Yilpara/Baniyala Homeland, 2019 heartlands of the Aboriginal art movement. fundamental re-think of the role of homelands Issue Coordination: Christina Davidson, Photo: Leah Greengarten ANKA's Homelands Keeping Art, Country and what they have to offer Australia as a Belinda Foster, Jonathon Saunders See the camp fire burning and Culture Strong Mapping Project is whole in an era when technology means Design: Jeni Jossaume, Jonathon Saunders And the children are yearning introduced on p.26. they are no longer 'remote' to other places. Cover Image: Homelands and Art Mapping ‘Homelands are the backbone for Aboriginal art. Today homeland centres are developing Talking about peace and harmony Project, 2018 - homeland locations 'Homelands' are referenced in two main a large range of new projects under Yolngu education is the key for redemption Research: Christina Davidson p.7, p.24-25 They are where all the patterns and designs come from - from the land.’ ways in this Arts Backbone. The first is challenging conditions. Among many other And the homeland centre movement is here to stay Thanks to Jon Altman and Michael Christie for Djambawa Marawili AM, 2019 homelands on ancestral country. Referring enterprises, homelands are the places their advice. to the individual ancestral clan estates (the of origin of two important contemporary Power to the People country) of the diverse Aboriginal peoples of international exports: Indigenous art and Power to the land northern Australia whose families have cared the fire management/ carbon abatement Power for cultural revival for their land since time immemorial (75,000 projects, reported on p.19. ANKA is proudly supported by: Power for survival years by current science). The second way homelands is used, refers to homeland It is time to listen to the Indigenous voices, who Hear the thunder in the sky centres - small contemporary Aboriginal have been patiently explaining the importance See the lightening on the land of homelands for the last 50 years and longer. settlements where people dwell. Often also And old mans are calling seeking help from the young It is time to pay respect to the people, including called outstations or blocks-on-country, these Yolngu education, is the key for redemption artists, who voted with their feet walking back settlements are typically located on or close And the old mans are calling, seeking help from to people’s ancestral country. to their homelands and who continue to work to make it viable to live there. the young ones The contemporary Aboriginal Art Power to the People Movement, which has so captured the imaginations and hearts of Australian Power to the land and international audiences over Power for cultural revival the last 50 years, is intimately linked Power for survival to the Homelands Movement. This Homelands Movement in northern Power to the People Australia, was the return of Aboriginal Power to the land people, from the late 1960s, to live Power for cultural revival on the country they had been displaced ANKA Arts and Homelands panel discussion, Garma Power for survival Festival of Traditional Culture, Gulkula, North East Arnhem from under the violence of colonialism. Beachfront at Yilpara/Baniyala Homeland, Blue Mud Bay, North East Arnhem Land Land, 2009 This is the homeland movement L-R: Freddie Timms, Ray Nadjamerrek, Wamud Namok Photo: ANKA The homelands movement of the (Bardayal ‘Lofty’ Nadjamerrek AO), Dean Yibarbuk, Dion Homeland movement 1970’s and 1980’s was the source Teasdale, Richard Gandhuwuy and Djambawa Marawili. Layna movement *ANKAAA Media Release, ‘Australia Day award honours Arnhem Land artist and cultural leader’, 26.1.2010 of a determined Indigenous lead Photos: ANKA Layna movement

2 ARTS BACKBONE – HOMELANDS AND ART Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 HOMELANDS AND ART – ARTS BACKBONE 3 Northern Territory of Australia v. Griffiths: The Landmark Native Title Jiylinum Home Country Compensation Case in the Tiny Town of Timber Creek By Peggy Griffiths and Jan Griffiths By Chris Griffiths, Dora Griffiths and Alana Hunt

him to connect to his own country and in his older age he produced over 2500 works depicting hundreds of sites and little known histories on country around Timber Creek and VRD.

One of our father’s paintings was used as evidence in this compensation case. It depicts our Makalamayi country around Timber Creek, illustrating where the dingo’s hat sits Jiylinum, 2019 Photo: Alana Hunt and his final resting place; a Blowfly Dreaming; our ceremony ground; Flat ‘ We’ve bin’ waiting a long time for that meant title could not be handed Rock where the shark and barramundi houses, but that didn’t take away over without permanent access to had an argument; our wirnan - trade our spirit. It’s good to see our houses water. For over a decade the Griffiths routes; and the walking log. Much getting built now. It’s important for us carted water in on an old trailer. After of Timber Creek was built on these to be on our own country, making our connecting to a bore in 2015 through ‘Our fight for compensation was not about the money it was about recognition ceremony and law — and we carry it sacred sites at a time when we had no own art with our family, so our next a Memorandum of Understanding of the damage colonisation has done to our country, law and ceremony. It is on. Chris Griffiths is carrying our law, rights over country and our Dreamings generations never forget who we are (MOU) with National Parks and the about our history and our pain.’ Chris Griffiths Dora Griffiths carries on the old man’s weren’t recognised. and where we come from.’ support of the NLC, the land was painting of country, Jan Griffiths carries Peggy Griffiths and Jan Griffiths finally and formally returned. ‘Northern Territory of Australia v. groups who came together from the on his station stories in her ceramic art, Our father’s painting helped our Griffiths (D1-D3/2018)’ is one of the Ngaliwurru and Nungali peoples. But and so many of our family carry on his relationship to country, and the Jiylinum is the Dreaming site of a hill The plan is to have more children most significant native title cases since like Eddie Mabo and many other old song and dance. damage done to it, became much kangaroo and the home and studio and people living on the block in Mabo. It is the first time the High people who have fought for country, clearer to a gardiya (whitefella) system workplace of nationally recognised 2020 supporting their health, well- Court has examined the Native Title our father passed away before the Our father’s country extends from of law. The judges of the High Court artists Peggy Griffiths, her late husband being, employment and education Act’s compensation provisions for the final ruling. Losing our old fella leaves Timber Creek into much of the country likened the damage done to specific Alan Griffiths and their family, many opportunities by nurturing their access loss or extinguishment of native title. us feeling stranded, lost and confused. covered by Victoria River Downs parts of our country to the damage of whom work through Waringarri to country. He was our leader and our teacher. Station. But our father married into caused to a painting with multiple Aboriginal Arts. Ngaliwurru and Nungali peoples But he passed his knowledge to us Miriwoong Country where he lived holes punched into its surface. The had our non-exclusive native title through story, through his paintings, for much of his life. On Miriwoong damage needs to be understood Located about 40km from rights extinguished over parts of his song and dance, and through country, painting became a way for not by reference to each hole, but Kununurra on the WA/ Makalamayi country when the township to the affect those holes have on the NT border, the Griffiths of Timber Creek was established in wider surface of the painting, and our have been living on this the mid1970s. The NT Government country. block for over 15 years incrementally built roads and in tin sheds and old infrastructure, continually damaging This High Court decision paves the caravans because of their many of our sacred sites into the way for other Aboriginal people determination to be on 1990s. In March 2019 the High Court around Australia to be compensated country and away from the of Australia awarded a total of $2.5 for the loss and hurt caused by humbug of town. Thanks to million in compensation, which included damage to country. May it be a small funding from the Aboriginal economic loss equating to 50 percent of step in the long continuing journey to Benefits Account the the freehold value of the affected land set things right. Griffiths are currently with simple interest, and compensation upgrading the living and for cultural loss of $1.3 million. Top Left: Timber Creek country. working conditions on Jiylinum and Above: Peggy Griffiths, Jiylinum Photo: Avani Dias will have new infrastructure and solar Photo: courtesy of the artist and Waringarri Aboriginal Arts The country that Timber Creek lies Left: Alan Griffiths, ‘Timber Creek’. power very soon. Jiylinum is on the on is actually called Makalamayi, Photo: courtesy of the artists estate and ancestral country of Peggy Griffiths. Waringarri Aboriginal Arts the name of our family’s clan group. The land was meant to be handed Our father, Alan Griffiths, was the back to Peggy in the early 2000s, lead claimant, representing five clan but it was delayed by a technicality,

4 ARTS BACKBONE – HOMELANDS AND ART Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 HOMELANDS AND ART – ARTS BACKBONE 5 Molly Nayilibidj Marebu, pandanus and natural dyes, 2019 This is Why We Want Our Future in Homelands

Concurrently Doctor Gumana (c.1935- 2016), Dhalwangu Clan leader and renowned artist, founded nearby Gangan with his father, revered artist Birrikitji Gumana (c.1898–1982). Djarrakpi and Wandawuy were started at the same time and later Rurrangala, Dhuruputjpi Balma, Barraratjpi, Baygurrtji and Gurkawuy homeland centres.

Today Baniyala/Yilpara and the surrounding homelands are what current Djambawa Marawili AM, Yilpara Homeland, Madarrpa Clan leader Djambawa Blue Mud Bay, 2019 Photo: Leah Greengarten Marawili AM calls a set of ‘suburbs’ that Our foundation is Yolngu Rom (law and together form a distributed Djalkiripuyngu cultural principals). ‘town’. A neighbourhood of people Our foundation for development is the with ancient interconnected histories far people, our identity, our culture and our preceding the homelands movement itself. land – all linked together under Yolngu Rom. Our patterns and designs, our language Frances and Howard Morphy explain and our stories live in homelands, not that after the Mission Time (1935- in settlements. This is why we want our 1970), Blue Mud Bay homeland future in homelands. centres allowed: ‘Yolngu to re-emplace The Blue Mud Bay (Djalkiripuynu) a regional system of relationships Development Strategy, 2018 (gurrutu) that had been disrupted in the early decades of the twentieth century Djamabawa Marawili, Gurtha, earth pigments on stringybark. Photo: Buku-Larrngay Mulka The homelands of Blue Mud Bay in as the region came increasingly under North East Arnhem Land are the places Australian Government control.’1 country. These are really big gatherings of production of much of the great art that bring together people from many made in northern Australia over the last The Blue Mud Bay (Djalkiripuyngu) clans. It is where we go much more deeply half-century. Artworks from these small Development Strategy 2018 (p.8) into our sacred places and lands. These homeland centres are collected and and current business planning show ceremonies are what feeds our art, makes exhibited by leading art institutions and the determination of the Djalkiripuyngu it strong and lets it speak of what I am, private collectors across the world. (footprint people) for locally-driven who we are.’ homelands development. Working togther Djambawa Marawili AM, 2010 The homeland centres at Blue Mud to build the regional economy and viable Bay started in the 1970s. The largest futures for their families caring for country Buku-Larrnggay Mulka, Yirrkala, represents - Baniyala/Yilpara was established in and culture. artists of the Djalkiripuyngu homelands. 1972 when the great Madarrpa Clan leader and artist Wakuthi Marawili Today, through their art and other activities (1921-2005) walked back with his Djalkiripuyngu are both vitally interlinked people to their ancestral country from with the wider contemporary world and Molly Nayilibidj Marebu, pandanus and natural dyes, 2019 the Rose River Mission at Numbulwar. bound to their ancestral language, culture and land. Homelands at Blue Mud Bay, not Molly Nayilibidj lives and works at Mamadawerre Outstation, on the West Arnhem Land Plateau. settlements at Yirrkala or cities further afield, She exhibits and sells through Injalak Arts, Gunbalanya. are the centre of their world. They invite Djalkiripuyngu supporting ceremony at Yilpara Homeland, 2016. other Australians to support this journey. Photo: courtesy Djamabawa Marawili West Arnhem Land is home to 15 outstations resourced through Demed Aboriginal Corporation, Gunbalanya. 1 F.& H.Morphy ‘Thwarted Aspirations: The Injalak Arts supports many artists living and working on these outstations. ‘Our homelands are where we hold political aspirations of a Yolngu outstation, Ngarra, holy ceremonies that honour our 1972 to the present’, in Peterson & Myers Experiments in Self Determination, ANU Press, Photo: Injalak Arts Beach front at Yilpara Homeland. Photo: ANKA spiritual foundation on our land and sea 2016, p. 319

6 ARTS BACKBONE – HOMELANDS AND ART Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 HOMELANDS AND ART – ARTS BACKBONE 7 Blue Mud Bay (Djalkiripuynu) Development Strategy Homelands are Places of Strength and Opportunity By Djalkiripuyngu, Blue Mud Bay, North East Arnhem Land. By Djambawa Marawili AM Artwork by Djambawa Marawili AM

Homelands are places of strength and opportunity

Homelands provide an important opportunity for improving lives across the Australian continent and protecting Australia’s original identity.

Homelands represent a deep and well established system of cultural, geographical and commercial interconnection.

Homelands are not isolated remote places of deficit, but part of a living network of people and places that formed the foundations of the Australian economy for millennia.

Homelands were settled by our fathers and mothers to provide safe cultural places for the growth of our families, management of our resources, and interaction across our region.

Homelands are places of knowledge, reflection, discipline and innovation – and *Edition 3 July 2019 are where our stories, song lines, sacred patterns and designs come from.

Homelands are not just outstations, missions or settlements - they are important cultural places to hunt, places to live, places of law, places of songs, patterns and Our foundation is Yolngu Rom (Law and cultural Private investment provides the energy to innovate designs, places of ceremony, places to rest, places of truth, places of language, principles) While waltjan starts our growth, the energy of the Our foundation for development is the people, our daykun (private investment) makes us flourish. places with names and identity, places to thrive. Munatha identity, our culture and our land – all linked together (deep soil, under Yolngu Rom. Our patterns and designs, our Daykun nutrients) language and our stories live in homelands, not in (sun) Homelands are where people live healthy and strong lives and want to grow settlements. This is why we want our future in homelands. prosperity – not in isolation but for their connected families and communities.

We want a future of dignity on our traditional lands We are committed to our self-determination The success of our development strategy will be Homelands provide a real opportunity for economic and social development Our development is based on strong gurrgurr, drawing measured by its borum: power from our Rom to make local decisions for our and growth in Northern Australia – where our knowledge and deep connection • greater local employment opportunities; Gurrgurr lands and seas. between people and place has already stimulated many successful businesses in • higher education levels; (roots) Borum agriculture, aquaculture, land management, mining and even space. (fruit) • financial stability; Our only way to grow is through equal rights and • improved living standards; responsibilities • people living with dignity on our traditional lands. Homelands have a clarity of leadership and vision that is based in ngarra. Garminyarr Without this, we’ve can only grow grass in the Whereas leadership in major communities are frequently undermined (top soil) garminyarr. by confusion and broken by selfishness.

Long term outcomes only come from locally driven development Homelands represent a value proposition for social and economic improvements We want to protect what is important Our development requires a strong rumbal to take the unrivalled by major communities. We are better placed to be entrepreneurial with power from our munatha and combine it with the waltjan Our greatest challenge is managing groups who have and daykun to grow the borum. vested interests in the status quo taking advantage of our our land and sea asset than people gathered in major communities. locally driven development. Our local corporations and businesses, with good Galkarringu governance and management, provide the strong (crows) Successful investment by governments and businesses to develop Northern Rumbal support we need to combine our knowledge with (trunk) external expertise and investment to grow good fruit - Australia and improve lives across our continent depend on stability, knowledge, social outcomes. engagement, and vision – all of which are found in homelands. Our children and grandchildren will lead our We appreciate public funds and support development Waltjan (public funds) carries the power in the munatha Strong gurrgurr and rumbal withstands the wuthanginy. Djamabawa Marawili AM is the Madarrpa Clan leader, English on p.8 & 9 supported by James Holman up the rumbal to combine with the energy of the daykun Our development will need to to be strong and flexible Waltjan to make the borum. Wuthanginy enough to withstand the generational change coming in Baniyala Homeland, Blue Mud Bay, North East Arnhem Land Watermark detail of Djambawa Marawili, Baniyala, (rain) (wind) the next 5 years. dry point etching, 2012

8 ARTS BACKBONE – HOMELANDS AND ART Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 HOMELANDS AND ART – ARTS BACKBONE 9 Remote Artists are Empowering Angidjatjiya – Yilan Homeland By Rosita Holmes, Milingimbi Art and Culture their Economy By David Throsby and Katya Petetskaya

Many ANKA members will know The survey results emphasise the of the National Survey of Remote importance of support organisations Aboriginal and Torres Strait such as ANKA and underline the Islander Artists that David Throsby significant role played by Art Centres and Katya Petetskaya of Macquarie in the art economy of remote regions. University have been implementing over the last four years. Living remotely does not mean a lack of engagement with the Ruth Nalmakarra of Langarra Homeland The survey began in the Kimberley outside world. Artists who work explained that because her family lived in 2015 and has now covered from remote locations travel and so close to the mission at Elcho Island three more regions in the Northern sell their art works Australia-wide her and her sisters had not learnt the art Territory and South Australia. It is and internationally, participate of fish trap making from Milarr (jungle planned that all regions will be in research, and also engage in vine). This was because the missionaries completed in 2021. It is the first commercial ventures such as selling discouraged the making of functional comprehensive survey of individual bush medicine and cosmetics. items. Sabrina Roy, daughter of Lily Roy, art practice in remote areas that has Additionally, cultural tourism brings shared stories of growing up at Yilan ever been undertaken in Australia. visitors from different parts of the and explained that once she moved to world to these remote places Milingimbi as a teenager she no longer where Indigenous culture can be had the opportunity to practice making experienced in the most direct and Angidjatjiya as Milarr has limited habitat authentic way. to grow on the small Island. Our data demonstrates the importance Milingimbi Art and Culture is committed of artists’ connections with their In June 2018 Milingimbi Art sun carrying raki (string made from local called Yilan ‘Ngama’ (mother) or ‘Mari’ to supporting artists on homelands and homelands. The survey provides and Culture organised a ten day plant fibre). The Ngokal swims as far (mothers mother). For the other half it assisting with maintaining connection compelling evidence in support of weaving camp at Yilan on the West as Djarrakpi (Cape Shield) on the far was a chance to visit and exchange to homelands through harvesting the need for securing artists’ access Arnhem Land coast. The camp, east coast of Anindilyakwa (Groote knowledge with the people and practices, artist camps and special The survey aims to provide nationally to country, if art and culture are to hosted by Bonnie Burangarra and Eyelandt) and then back to Yilan. On its country that had intimate connection projects. This work would not be representative data on how individual become a stronger source of economic Freda Wyartja, on their mother’s journey it links together country including to their home and mothers homeland possible without the incredible support artists in remote Australia establish, empowerment for Aboriginal and Torres country and homeland, focused on Milingimbi and Langarra (Howard of Langarra, these weavers also called of many, in particular that provided by maintain and develop their professional Strait Islander peoples in Australia. Angidjatjiya, a traditional fish trap Island). Yilan is the sister country for Yilan ‘Ngandi’ (mother). the Crocodile Island Rangers. art practice. Our findings so far made from Milarr (jungle vine). Milingimbi and Langarra as each of demonstrate that artistic and cultural For electronic copies of the these places, although geographically During the ten days at Yilan the Bonnie Burangarra and Freda Wyartja production is a source of economic completed reports contact: Yilan homeland has an intimate separate, are linked by the one mother artists watched, assisted and learnt are master weavers represented by development in remote settlements [email protected] connection through songline and kinship and the Ngokal’s raki. Angidjatjiya (jungle vine fish trap) Maningrida Arts and Milingimbi Art in Australia, and at the same time or [email protected] to Milingimbi and its artists. Yilan is making from Bonnie, Freda and Lily. and Culture. maintains and enhances the practice located on the West Arnhem Land coast Yilan Homeland is the and revitalisation of Indigenous cultural Left: David Throsby, Katya Petetskaya and Denise Salvestro with Bobby Malibirr at close to the mouth of the Blythe River. home and ancestral country Top Left Page: Bonnie Burangarra, Angidjatjiya, traditions and customs. Bula’bula Arts, Ramingining. Photo: Neil Baday (jungle vine) The Ngokal (giant trevally) connects of Bonnie Burangarra, Lanceley Yilan, Milingimbi and Langarra as they Freda Wyartja and Lily Bottom Left Page: Freda Wyartja and Bonnie The survey documents the multiple swim east from Yilan towards the setting Roy (ANKA Director). In Burangarra guiding us into the jungle to harvest cultural activities that artists undertake ‘The survey provides compelling Milarr May 2018 Bonnie, Freda – in addition to making art, they evidence in support of the need for and Lily invited a group of Opposite: Bonnie Burangarra and Freda are involved in teaching, cultural securing artists’ access to country, if art Milingimbi Art and Culture Wyartja working together to pass the Milarr governance, archiving, interpreting, and culture are to become a stronger from outside to inside to hold the support in weavers to their Homeland. place providing cultural tourism services, source of economic empowerment for For half of the group this Top of page: Bonnie Burangarra and Freda and more. Aboriginal and Torres Strait Islander was an opportunity to return Wyartja demonstrating how to start Angidjatjiya peoples in Australia.’ to the homeland where they Photos: Milingimbi Art and Culture had grown up, these artists

10 ARTS BACKBONE – HOMELANDS AND ART Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 HOMELANDS AND ART – ARTS BACKBONE 11 Reinvigorating the MECA Collection, CDU Galleries, Darwin Milingimbi Art and Culture in conversation with Judy Lirririnyin and Joe Dhamanydji

Opening Speech

By Judy Lirririnyin, Chair Milingimbi Art and Culture

Yow this is really a privilege. I’m really thanks all of you that you came to be with us. So my knowledge that I have been with my fathers, my grandfathers, my uncles, that they taught me for everything and they gave me the knowledge for these paintings. It’s not just a paint but see this, this is our real culture, the dreams, spirit, land. All their stories it’s teach all the young people about discipline. And we want to teach them more Yolngu have been talking for years Top Left: Installation shot. and give our knowledge to them about bringing these art works home. Bottom Left: (L-R): Daisy Mary for their future, so they can hold ‘We want a proper museum building Manybunharrawuy (c. 1950-2008), Wagilag future really strong and their fathers’ Sisters Story, Natural pigments on bark, M023; Reinvigorating the MECA Collection ‘Gupapuyŋu, Liya-galawumirri, Aboriginal Arts Board to buy art works here to put those paintings in on Neville Dawidi Birritjama,Wagilag Sisters value, to keep their memory. is a collaboration between Milingimbi Djinaŋ, Ganalbiŋu, Mandjikay, for a community education collection. the community. So we can keep our Story, Natural pigments on bark, M050; Paddy Dhätaŋu (1914-1993), Wagilag Sisters Story, This is just as real, all these Art and Culture, Charles Darwin Djambarrpuyŋu, Mildjiŋi, Garrawurra, This was to make sure all the stories culture strong and healthy for future Natural pigments on bark, M014; Paddy dreams, paintings, we sing, we University, Art Collection and Art Gamalaŋga, and many other clans and designs were remembered by generations. So we can be with those Dhätaŋu (1914-1993), Wagilag Sisters Story (Snake and Wallaby, and Goannas), Natural cry, think about our own family Gallery, CDU Yolngu Studies and sitting together and painting,’ adds all the young people in the future. art works and teach our kids’ says pigments on bark, M010. that passed, that are present and Bula’bula Arts. It brings together a Joe Dhamanydji, son of Gupapuyŋu There were around 300 art works and Judy Lirririnyin. Photos: Fiona Morrison the future. This is real, this is not stunning selection of 64 works from leader Djäwa. artefacts collected. a just a painting but everything’s the Milingimbi Education and Cultural Milingimbi Art and Culture thanks got all the stories, all stories. And Association (MECA) Collection ‘There was also a lot of people living Years on, in the mid 1980s, CDU, MAGNT, The Tim Fairfax you know I’m very thinking my created in Milingimbi, Arnhem Land at Ŋangalala and other homelands, in someone sold these art works to the Foundation and old friends of MECA. uncles I’ve got my uncle is here in the mid-1970s. that time, this was before Ramingining.’ Northern Territory Government. After James Gaykama u, he’s from a long dispute, the NT Government ŋ knowledge. I’m here standing in There is a long history behind this And then in the 1970s when David recognised that the community still front of him, watching me. He exhibition, which opened in March at McClay, David Morgan and Michael owned the art works. They have been gave me discipline in my value, CDU Gallery, Darwin. Christie were working at the school stored at the Museum and Art Gallery and his father, and I’m standing they got some money from the of the Northern Territory ever since. here. I’m really thanking all of you Daughter of renowned artist with my heart. Binyinyuwuy and Milingimbi Art and Culture Chairperson, Judy Transcription - Michael Christie Lirririnyin remembers the old people Above: David McClay, Principal of ‘were sitting all together, sharing Milingimbi School 1971-1979 with knowledge, for long time at the Milingimbi Art and Culture Chairperson Judy Lirririnyin. Photo: Nichole Taylor, old mud brick house next to bottom courtesy CDU Art Gallery camp’ which was an artists studio in the mission days. ‘I used to sit Left: Unknown artists, Gilitjirrk (looped string bag), M260; Bathi (twined conical with my grandmother who rolled basket/dilly bag), M266; Bathi Mindirr string and dilly bags, they would (twined conical basket/ceremonial dilly bag), M278); Bathi Mindirr (twined conical all sit together and share with each basket/ceremonial dilly bag), M274). other. They used to sell all their bark Photos: Installation shots by Fiona Morrison paintings in the old mission shop.

12 ARTS BACKBONE – EXHIBITIONS Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 EXHIBITIONS – ARTS BACKBONE 13 Aboriginal Art and Outstations: Then and Now By Jon Altman

bush, people produced art inspired by country, sacred places, the totemic species they hunted and celebrated in ceremonies. They enjoyed a degree of economic autonomy.

Today a major retrospective of Mawurndjul’s art ‘I am the Old and the New’ is touring Australia. But Mawurndjul laments that being the new is a lot harder and less desirable than the old. He recently told me ‘What makes me happy is when I can go to my home out bush … I can paint …’. I can see what he means when I visit. Living at outstations is a lot more difficult for Kuninjku people today. Basic citizenship services like education and health are provided in Jimmy Njiminjuma in his bush studio at Mumeka, 1980 the township of Maningrida. People John Mawurndjul preparing a bark in his bush studio at Mimanyar, 1980 are required to work for the dole, Then is 1979 and 1980 when I lived for an impoverishing pittance, and with members of the Kuninjku-speaking half that welfare money is put on the community in Western Arnhem Land. BasicsCard tying people to shops. Now is the present, 2019. Since the Intervention there has been no new housing at outstations; it is In this short piece I want to reflect on a difficult to obtain guns for hunting and paradox: Kuninjku art, like Aboriginal vehicles to collect art materials because art more generally, is today renowned of excessive police scrutiny. To quote and highly valued domestically and Mawurndjul again, ‘I have still got the internationally; it is no secret that many same law, but the government keeps Indigenous people in remote Australia changing their rules’. who enjoy land and native title rights paint elements of their spiritual and What Kuninjku experienced is political connections to their country. happening across remote Australia. And yet despite Indigenous peoples’ Rather than being assisted to live John Mawurndjul painting in his bush studio at Mimanyar, 1980 land title to more and more of the on country and paint what might All photos: Jon Altman continent under Australian law, living be understood in western terms as John Mawurndjul painting in his bush studio at Mimanyar, 1980 on one’s country and depicting one’s ‘en plein air’, outdoors, artists are country in visual art is getting more the Momega (outstation) economy’. their father Anchor Kulunba. Life at being separated from their sources of and more difficult. How can this be It was presented to an Aboriginal outstations was basic, corrugated iron inspiration as the government looks so, and what should be done? Arts Board conference convened and bark shelters, no reticulated water, to recentralise them. This policy shift in Maningrida in conjunction with no toilets, no power, no phones. But is killing the aspirations of many to who like art and often buy it for private When Kuninjku people at Mumeka Maningrida Arts and Crafts. All art blossomed—it was one of the live on their ancestral lands, the key and public collections, need to change Outstation allowed me to live adults at Mumeka made some art mainstays of the economy alongside source of inspiration for their arts quickly and profoundly. with them as a doctoral student, for sale including artists like Johnny hunting, fishing and gathering of wild practice. On-country living and arts I soon found out how central art Mawurndjul, Melba Gundjarwanga, foods and some welfare payments. production were possible 40 years Jon Altman is an emeritus professor at production and sale was to their Kay Lindjuwangga and Susan Art was collected every fortnight by ago. In super-rich Australia it should the Australian National University. In livelihood and identity. The first Marrawar, all still practicing; and the arts adviser. Except for axes and be even more possible today. A deep 1989 he chaired a national review of paper I wrote about art in April famous deceased artists like Jimmy knives and aquadhere glue, all the cultural tradition is at stake and at risk: the Aboriginal visual arts sector for the 1980 was called ‘Art and craft and Njiminjuma, James Iyuna and materials for making art came from the the thinking and policy of the powerful, Australian government.

14 ARTS BACKBONE – HOMELANDS AND ART Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 HOMELANDS AND ART – ARTS BACKBONE 15 To Always Be Part of that Land - Tarntipi Vision for a Homeland Keeping Place Ancestral Connections - Mitchell Falls By Angelina Guluwulla Karadada Boona, By Rhoda Hammer Homeland Bush Camp By Teddy Portaminni Co-Manager Kira Kiro Arts, Kulumburu

Ginger Riley lived there while I was Is there housing at Tarntipi? growing up and used to paint on his Before, there was nothing there. But Kira Kiro Arts is based at Kalumburu, verandah, his old house is still there. as the years go along, I got funding the northernmost settlement in from the NT Government and from the Western Australia. There are some buildings at Maria Department of the Prime Minister and Mitchell Falls, is very far away from Lagoon, the keeping place would Cabinet. They gave me funding to Kalumburu, we have to go by boat be in one that’s existing but needs build things up there; showers, toilets. because there is no road to my renovation. It will contain grinding This year, the house, the caretakers Mitchell Falls. Country. People started living there a Photo: Rohan Glickman Kimberley Air Tours stones, and objects from the old people cottage, is up there, and two shipping long time ago, there are no houses, that we hope to bring back. John containers. In the containers I store all but there is a hut, no one lives there but they take tourists there to see the Bradley is helping to return old photos the things I need for the camps. rock paintings, my nephews sometimes help with this. People go there during Rhoda Hammer at the National Gallery of and objects that belong to the people the tourist season, June/July each year and sometimes we can get there by Australia with Ginger Riley, The Limmen Bight from the homeland, artefacts the old What is the future for the homeland? River,1990. Photo ANKA helicopter with the tourists. people made. I want to stay there permanently so Rhoda Hammer recently talked to I can look after the camp and the Some artists go there to paint, the ANKA about her plans to create a country, keeping our culture strong Kandiwal people, we make art keeping place on her homeland, Teddy Portaminni at Tarntipi Homeland Bush and teaching. Like my grandfather there, we cut bark from the trees for Maria Lagoon. With a long career as Camp, Photo: Nicholas Walton-Healey, lived a long time ago. I want to live www.tarntipi.com paintings and we’ll light a fire and an arts worker at Waralungku Arts in like him there. treat it there. Borroloola, and university training in In this interview, Teddy Portaminni conservation and heritage, she is well talks to ANKA about the Tarntipi And to always be part of that land? Homelands are important to keep the equipped to fulfil her vision. homeland on Bathurst Island where he Yes, always be part of that land. rock art, to see where the old people has established a bush camp offering lived, where they camped, made their My homeland is Maria Lagoon It’s important for the keeping place cultural awareness training. When Interview with John Saunders corroborees, their sacred sites, to keep (Namultja) on the Limmen Bight River, to be on country, so the objects can he was younger, Teddy worked at the connection to the old people. This 250km North from Borroloola. come back to country. There are a Tiwi Designs where he learnt to carve connection is present in my art, my art is lot of things out there, old objects in figures. He was also an early member a story about my homeland and culture. The settlement was founded by my the bush and caves to collect, stone of ANKA. We get some support from the father’s mother in about 1980. First axes, grinding stones, shell middens. Kalumburu Aboriginal Corporation they stayed in huts, then they built My grandmother’s mats are in ‘My vision is to help people learn and Wunambul Gaamberra to houses. My father wanted to go back Numbulwar, I’d like to get them back. about Tiwi culture. Not only teach my hold corroborees and events on our to where he used to live when he was My cousins who are rangers and own people, but people all over the homeland, we smoke the people that young, travelling around there with his grew up at Maria Lagoon want to live world. That’s what I’m doing today. Valerie Mangolamara ‘Mitchell Falls’. come in and go out. It would be good Photo: Waringarri Arts mother. About eight people live there there permanently to look after that Bringing in people and talking about to get more support for the homeland, permanently today. Some of us don’t live country. One is there now registering language and culture.’ Above: Teddy Portaminni at Tarntipi Homeland Bush Camp, Photo: Nicholas Walton-Healey, to upgrade the roads, more buildings, we would also like to keep the homeland there all the time yet because its hard to rock art sites. www.tarntipi.com untouched, clean with no rubbish. get to, you need a four-wheel drive. Why did you choose that location for Myself and my daughters, Shauna your bush camp? It would be wonderful to build a workshop or artist’s studio so artists can paint I grew up at Maria Lagoon, a lot of Mumbin and Jancinta Hammer, will That’s where my grandfather is buried, there and tourists can learn about our culture. Then we can sell our art to help people lived there in the beginning. I setup the keeping place and I will and now my dad is buried there too. maintain and promote our homelands. want to create a Keeping Place there. train them. They used to work with So, I thought, instead of me going People have always made art there, me at the Art Centre. I have the skills back to my traditional homeland at my Auntie made mats from pandanus. to run the Keeping Place, but if I Rangku, I would build my business ‘In the 80s we used to live at our outstation or homelands. We go there mainly to have questions, I know who I can here at Tarntipi. I don’t want to leave hunt and do some fishing and gather bush tucker that is good and healthy for us. call for advice. my family behind. I want to be with Now we don’t go because we don’t have any car to go out. them forever. My grandfather lived Above: View of Maria Lagoon (Namultja) from there for a long time. He had five This painting is about the freedom that we had back then and what I miss today.’ the billabong wives. In those days the man was Alan Joshua JNR Left: The house at Maria Lagoon (Namultja) considered to be the leader, he Left: Alan Joshua JNR, Homeland 2018, Acrylic on Canvas, 140x116cm where Ginger Riley painted could have more than five wives. My Photos: Emma Evans grandfather only had five.

16 ARTS BACKBONE – HOMELANDS AND ART Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 HOMELANDS AND ART – ARTS BACKBONE 17 ‘Country Needs Northern Australian Homelands Export Numburindi: Strengthening Culture and Country People’ Campaign Fire Knowledge By Sam Johnson and Ari Gorring

Initiated by Grant Nundhirribala, Indigenous ranger jobs and Indigenous Wildfire is a major threat Artistic Director of the Numburindi Protected Areas help country, culture to property, lives and Festival, the project is managed and community to be healthy. biodiversity. Climate change through Artback NT with funding from will make all these impacts the Tim Fairfax Family Foundation. The The Country Needs People campaign worse. Conventional methods first camps were held in 2018. celebrates homelands’ essential role of firefighting have failed. in caring for the Australian continent. The camps mean that young people Indigenous people in can learn on country, without Homelands are at the heart of two world Australia living on homelands the distractions of town. Grant leading models of success – Indigenous have developed a sustainable solution Nundhirribala, explains: ‘If you do rangers and Indigenous Protected Areas to this threat. Using their knowledge ‘The Botswanans were blown teaching kids in town, big mob things (IPA). From Tennant Creek to Tasmania, with modern science and satellites, they away by the Aussies’ skills.’ ‘I happening in town, people are the Kimberley to Cape York, Aboriginal burn early, keep fuel loads down and feel really good knowing that I distracted, it’s good for me to take the and Torres Strait Islander people are dramatically reduce destructive wildfires. passed on something’. ‘When kids camping, away.’ protecting natural and cultural heritage they were trying to put out a through Indigenous ranger jobs and First used in West Arnhem Land in 2006, fire, they’d be running around, This three-year project connects Elders of the Nundhirribala, Murrungun, Highlights of the camps so far have Indigenous Protected Areas. it is now used across Northern Australia. lots of people and fire trucks, young people from Numbulwar with Ngalmi and Nunggarrgalu clans are included a trip to Miwul hosted by not much leadership and not their culture, country and homelands leading cultural camps, teaching the traditional owner Henry Nunggunajbarr. The work being done by rangers on IPAs The International Savanna Fire much knowledge of fire, and through a series of bush camps children to hunt, collect bush tucker, Children visited the billabong with isn’t only about tackling environmental Management Initiative (ISFMI) and it ended up a real big hot fire’ guided by elders. and learn songlines, language elders Rosanne Nundhirribala and Anne threats like feral animals, invasive weeds its network partners has shown how ‘But for us, we used the wind, and dance, building bridges to Marie Nundhirribala. and destructive wildfires. Work includes this approach could be used around and ours was less intense, Founded as a township in 1952 traditional knowledge. monitoring and protecting cultural sites the world, especially, in fire prone less heat, hardly any smoke.’ when the Rose River Mission was ’The rainbow serpent made this place, like rock art galleries, and fostering landscapes such the savannas of Africa. ‘We’re different cultures, but for established, Numbulwar is located the billabong, it always has water, culture by enabling young people and both of us, fire is so important, on the western coast of the Gulf of ‘My grandparents lived out here never dries out.’ old people to access places together to From the 11 to 21 May 2019 and once upon a time the fire Carpentaria, at the mouth of the in Miwul before the mission Anne-Marie Nundhirribala exchange learning about language, art, the ISFMI hosted a delegation of regime in Australia was the best Rose River. Numbulwar became self- came and pulled everyone to stories, bush tucker and more. Rangers Indigenous rangers and leading fire in the world I reckon.’ managed in 1976. There are currently Numbulwar.’ For more information contact Eve and Indigenous Protected Areas support scientists from Northern Australia nine outstations with permanent Pawlik at Artback NT homeland communities because people into Botswana. Over the ten days Robin Dann, Wunggurr ranger Grant Nundhirribala residents and several others not [email protected] can access meaningful work, strengthen knowledge of fire and traditional fire from Gibb River Station permanently inhabited. culture and reinvigorate surrounding land management practices were shared and sea country. with the people of Botswana. Further information: isfmi.org. The Country Needs People campaign is an alliance of 40 Aboriginal and Torres Strait Islander organisations that work on land and sea management, alongside the Pew Charitable Trusts and more than 96 000 Indigenous and non-Indigenous Top Left: Grant Nundhirribala and Australians. Together, the alliance is Henry Nunggunajbarr calling on the government to double with Deondre and Left: Dhimurru Senior Ranger Fiona Yupunu Clancy Nundhirribala funding and secure a long term future Marika monitoring sea country. Photo: Dhimurru harvesting turtle meat and for Indigenous rangers and Indigenous Aboriginal Corporation and Kerry Trapnell learning about Miwul at Nundhirirbala culture camp. Protected Areas. Above: Ranger Robin Dann sharing fire knowledge with volunteer fire team from Left: Duwayne To join the Country Needs People call to Phuduhudu, adjacent to the Nxai Pan National Park in the North-West District of Botswana Nundhirribala at the grow and secure the future of Indigenous billabong at Miwul Photo: Ari Gorring with elders Rosanne rangers and Indigenous Protected Areas, Top: Otto Campion and Bayo Taylor leading Nundhirribala and Anne visit countryneedspeople.org.au. Marie Nundhirribala. Indigenous burning demonstration next to the Nxai Photos: Eve Pawlik Pan National Park, Botswana. Photo Ari Gorring

18 ARTS BACKBONE – HOMELANDS AND ART Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 HOMELANDS AND ART – ARTS BACKBONE 19 Gunybi Ganambarr, anmarra, etched watertank, 2017

Kimberley Artist’s Statement

‘Art Centres are only for art, that’s what I’ve been told. But in Aboriginal way you can’t separate language, dance, song, country, story and traditional knowledge from art. Everything connects, art cannot stand alone, that’s the thing we really have to fight for’

Gabriel Nodea: Chairman Warmun Art Centre, Deputy Chairman ANKA, 10.10.12

We are sharing and teaching our art and culture for the younger generation, for the community, for Australia and for the rest of the world. Restoring and recording art and culture and teaching younger people about who they are and where they come from is important. It’s not just about painting and making money. We want government and funding bodies to understand and acknowledge that art and traditional culture must stand together. Traditional knowledge has been passed down from generation to generation and if that stops it will be lost to the world. We want to use modern technology to keep and protect this knowledge. Elders take the young people who grew up in the towns back to country to those special places, sharing the knowledge of their identity through their culture and reconnecting through multi-media. This is Aboriginal education and this is our school. This teaching is also important for non- Indigenous people when we share our history and stories with them. That painting we do represents country, dancing and story. We also share this with non-Aboriginal people. You don’t get strong art without strong culture. We would like the government and the funding bodies to understand that stronger and ongoing support, for all of this together, is needed now and into the future.

Above: Gunybi Ganambarr at Gangan Homeland, Blue Mud Bay, North East Arnhem Land, with the last remaining panel of water tank

Right: Gunybi Ganambarr, anmarra, etched watertank, 2017 Photos: Buku-Larrnggay Mulka.

Gunybi Ganambarr is represented by Buku-Larrnggay Mulka, Yirrkala.

Buku-Larrngay Mulka represents artists from 24 homeland This statement was written collectively by Aboriginal artists and arts workers from Art Centres communities in North East Arnhem Land. across the Kimberley who are members of the Arnhem, Northern and Kimberley Artists (ANKA Aboriginal Corporation. The statement was composed and adopted at Waringarri Arts, Kununurra at the 2012 ANKA Kimberley Regional General Meeting, 10th October 2012, and re-affirmed at the ANKA Kimberley Regional General Meeting, Goolarri Aboriginal Media, Broome 18 September 2017. 20 ARTS BACKBONE – HOMELANDS AND ART Vol. 18 Issue 2 & Vol. 19: Issue 1, August 2019

A Chronology of Homelands and Art

This chronology is focused on 1970s -1980s Homelands Movement the northern Australian regions Northern Aboriginal peoples, on their own supported by ANKA. It is intended initiative, return to live on their homelands in 2005 Cultural to promote thought on this important c.1920 - 1970 increasing numbers Museums Speech subject. It does not tell the full story Mission Times Federal Minister for which has many varying factors. Aboriginal groups relocate 1973 Homeland Support Indigenous Affairs, Amanda 1987 Return to Country: 2009 Working Future – NT from their ancestral Whitlam Labour Government 1978 Vanstone suggests small The Aboriginal Homelands Government 1st Homelands countries in northern provides homeland Northern Territory homelands communities Movement in Australia Policy Australia to missions and establishment grants Self-Government are ‘unviable’ & ‘cultural Time Immemorial Australian Government House Working Future supports ‘Growth government reserves where supporting necessities such Responsibilities for museums’ Aboriginal peoples of Representatives inquiry report Towns’. No support for new people from different as water, shelter and basic Aboriginal outstations/ across northern Australia acknowledges revitalisation of 2007 Northern homelands language and cultural groups communications facilities homelands remain with live and make art on their artistic skills as a result of the Territory Emergency live together the Commonwealth clan estates homelands movement and the Response 2014-2015 WA Government 1972 Bilingual Education importance of art sales to Delivered by Howard Homelands Policy Debate 1937-1972 homeland economies. The Whitlam Labor Government announces the Liberal-National Coalition Debate about threatened closure of report views the future of Assimilation Era beginning of the NT bilingual education Government. Responsibility for 150 remote WA homelands by the homelands very positively A 1937 conference of programs. Various NT and WA schools develop homelands is given to the NT Barnett Conservative Government federal and state bilingual programs, which evole into Both Way after Federal Government stops 1788 Colonisation at Aboriginal authorities in and Two Way curricula funding of municipal services in Canberra agree to an 2005 remote Aboriginal communities. Port Jackson, N.S.W 1990 assimilation policy. Formal Mainstreaming Era Prime Minister Tony Abbott calls 1972-2005 ATSIC National definition takes place at The Howard Coalition homelands ‘life-style choices’ tax Self-determination Era Homelands Policy 1961 Native Welfare In 1972 the Labour Party under Government closes ATSIC. payers shouldn’t have to fund Confernce Gough Whitlam introduces a policy The self-determination era is of self-determination for Aboriginal replaced by mainstreaming people or normalisation 1788 1888 1920 1960 1970 1980 1990 2000 2010 2019

1963 The Aboriginal Land Rights 1987 ANCAAA 1992 Mabo and 1889 Yirrkala 1997 2008 Blue (NT) Act 1976 The Association of Others v. the State 2019 Northern The legal Bark Petitions Northern and Central Indigenous Mud Bay Is passed later leading to nearly 50% of Queensland Territory of doctrine of First formal Australian Aboriginal Protected High Court of the total NT land area reverting to The High Court of Australia v. Griffiths ‘terra nullius’ petition by Aboriginal ownership under free-hold Artists (ANCAAA) is Areas (IPA) Decision Australia brings down Landmark native title is first proclaimed Indigenous title (historic bi-partisan support) formed with 16 Art Program Affirms compensation Australians Centres. In 1992 the its landmark decision as grounds for the protecting Aboriginal determination case in recognised by 1971 Aboriginal 1973 Aboriginal central region becomes which holds that Crown owning all national ownership of the High Court the Australian Arts & Crafts Pty Ltd Arts Board, Australia separately incorporated Australia was not ‘terra Australian land biodiversity the intertidal Parliament. Department of Aboriginal Council as Desart nullius’ at the time of from 1788 zone in the NT Sows the seeds Affairs national marketing All Indigenous board chaired colonisation 1988 – 1993 Major 2019 1888 Dawn of Art for land rights organisation by Dick Roughsey, Mornington overseas exhibitions Contemporary Art Exhibition Island (1973 - 5) & Wandjuk 1993 Native Title Act Dreamings, New York, The National: New Drawings by Aboriginal 1967 1973 Community Marika, Yirrkala (1975 - 9). Leads to determination of 2010 Strong 1988; Rover Thomas & Australian Art survey prisoners at the Fannie Australian based Art Centres Work from remote communties over 35% of Australia with Art Centres Trevor Nickolls, Venice exhibition (Sydney), Bay Gaol, Darwin, are Referendum Start to receive Australia purchased in 1970s and early more registered claims still 48 Aboriginal owned Biennale 1990; includes over 30% exhibited at the (Aboriginals) Council funding 1980s & exhibited to be considered and governed Art Aratjara, Europe 1993 Aboriginal artists Melbourne Centennial Endorsed by internationally to c.40 countries Centres and artist 1989 Aboriginal Art and Crafts Exhibition. This the 1st over 90% of 1970-1995 groups represent over Australians Industry Review (Altman) western style exhibtion of Aboriginal Cultural Foundation 1979/1981- Aboriginal art becomes 5000 artists in the Laid the foundation for base funding Aboriginal art Governed by Aboriginal tribal leaders from contemporary art ANKA regions of for Art Centres through the NACISS 1967 Aboriginal northern Australia. Supports ceremonial The mainstream Australian art world is initally northern Australia. owned and activity on homelands and tours dance program (1991) later renamed IVAIS. Many of these 65,000 years ago challenged by the inclusion of bark paintings in the governed Art Centres groups nationally and internationally Today over 100 Art Centres nationally represented artists work Ground ochre excavated at 3rd Sydney Biennale, 1979 and desert acrylics in Begin to be established receive limited but crucial support on homelands keeping Madjedbebe rock shelter near Australia Perspecta,1981. By the late 1980s in northern Australia and art, country and culture Kakadu in 2017 reveals artists in Aboriginal art is accepted as contemporary fine art 1990 continue to grow steadily Yothu Yindi Homeland Movement album strong northern Australia painted on their in numbers to the present 1970s Art production flourishes in northern homelands clan estates 65,000 years ago Art is one of the only revenue streams for people living on homelands

24 ARTS BACKBONE – HOMELANDS AND ART Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 HOMELANDS AND ART – ARTS BACKBONE 25 Homelands Keeping Art Country and Anindilyakwa Arts, Groote Eylandt Culture Strong - Mapping Project By Lotte Waters, Anindilyakwa Art Centre Manager

The Homelands and Art Mapping in 2018 by Roina Williams at the Anindilyakwa Arts continues to Project – Foundation Map was Darwin Aboriginal Art Fair and by diversify its arts program and produced in 2018. It is part of ANKA at regional meetings. increase engagement with community ANKA’s ongoing advocacy for and artists across Groote Eylandt. better understanding of the integral The idea for the map originated in Focusing on improved Indigenous relationship between art and 2009 after ANKA’s Art and Homelands employment for art workers and arts homelands in Northern Australia. panel discussion at the Garma Festival practitioners, the opening of new art where abandoned ghost nets of Traditional Culture. Then through spaces in Umbakumba and Angurugu are collected from the sea in the The map is the outcome of a small consultation at ANKA’s regional meetings encourage a program of revitalisation Anindiliyakwa Indigenous Protected commissioned project undertaken in in 2010 and other occasions since it of traditional practices for women Area (IPA) and then used for weaving 2018 by anthropologist Roina Williams, became clear that there was a very high such as weaving pandanas, gathering baskets and jewellery combined with who carried out desk-top research. level of interest by artists in sharing stories fibres for string and baskets and bush dyed fabric. Working alongside a mapping specialist of art production on homelands. carving and painting by men. they used Digital Global Positioning The gallery in Alyangula operates Satellite data to produce: the hard-copy Art Centres are vital and essential The program is fully supported by the daily as a commercial space with map (pp.22-23), accompanying list hubs for Northern Aboriginal art and Anindilyakwa Land Council within its curated exhibitions of works for locals of 729 homelands and communities culture, but it needs to be recognised Preserving Culture Department with its and tourists that visit Groote Eylandt. (front and back cover); and interactive that they are not always the sites new mission to protect, maintain and google map imagery which is not being of art production. Art Centres often promote Anindilyakwa culture. publicly shared. represent and facilitate artists working on homelands. A men’s Arts Development Officer Data for the map came from the commenced working at the new Northern Territory Government A key objective of the map has always Angurugu Men’s Art Space engaging Above Left: Tammy Lalara with ghost net and Department of Infrastructure, Planning been to show that the country between senior and younger men including the practice of being on country and The renowned Anindilyakwa bush bushed dyed fabric basket and Logistics and the Western the big Aboriginal settlements in artists from outstations at Thompsons revisiting traditional practices through dyed textile program and fashion Australian Government Department of Northern Australia is not empty, but is Bay and the Milyakburra community which young and older men learn from line continues to gain momentum. Above: Edith Mamarika collecting bush peach Photos above: Anindilyakwa Arts Planning, Lands and Heritage. ANKA full of art and culture. on Bickerton Island. There has been one another. In 2018 artists Annabel Amagula, requested the ‘GIS co-ordinates of a revitalisation of bark painting, Maicie Lalara and Arts Development outstations, homelands and blocks’ in ANKA members want people to see carving and the making of Yiraka At Umbakumba the new arts space Officer Aly de Groot travelled to p26 Top Left: Artist viewing ANKA Homeland and its regions, resulting in the current list of that the homelands are at the heart (didgeridoos). Activities involve the is based in an old mud brick Indonesia to participate in a residency Art display at Darwin Aborginal Art Fair 2018

Aboriginal communities which includes of contemporary Aboriginal art of harvesting of raw materials, promoting building of historical importance with Threads of Life. The three then p26 Top Middle: Roina Williams at the ANKA small homelands and outstations and northern Australia. overlooking the sea. Open five travelled to Jakarta where designs Homelands and Art booth at Darwin Aborginal some larger Aboriginal communities. days a week, the centre focuses on from Anindilyakwa Arts featured on the Art Fair 2018

reengaging women in the community catwalk at Jakarta Fashion week. p26 Top Right: Umbakumba Art Space The map is in Minimum Viable with traditional practises of bush p26 Bottom Left: Homelands mapping Product (MVP) stage, meaning string making, pandanus collection, In 2019 funding has been secured consultation Darwin/Katherine Regional that it is a starting point for preparation and weaving. through the University of Melbourne Meeting 2010 Mabunji Aboriginal Resource potential further consultation with Asialink grants for artists to travel back Centre Borroloola. Discussion of Lajamanu Art Centres, traditional owners Many of the new artworks from both to Jakarta for a second residency. homelands facilitiated by Chris Durkin (ANKA) and artists to develop it further. centres will be showcased for the first p26 Bottom Right: Umbakumba Art Space General consultations on the time at the Darwin Indigenous Art Fair Collaboration with rangers on the activities Foundation Map were undertaken in August. Ghost Net Program also continues All photos: ANKA

26 ARTS BACKBONE – ART CENTRE FEATURE Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 HOMELANDS AND ART – ARTS BACKBONE 27 The National 2019: Arts Worker Extension Program (AWEP) - Desert River Sea Portraits of the Kimberley New Australian Art Come on a Journey With Us

The National: New Australian Art is ANKA has launched a new campaign for the next stage of its highly successful a major six-year exhibition project Arts Worker Extension Program (AWEP) which will see the program deliver taking place in 2017, 2019 and another 50 graduates over the next five years. 2021, across three venues in Sydney - The Museum of Contemporary Art, Art Gallery of New South Wales and What is the Arts Worker Extension territory and federal), major Carriage Works. Program (AWEP)? philanthropic organisations and corporate entities. The National 2019 features artists ANKA’s Arts Worker Extension from all states and territories. Over one Desert River Sea: Portraits of the Program (AWEP) has established The Next Step For Us third of the 70 artists are Aboriginal or Kimberley at the Art Gallery of itself as the leading professional Torres Straight Islanders. Western Australia (9 February – 27 development and career pathways In 2017, as AWEP Stage One May 2019) celebrates the outstanding program for Aboriginal arts workers drew to a close, ANKA continued to Two major works are included from the inter-generational achievement of from remote communities across consult with its membership, program ANKA regions in Northern Australia. recent Kimberley art. Northern Australia. participants, partners and funders, A magnificent installation of paintings Aboriginal Arts) and Lynley Nargoodah to identify the ongoing needs for arts on perspex by Mangkaja Arts artists This landmark exhibition concludes a (Mangkaja Arts); ANKA Art Worker The program addresses key training worker professional development. Daisy Japulija, Sonia Kurarra, Mrs major six-year project, Desert River Sea: Extension Program Graduate Stanley and development needs in remote Rawlins and Mrs Uhl, Martuwarra Kimberley Art Then & Now. Supported Taylor and Maitland Ngerdu community Art Centres, strengthening Overwhelmingly, the message from all (2018) and Ishmael Marika (Buku by Rio Tinto, the multi-year initiative (Mowanjum Art and Culture Centre), Indigenous workforce’ participation stakeholders was that AWEP should Larrngay Mulka) and Curtis Taylor’s sought to bring the Art Gallery of April Nulgit and Marika Riley (Warmun across the Top End, and building continue, and that ANKA is best- joint multi-media installation, with Western Australia (Perth) and artists of Art Centre) and Garry Sibosado Indigenous arts leadership nationally. placed to continue to build on and painted Larrakitj, animation and video. The Kimberley closer together: linking ‘the (Independent, Lombadina). deliver the program. museum’ and living artists. By providing tailored professional The senior Mangkaja Arts artists The exhibition spans generations of living development and targeted training, are all residents of Guwardi Ngadu artists including many senior figures, and opening up career pathways aged residential care facility, Fitzroy notably Mr Ngarralja Tommy May for Aboriginal arts workers, the Crossing, WA. (Mangkaja Arts, former ANKA Chair). program strengthens the cultural and 1. Evangeline Cameron (Djilpin Arts, NT) and Tina Baum, Curator at the NGA (AWEP artistic vibrancy, and operation and 2013) Exhibition: 29 March – June 2019 Over the six-years the Desert River Sea governance of Indigenous arts and 2. Participants at Parliament House (AWEP 2016) Further: www.the-national.com.au/ project also documented a wide range cultural enterprises: 3. Dj Marika (Buku-Larrnggay Mulka, NT) and ANKA Chair Djambawa Marawili AM artists The exhibition presents: newly of cultural practices and developed an welcoming participants to the program (AWEP commissioned works from six Kimberley indepth web portal desertriversea.com.au • The ambitious first stage of AWEP, 2014) Art Centres and three independent artists; developed and delivered by 4. Conservator Sandra Yee with Edward Yunupingu (Munupi Arts, NT) and Marcus culturally significant pieces chosen from Art AGWA is commended for so effectively ANKA over six years (from 2011 Pascoe (Maningrida Art & Culture, NT) at Centre community collections and private opening the doors to living art from the to 2016), had outstanding results. MAGNT (AWEP 2013) loans; and historic Kimberley works from Kimberley and strengthening bonds with 50 Aboriginal arts workers from 5. Rhoda Hammer (Waralungku Arts, NT) and Rachael Morris (Karungkarni Arts, NT) during the Art Gallery of Western Australia. artistic and cultural heritage. 24 remote community Art Centres iPad training (AWEP 2014) 6. Chris Durkin (ANKA) with Janice Murray Top Left: Ngarralja Tommy May in Fitzroy participated in and graduated (Jilamara Arts, NT) site visit (AWEP 2011) Curators Carly Lane (AGWA Curator of Crossing with his Desert River Sea commissioned from the program. Aboriginal and Torres Strait Islander Art) work Untitled 2018. Synthetic polymer and paint pen on cow hide, 122.0 x 158.5 cm. and Emilia Galatis (Community Liaison State Art Collection, Art Gallery of Western • ANKA entered long term & Project Coordinator) invited local Australia. Courtesy Mangkaja Arts Resource partnerships with leading cultural Agency , Photo: Emilia Galatis. Indigenous knowledge holders to co- Top: Mervyn Street with his Desert River Sea and education institutions across curate with them. Experienced arts workers commissioned work Droving cattle in the summer Australia such as the National from Kimberley Art Centres selected time 2018 (installation view, AGWA 2019). Gallery of Australia and the Above: Hozaus Claire, Mangkaja Arts Shaved and etched cow hide. 195.5 x 217.5 introducing Martuwarra (2018) by Daisy ‘legacy works’ from their community cm. State Art Collection, Art Gallery of Western University of Melbourne. Japulija, Sonia Kurarra, Tjigila Nada Rawlins, collections for inclusion. Australia. Courtesy Mangkaja Arts Resource Ms Uhl at The Museum of Contemporary Art, Agency, Photo: Rebecca Mansell Sydney. Photo: ANKA Left: (L-R) Markia Riley (Warmun Art Centre), • Vital funding for AWEP Stage One These community curators included: Carly Lane and Emilia Galatis (AGWA), Dora came from substantial investment ANKA Directors Dora Griffiths (Waringarri Griffiths (Waringarri Arts). Photo: ANKA by successive governments (state,

28 ARTS BACKBONE – EXHIBITIONS Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 ANKA PROJECTS – ARTS BACKBONE 29 Arts Worker Extension Program (AWEP) - Arts Worker Extension Program (AWEP) - We Have a Plan On the Big Screen

We Have A Plan We Need Partners

In 2018, ANKA undertook planning The program will need partners to for the second stage of the Arts build on its success, so ANKA is Worker Extension Program (AWEP) currently campaigning for support to and produced the AWEP Stage Two deliver AWEP Stage Two. This means Strategic Plan (2019-2024) which finding individuals, corporations and sets out the ongoing development and organisations who can help ensure the delivery of professional development program continues to develop and the and career pathway activities. growing network of Indigenous arts workers and leaders across Northern Stage Two is made up of two Australia reach their full potential. programs: Together with its program partners, • The Foundation Program - a one ANKA is confident the programs year program of workshops, proven success will be recognised training, networking, field trips, and attract funding partners who share site visits and interstate internships a commitment to addressing vital for arts workers to learn new employment and leadership priorities skills, advance their careers and in the Indigenous arts industry. increase their participation in the wider arts industry With encouragement from stakeholders, a range of partnership opportunities have • The Pathways Program - an been made available for individuals, ongoing career development government and corporate entities to and support service connecting support the program in a variety of ways. graduates of the Foundation Program with ongoing professional For more information about ANKA, development opportunities, AWEP and partnership opportunities including higher education options email [email protected]

ANKA has very clear targets for the You can follow the program on second stage of AWEP. The program www.facebook.com/ankaartists and will: www.instagram.com/ankaaboriginalartists

• Run for another five years 1. AWEP participants with Franchesca Cubillo, (2020-2024) Senior Curator at the NGA (AWEP 2016) 2. Evangeline Cameron (Djilpin Arts, NT), • Produce another 50 arts workers Vivian Warlapinni (Tiwi Design, NT), Promotional Short Film Produced for ANKA by Multi Story Media, and shot on Barayuwa Mununggurr (Buku-Larrnggay (so there will be a total of 100 Mulka, NT), Marcus Pascoe (Milingimbi location at the University of Melbourne in late 2018, the AWEP Graduates by 2024); and Art & Culture, NT) and Edward Yunupingu To help spread the word about the next stage the Arts film also features ANKA Chair, Djambawa Marawili AM, (Munupi Arts, NT) at the Grimwade Centre for Cultural Materials Conservation, Worker Extension Program (AWEP), ANKA has produced an and staff from the University’s Grimwade Centre for Cultural • Open up even more pathways to University of Melbourne (AWEP 2013) inspiring short film showcasing the program graduates, their Materials Conservation. higher education and accredited 3. Vivian Warlapinni (Tiwi Design, NT) achievements and their ongoing aspirations. training for existing and future mentoring Jangu Nundhirribala (Numbulwar The full length version of the four minute film can be viewed Numburindi Artists, NT) during iPad training AWEP Graduates alongside (AWEP 2016) The film, titled ‘We Have A Plan’, features nine Aboriginal here: https://vimeo.com/323075405 other professional development 4. AWEP Graduate Conference cultural tourism arts workers from remote community Art Centres across opportunities field trip (AWEP Grad Program 2016) Northern Australia, who graduated from Stage One of 5. Dylan Miller (Karungkarni Arts, NT) with AWEP, sharing personal stories of how the program has mentor Marcus Pascoe (Maningrida Art & opened up career pathways and access to higher education. Film stills: From ‘We Have a Plan’, Multi Story Media / ANKA Culture, NT) (AWEP 2015)

30 ARTS BACKBONE – ANKA PROJECTS Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 ANKA PROJECTS – ARTS BACKBONE 31 Arts Worker Extension Program (AWEP) Arts Worker Extension Program (AWEP) Pathways Program - Opening Up Higher Education Pathways Foundation Program - The Next Chapter Begins

Nine Aboriginal arts workers from tailored, supportive environment and ANKA embarked on the next stage In June, participants completed two- remote community Art Centres across developed their leadership skills. Their of its Arts Worker Extension Program weeks of internships and professional the Top End completed a new communities will also benefit from the (AWEP) in May this year, the new development activities at major tailored higher education program at sharing of this advanced knowledge. Foundation Program, which replaces cultural and educational institutions in the University of Melbourne earlier the former ‘Undergraduate Program’. Canberra, Sydney and Melbourne. this year. The piloting of the Specialist Certificate in Cross Cultural Conservation and Heritage The AWEP Foundation Program is an Building on ANKA’s innovative The Specialist Certificate in Cross in late 2018 and early 2019 was made intensive professional development action research into use of Assistive Cultural Conservation and Heritage possible with funding and in-kind support program for Aboriginal arts Technologies for arts workers who do is part of Stage Two of ANKA’s Arts from the NT Department of Business, workers from Top End Art Centres not have English as a first language Worker Extension Program (AWEP). INPEX Ichthys Project, the University of to learn new skills, advance their (sponsored by INPEX in 2017) The product of a unique partnership Melbourne and Trinity College. professional careers and increase their the Foundation Program equips between ANKA, the Grimwade participation in the wider arts industry. participants with electronic tools to Centre for Cultural Materials extend reading and writing in English. Conservation and Trinity College, it is The program has been designed the first accredited university program to equip participants with the designed for Indigenous arts workers tools, knowledge, networks and from remote communities to be offered confidence to undertake higher in Australia. 1. Vivian Warlapinni (Tiwi Design, NT) and education, skills extension and Augustina Kennedy (Djilpin Arts, NT) with leadership roles in the future. Professor Robyn Sloggett (Grimwade Centre) The arts workers, who are graduates and Gabriel Nodea (Warmun Arts, WA) of the first stage of AWEP, travelled 2. Specialist Certificate participants arriving at As well as completing a two-week 1. 2019 AWEP participants during tour of from Arnhem Land, the Tiwi Islands, Trinity College, University of Melbourne interstate internship, arts workers Parliament House the Kimberley and the Darwin/ 3. Ruth Nalmakarra (Milingimbi Art & Culture, participate in group training, 2. Colin Puruntatameri (Jilamara Arts, NT) Katherine regions to participate in NT) and Dora Griffiths (Waringarri Arts, WA) individual support sessions, presenting to guests at the NGA a pilot of the course.They spent two 4. Specialist Certificate participants with ANKA professional development activities 3. Leon Dhamarrandji (Milingimbi Art & Culture, weeks living and studying on-campus Chair Djambawa Marawili AM at the Darwin Aboriginal Art Fair NT) with Milingimbi objects in the storage area of the Macleay museum at the university, where they worked 5. Lynley Nargoodah (Mangkaja Arts, WA), and leadership workshops at ANKA’s Rhoda Hammer (Waralungku Arts, NT) and on skills for the management and care Annual Conference. 4. Angelina Boona (Kira Kiro Arts, WA) at Ruth Nalmakarra (Milingimbi Art & Culture, AIATSIS of important cultural collections. NT) at University of Melbourne 6. Augustina Kennedy (Djilpin Arts, NT) and Throughout the program participants 5. Bitharr Maymuru (Buku-Larrnggay Mulka, NT) During the course the arts workers ANKA Chair Djambawa Marawili AM use digital technology to develop and Risha McDonald (Mimi Arts, NT) during professional development sessions in Darwin participated in advanced hands-on their professional communication conservation assessment and treatment skills, expand their networks, build workshops in the Grimwade Centre audiences, perform workplace tasks laboratories, and tutorials on the and advance their careers. development and management of community collections. Eight Aboriginal arts workers from ANKA member Art Centres (two each The arts workers also did some of from Arnhem Land, the Tiwi Islands, the teaching — including sharing the Darwin/Katherine region and their traditional knowledge about the Kimberley) were selected from a harvesting natural materials for use in competitive field of applicants. the production of artwork with staff and students at the University of Melbourne. In May, the arts workers attended a week of skills development The graduates of the specialist workshops, digital technology training certificate have gained a professional and industry engagement activities qualification, developed further in Darwin, followed by individual expertise in the field of conservation, support sessions conducted via video experienced higher education in a conference once they returned home.

32 ARTS BACKBONE – ANKA PROJECTS Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 ANKA PROJECTS – ARTS BACKBONE 33 Arts Worker Extension Program - ANKA Regional General Meetings 2018 Achievements and Aspirations

Four graduates from ANKA’s Arts Worker Extension Program (AWEP) share some thoughts on their achievements so far, and Regional General Meetings allow members and The Tiwi Regional General Meeting The Arnhem Regional General Meeting their aspirations for the future of AWEP. Art Centre staff from remote locations to meet 2018 was held at TITEB Training Centre, 2018 was held at Buku-Larrnggay Mulka, face-to-face, providing important opportunities Wurrumiyanga, on September 12. The Yirrkala, on October 9 – 10. The meeting for mutual exchange and learning. meeting was chaired by ANKA Directors, was led by ANKA Chairman Djambawa Meetings enable strong Aboriginal members’ Jedda Puruntatameri and Michelle Woody, Marawili AM and opened with a ceremony A GATE OPEN TO UNIVERSITY led discourse, expand members’ networks, with a welcome by outgoing director, Brian from the Art Centre. Participants from: and share knowledge and resources to Farmer, who was honoured for ten years Anindilyakwa Arts, Babbarra Designs, Buku- ‘The thing I wanted to achieve through AWEP, to try promote sustainability. They allow ANKA to board service. Participants from: Jilamara Larrnggay Mulka, Bula’bula Arts, Elcho Island and make a gate open for others, is to do university, consult directly with its membership. Arts, Munupi Arts and Tiwi Designs. Arts, Gapuwiyak Culture & Arts, Injalak Arts, Maningrida Arts & Culture, Mardbalk Arts & The Darwin/Katherine Regional General to get that little piece of paper. It makes me feel In 2018 meetings included discussion of: Culture and Milingimbi Art & Culture. regional priorities, the homelands and art Meeting 2018 was held at Ngukurr Art happy, proud, and makes me really good inside. mapping project, cultural legacy and cultural Centre on 18 -19 September. The meeting I’ve been feeling this for a long time now.’ tourism. Identified priorities included: youth was chaired by ANKA Director Jangu The Kimberley Regional General Meeting engagement and leadership, and continued Nundhirribala and welcomed by Walter 2018 was held at Warmun Art Centre on Vivian Warlapinni support for the ANKA board’s vision for a Kolbong Rogers Chairperson of Ngukurr Arts. October 24. The meeting was chaired by Darwin based headquarters and Aboriginal Participants from Karungkarni Art & Culture, ANKA directors Dora Griffiths and Gabriel Senior Arts Worker, Tiwi Designs Art and Culture Resource and Information Merrepen Arts, Ngukurr Arts, Warnayaka Nodea. Participants from: Kira Kiro Arts, Centre. Elections were held for the 2019 – Arts, Palngun Wurnangat Art Centre and Mowanjum Arts, Mangkaja Arts, Waringarri 2020 ANKA Board of Directors. Numbulwar Numburindi Arts. Aboriginal Arts, Warlayirti Artists and Warmun Art Centre.

SKILLED UP AND ACKNOWLEDGED

‘[AWEP] got me really skilled up and also acknowledged. I would love to get the younger generation to step in and do AWEP as well.’

Michelle Woody Senior Arts Worker, Jilamara Arts 2 3 1

PRESERVING STORY, LANGUAGE AND CULTURE 7 ‘ I love studying conservation, and the fact that you can renew something that’s old. It’s not just any old painting, that painting has a lot of story behind it. 4 5 6 Once you preserve that painting you are preserving its story, its language, the culture behind it.’ 11 Lynley Nargoodah Senior Arts Worker, Mangkaja Arts

9 10 8 KEEP ON LEARNING 15

‘I’ve still got a lot to learn and I’d like to keep on learning. AWEP keeps opening up new learning opportunities for us.’

Gabriel Nodea 12 13 14 16 Senior Arts Worker, Warmun Art Centre Arnhem Land: 2 & 4 Arnhem Land Meeting 6. Anindilyakwa Arts 8. Babbarra ladies at Yirrkala Beach 9. Tour of the Mulka Project resources 16. Bula’Bula Arts sharing Art Centre news. Darwin/Katherine: 3. Darwin/Katherine Meeting 11. Group work and discussions 13. Roger Walters during Photos: Stills from ‘We Have a Plan’ ANKA video, 2019 directors’ speeches. Kimberley: 5. Kimberley Meeting 7. Meeting in the Warmun Art Centre Gallery 14. Hozaus Claire, Mangkaja Arts, sharing ideas 15. April Nulgit, Warmun Art Centre and Angelina Boona, Kira Kiro Arts sharing ideas. Tiwi: 1. Brian Farmer honoured for ten years’ service as an ANKA Film stills: From ‘We Have a Plan’, Multi Story Media / ANKA Director 10. Members during meeting at TITEB 12. Michelle Woody delivering her election speech

34 ARTS BACKBONE – ANKA PROJECTS Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 ANKA CORE PROGRAM – ARTS BACKBONE 35 ANKA AGM and Annual Conference 2018 Warmun Art Centre, East Kimberley

The 2018 ANKA AGM and the Conference ‘Art, Land, Culture: The Foundations’ took place at Warmun Art Centre in the East Kimberley, in collaboration with the Kawalawalanj Warmun Art 20th Anniversary celebrations, from October 25 – 27. Day 1 commenced with the ANKA AGM, followed by the Annual Conference. Conference sessions had three themes - Learning From Each Other; Learning from the Land; and Learning from the Elders. It also included presentations from ORIC on changes to the 3 CATSI Act; an update from the Darwin Aboriginal Art Fair; and inter-regional weaving skills sharing. 1 Day 2 continued exploration of conference themes; 2 as well as New Directions in Indigenous Textiles; ochre exchanges; conservation demonstrations; and tours of the Art Centre and Warmun Community Collection led by Warmun Art Centre Chair, Gabriel Nodea (ANKA Deputy Chair) and senior arts workers. Warmun Art Centre elders and children presented a gala fashion parade. A celebratory dinner & the Kawalawalanj Warmun Art 20th Anniversary Joonba concluded the events. 1. Gabriel Nodea conducting Gija Dreaming tour 2. Kawalawalanj Warmun Art 20th Anniversary Joonba – Guirr Guirr ceremony. Artistic Director Rusty Peters, Manager Gabriel Nodea 5 3. AGM Smoking - ANKA Director John Tipungwuti 4 (Tiwi Design) & Barry Hayes (Jilamara Art) 4. Hannah Roe & Sid Michaels, ORIC 5. Smoking ceremony 6. Inter-regional weaving lead by Lily Roy (ANKA Special Advisor, Milingimbi Art & Culture) 7. Dora Griffiths (ANKA Director, Waringarri Arts) chairs ANKA Annual Conference 8. Mervyn Street and Hozaus Claire (Mangkaja Arts), ANKA AGM 9. Weaving workshop 6 7 8 9 10. Djilpin Arts’ Kate George & Anna Lewis (ANKA 10 Stand-in Director) 11. Conference lunch, Mirrilingke 12. ANKA members from Tiwi, Arnhem Land & Katherine/Darwin before Joonba 13. Tiwi members - Michelle Woody and Nina Puruntatameri 14. Raymond Bulambula (Arnhem Land) smoking ceremony 14 15. Matt Poll (Macleay Museum) smoking ceremony 13 15 16 16. Gabriel Nodea showing country in his artwork 11 12 17. Warmun Aged Care Facility 18. Breakfast gathering 19. ANKA Directors leading ANKA AGM 20. Sophie Lewincamp, Jangu Nundhirribala (Numburindi Artists) & Sadie Carrington (Warmun Art Centre) 21. Shirlie Purdie (Warmun Art Centre) 22. Bushie the bus driver 23. New directions in Indigenous fashion – lead by 17 18 Belinda Cook 19 20 21 22 23 24. Gija fashion parade. Model Patrick Mung Mung (Warmun Art Centre) 25. Learning from the Country - Shirlie Purdie & Frances Koford in conversation 26. Learning from the Elders - Matt Poll (Macleay Museum) & Ruth Nalmakara discuss museums & communities 27. Gordon Barney & Rusty Peters (Warmun Art Centre) 28. Warmun - Darwin bus trip 24 25 26 27 28 29 29. ANKA Directors meeting, Warmun Council Board Room

36 ARTS BACKBONE – ANKA CORE PROGRAM Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 ANKA CORE PROGRAM – ARTS BACKBONE 37 Jilamara Cultural Tourism Two Way ANKA Training and Development Support Program Arts Website Training Collection Care

TADS Projects July 2018 - June 2019

The following 21 projects were completed or commenced between July 2018 and June 2019, directly benefitting 20 Art Centres and 156 workers. • Babbarra Designs (Maningrida, NT): • Maningrida Arts and Culture Deborah Wurrkidj design on troop (Maningrida, NT): Freight packing and carrier (2018). Etching and print- artwork handling workshop making workshop with Jacqueline • Merrepen Arts (Daly River, NT): Gribbin (2019) Cultural exchange and professional Last July, Jilamara Arts developed and • Baniyala Homelands Studio development workshop with artists from launched a new Art Centre website. (Yilpara, NT): Yingapungapu sand Palngun Wurnangat Art Centre Port Their new website enables art workers sculpture commemorating the 10th Keats (Wadeye) and staff to trade online and share Arts workers from Milingimbi Art and anniversary of the Australian High • Milingimbi Arts (Milingimbi, NT): Tiwi culture with new audiences. Culture travelled to Darwin to work on Court’s Blue Mud Bay decision MECA collection conservation with the communities Milingimbi Education ANKA’s Training and Development • Buku-Larrnggay (Yirrkala, NT): Charles Darwin University (see During the project, artists and arts and Cultural Association (MECA) Support Program (TADS) is an Photoshop training for Art Centre staff page 37) workers were fully engaged in the Above: Warringarri arts workers cultural tourism Collection, which is currently stored ongoing, responsive program development process; co-writing web training with Pudakul Aboriginal Cultural Tours at the Museum and Art Gallery of the and arts workers • Mimi Arts (Katherine, NT): Photo: Waringari Arts designed to provide targeted support • Bula’Bula Arts (Ramingining, NT): Weaving workshops to further copy, artist profiles and language Northern Territory (MAGNT). and small amounts of funding to Strategic business planning development cultural tourism skills translations with facilitator Amy Trainee tour guides from Waringarri ANKA members and Art Centres. • Durrmu Arts (Peppimenarti, NT): • Mowanjum Arts (Derby, WA): Nicolas. Arts workers and Jilamara Aboriginal Arts were provided Arts workers Leon Dhamarrandji and It complements ANKA’s wider core Peppimenarti cultural tourism camp Cultural tourism exchange visit to staff were trained to sell artwork online with practical training in cultural Jacob Djalangi benefited from working training and support. reinvigoration and infrastructure Gumbanan Wilderness Retreat using Stories Art Money (SAM) and tourism. Guided by team leader, hands on with the collection - assessing, development and workshops manage the website. Ted Carlton, and a mentor from the cleaning and stabilising artworks with TADS contributes to one-off • Gapuwiyak Arts (Gapuwiyak NT): • Munupi Arts (Pirlangimpi, NT): Western Australian Indigenous Tourism training and guidance from the curator development projects for: artists and Blak Markets professional development National NAIDOC activities Operators Council (WAITOC) the of the Charles Darwin University Art arts workers, Art Centre marketing and workshop (2018). Barunga Festival and professional development at trainees participated in professional Collection and Art Gallery, Kellie Joswig, promotion, and strengthening business and Blak Markets professional Circular Quay Indigenous led tours of Darwin, and conservator, Carolyn McLennan. practices. The program’s ‘ground- development workshop (2019) • Ngukurr Arts (Ngukurr, NT): Litchfield and the Tiwi Islands. up’ approach recognises that all Art • Injalak Arts (Gunbalanya, NT): Community cultural keeping place After returning to Milingimbi, Leon Centres and regions have varying Development and printing of Injalak development with Lillian Tait This first-hand experience has immediately used his new skills to needs. Art Centres and members are Rock Art Tour promotional leaflets • Numbulwar Numburindi Artists improved tour guides understanding stabilise and repair an artwork that encouraged to contact the ANKA • Jilamara Arts (Milikapiti, NT): (Numbulwar, NT): Professional of best practice, and buillt their had been damaged in transit from a Resource and Development team Jilamara Arts website development Development Painting Workshop with confidence and skills. The Tiwi Islands homeland to the Art Centre. with projects or ideas they would like (see page 37) Mark Chapman tour included a visit to Tiwi Designs assistance with. • Larri Gallery (Yiyili, WA): Onsite • Waringarri Arts (Kununurra, WA): where textile artists in the group Arts worker Priscilla Gapirrawuy canvas stretching workshop Cultural tourism development with looked at the setup. This has inspired worked on photographing a selection Top: Elijah Yanggalwanga and Mathaniel the artists to continue to develop their of exhibition pieces from the MECA • Mangkaja Arts (Fitzroy Crossing, WAITOC, Pudakul Cultural Tours, Above: Amy Nicholas showing Michelle Pascoe practicing new strapping technique. Woody, Colleen Freddy and Michelle Bush how projects at Waringarri Aboriginal Arts. collection. This was an important Maningrida Arts and Culture freight packing WA): Jewellery extension program Litchfield Tours and Tiwi by Design (see to upload information and images onto the new and artwork handing workshop, 2019 technical training exercise aided by with Jess Jubb page 37) Jilamara website. Photo: Jackie Hocking. Photo: Maningrida Art and Culture a professional photographer and it Top: Nicholas Goldhurst filming Jilamara artists gave Priscilla experience in handling dancing on the beach at Karslake. Photo: collection items in a museum context. Jilamara Arts. Far left: Art Centre troopie Right: L-R Leon Dhamarrandji, Carolyn promoting Babbarra Design. MClennan Jacob Djalangi perform conservation The exchange allowed sharing of Deborah Wurrkidj design applied work on the MECA collection. Photo: Courtesy expertise including incorporation of with vinyl wrap sticker, 2018 of MAGNT/Merinda Campbell. Photo: Babbara Design Yolngu language and knowledge Top Right: Kellie Joswig and Priscilla Left: Deborah Wurrkidj painting Gapirrawuy handling an item from the MECA into the documentation in preparation on the etching plate with bitumen, collection. Photos: Courtesy of MAGNT/ for the Reinvigorating the MECA Merinda Campbell. Babbarra Design etching and Collection exhibition at CDU Gallery printmaking workshop, 2019 Photo: Babbara Design 28 March – 20 July 2019.

38 ARTS BACKBONE – ANKA CORE PROGRAM Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 ANKA CORE PROGRAM – ARTS BACKBONE 39 Art Centres in Fashion News By Belinda Cook, Mangkaja Arts

New Federal Minister for Art Centre Staff Departures and Arrivals Anindilyakwa Indigenous Australians ANKA welcomes incoming Art Centre North have Arts artists Annabel coordinators and managers: released their latest Amagula, Maicie • Lotte Waters, Anindiliyakwa Arts & Cultural Centre collaboration – Tiwi Lalara and staff • Sam Moody, Elcho Island Arts Strong Women’s member Aly de Groot • Hayley Birchley, Injalak Arts (Interim role) Fashion Collection. travelled to Jakarta • Hannah Raisin & Will Heathcote, Jilamara Arts They are featuring art and Crafts Rosie Lala at the Australian Indigenous Leadership to showcase their • Erika Wells, Laarri Gallery Centre governance training, Katherine 2009. works from over twelve designs, including • Natalie McCarthy, Mangkaja Arts (Studio and also Kururrungku at Billiluna, each c.150 senior Tiwi artists who ghost net baskets and Coordinator) km from Halls Creek. The Art Centre buildings engaged with the bush dyed textiles, at • Eunice Yu, Nagula Jarndu Designs • Brooke Ainscow, Numburindi Artists & Durrmu are being refurbished and Yarliyil will set up label to share culture Jakarta Fashion Week Arts (Program Manager) equipment, train staff, supply art materials and through hand-screen runway, 2018. They • Isabelle Walsh, Palngun Wurnangat visit regulary. printed fashion. were supported by the • Katrina Langdon, Waralungku Arts • Dominic Kavanagh, Warmun Art Centre Darwin Aboriginal Art Parliament House Canberra - Portrait of Minister ANKA recognises the extraordinary grit, (Gallery Coordinator) Tiwi Strong Women’s Fashion Collection. Wyatt AM visited by art workers Hozaus Clarie Anindilyakwa at Jakarta Fashion week. Fair Foundation. spirit and achievements of Yaruman Arts artist Photo: North and Leon Dhamarrandji. Photo: Anindilyakwa Arts ANKA acknowledges the hard work and and ANKA board member (2009 - 2010), ANKA acknowledges the historic appointment dedication of Art Centre managers and Rosie Lala (1940’s – 2017) - a guiding light of Kenneth George Wyatt AM as the first coordinators who departed from July 2018: for Yaruman Arts. Waringarri artists Indigenous Minister for Indigenous Australians • Lotte Waters, Elcho Island Arts, Galiwinku ANKA Office - Come and Vist are extending their in the Federal Government (May 2019). Ken • Felicity Wright, Injalak Arts, Gunbalanya The temporary ANKA office is at 8 McMinn Dawang textiles Wyatt was also the first Indigenous Australian • Jackie Hocking, Jilamara Arts and Crafts, Milikapiti Street, Darwin. Members and Art Centre staff project to develop Ngali presented their elected to the House of Representatives (2010); • Melissa Taylor, Nagula Jarndu Designs, Broome • Casey Petherick, Palngun Wurnangat, Wadeye are very warmly invited to drop in to use the a fashion range, Autumn/Winter collection, the first to serve as a government minister Resource Room. Books, videos, a cup-of-tea, facilitated by Grace a collaboration featuring (2015); and the first appointed to cabinet. Numbulwar Numburindi Artists comfortable couch and computer are waiting Lillian Lee and stunning artworks by After a long wait, the community of Numbulwar ORIC in Darwin (9.00 am – 5.00 pm Monday to Friday). Art the First Nations Gija artist Lindsay Malay has opened the doors to their new Art Centre. The Office of the Registrar of Indigenous Centres can also: book a small meeting room Fashion and Design of Warmun Arts at the Jangu Nundhirribala, Art Centre Committee Corporations (ORIC) has moved ten or time to consult ANKA staff for support. Program. The Abbottsford Convent member, ANKA Director and artist comments: Canberra-based positions to Darwin Please ring the Resource & Development team project is funded Melbourne in April 2019. ‘It’s a great help for all the ladies and the as part of the Australian Government’s or Belinda: [email protected] by the WA Dept of decentralisation agenda. mans as well, along with the young ones. Local Government They are all working together at this new Art ANKA Staff ‘Fake Art’ Inquiry CEO: Christina Davidson [email protected] Waringarri design workshops. Sport and Cultural Centre. Everybody is so happy, it’s a long Ngali Fashion Show. The Australian Government House of Photo: Waringarri Arts Industries. Photo: Ngali time we have been waiting.’ Operations Manager: Belinda Foster Representatives report on the impact of [email protected] The Art Centre has a booth at the Darwin inauthentic art & craft in the style of First Resource and Development Officer: Art Fair and the official opening is at the Nations people was published in December Madeleine Challender [email protected] Numbulwar Festival in September. Ngukurr Arts Roper 2018. The inquiry received 162 submissions, Resource and Development Officer: Fashion led by Karen 32 exhibits and ran 26 public hearings (not John Saunders [email protected] Shaniqua Shaw started Rogers presented all in capital cities). Resource and Development Officer: a modelling movement in their designs at ANKA welcomes recommendations for Talitha Klevjer [email protected] Fitzroy Crossing after her Ngukurr Festival development of stand-alone legislation (currently on maternity leave) first modelling experience 2018. Models were to protect Indigenous Cultural Intellectual AWEP Development Officer: Dion Teasdale at DAAF in 2018. She Evangelina Gumbula, Property and traditional knowledge; and Yaruman Art and Cultural Centre, Ringers [email protected] (part-time) has gone on to join Jira Brunai Gumbula, Soak, Kimberley further support for The Indigenous Art Code. ORIC Governance Training and Support Models, working with Shanine Lena Rogers Yaruman Arts, in the small WA community Stand-alone legislation will take a long time Thanks to ORIC representatives Hannah Roe many labels including and Shamika Rogers. of Ringer Soak (Kundat Djaru) is entering an to implement. The Indigenous Art Code, Arts and Sid Michaels are thanked for supporting the North, DWC, and Lois. Designs by Karen agreement with Yarliyil Art Centre, Halls Creek, Law and Copyright Agency are calling for 2018 ANKA Yaruman at Warmun Community Shaniqua Shaw modelling Lilly Rogers, Alan Joshua Australian Consumer Law to be amended in to act as an umbrella support organisation. Spinks hand-painted Rock Dress from in the East Kimberley. ANKA is also delighted and Gwenneth Blitner. Founded in 2004, Yaruman Arts has recently the 2018 Design Within Country the interim to offer better protections to artists to have supported a range of members and Art collection. Photo: Victoria Zchommler Models at the Ngukurr Festival. Photo: and consumers. been inactive. Under an agreement with Job Ngukurr Arts. Centres to undertake governance training with Pathways, Yarliyil will service Yaruman Arts ORIC in Katherine in May 2019.

40 ARTS BACKBONE – ART CENTRE NEWS Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 ANKA NEWS – ARTS BACKBONE 41 Vale PT The ANKA Board of Directors 2019 -2020 By Warmun Art Centre Celebrating Indigenous Governance

John Martin Tipungwuti Jedda Puruntatameri Michelle Woody Lily Roy Wukun Wanambi Djambawa Marawili AM SECRETARY CHAIRMAN Art Centre: Tiwi Design, Art Centre: Munupi Arts & Art Centre: Jilamara Arts Art Centre: Milingimbi Art Art Centre: Buku- Art Centres: Buku- Wurrimiyanga Crafts, Pirlangimpi & Crafts, Milikapiti & Culture, Milingimbi Larrnggay Mulka, Yirrkala Larrnggay Mulka, Yirrkala. Country: Malawu Country: Yapalika Country: Pupatuwu Country: Walamungu Country: Ranku Baniyala Studio, Blue Mud Bay Languages spoken: Languages spoken: Languages spoken: Tiwi, Languages spoken: Burarr, Languages spoken: Tiwi, English Tiwi, Kirol, Yolgnu Matha, English Yanagu, Djambarrpuyngu, Yolngu Matha, English Country: Yilpara (Baniyala) Homeland ANKA Board: English ANKA Board: English ANKA Board: 2019-Present ANKA Board: 2017-Present ANKA Board: 2012-Present Languages spoken: 2013-Present 2010-Present Yolngu Matha, Dhuwaya, Dhuwala, Djambarrpuyngu, Kriol,

Maningrida Gumatj, Anindilyakwa, 23 Arts & Culture 2 Babbarra Designs Nunggubuyu English Munupi Arts & Crafts 33 Mardbalk Arts & Crafts 15 Milingimbi Jilamara Arts and Craft Amarak 25 Art and Elcho Island Arts Culture 11 Iwaidaja ANKA Board: Wurrimiyanga Maung 29 39 Tiwi Design Aboriginal Corporation Gunbalang Nakara Injalak Arts Gunibdji 4 Bima Wear Burarra 5 Director 1998-Present 14 Gungurugoni 6 Bula’bula Arts Buku-Larrnggay Amarak 12 Mulka Coomalie 8 27 Gunwinggu Gapuwiyak 13 Gunga Pandanus Weavers Cultural 7 Gapuwiyak Culture and Arts Chairman 2000-Present Marrawuddi Gallery Yolngu Aboriginal Corporation Centre Bulgul Art Group 20 Larrakia Nation Arts Kundjeu’mi Dangbon Rembarnga Ngalkbun

Numburindi Artists Anindilyakwa Art Wudicapildiyerr 28 Association & Culture Centre Outstation Merrepen Arts Ngandi 37 1 Aboriginal Numbulwar Warnindilyakwa Wudicapildiyerr Women's Centre 45 Corporation Ngalakan Nunggubuyu Mimi Arts 30 24 Manyallaluk Art and Craft Centre Kalumburu and Crafts 38 10 Durrmu Arts 17 Kira Kiro - Kalumburu Palngun 9 Arts Project Wurnangat Djilpin Arts Aboriginal 36 Corporation Ngukurr Arts Minyerri 31 Minyerri Art and Cultural Centre

Waringarri Aboriginal Arts 35 Ngaliwurru-Wuli Association 41 Ngarrij gala benennha menkawiya up’ health. Nevertheless, she loved a special focus purchase of five Yirrabii Arts and Crafts 48 Waralungku Arts 40 jimerrawoon ganggayi walking the land with her grandmother paintings by the Western Australian

43 Warmun Art Centre Kulumindini Arts 18 Kalkarindji E 16 Mowanjum I N Karungkarni Art and Culture Centre 32 T and the old women; hunting, collecting Art Gallery in 2000. Her painting Mowanjum Arts U N 21 B Looma Arts Marnin Studio Yarliyil 46 44 Lajamanu 26 Art Centre 34 Warnayaka Art and Cultural May you rest well forever ganggayi. * 22 Aboriginal Corporation dingo scalps and looking for gold. She The Escape was highly commended in Mangkaja Arts Resource Nagula Jarndu Designs Agency Aboriginal Laarri Gallery 19 47 Corporation Yaruman Art & Culture Centre

was a very warm and genuine person, the 17th Aboriginal and Torres Strait Bidyadanga 3 Art Centre Ms P. Thomas (Nagarra), whose bush who cared for all people and beings, Islander Art Awards in 2000. Warlayirti Artists 42 name was Booljoongali, meaning and maintained a healthy sense of ‘big rain coming down with lots humour throughout her life. She was also a singer and dancer of wind,’ was a remarkable Gija with the Neminuwarlin Performance artist and woman. Her commitment She married Joe Thomas from Rugun Group performing in Fire, Fire Burning to preservation, teaching and (Crocodile Hole) and lived there for Bright in international arts festivals in maintenance of traditional knowledge many years, joining the Jirrawun Arts Perth and Melbourne in 2002. She and culture was unwavering. movement,and later becoming Vice sang the haunting Warnalirri with Chairperson. Her paintings, depicting Peggy Patrick on the the group’s 2002 Dora Griffiths Gabriel Nodea Lynley Nargoodah Jangu Nundhirribala Kieren Karritpul Walter Rogers Born in Riya on the Turner River, south- dreaming places and bush tucker from CD. P.T later became a prominent DEPUTY CHAIR TREASURER Art Centre: Waringarri Art Centre: Warmun Art Art Centre: Mangkaja Arts, Art Centre: Numburindi Art Centre: Merrepen Arts, Art Centre: east of Purnululu, P.T maintained a Crocodile Hole and country around Joonba singer with the Gija performers Aboriginal Arts, Kununurra Centre, Turkey Creek, Fitzroy Crossing Artists, Numbulwar Daly River Ngukurr Arts, Ngukurr Warmun Community strong connection to country and often the middle Ord and Turner River areas of Warmun, and her last performances Country: Narinyman and Country: Country: Yilila, Wurindi Country: Nauiya Country: Wiyargiba Miriwoong Country: Gija Outstation Fitzroy Crossing Languages spoken: Languages spoken: visited its dreaming places within her where she was born, achieved almost included the Kimberley Aboriginal Law Languages spoken: Languages spoken: Nunggubuyu, Ngangi Kurungurr, Ngengi Languages spoken: Narinyman, Miriwoong, Gija, Walmajarri, Kimberley Languages spoken: Anindilyakwa, English Wumirri, English Kriol, Nunggubuyu, English art practice. She had her childhood, immediate success. In 1999 her and Culture Centre (KALACC) Festival Kimberley Kriol, English English Kriol, English ANKA Board: ANKA Board: ANKA Board: and then worked as an indentured stunning work Boornbem Goorlem, in Lombadina and the ANKA AGM in ANKA Board: ANKA Board: ANKA Board: 2015-Present 2019-Present 2019-Present labourer, on Turner station. In her own Hot Water Spring II in her signature Darwin in 2017. 2013-Present 2010-Present 2019-Present words, she never went to school but black and pink/red ochre was hung when she grew up, she learned how in the National Aboriginal and Torres Warmun Art Centre thanks Frances Stand-in Directors Special Advisors to the Board to work straight away. Getting up Strait Islander Art Awards (NATSIA). Koford for her knowledge and input. early before sunrise, collecting water When Jirrawun Arts folded, she joined from the well, milking nanny goats and the Warmun Art Movement (circa Above: P.T in 2017 at Tarnanthi, Art Gallery of cows, making roads without the help of 2010), and became a cultural leader South Australia in front of her artwork Gemerre, 2008, natural ochre and pigments on board machines, cleaning up the house often and director there. Photo: Warmun Art Centre on her knees and never having any breaks, remained raw memories of her P.T’s work has been acquired for *Frances Koford, Letter read at Anna Lewis Johnny Warrkatja Malibirr Maxine Charlie Michelle Bush Ngarralja Tommy May Ruth Nalmakarra youth, which added to her ‘buggered a number of collections, including P.T’s funeral. Djilpin Arts, Beswick Gapuwiyak Culture & Arts, Gapuwiyak Nagula Jarndu Designs, Broome Jilamara Arts & Crafts, Milikapiti Mangkaja Arts, Fitzroy Crossing Milingimbi Art & Culture, Milingimbi

42 ARTS BACKBONE – OBITUARY Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 Vol. 18: Issue 2 & Vol. 19: Issue 1, August 2019 ANKA BOARD – ARTS BACKBONE 43 10 Mile Bindurrk Darrangmurmanja Garawa 2 Iluwurru Kulaluk 4 Mile Camp Binjari Deleye Garrinjinny Imangara Kultchill Acacia Larrakia Birany Birany Dhalinybuy Garriyak Imintji Kulumpurlpa Adbanae Biridu Dhambala Garrthalala Imperrenth Kumbrarumba Adjamarragu Birndirri Dhamiyaka Gatji Injilatparri Kumunu Akwalirrumanja Bishops Bore Dhaniya Gawa Irgul Point Kumurrulu Alamirra Black Rock Landing Dharawa Geboowama Iron Stone Kunayungku Alharrgan Blue Bush Dharrni Gikal Jabir Jabir Kundat Djaru Ali Curung Bobieding Dhayirri Gilaroong Jalyirr Kungarrewarl Alligator Hole Bobs Yard Dhipirrinjura Gilirri Jangirulu Kupartiya Alyingberrma Bodia Dholtji Gilly Sharpe Janterriji Kupungarri Amanbidji Bolkdjam Dhudupu Gilungarra Jarlmadangah Burru Kurinelli Amanburnunga Boomerang Lagoon Dhulmulmiya Gilwi Jarlmadanka Kurinyjarn Amangal Indigenous Borogomarra Dhupuwamirri Gimbat Jarra Jarra Kurlku Village Brubrunganjal Dhuruputjpi Girriyoowa Jarramagorndarra Kurnangki Amatjatpalk Brumby Plains Dillinya Gitan Jemelke Kurntapurra Amirraba Bubble Bubble Dillon Springs Gnardumunn Ji-Balbal Kurraya Andanangki Bucket Springs Dingo Springs Gnylmarung Ji-Bena Kurrurldul Angurugu Budgarjook Ditchi Gochan Jiny Jirra Ji-Malawa Kuwuma Angwura Budjanga Djaradjung Gonguruwuy Ji-Marda Kuy Ankabadbirri Budulah Djarindjin Goobiny Jilariya Kwombom Annerre Buffalo Farm Djarrakpi Goodarl Jilkminggan Kybrook Farm Ararlagu Bujan Djarrung Goojarr Goonyool Jimbalakudunj La Djardarr Bay Araru Point Bukudal Djibbinj Goolarabooloo Jimbilum Lajamanu Ardyaloon Bularring Djilimbardi Goolarrgon Jimilaya Lake Katherine Armorran Bulgin Djimung Nguda Goolgaradah Jingaloo Lamboo Station Arrawajin Bulgul Djinkarr Goolminyini Jinyaadi Langarra Arrgamurrmur Bulla Djirrbiyak Goombading Jiwaranpa Larinyuwar Awumbunyji Bulman Djoodood Goonjarlan Jodetluk Larrpayanji Babungi Buluhkaduru Djugaragyn Goose Hill Jomet (Urpalarwn) Leichardt Badawarrka Bundatharri Djugerari Gorpulyul Jowar Lija Mukumparla Baghetti Bungardi Djulburr Gorrong-Gorrong Joy Springs Likkaparta Bagot Bunhanura Djurranalpi Gubili Julgnunn Liku Balginjirr Buni-Inwunbuluk Dodnun Guda Guda Junjuwa Linga Balgo Buningbarr Donydji Gudargie Junkaji Lingara Balma Buniol Doojum Gudjekbin Juwurlinji Lombadina Bamboo Springs Burawa Doolgarina Gudrum Kabulwarnamyo Looma Banatjarl Burrguk Double D Gudumul Kadjina Loongabid Baniyala Burrinunga Duck Ponds Gul Gul Kakodbabuldi Loumard Banthula Burrum Elliott North Camp Gulardi Kalinjarri Lul-tju Bardalumba Burta Wurta Elliott South Camp Gulberang Kalkarindji Luluigui Barnamarrakkakanora Burudu Embalgun Gulgagulganeng Kalpitapta Lumuku Barrak Barrak Butchilbidi Emu Point Gullaweed Kalumbulani Lundja Barrapunta Buymarr Fitzroy Station Gulmarri Kalumburu Maddarr Barraratjpi Bygnunn Fletcher Family Gulngarring Kalumpurlpa Majaddin Barridjowkeng Cannon Hill Flicks Hole Gulumonon Kalungkurriji Malaburra Barrkira Canteen Creek Fly Well Gulunguru Kalyadayan Malangan Barunga Carnot Springs Flying Foxhole Gumarrirnbang Kandiwal Malgawa Bauhinia Downs Carranya Fossil Head Gumbarnun Kangaroo Island Malkala Baulu Wah Carson River Four Mile Gumeragi Kapalga Mallarrami Bawaka Cattle Creek Frazier Downs Gumuruguru Kargaru Mallingbar Bawoorrooga Cattle Creek Frog Hollow Gunbalanya Karmulinunga Malnjangarnak Bayagida Chile Creek Galamanda Gunburr Karnparri Mamadawerre Baygurrtji Chilla Well Galaru Gunyangara Kartang Rija Mamadi Bayulu Cockatoo Galawarra Gupanga Kawarre Manaburdurma Beagle Bay Conder Point Galawdjapin Gurkawuy Kayirriwarney Manangoora Bell Springs Connells Lagoon Galeru Gorge Gurrbalgun Kearney Range Mandangala Bells Point Corella Creek Galiwinku Gurrgurr Kelerrk Mandedjkadjang Belyuen Costello Galupa Gurrumuru Kewulyi Mandilbarreng Berraja Cow Lagoon Gamardi Gutjangan Kiana Mangardubu Beswick Crabhole Gamargawan Hatches Creek Killi Killi Maningrida Bidan Crocodile Hole Gan Gan Hawk Dreaming Knuckey Lagoon Mankorlod Bidijul Daguragu Ganinyi Hingstons Place Indigenous Village Manmoyi Bidyadanga Daliwuy Bay Ganiyarrang Hodgson River Station Kolorbidahdah Manyallaluk Bilgungurr Damdam Ganpura Honeymoon Beach Koongie Park Mapuru Billard Darlngunaya Gapuwiyak Humpty Doo Koorabye Mara Billiluna Darlu Darlu Garanydjirr Hunters Camp Kubuyirr Mardiwah Loop Bindoola Darrandarra Garawa 1 Ijarra Kudantiga Maria Lagoon