Arts BACKBONE Volume 15: Issue 1, August 2015 Harvesting Traditional Knowledge Ngukurr Arts: A Place of Many Stones By Jude Emmett, Manager Ngukurr Arts

Darwin Office GPO BOX 2152, DARWIN The Association of Northern Kimberley and Arnhem Aboriginal Artists fashion parade recently as part of the , AUSTRALIA 0801 (ANKAAA) Aboriginal Corporation is the peak body for Aboriginal artists Ngukurr Festival. Frog Hollow Centre for the Arts and Art Centres in the Top End of Northern Australia. 56 McMinn Street, Darwin One senior painter, Alan Joshua Jnr, draws Ph +61 (0) 8 8981 6134 Fax +61 (0) 8 8981 6048 We want to make sure future generations of products and a deeper level of engagement on inspiration from elder artists’ use of Email [email protected] benefit from our strong ancestral for artists and arts workers from northern bold colour and form but also Australian www.ankaaa.org.au knowledge of country Australia in determining how Indigenous and European Modernism. This August, www.aboriginalart.org Djambawa Marawili AM, cultural materials are cared for, understood and Alan’s work features as part of Tropicália www.facebook.com.au/ANKAAA. aboriginal.artists ANKAAA Chairman represented in museums and galleries across Capricornia at Tactile Arts, Darwin. The Association of Northern Kimberley and Arnhem Australia and internationally. Ngukurr Arts sits a stone’s throw from the Aboriginal Artists, Aboriginal Corporation (ANKAAA) is the peak body for Aboriginal artists and 48 In August 2015 at the Darwin Aboriginal Art Fair banks of the Roper River in Ngukurr, South Wally Wilfred recently worked with Aboriginal owned community Art Centres in: the ANKAAA is screening a documentary made by HTK is part of ANKAAA’s wider multi year East Arnhem Land. The Art Centre, like visiting artist Mark Swartz and a team Kimberley, Arnhem Land, Tiwi Islands and Katherine /Darwin regions of Northern Australia. ANKAAA is the Mulka Project, Yirrkala, about the Harvesting Digital Archiving and Keeping Place Support the town of Ngukurr, is unique – bringing of young Ngukurr boys to create a a fully Indigenous governed not-for-profit Aboriginal Traditional Knowledge (HTK) project. Among Program. This program supports Art Centre together people of many different clans bullocky sculpture that won second Corporation. Founded in 1987, ANKAAA is Australia’s first peak body for Indigenous art. other things this project celebrates the traditional initiatives to record and care for traditional and language groups including Alawa, place in the Katherine Regional Arts This publication may contain the names of knowledge base that informs contemporary cultural knowledge – both art objects in Mara, Ngalakan, , Nunggubuyu, Junk Sculpture Prize. Karen, Alan and Aboriginal people who have passed away. Aboriginal art production in northern Australia. community collections and digital recordings Rittarrngu and Wandarang. Wally form part of a strong group All text and images are copyright of the artist, held in Art Centre archives. These archives and of senior artists, which also includes and the new – teaching and reminding Art Centres or ANKAAA (as indicated) unless Taking place from 2013-2014, Harvesting keeping places are cherished by communities From the early 1900s, the Roper River Faith Thompson and Walter Rogers. young ones the traditional ways as well otherwise stated. Traditional Knowledge was a pioneering and increasingly function as powerhouses for peoples fled to the mission in Ngukurr, There’s an emerging group too – Luke as finding new markets for Ngukurr ANKAAA Arts Backbone is © ANKAAA. The views and opinions expressed in this publication are those series of on-country workshops organised by new art production, supporting intergenerational escaping the violence of pastoralists Djalgrrarra, Jill Daniels and Gweneth artists’ work. In this ‘place of many of the authors and do not necessarily reflect those ANKAAA and key partners Buku Larrnggay exchange and innovative new media moving up from the south. This meant that Blitner to name a few. stones’, people and relationships will of ANKAAA. Mulka (Yirrkala) and the University of production, as well as contemporary work in people of different clans and languages always come first. How that translates to Editor: Christina Davidson Melbourne’s Grimwade Centre for Cultural traditional mediums. were suddenly living in the same There is much happening here right now. new work will be exciting to see. Issue Coordination: Jess Booth Materials Conservation. community and often under the same roof. There’s a new manager, a new troopy, an Top left: Alan Joshua’s work Spirit of Country will Design: John Saunders and Jeni Jossaume For a preview of the Harvesting Traditional old storage shed converted to increase Cover Image: Kangaroo tail sinew for spear- be featured in Tropicália Capricornia, Tactile Arts, Knowledge documentary, visit Darwin (7-23 August 2015). Photo: Ngukurr Arts making, Mowanjum Aboriginal Art and Cultural HTK was designed to bring together This history is reflected in the subject studio space and more trips to country. Centre, Derby, WA. From ANKAAA Harvesting Indigenous traditional knowledge masters www.htk.ankaaa.org.au. If you would like to host matter and diversity of styles here at Top right: Senior Man Walter Rogers leads a trip to country. Photo: Leighton Stephens Traditional Knowledge workshop, September / artists and conservation scientists from a screening or purchase your own copy of the Ngukurr Arts. There has never been It’s a time of growth for Ngukurr Arts. 2013. Photo: ANKAAA Bottom: Wally Wilfred, Olden Days 2015, Australian cultural institutions, to share different DVD contact [email protected] one distinct school or style here; what is Growth for us means balancing the old acrylic on canvas. Photo: Ngukurr Arts ANKAAA is proudly supported by: approaches to caring for material culture. typical of the work is boldness and the legacy of artists who have gone before The project connected over 120 artists and – Ginger Riley, Gertie Huddlestone, arts workers from remote community Art Sambo Barra Barra, Willie Gudupi, Centres in the Kimberley, Arnhem Land, the Moima Willie and Maureen Thomson – Tiwi Islands and Darwin/Katherine regions who were renowned for their adventurous (an area spanning over one million square styles and bold colours in interpreting kilometres and 40 language groups) and traditional stories and landscapes. 24 professionals from 14 of Australia’s most important museums and galleries. Exploring new styles and techniques and then recontextualising them to HTK has created a strong network of people become something wholly unique is with shared knowledge about the meaning another defining quality of the work and science of cultural objects – how they are being created here. Karen Rogers, one made, why they’re important to artists and of the premier print makers here, uses their communities, how to make them to a high stenciling, silk screening and hand dying quality standard and how best to care for them. of fabric with traditional plants such Ishmael Marika, part of the Mulka Project’s Indigenous film crew, capturing bark harvesting at the Harvesting as djupi [blackberries] and garlunga ANKAAA hopes the project and ongoing Traditional Knowledge Buku Larrnggay Mulka [eucalyptus] to create her signature workshop for the project documentary (May 2013). collaborations will contribute to increased quality Photo: ANKAAA designs. We celebrated her debut

2 ARTS BACKBONE – ANKAAA Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 ART CENTRE FEATURE – ARTS BACKBONE 3 Kitty Napananka Simon and the Mina Mina Dreaming Indigenous Australia – Enduring Civilisations By Steve Wanta Jampijinpa Patrick By Peter Yu, Council Member and Chairman of Indigenous Reference Group, National Museum of Australia

Author Steve Wanta Jampijinpa Patrick, yupunju. Yupunju marks the beginning instructions from the Queen’s third great – it was impeccably and sustainably a Warlpiri elder from Lajamanu, is of the initiation ceremony (emu sleeping Grandfather, King George III: ‘Take nurtured by the Indigenous owners for Kurdungurlu (worker/checker) for the season, the wet) ‘ngapangka’ leading possession of the Great Southern Lands tens of thousands of years. Mina Mina area which gives him into the main ceremony the Kurdiji (Law). with the consent of the natives’. authority to write about the Mina Mina It is sung all night, until dawn, by men, Given this context, it is understandable Dreaming. He has also acquired and danced until dawn by women. In the exhibition Indigenous Australia that the exhibition has provoked a necessary approvals from the Kirda - Enduring Civilisations, on display at wide-ranging debate. There are many (custodian) and other Kurdungurlu. In the Jukurrpa (called the dreamtime by the British Museum from 23 April – 2 Indigenous people and supporters Kardiya/Europeans), the women then August 2015, there was a shield who demand that the collection of travelled eastward into the homelands of that once belonged to a Gweagal indigenous property held by the British the Anmatyerre (a neighbouring tribe to traditional owner who held it at the Museum should be repatriated to the the east) by being the sky and the earth, time of the very first encounter between descendants of those who night and day. Women created or gave Indigenous people and Cook’s once owned it. I deeply birth to almost everything – bringing Indigenous Australia: Enduring party. The shield has a hole respect that view, and them all into existence. Civilisations is currently on display at its centre, and when I support the right of people at the British Museum (until 2 August) first saw it last year to make that argument. From rain clouds, waterholes and as part of the Encounters project, a I wondered But to move forward Kitty Napananka Simon was born in waterways to plant life, birds and multi-year collaboration between the whether this on these issues, and to 1948 in Yuendumu and arrived in animals, everything was danced and British Museum, the Australian National was advance the interests of Lajamanu at 10 years of age. sung into existence. Then everything was University, the National Museum of Australia’s Indigenous peoples, left to be dug up so one could feed on Australia and a range of Australian we must move beyond the rhetoric Mina Mina, a salt lake and sacred site the knowledge about everything within Indigenous communities. The project of demanding repatriation as matter for Warlpiri women, is situated in the the Warlpiri homelands. aims to present a history of Indigenous of addressing historic injustice and Tanami Desert, 300-400 kilometres west Australia through objects, and to develop a consensus incorporating of Yuendumu. Kitty Napananka Simon Through the very act of painting, Simon celebrate the cultural strength and our museums, Indigenous communities is a senior custodian and keeper of enacts her knowledge of Country and resilience of Indigenous peoples. In this evidence and governments. This should not be women’s Law for this remote and isolated these creation stories, which brought article Peter Yu provides his perspective of the exchange of confused with the unequivocal and Top left: Kitty Napananka Simon. Photo: Louise Erglis desert landscape, and Mina Mina is the Mina Mina into existence. on the implications of such an spears and gunfire that marked that first necessary return of human remains to Above: Kitty Napananka Simon, Mina Mina subject of many of her paintings. Dreaming, acrylic on linen, 120 x 60cm. Photo: exhibition for broader discussions about encounter on the shores of Botany Bay. their rightful resting place back home in Kitty Napananka Simon has a solo Warnayaka Arts repatriation and reconciliation. their country. Repatriation is sensitive, Mina Mina’s main dreaming story is the exhibition, Only Women Dance ‘til Below: Kitty Napananka Simon, Mina Mina The process of engagement got off to complex and problematic. After a Dreaming, acrylic on linen, 120 x 60cm. Photo: karrpanu, the digging stick, famously Dawn, 24 July - 16 August, Pollon Art, Warnayaka Arts Peter is a Yawuru Man from Broome a bad start and never recovered. Over recorded in the Kanakurlangu clan New York (www.pollonart.com). in Western Australia. In addition to the next century and a half, frontier continued on page 6 . Warlpiri call that songline his roles at the National Museum of wars and violent dispossession created Australia (NMA), he is Chairman of the Australian nation state. A legal the Board of the North Australian justification for Indigenous peoples’ Indigenous Land and Sea Management dispossession was given the term Alliance Ltd (NAILSMA) and has over terra nullius, meaning that the lands thirty years of experience working on belonged to no one before the British behalf of Traditional Owner communities arrived. It was only in 1992 that the in remote Australia, particularly in the High Court of Australia ruled that terra Kimberley region, and has a special nullius was a legal fiction describing interest in Indigenous governance and the exploitation and appropriation capacity development. of Indigenous people as ‘a national legacy of unutterable shame’. In 1770 when Lieutenant James Cook raised the Union Jack at Botany Bay It is now just beginning to be understood near where Sydney is today, claiming why so much of Australia appeared the whole of Eastern Australia for immensely attractive to British eyes for Britain’s empire, he carried with him farming livestock and growing crops

4 ARTS BACKBONE – ARTIST PROFILE Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 EXHIBITIONS/OPINION PIECE – ARTS BACKBONE 5 Revealing What is Hidden… at the British Museum

about the richness of Indigenous From 12 March to 25 May 2015 culture and the wider debate about the British Museum presented healing the past. It is my dear wish Larrakitj: Aboriginal Memorial that the relationships this project has Poles by Wukun Wanambi, an forged between Indigenous Australian exhibition of six larrakitj by communities and the two museums artist and ANKAAA Director involved will continue and strengthen Wukun Wanambi. into the future – to the mutual advantage of all concerned. The exhibition was first conceived during Wukun’s 2013 visit to the British Museum alongside other Indigenous artists, all of whom were invited to create artworks in continued from page 5 response to the museum’s collection as part of Encounters, a multi-year history of attempted cultural eradication, It is part of reconciling the unfinished collaboration between the British Right: Wukun Wanambi (b. 1962), Wetjwitj (full contemporary Indigenous ownership business of the legacy of Australian Museum, the Australian National length) 2013, earth pigment on hollow tree trunk. of the material can often not be clear settlement by the British Crown. University, the National Museum of Photo: Buku-Larrnggay Mulka Centre and we should not shy away from this. Australia and a range of Australian Below: Installation view, Larrakitj: Aboriginal memorial poles by Wukun Wanambi, Room 3, The Rather, this reality must be recognised. A nuanced, measured debate is Indigenous communities. British Museum © The Trustees of the British Museum Indigenous societies, like other societies required to advance these issues, to Bottom: Wukun Wanambi (b. 1962), Wetjwitj (detail) 2013, earth pigment on hollow tree trunk. universally, have divergent views on all establish the parameters and protocols The exhibition features three Photo: Buku-Larrnggay Mulka Centre things and it was not surprising that during for jointly managing such collections ‘finished’ larrakitj and three which the community consultation process many and acknowledging the rights of show the raw bark beneath. Wukun of these views were expressed. traditional owners in respect to them. states: ‘The outside surface of things For as enduring as Indigenous Australian hides what is inside. I want to share Members of the Noongar community It is my hope that the British Museum civilisations continue to be, so there is what is hidden… I have wanted to in the south west of Western Australia and the National Museum of Australia, an enduring need to understand and share this understanding with non- said, ‘We want the trustees of the British through this exhibition and the improve the relationships between Indigenous people for a long time’. Museum to write to us and thank us for subsequent Encounters exhibition, will Indigenous communities and cultural allowing them to be the custodians of our make a foundational contribution to institutions in the 21st century. Four larrakitj are owned by the material’. They also sought to have the understanding in both our countries British Museum and two were material visit their community so that they Encounters will launch at the NMA in donated by Buku Larrnggay Mulka, could pay their respects to their ancestors, November 2015. Yirrkala.The larrakitj display establish connections with the objects and Wanambi’s totem, with a design Previous page top left: Peter Yu, Council Member importantly learn from them to teach their and Chairman of Indigenous Reference Group, depicting schools of swarming fish, children about their cultural heritage. NMA, Chairman of NAILSMA handed down to him from his father. Previous page centered: Shield believed to The fish are ‘swimming from creek have been collected during Captain Cook’s visit Traditional owners in the NSW to Botany Bay, 1770. Mangrove bark © The to creek, river to river, searching town of Lismore were so inspired by Trustees of the British Museum for their destiny. Just like all these Previous page bottom right: Vincent Namatjira photographs of woven baskets and (b.1983), James Cook with the Declaration people from all over the world designs originating from their ancestors 2014, acrylic on canvas, South Australia © coming to the British Museum here. that they developed contemporary Vincent Namatjira Everybody is searching for their Top left: Bark painting of a barramundi. Western costumes based on traditional themes Arnhem Land, about 1961 © The Trustees of the own story’. While in London Wukun and ran a successful fashion parade. British Museum late 19th or early 20th century. © attend a dinner with the Honorable The Trustees of the British Museum Alexander Downer, Australian Top right: Pearl shell pendant with dancing The holding and displaying of figures. Kimberley region, Western Australia, High Commissioner to the United these collections is far more than an before 1926. Pearl shell, charcoal © The Trustees Kingdom, and had the opportunity of the British Museum institutional matter for the British Museum to meet, and share a laugh with Left: Ishmael Marika and Wukun Wanambi, and the National Museum of Australia. British Museum. Photo: Buku Larrnggay Mulka Prince Charles.

6 ARTS BACKBONE – EXHIBITIONS/OPINION PIECE Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 EXHIBITIONS – ARTS BACKBONE 7 Kittey Malarvie at Bringing Indigenous Artists and Good Design Two Rarrk Masters at Annandale Galleries By Jon Altman, Australian National University Art Stage Singapore Together By Waringarri Aboriginal Arts

A very special exhibition of major drew a large crowd, hard on the Willie Weston, a new furniture and presented in the mainstream furniture bark paintings by John Mawurndjul back of an earlier event at the homewares business, showcases the and homewares market, despite the and the late John Bulunbulun (curated Museum of Contemporary Art, where work of Australian Indigenous artists as wealth of beautiful work being produced by Apolline Kohen) was held at Bill Mawurndjul had provided deeply part of a small but evolving collection of in Art Centres across the country. We and Anne Gregory’s Annandale thoughtful commentary in Kuninjku indoor and outdoor furnishing pieces. want to rectify that and help Art Centres Galleries in Sydney earlier this year. (expertly translated by Murray diversify in this changing art market’. Garde) on the meanings behind Willie Weston’s launch collection Before Bulunbulun’s premature three of his bark paintings featured features designs by Tiwi artists Prior to launching Willie Weston, death in 2010, the two Johns were in the exhibition Luminous. Osmond Kantilla and the late Jean Jess and Laetitia both worked in the great mates, and both their art Baptiste Apuatimi, through a licensing visual arts. Laetitia was most recently styles featured the most exquisite The Annandale opening was tinged arrangement with Tiwi Design. The Co-Director of the Melbourne Art Fair rarrk (cross-hatching) from two very with some sadness at Bulunbulun’s artists’ work has been transferred into and Jessica worked as a researcher, distinctive and different regions west absence, but there was also a a digital format to enable printing on writer and arts manager specialising in and east of Maningrida. sense of excitement due to the commercial grade fabrics suitable for Indigenous art, including working with strong sales. In particular, bark In January senior Waringarri artist Kittey indoor and outdoor use. Digital printing ANKAAA. These experiences cemented Two Rarrk Masters showed their paintings and hollow logs by Malarvie drew international attention allows exact replication of colour and their desire to support artists and their latest works and was reminiscent Mawurndjul were acquired by major when she exhibited her Milkwater series mark making, retaining the hand of the belief in bringing the work of Indigenous of an earlier landmark show, institutions including the Museum of at Art Stage Singapore 2015. Never artist in the final product. artists to sophisticated design audiences. Mawurndjul & Bulunbulun, in 1997 Contemporary Art, Sydney and the having been abroad before, Kittey Willie Weston will soon be developing at the same venue. The opening National Museum of Australia. And travelled with family member and artist Artwork is printed in limited runs, their next collection, and they hope there was anticipation that maybe Louise Malarvie to the art fair, enjoying maintaining artist integrity and ensuring to collaborate with more Art Centres. Mawurndjul, who has taken a break all the Singaporean sights along the way. the exclusivity of each piece. Co- www.willieweston.com. from painting for three years now, founders Jess Booth and Laetitia Prunetti might be making a comeback. As well as daily visits to the Art Stage said: ‘We see these pieces as art exhibition hall, Kittey and Louise visited objects with a functional use.There is Below: Jilamara Chair in ‘Paperbark’, featuring artwork by Jean Baptiste Apuatimi. There was optimism too that this a number of Singapore’s art galleries such a lack of Indigenous design being Photo: Eve Wilson exhibition might signal the beginnings including the world renowned Tyler Print of a significant revival in the fortunes Institute. Artists were given a guided tour of Maningrida Arts and Culture after of the Tyler studios, meeting printmakers several post-GFC years of challenges. and paper makers who provide the technical support to many international artists. Kittey reported that there was the ‘biggest mob of people everywhere and I felt good with my exhibition and very happy that I sold paintings’. She said: ‘I liked walking in the gardens with the waterfall and looking at the shops. All different kind of shops…’

Art stage Singapore is an annual arts event showcasing art from around the world. The 2015 Art Stage exhibition showcased 197 galleries and was seen Top left: John Bulunbulun Bakarra 2009, by 51,000 visitors. There were only natural earth pigments on stringybark 139 x 59 cm three galleries with a focus on Australian Left: John Mawurndjul, Milmilngkan 2009, natural earth pigments on stringybark 166 x 81 cm Indigenous art and less than ten galleries Above: Installation shot, Two Rarrk Masters, representing Australia. Annandale Galleries, April 2015 Middle: John Mawurndjul, Lorrokon 2009, natural Above: Kittey Malarvie in front of her installation earth pigments on hollow log196 x 22 cm at Art Stage Singapore. Photo: Waringarri All photos: Annandale Galleries Aboriginal Arts

8 ARTS BACKBONE – EXHIBITIONS Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 EXHIBITIONS/NEWS – ARTS BACKBONE 9 Keep the Songs Rolling! Danny Hume Teaching Up: Shania Puruntatameri By Karin Riederer, Gulf Country Musicology Co-producer Waringarri Aboriginal Arts By Jedda Puruntatameri, Chair Munupi Arts and ANKAAA Director

‘Teaching Up’ celebrates the ongoing Shania believes in keeping the culture strong. When Shania leaves school, she hopes to Danny has been working at Waringarri cultural transmission from Elders to younger Through her paintings, our stories will survive. join the ANKAAA Arts Worker Extension Aboriginal Arts for 15 years. He artists, which informs and underpins the The land cannot talk. As custodians, we talk for Program (AWEP). started in 2000 as a gardener, but contemporary Aboriginal art movement. the land and the sea. Through our paintings, quickly learned all the skills needed for we preserve and protect the land. It’s our duty. AWEP needs to continue and to be Languages need people to keep talking The book features recordings of nearly supporting the Art Centre’s busy studio. Shania Puruntatameri is a sixteen year old supported by everyone so young people like them in order to stay alive, and songs fifty songs across the four language student at Tiwi College. She is a keen artist Shania is learning by watching Cornelia Shania can learn and grow and keep their need people to sing them… groups, and the stories, photographs ‘When I started there weren’t any other and wants to learn more about Tiwi culture Tipuamantumirri and the other old ladies and culture strong. and artwork tell a powerful story of workers. So I had to learn to make and and the stories connected to the paintings. by listening to their stories. She is learning her In Borroloola, a rich living archive of kinship and country. Behind-the-scenes stretch frames and pack the works to culture and interpreting the world around her. Top left: Shania Puruntatameri at work. Above: Tiwi elder and senior artist Cornelia Yanyuwa, Marra, Garrwa and elements and the history of the songs be freighted. When the Art Centre got Ngini nga wuaa Jilmara Pilmirrapayu Tipumantimirri at work. songs has been created through an are captured in short films. bigger, more workers came and I stuck (Our Paintings) All Photos: Munupi Arts initiative of co-producers Karin Riederer to making the frames. Sometimes I’m still and Patrick McCloskey in partnership Principal funders are the McArthur River doing gardening because part of my ANKAAA’s Training and Development Support Program with Waralungku Arts. Families chose Mine Community Benefits Trust and the job is grounds and maintenance.’ the songs they wanted everyone to learn Australian Government’s Indigenous ANKAAA’s Training and Development Support • Anindilyakwa Arts and Cultural Centre and in 2013 the process of recording, Language Support program. Danny says: ‘I make frames for all our Program (TADS) is an ongoing responsive (Groote Eylandt, NT): Groote Eylandt researching and documenting this artists and also for Kalumburu and program designed to provide targeted support Collection Project artists workshops important aspect of their cultural heritage Top left: Marlene Timothy of Waralungku sometimes Turkey Creek [Warmun] and small amounts of funding to Art Centres • Gapuwiyak Culture and Arts (Gapuwiyak, began. Later this year Gulf Country Arts gives the okay for recording of Gudanji artists. I teach our young fellas how and individual members. TADS complements NT): Intensive governance support biographies by Little River at Garriniji Outstation, ANKAAA’s wider core training and support. • Karungkarni Arts (Kalkarindji, NT): Songbook: Yanyuwa, Marra, Garrwa 2013. Photo Sandy Edwards to do it too… This year I’m going to Bottom left: Gudanji performers Elizabeth Lansen Work with linguist to catalogue written and Gudanji songs will be published Borroloola to show them how to make TADS can contribute to one-off development by Waralungku Arts, and everyone will and Allan Baker and media assistant Lane Bonney frames and stretch canvas’. ‘stories’ which accompany art works sold at Little River, 2013. Photo: Benjamin Warlngundu projects for artists and arts workers, Art Centre be invited to ‘keep the songs rolling’. Ellis Bayliss (ongoing) marketing and promotions and the strengthening Compiled by Cathy Cummins, Arts Business • Mowanjum Art and Culture (Mowanjum, of business practices. The program’s ‘ground-up’ about canvas stretching, screen printing, Manager, Waringarri Aborginal Arts WA): Photography workshop with Les approach recognises that needs of Art Centres and customer service and to expand Walkling and regions differ. Art Centres and members are understanding of cultural tourism visiting • Mangkaja Arts (Fitzroy Crossing, WA): encouraged to contact the ANKAAA Resource Nitmiluk Tours (ongoing). Arts worker professional development in and Development Team with projects or ideas exhibition practice ANKAAA gratefully acknowledges the financial they would like assistance to develop. • Warnayaka Arts (Lajamanu, NT): Work support of the Northern Territory Government through Projects completed or in progress January to June with a Warlpiri language linguist and Arts NT and the Australian Government’s Ministry for 2015: arts workers to catalogue written ‘stories’ the Arts, VACS Program. accompanying art works sold (ongoing). • Karen Mills (Individual member, Darwin, • Waringarri Aboriginal Arts (Kununurra, NT): Printmaking residency with Basil Hall WA): Artist exchange visiting Waralungku Top: Danny Hume, arts worker at Waringarri Editions, Braidwood, NSW Above right: Arts workers at Mowanjum during Aboriginal Arts. Photo: Waringarri Aboriginal Arts Arts, Borroloola, NT, to share learning their workshop with Les Walkling. Photo ANKAAA

10 ARTS BACKBONE – KEEPING PLACES /ARTS WORKER FOCUS Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 TEACHING UP /ANKAAA CORE PROGRAMS – ARTS BACKBONE 11 Building Pathways: ANKAAA’s Arts Worker Extension Program By Jonathon Saunders, ANKAAA

knowledge and skills through workshops and demonstrations.

The internships are vital to the personal and professional development of each participant, offering opportunities not accessible in their communities. An important part of the Program are the arts worker presentations, delivered at the National Gallery of Australia, Melbourne University and at the 2015 Darwin Aboriginal Art Fair in August. ANKAAA is grateful for the long-term support of interstate hosts of the Arts Worker Extension Program, especially the National Gallery of Australia, The program is made possible by ANKAAA’s 2015 marks the fifth year of ANKAAA’s Canberra and the Grimwade Centre operational funders: Ministry for the Arts, the Arts worker Extension Program (AWEP), for Cultural Materials Conservation, Australia Council and Arts NT. a leading intensive professional University of Melbourne, but also the Art development program building skills Gallery of New South Wales; Australian Facing page top: AWEP participants at the Tent Embassy Sovereignty Installation. and career pathways for Indigenous arts Institute of Aboriginal and Torres Strait Facing page below left: Troy Mardigan and workers in Northern Australia. Spanning Islander Studies (AIATSIS); Bangarra Aaron McTaggart (Merrepen Arts) with Sophie nine months the program includes Dance Company; Bunjilaka Culture Lewincamp at the Grimwade Centre for Cultural Materials Conservation, Melbourne University training in computer and administrative Centre, Museum Victoria; Murrup Barak Facing page below right: AWEP participants at skills, public speaking, archiving, Institute for Indigenous Development; Museum Victoria conservation and curating. Museum of Contemporary Art; National Above: Michelle Woody participating in iPad training at ABC Open in Darwin Gallery of Victoria; National Museum of Left: Maxine Charlie at the Grimwade Centre for Arts workers undertake professional Australia; Parliament House Canberra Cultural Materials Conservation at Melbourne development in Darwin and travel to and Trinity College, Melbourne AWEP 2015 is generously funded by the University Canberra, Sydney and Melbourne University. ANKAAA is especially Tim Fairfax Family Foundation and the Below: AWEP participants at the Museum of Contemporary Art in Sydney with friends and for internships at some of Australia’s grateful to the strong Indigenous leaders Department of Culture and the Arts (WA). family. leading arts institutions, which have An important component is ANKAAA ‘I’m really excited to come back together within these institutions. INPEX Ichthys Pty fund graduate mentors. All Photos: ANKAAA strongly supported the program since supporting and collaborating with Art with the other arts workers and for us to it began. Staff also visit participants Centre coordinators to develop viable train together. It’s good for us to have the in their Art Centre, where one-on-one career pathways for arts workers. Each opportunity to learn more about things that training takes place. participant receives a laptop and a help us with our jobs, and help us build up wireless modem to facilitate communication relationships with each other’. and build support networks across regions and the arts industry. While in Darwin participants visited: the Museum and Art Gallery of the Northern The first two group sessions took place Territory; Elcho Island Art Gallery; Nomad in Darwin in March and May, where Art; Don Whyte Framing; the Australian arts workers completed workshops and Centre for Indigenous Knowledge and developed presentations about their Art Education; ABC Open; Outstation Centres and communities. Gallery and the Northern Centre for Contemporary Art. AWEP participant Michelle Woody Minnapinni from Jilamara Arts and Crafts In June, participants undertook reflected at the second session: internships at major interstate arts institutions, where they gained valuable

12 ARTS BACKBONE – ANKAAA PROJECTS Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 ANKAAA PROJECTS – ARTS BACKBONE 13 Building Pathways: ANKAAA’s Arts Worker Extension Program 2015

‘This laptop computer is my passport to a new world’ Michelle Woody Minnapinni

1. Dylan Miller at the National Gallery of Australia’s 2D paperworks conservation laboratory 2. Gloria Mengil and Jennifer Dickens at the National Gallery of Australia 9. Maxine Charlie at the Australian Institute of Aboriginal and Torres Strait Islander Studies 3. Troy Mardigan and Dion Teasdale in the storage facility at the National Gallery of Australia 10. Paula Gumana at the National Gallery of Victoria, Indigenous works storage area, viewing family works 4. Raylene Bonson in the book archive section at the Australian Institute of Aboriginal and Torres Strait Islander Studies 11. Dylan Miller in the Aboriginal and Torres Strait Islander Studies main public library 5. Gloria Mengil, Michelle Woody and Paula Gumana during iPad training in Darwin with ABC Open 12. Gabriel Nodea practicing conservation techniques at the Grimwade Centre for Cultural Materials Conservation 6. Aaron McTaggart in the book archive section at the Australian Institute of Aboriginal and Torres Strait Islander Studies 13. Troy Mardigan, Tina Baum and Aaron McTaggart at the National Gallery of Australia’s storage facility 7. Marcus Pascoe at the National Gallery of Australia’s 2D paperworks conservation laboratory 14. Group computer training at the ANKAAA offices in Darwin 8. Dylan Miller, Jennifer Dickens, Gabriel Nodea and Gloria Mengil in the book archive section at the Australian Institute of 15. Gloria Mengil practicing conservation techniques at the Grimwade Centre for Cultural Materials Conservation Aboriginal and Torres Strait Islander Studies 16. Michelle Woody during a staff site visit to Jilamara Arts and Crafts, Tiwi Islands

14 ARTS BACKBONE – ANKAAA PROJECTS Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 ANKAAA PROJECTS – ARTS BACKBONE 15 From Strength to Strength: Focus on Peer Learning: ANKAAA’s Arts Worker Extension Graduate Program ANKAAA’s Arts Worker Extension Graduate Conference By Dion Teasdale, ANKAAA By Dion Teasdale, ANKAAA

Through the development and Training and skills development activities implementation of Individual have included a two-day SAM Database Professional Development Action Training workshop at Charles Darwin Plans for each Graduate, the University in May (see page 19) and program creates opportunities a week-long Textiles Masterclass held for Graduates to expand their at Daly River and involving Graduates networks, participate in industry from Merrepen Arts, Tiwi Design and activities, receive mentoring and Babbarra Designs (see page 18). develop skills to mentor others in the workplace. More recently, Graduates have participated in a two-day Fresh Water Over the past 12 months, 27 Cove Cultural Tourism Field Trip at Twenty ANKAAA Arts Worker Extension of the 34 arts workers who Mowanjum Art and Culture Centre (see Program (AWEP) Graduates from across have graduated from AWEP pages 18 -19) and a two-day Archive the Top End of the Northern Territory and have participated in a range of Box Making Workshop, presented in WA gathered in Darwin in April this year group and individual activities partnership with the Grimwade Centre for the first AWEP Graduate Conference. The third and final day of the conference The conference culminated with a with a focus on peer-learning, for Cultural Materials Conservation at involved two cultural tourism field trips. Graduate Dinner on the third day, skills sharing, mentoring and Melbourne University, held in Darwin. The intensive three-day program featured In the morning, Graduates participated and was featured on ABC AM Radio the expanding of professional a range of workshops and field trips in a Pudakul Aboriginal Culture Tour nationally, with arts workers Ruth networks. Upcoming Graduate activities include focused on peer learning, skills sharing, near Humpty Doo. In the afternoon, they Nalmakarra, Vivian Warlapinni and a Community Museums Workshop at mentoring and the expansion of took part in a tour of sacred sites around Rachel Umbagai speaking up on the role Group activities have Jilmara Arts and Crafts on the Tiwi professional networks. Darwin with Larrakia elder, Robert Mills and importance of remote community Art included an AWEP Graduate Islands, another Cultural Tourism from Batji Indigenous Tours. Centres, and the need for targeted and Networking Meeting at the Field Trip for Graduates working on ongoing training and skills development ANKAAA AGM, held at Mt tourism projects in their Art Centres, a With more Art Centres developing and opportunities for arts workers. Bundy Station in November last program of cross-regional exchanges delivering cultural tourism products and year, and an intensive three-day and visits, and regionally based social activities across the Top End, these field Graduate Conference held in media training. trips were seen as a great way for arts Darwin in April this year (see workers to learn first hand from other ANKAAA’s Arts Worker Extension Program facing page). The AWEP Graduate Program is funded Aboriginal cultural tour operators. (AWEP) Graduate Program continues to by the Northern Territory Department of AWEP Graduates from the first four go from strength to strength with a range Business, the Federal Government Ministry years of the program (2011-14) came of activities completed in the last 12 for the Arts and the Western Australia together to focus their learning on months, and plenty more to come. Department of Culture and the Arts. areas they had identified as key to their professional development and the future The Northern Territory Government The Graduate Program provides of their Art Centres. Department of Business are particularly Indigenous arts workers from Northern thanked for their project funding for the AWEP Australian Art Centres who have The first day of the conference included Graduate Program. completed ANKAAA’s Arts Worker practical workshops focusing on ‘Social Extension Program with ongoing Media in Art Centres’, ‘Developing and Funders and cultural institution partners, Top left: Faith Thompson, Ngukurr Arts, professional development and Delivering Cultural Tourism Experiences’ who have played a key role in the AWEP Graduate networking opportunities. and ‘Establishing and Maintaining success of AWEP since it’s inception, Top right: Group projects clockwise L-R Vivian Warlapinni, Kieran Karritpul McTaggart, Rhoda Community Collections’. also participated in the conference. Hammer, Sharon Anderson, Rachael Morris, Michelle Woody and Evangeline Wilson In particular, the program assists with Top left: Dylan Miller (AWEP 2015) being mentored Representatives from the National Gallery the development of career pathways by graduate Marcus Pascoe (AWEP 2013) at the The second day of the program included of Australia, the Northern Territory Left middle: AWEP Graduates during the Pudakul National Gallery of Australia tour at Humpty Doo, led by Graham Kenyon by providing AWEP Graduates with sessions on mentoring, resilience in the Department of Business, the Federal Left: Rhoda Hammer (AWEP 2014) at Archive Box Middle: Rhoda Hammer and Vivian Warlapinni tailored skills development and project Making workplace, project management skills Government’s Ministry for the Arts and Arts presenting to other graduates support that targets individual workplace Above: Graduates during 2015 AWEP and future graduate projects, and both NT attended various conference sessions Above: Anisha Stitfold (ANKAAA) with graduates, Marcus Pascoe, Kevin Winunguj and DJ Marika needs and goals. Graduates Conference Cultural Tourism Workshop days involved Graduates delivering key and joined the Graduates for a special with Pudakul Aboriginal Culture Tours, Humpty participating in social media workshop Doo. All photos: ANKAAA presentations on each topic. networking lunch on the second day. All photos: ANKAAA

16 ARTS BACKBONE – ANKAAA PROJECTS Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 ANKAAA PROJECTS – ARTS BACKBONE 17 Textile Printing Master Class at Merrepen Arts Trip to Wiggingarra Butt Butt (Fresh Water Cove) ANKAAA Harvesting SAM (Stories Art Money) By Kieren Karritpul McTaggart, Merrepen Arts By Rachael Umbagai and Stanley Taylor, Mowanjum Arts Traditional Knowledge Training, Darwin Documentary in Utrecht

This includes visiting rock art sites In early May, ANKAAA held a two day as well as the onsite gallery full of SAM (Stories, Art, Money) training session contemporary artworks. The Power of Wood opened at the at Charles Darwin University in Darwin with AAMU: Museum of Contemporary the data base developer Adam Griffith. A On our visit, Stanley and I were split into Aboriginal Art in Utrecht, the vital cataloging tool for Art Centres, SAM is two groups. Stanley went with Wayne Netherlands in April. The AAMU is used by around 70 Art Centres across the As part of the ANKAAA Arts Worker Rastus and Dylan Oobagooma to the the only museum in Europe dedicated country, many from the ANKAAA regions. As part of the ANKAAA Arts Worker us and we took them to watch the footy Extension Graduate Program two senior cyclone cave, while I stayed with Jackie entirely to contemporary Australian Close to 20 arts workers and coordinators Extension Graduate Program four and the disco and bands. We had the arts workers from Mowanjum Arts, Derby, Mungulu, Robyn Mungulu and Vicki Indigenous art. More than 200 wooden arts workers from Art Centres with best night at the disco; everybody was visited Freshwater Cove on the Buccaneer Numendumah in the gallery. art objects from the museum’s collection long histories of working with textiles so happy. We would love to have them Archipelago 360 kilometres north are on display including: Tiwi Pukumani organised a Textile Printing Master back again, and maybe we could go west of Broome in July to develop their Stanley and I both learnt a lot about (funerary ceremony) poles, Arnhem Land Class in May. Hosted by Merrepen see their Art Centre and community. It is understanding of cultural tourism enterprises. this part of our Art Centre’s business sculptures of spirit figures such as mimih Arts, Nauiyu, Daly River the participants important that we learn from each other and agreed that the best thing about and yawkyawk, and a large selection of were Kieren McTaggart and Aaron as one people from ANKAAA. Freshwater Cove is a Worrorra the trip was getting a good night’s bark paintings. McTaggart (Merrepen Arts), Deborah homeland on the far north Kimberley sleep. We felt good to be on our Wurrkidj (Babbarra Designs, coast, 300 nautical miles north of family’s homeland where time stood still Maningrida) and Vivian Warlapinni Derby. It is only accessible by sea and there was not a care in the world. attended from Art Centres including: (Tiwi Design, Bathurst Island). Yubu dengin ngagurr. Mamuk. plane, helicopter and boat. With the We felt proper proud looking at our Jilamara Arts and Crafts, Munupi Arts, [Our body feels good and help of ANKAAA Stanley and I got the mob out there sharing our culture with Waringarri Aboriginal Arts, Djilpin Arts, goodbye see you next time.] chance to visit Freshwater Cove, flying an international audience and doing a Ngukkur Arts, Maningrida Arts and Culture From us all at Merrepen Arts in by helicopter. Mowanjum Art and deadly job at it too. and Merrepen Arts. Culture Centre works in partnership with Above left: Stanley Taylor in the Cyclone Cave at Wandjina Tours and the Dambimangari Wiggingarra Butt Butt (Freshwater Cove) Kate George from Djilpin Arts said: ‘The tourism project to employ Worrorra Above: The Gallery at Wiggingarra Butt Butt Included in The Power of Wood is the food was good and the training was Kieren is a graduate of the 2014 ANKAAA people to deliver high quality tourism Below: Robyn Mungulu from Wandjina Tours documentary Harvesting Traditional awesome and I’d like to thank Adam introducing herself and staff to the tourists explaining Arts Worker Extension Program. experiences to visitors to the area. Knowledge, commissioned by ANKAAA for training us – he was great!’ New the cultural significance of Wiggingarra Butt Butt. All photos: Mowanjum Arts and Culture Centre and made by the Mulka Project, Jilamara Arts and Crafts managers Sarah Thanks to the Northern Territory Department of Yirrkala, as part of our two-way learning Delaney and Adrian McCann said: When Deborah and Viv came to Nauiyu Business for supporting the 2015-16 ANKAAA conservation project of the same name. ‘We’re three months into the job and the we welcomed them to our community Arts Worker Extension Graduate Program. The documentary shows Dutch and content and detail of the two day training and showed them our Art Centre. I really European audiences how materials like was exactly what we needed’. ANKAAA enjoyed having them working alongside bark, ochre and wooden art objects are is committed to providing training so that us in the studio and learning from each prepared and made for both ceremonial Art Centres are comfortable and capable other. Everyone had different ways of and artistic use. using SAM. The next ANKAAA SAM doing things. They helped us print fabric training session with Adam will be held for the Merrepen Arts Open Weekend The Power of Wood runs until 10 January in the Kimberley later this year. [30-31 May] and I helped Deborah 2016 (www.aamu.nl). Top left: Vivian Warlapinni (Tiwi Design) and Top L-R: Edward Yunupingu (Munupi Arts), Marcus make a screen for her t-shirt design to Pascoe, Kevin Winunguj (Maningrida Arts Aaron McTaggart (Merrepen Arts) printing in the Top: Installation view of The Power of Wood, take back to Maningrida. Merrepen Arts studio and Culture) and Alan Joshua (Ngukurr Arts) at AAMU. Photo: AAMU ANKAAA SAM database training Above L-R: Kieren Karritpul McTaggart (Merrepen Middle: Harvesting Traditional Knowledge Middle: Australian Centre for Indigenous Arts), Vivian Warlapinni and Deborah Wurrkidj workshop and filming of Mulka Project We took them out fishing and getting (Babbarra Designs) at Merrepen Arts Knowledges and Education, Charles Darwin documentary, Buku Larrnggay Mulka, Yirrkala, University – SAM database training site. bush tucker. At the festival they helped All photos: ANKAAA May 2013. Photo: ANKAAA All photos: ANKAAA

18 ARTS BACKBONE – ANKAAA NEWS Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 ANKAAA NEWS – ARTS BACKBONE 19 The Land Can Still Be Visiting the Yulparija Revealed 2015 ANKAAA: Planning for ANKAAA Board Stands Behind Heard: Artists of Bidyadanga the Future the Homelands Recognition for Will Stubbs

New Strategic Plan ANKAAA is currently developing a new strategic plan. Workshops in March and June 2015 enabled the Board to consider future challenges the organisation is likely to face, including the impact of a slowing economy on the Aboriginal art and culture industry and Bidyadanga is on the Kimberley coast of Revealed is a biennial cluster of art changes in the funding environment. Western Australia, around 180 kilometres events focusing on emerging Indigenous Increasing ANKAAA’s sustainability and The ANKAAA board is made up of Indigenous In March this year Buku Larrnggay south of Broome. It is the largest remote artists from Western Australia. The 2015 effectiveness as the ‘face and voice’ arts leaders from across the ANKAAA regions Mulka coordinator Will Stubbs was Indigenous community in Western Australia marketplace, symposium and exhibition of Top End Aboriginal artists were of over one million square kilometres of northern awarded the prestigious Australia and was once more commonly known as La opening took place on 18 and 19 April. identified by the Board as top priorities Australia. Twelve directors and four stand-in Council Visual Arts Award (Advocate) for Grange Mission. Due to the decision to award ANKAAA CEO Christina Davidson for the period ahead. To ensure our directors are elected biennially from each of 2015. In his acceptance speech, Will equal pay to Indigenous pastoral workers in and Frances Grant attended to support valued stakeholders have input into the the four regions: the Kimberley, Arnhem Land, spoke eloquently of the great wisdom the late 1960s, many were forced from their Kimberley Art Centres, including: Kira new plan, and to build on feedback Katherine/Darwin and the Tiwi Islands. of the Yolngu people with whom he traditional country and onto missions such as La Kiro Art Centre, Nagala Jarndu Design, received at 2014 Regional General lives and works: ‘[ANKAAA Chairman] Grange. As a result, the community is home to Mangkaja Arts, Mowanjum Arts, Ngurra Meetings, we have engaged Matrix Two face-to-face board meetings took place in Djambawa Marawili explained to a number of Indigenous groups – the Karajarri On Board to conduct stakeholder Darwin in the first half of 2015. As ANKAAA me many years ago that the land is (the traditional owners of this saltwater country), consultations. The new strategic plan is developing a new strategic plan for 2016- complete. It has all that it needs for as well as Juwalinny, Mangala, Nyungamarta will run from 2016 to 2021. 2021 (see p.20), and the March meeting its continuation and sustenance. But Above: ANKAAA Chairman Djambawa and Yulparija language groups. The Yulparija was the first full meeting since the new board Marawili AM and Northern Land Council it cannot express itself. It cannot sing, make up the Yulparija Artists of Bidyadanga. University of Melbourne Partnership took up their positions at the 2014 AGM, Chairman Samuel Bush-Blanasi at ANKAAA paint and dance its identity. And so it Board meeting, affirming shared support for the The work of the Yulparija Artists of Bidyadanga stand-in as well as full directors were invited. maintenance of Aboriginal homelands. has grown a tongue…the Yolngu. The reflects this history of colonisation and Indigenous people of Australia. They displacement. Philanthropic mentor Jenny Bott (former CEO exist to articulate the land. That is their of the Australia Council) and business advisor reason for existence.’ Their traditional iconography and knowledge Peter Shepherd (Business and Community of their desert homelands in the Great Development) supported financial analysis Will also heralded Art Centres as the Sandy Desert blends with their contemporary and planning. unsung heroes of the Indigenous art experience of living within coastal landscapes, Arts, Walayarti Artists, Waringarri industry: ‘Art Centres’, he said, ‘are a resulting in richly layered expressions of Aboriginal Arts, Yarliyil Arts and Yulparija peculiarly Australian invention, like Hills ‘The ANKAAA Board stands country. In May ANKAAA Resource and Artists from Bidyadanga. ANKAAA and the University of The threat of forced closure of Western behind the importance of Hoists or the rotary engine, but few Development Officer Jonathon Saunders visited Melbourne are developing a formal Australian homelands was an important homeland communities. And realise how unique and effective they Bidyadanga to see the Yulparija Artists. The Sales were steady at the well attended Memorandum of Understanding through topic of discussion. The board reaffirmed affirms the vital importance of the are. This award is a rare recognition ANKAAA office team does its best to visit Saturday marketplace. Two 2015 the Grimwade Centre for Cultural its longstanding commitment to promoting ancestral homelands to Indigenous of all those Art Centres spread across art, languages, law and culture. as many member Art Centres as possible ANKAAA Arts Worker Extension Program Materials Conservation (GCCMC), understanding of the crucial role homelands the country...It’s a model that delivers And to the Australian Indigenous throughout the year. Each site visit allows participants, Maxine Charlie from with whom ANKAAA has had a strong play in Australian culture and the Indigenous equitable returns for Indigenous Art Movement.’ ANKAAA members to discuss priorities and Nagala Jarndu, Broome, and Gloria partnership over the past five years arts industry. creativity, that allows cultural intellectual Motion made by the ANKAAA activities within their Art Centre, and allows Mengil from Waringarri Aboriginal Arts, involving joint activities including: annual Board, March 2015 property to enter the mainstream without one-on-one discussions that might not be Kununurra, participated in the Revealed internships at GCCMC for ANKAAA The board also reaffirmed their commitment compromise or exploitation’. possible during regional meetings. Yulparija Exhibition at Gallery Central, Central Arts Worker Extension Program (AWEP) to ANKAAA securing a base of its own – an artists of Bidyadanga are currently renovating Institute of Technology, alongside other participants; working together on Aboriginal Art Resource Centre, in Darwin. Will became coordinator at Buku their Art Centre and expanding their art Kimberley artists. ANKAAA’s Harvesting Traditional Larrnggay Mulka in 2001, which Top: ANKAAA Board Meeting, March 2015: L-R Dora Griffiths (Waringarri Aboriginal Arts), Wukun Wanambi practices into textile printing. Recently a screen- Knowledge project (2013-2014); and has since then grown exponentially Top: Maxine Charlie and Martha Lee in front of (Buku Larrnggay Mulka), Christina Davidson (ANKAAA CEO), Jedda Puruntatameri (Munupi Arts), David Ham printing carousel was donated to the Yulparija Martha’s fabric at the opening of 2015 Revealed collaboration to achieve emergency (ANKAAA Manager Operations Delivery), Jennifer Dickens (Mangkaja Arts), Lily Roy (Maningrida Arts and and developed into an internationally Culture), Maxine Charlie (Nagula Jarndu), Jangu Nundhribala (Numburindi Artists), Jenny Bott (Philanthropic artists and ANKAAA looks forward to seeing Exhibition, Gallery Central, Central Institute of rescue of damaged art objects. recognised arts institution. ANKAAA Technology, Perth Funding Mentor), Djambawa Marawili AM (Buku Larrnggay Mulka), Gabriel Nodea (Warmun Art Centre), Vivian Warlapinni (Tiwi Design), Alan Joshua (Ngukurr Arts), John Pilakui (Tiwi Islands), Brian Farmer (Jilamara Arts and the fruits of this new venture. Above congratulates Will on this much- Middle: Frances Grant, ANKAAA Resource and : ANKAAA Arts Worker Extension Program Crafts). Not present – Peter Jigili (Warnayaka Arts) and Miriam Charlie (Waralungku Arts) Development Officer, assisting Warlayirti Artists, 2015 participants with Sophie Lewincamp from the deserved acknowledgement. Top: Entering Yulparija Artists of Bidyadanga. Balgo, at Revealed Market Place Grimwade Centre for Cultural Materials Conservation Left middle: Business advisor Peter Shepherd presenting quarterly financial report to the ANKAAA Board, March Photo: ANKAAA All photos: ANKAAA at Melbourne University in June. Photo: ANKAAA All photos: ANKAAA

20 ARTS BACKBONE – ANKAAA NEWS Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 ANKAAA NEWS / ART CENTRE NEWS – ARTS BACKBONE 21 Art Centre News Out and About

Merrepen Artists Featured at keep our culture strong and to continue Darwin International Airport to be custodians of the land. The building will have a new digital archive, which I’m excited about!’

Welcome & Thank You to New and Departing Art Centre Staff Injalak Mobile Market Stall at Mindil Beach The following are acknowledged for Markets, Darwin. Photo: ANKAAA their hard work and dedication: As Isaiah Nagurrgurrba, Co-Manager of • Vionette Chapman, Anindilyakwa Arts L-R: Member for Solomon Natasha Griggs, Aaron McTaggart (Merrepen Arts), Prime Minister Tony Injalak Arts, says: ‘We are so happy the and Cultural Centre Abbott, Kieren Karritpul McTaggart and Gracie Northern Territory Government gave us • Marie Falcinella and Sean Smith, Elcho Kumbi (Merrepen Arts) and Ian Kew, CEO of Darwin International Airport at the opening of the this support. At Injalak we are sharing and Island Arts new Terminal. Photo: Merrepen Arts teaching our culture to so many visitors • Shannon Voss, Gapuwiyak Culture and they are getting more respect and and Arts On 9 May 2015, the Prime Minister Tony understanding for [Indigenous] people. • Danny Kennedy, Injalak Arts Abbott officially opened the new Darwin Now we can do the same in Kakadu • Megan Hills, Larrakia Nation Arts International Airport terminal, which and at Mindil Markets. It’s good for tourists • Adam Boyd, Warmun Art Centre features designs by artists from Merrepen and good for our artists and community’. • Barbara Amjberg Pederson, Mimi Arts Arts, Nauiyu community. The artists Injalak Arts sees this initiative as a new way and Craft involved were guests of honour. Aaron to engage new audiences and buyers – • Jenny Wright, Mowanjum Art and Culture McTaggart’s Crocodile design, Kieren literally taking our art to the public! ANKAAA extends a warm welcome to Karritpul McTaggart’s Fishnet design and the following incoming coordinators: Gracie Kumbi’s Merrepen design can New Yarliyil Art Centre Building • Hilary Crawford, Bula’bula Arts now be seen throughout the terminal. • Rocky Cahill, Larrakia Nation Arts • Cherie McNeill, Warmun Art Centre New Injalak Arts Interim coordinators Lorna Martin Interpretative Centre (Anindilyakwa Arts and Cultural Centre), Injalak Arts’ new interpretive centre was Marie Falcinella (Merrepen Arts), Chris opened on 10 June 2015 by the Chief Durkin (Mowanjum Art and Culture) and Minister of the Northern Territory, Adam Anna Crane (Warmun Art Centre) are Giles, and Francis Xavier Kurrupuwu MLA. acknowledged for their important roles. A Tourism NT and NT Development & The new Yarliyil Arts Centre building. Photo: ANKAAA Infrastructure grant of $100,000 allowed Congratulations Miriam! Injalak to renovate the former screen- In May this year Yarliyil Art Centre, Halls Congratulations to ANKAAA Director printing workshop and install distinctive Creek, Western Australia, celebrated the Miriam Charlie on her long service leave, new signage, as well as lighting, air opening of their new Art Centre building. awarded for her ten years of employment 1. Shirley Purdie, Warmun Art Centre. Photo: Warmun Art Centre conditioners and audio-visual equipment. Congratulations to Yarliyil artists and at Waralungku Arts in Borroloola. 2. L-R: Deborah Wurrkidj (Babbarra Designs), Vivian Warlapinni (Tiwi Design), Troy Mardigan and Patricia McTaggart (Merrepen Arts) during ANKAAA AWEP Interpretive panels explaining the Art staff on the exciting and long awaited Printmaking Master Class Merrepen Arts, June 3. ANKAAA Chairman Djambawa Marawili AM (Buku Larrnggay Mulka) and Treasurer Jeda Puruntatameri (Munupi Arts) Centre’s history, as well as artworks from completion of their new home. Yarliyil is 4. Gija elder Rusty Peters, Warmun Art Centre, speaking up against the forced closure of homelands in WA Photo: Warmun Art Centre their archive, now hang in the centre. located on the Great Northern Highway 5. Gloria Mengil, Waringarri Aboriginal Arts at Revealed 2015, Perth, with her My Favourite Bush Foods, 2014 opposite the Halls Creek Visitors Centre. 6. Women of the ANKAAA Board. L- R: Jennifer Dickens (Mangkaja Arts), Lily Roy (Milingimbi Arts), Dora Griffiths (Waringarri Aboriginal Arts), Maxine Charlie Injalak Arts Mobile Market Stalls (Nagula Jarndu Design – Stand-In Director), Jedda Puruntatameri (Munupi Arts), Jangu Nundhirribala (Numburindi Artists) A second grant of $25,000 funded Funding for New Munupi Arts 7. Natlaie Puantulura (Munupi Arts) and David Ham (Manager Operations Delivery, ANKAAA) at the Tiwi Footy Grand Final Art Sale, March Injalak Arts’ Mobile Market Stalls project Building 8. Maxine Charlie (Nagula Jarndu Designs) presenting at the NGA with the ANKAAA Arts Worker Extension Program, June 9. ANKAAA staff member Belinda Foster (centre) with with Chair Djambawa Marawili AM (left) and Deputy Chair Gabriel Nodea (right) – customised trailers displaying and selling Jedda Puruntatameri, Chair Munupi Arts 10. ANKAAA CEO Christina Davidson at Australia Council for the Arts 2015 National Indigenous Arts Infrastructure organisations gathering, Sydney, May high quality Indigenous arts and crafts in and ANKAAA Director: ‘Munupi Arts 11. Freddie Nadjamarrek, David Wickens, Gavin Namarnyilk (Injalak Arts) and Angus and Rose Cameron, Nomad Art, Darwin, June prime tourist locations. The first stall launched has received $300,000 in funding to 12. ANKAAA Resource and Development Officer Frances Grant volunteering at the Merrepen Festival, May at Mindil Markets in May; the second is build a new Art Centre building. This Miriam Charlie at the ANKAAA Harvesting 13. ANKAAA’s Christina Davidson and David Ham (left) and ORIC’s Hanna Roe (right) at Gapuwiyak Culture and Art Board Meeting, April Traditional Knowledge workshop at Jilamara Arts earmarked for Kakadu National Park. is really important, as it will allow us to and Crafts, 2014. Photo: ANKAAA 14. Ruth Nalmakarra, Rachael Umbagai and Vivian Warlapinni being interviewed by Sara Everingham, Darwin ABC, about the AWEP Graduate Conference All photos: ANKAAA unless otherwise stated

22 ARTS BACKBONE – ART CENTRE NEWS Volume 15: Issue 1, August 2015 Volume 15: Issue 1, August 2015 ART CENTRE NEWS – ARTS BACKBONE 23 Obituary: Angelina George 1937–2014 ANKAAA By Jeremy Eccles Directors and Staff

ANKAAA Board of Directors 2015-2016

Chairperson – Djambawa Marawili AM Buku-Larrnggay Mulka and Baniyala Homeland Studio (Arnhem Region) Deputy Chairperson – Gabriel Nodea Warmun Art Centre (Kimberley Region) Treasurer – Jedda Puruntatameri Munupi Arts (Tiwi Region) Secretary – Peter Jigili Warnayaka Arts (Darwin/Katherine Region) Lily Roy Milingimbi Art and Culture (Arnhem Region) Wukun Wanambi Buku-Larrnggay Mulka (Arnhem Region) Jennifer Dickens Mangkaja Arts (Kimberley Region) Dora Griffiths Waringarri Aboriginal Arts (Kimberley Region) Brian Farmer Jilamara Arts and Crafts (Tiwi Region) This is an edited version of an obituary Angelina spent almost a decade finding her own John Peter Pilakui Individual Member (Tiwi Region) written by arts commentator Jeremy Eccles, vision of large and majestic landscapes, which Miriam Charlie originally published in the Sydney Morning are best considered together as ‘My Imagined Waralungku Arts (Darwin/Katherine Region) Herald on 22 April 2015. Country’. For, as Robert Cook in the 2011 WA Jangu Nundhirribala Indigenous Art Awards catalogue put it: ‘There’s a Numburindi Artists (Darwin/Katherine Region The tiny Angelina George was the youngest swirling restless quality (to her canvases) as if all is of five Joshua Sisters from the former CMS in constant flux ... positioned between abstraction ANKAAA Stand-In Directors mission at Ngukurr in southern Arnhem Land, and representation ... like Nolan’s pared-back all of whom turned to paint. But hers are likely explorer fantasies’. Kevin Winunguj Maningrida Arts and Culture (Arnhem Region to be the canvases most prized by history, Maxine Charlie and are already being considered alongside Nicolas Rothwell, in the Colour Country: art Nagula Jarndu Designs (Kimberley Region Nolan, Drysdale, Caspar David Friedrich and from Roper River catalogue, downplays the Douglas Vivian Warlapinni even Titian. In an almost 80-year life, George Nolan association in favour of ‘Romantic artists Tiwi Design (Tiwi Region) Alan Joshua Jnr brought the mountains of her Ngyameratjara of the 19th Century sublime in Europe… the Ngukurr Arts (Darwin/Katherine Region country south of the Roper River to intense, skies in her large landscapes are given a imaginative life. Angelina recalled her Renaissance depth and gleam ... [their] loose childhood: ‘I was the naughtiest girl! I used brush-strokes have the freedom of Titian’s last, ANKAAA Staff (2015) to run down to the river when I should be at baffling masterpieces’. George wouldn’t have Chief Executive Officer school and go fishing with the old people. cared much for the comparison. For her: ‘I Christina Davidson: [email protected] One time they saw me and started paddling have special memories from my travels...I can Manager Operations Delivery (strategic appointment Jan-Sept 2015) away in a canoe. I sung out to them to ‘stop!’ paint my memories and imagination...not David Ham: [email protected] but they kept going, so I jumped in and swam exactly what it looks like. You know. Traditional Administration Officer/PA to CEO after them’. Fishing remained large in her life. way and law. My imagined country never Belinda Foster: [email protected] stops in my memory’. Resource and Development Officer Jonathon Saunders: [email protected] In 1985 adult educator Brian Burkett started Resource and Development Officer print classes for the women and painting for Angelina George married and lost two Frances Grant: [email protected] the men – both received with enthusiasm. husbands – the first marriage produced the Operations Officer (0.5) Marketing was another matter, until work by actor Tommy Lewis, the second Loretta, Raeleen Madeleine Challender: [email protected] Ginger Riley, Willie Gudabi and Djambu and Anderson George. She is survived by her AWEP Graduate Program Coordinator & AWEP Officer (P/T) Barra Barra was seen at the 1987 National children and many grandchildren. Dion Teasdale: [email protected] Aboriginal Art Award in Darwin. Melbourne Above: Angelina George, Near Ruined City, synthetic NT Arts Infrastructure Projects Manager dealers Gabrielle Pizzi and Anthony Knight polymer paint on canvas. Winner General Painting Paul Nowland: [email protected] category, 24th National Aboriginal & Torres Trait Islander were soon in Ngukurr to investigate. Art Award

24 ARTS BACKBONE – OBITUARY Volume 15: Issue 1, August 2015