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Undercurrent a Solo Exhibition by Bangerang Artist Peta Clancy

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Undercurrent a Solo Exhibition by Bangerang Artist Peta Clancy Undercurrent A solo exhibition by Bangerang artist Peta Clancy 9 March – 28 April 2019 Undercurrent A solo exhibition by Bangerang artist Peta Clancy 9 March – 28 April 2019 Contents The Koorie Heritage Trust acknowledges the Traditional Custodians of the land on 4 Tom Mosby which we operate and where this exhibition is being hosted, the people of the Kulin Foreword Nation. We pay our respects to their Elders both past and present and to the Dja Dja Wurrung people whose land has been photographed by the artist in this exhibition. 14 Peta Clancy This land was never ceded and the ongoing connection to land, culture and place Undercurrent existed before invasion and continues today. 17 Excerpts from the transcript of a The following text has been written by Michael Bourke, Dja Dja Wurrung community conversation between Michael Bourke, member and collaborator on this project, to welcome readers of this catalogue and Amos Atkinson and Peta Clancy on visitors to the exhibition to the Dja Dja Wurrung Country photographed by the artist. Dja Dja Wurrung Country, Friday 9th February, 2018 WARTAKAT (WELCOME) Dhelkuk nyawi 28 Michael Bourke nyarri-ngek Michael Bourke Dja Dja Wurrung Guli, Yorta Yorta Yenbena/Wongi, The Theft of Land by Massacre Daung Wurrung Guliyn. Ngarrugum/Garrugum Dja-Nyuk Dja Dja Wurrung Djaara mang Wartak-angalang gundi ngulambarra, 31 Amos Atkinson Djuwima Barring-andak, La larr Ba Gauwa, Guyura, Lalgambuk, dharreng Gauwa, Kurong, Lianganyuk, 36 Maddee Clarke Wanyarra, Goliban, Yang-ang, Yaluk-ang bulitj-ang, Wii, Gatgin, Djaandak, Mirriyn, Galka, Martinga Guli Murrup, 42 Greg Lehman Djuwima Barring-andak A Thin Veil Bengek WARTAKAT Djaandak Larni Dja Dja Wurrung Balak/Gunditj. 50 Rachel Kent WELCOME (WARTAKAT) Peta Clancy: Undercurrent Good Day My name is Michael Bourke and I’m from The Yes Yes, No No Man Yes, Yes Speaking People are here. We gather here at this Meeting Place to affirm our Connection to the Stoney Mountains, the Volcanic Plains to the open grassy woodlands. Across to the flowing waters of the Coliban River, Avoca River, Campaspe River and the Loddon River. Fire, Water, Earth, Wind, Trees, and Ancestor Spirits. We Affirm our Connection. We Welcome you to the Home of the Dja Dja Wurrung People. 2 3 Tom Mosby Foreword In June 1838, in one of the earliest recorded Clancy depicts the layers of time, history, Islander communities to revive and maintain Tom Mosby is the CEO of the incidents of frontier violence to occur in memory and place, uncovering the layers of languages, and to develop and present Koorie Heritage Trust what is now the State of Victoria, armed colonisation and the continuing emotional art. We also acknowledge the support of European settlers engaged in a pitched and cultural effect of these massacres on exhibition sponsor Gandel Philanthropy battle with members of the Dja Dja the land and the community. and our program partners, the Victorian Wurrung nation whose territory includes Government through Creative Victoria’s the present day city of Bendigo. On that The Koorie Heritage Trust is proud to Organisations Investment Program, the day and in further violence following, over present Undercurrent as the first exhibition Office of Aboriginal Affairs Victoria, and the 40 Aboriginal people were killed. These from our Fostering Koorie Art and Culture Department of Communications and the instances of frontier violence remain Residency Program. Established in 1985, Arts’ Indigenous Visual Arts Industry Support largely unmarked and un-memorialised, the Koorie Heritage Trust is a bold and program. We also gratefully acknowledge the contributing to a legacy of inter- innovative 21st century not-for-profit arts support of the City of Melbourne through generational trauma within Victorian First and cultural organisation. Aboriginal owned their Triennial Grants Program. Nations families, peoples and communities and managed, we provide opportunities that characterise the unfortunate history of for all people to learn, connect and re- This project would also not have been Australian colonisation. connect with the rich, living cultural heritage possible without the generous cultural of Aboriginal Victoria originating from a support and collaboration of the Dja Dja Undercurrent is a solo exhibition by 60,000 year old history. The acceptance Wurrung Clans Aboriginal Corporation. Bangerang (Murray Goulburn area of of First Nations Australians comes through South Eastern Australia) artist Peta Clancy, reconciliation, and at the Koorie Heritage I also wish to acknowledge the hard work featuring a series of photographic works Trust, we have been bridging the gap between and dedication of our exhibition team led created in collaboration with the Dja all people for over 30 years. The clasped by Charlotte Christie, Curatorial Manager Dja Wurrung community in and around black and white hands in our logo reflect our Koorie Heritage Trust, and ably assisted by Bendigo. During a 12-month residency belief that working together, we can raise Zenzi Clark and Kate ten Buuren, Assistant based at the Koorie Heritage Trust, Clancy awareness and appreciation of the cultural Curators, Koorie Heritage Trust. Such a collaborated with Dja Dja Wurrung diversity of Koorie culture and work towards groundbreaking show is only made possible Traditional Owners to research, develop the broader goal of reconciliation for all. through the hard work of our exhibitions and create an exhibition that explores the team. frontier violence and massacre sites that Our Fostering Koorie Art and Culture occurred on Dja Dja Wurrung Country. Residency Program that has facilitated the My final acknowledgement and gratitude presentation of Undercurrent, would not is of course to Peta for delivering a Using cutting and layering techniques, have been possible without the generous powerful show. I am sure it will contribute Clancy’s work references the emotional support of the Federal Department of to the nationwide conversation around and cultural scars left in the landscape by Communications and the Arts’ Indigenous remembrance and acknowledgment of the this frontier violence. Using techniques Languages and Arts Program which impact of colonial frontier violence on our that include “scarring” of the photographs, supports Aboriginal and Torres Strait First Nations communities. 4 5 Undercurrent 2018-19 inkjet pigment print 130 x 92cm Undercurrent 2018-19 inkjet pigment print 130 x 92cm Undercurrent 2018-19 inkjet pigment print 130 x 92cm Undercurrent 2018-19 inkjet pigment print 150 x 106cm Peta Clancy Undercurrent I’m standing on the bank of the Campaspe I’ve been told that there are many massacre Note: I’ve been told to always add a zero site on Dja Dja Wurrung country that is now River. On the other side of the river is the sites on Dja Dja Wurrung country that to the end of the recorded number of under water. The area (a river bank) was area where the Campaspe Plains number aren’t recorded on the map I’m holding. Aboriginal deaths for a more realistic flooded during the 19th century when a weir 2 massacre occurred, as indicated on the I feel strange being in the vicinity of such estimate. was constructed: massacre map I’m holding in my hand. I can’t trauma and tragedy. Such a sacred site step onto the actual site as it’s on farm land. but there’s no marker. Ancestors of those When I first conceived the project, Due to the weir being placed, the water I’d have to trespass onto the farmer’s land to killed can’t access the site because it’s on Undercurrent, my aim was to visit every has backed up and created this big do so. The line of the fence and the line of the private property. Fences demarcate and single massacre site marked on the lagoon where it normally wouldn’t be. river prevent me from going any further. The divide up the land for farming purposes. Victorian Aboriginal Massacre map The river line would be way in the middle land on the farm side looks so different from Many of these sites have been cleared, and (compiled for the Koorie Heritage Trust’s there and now it has expanded…the the land I’m standing on. The farm land has the truth of what happened there has been publication KOORIE in 1991). Throughout grave sites are underneath that water… been cleared. The pasture is sunburnt, blonde fabricated, covered over and denied. the project’s development the scope and now the water has backed up it hay-coloured grass is growing about 20cm has become more focussed. I have been is sitting on them. Which is probably from the earth. Walking tracks meander along Campaspe Plains 2 details from working exclusively on Dja Dja Wurrung a good thing anyway…because...no one the bank of the river close to the water’s edge, the Dja Dja Wurrung Massacre Map: country with support from the Dja Dja can interfere... (Michael Burke and Amos carved out by the sheep walking down to the Exact location: Known Wurrung Clans Aboriginal Corporation. Atkinson, pers. comm. 9/2/2018) river to drink. On my side of the river are tall WH Yaldwyn’s superintendent, John My research has been informed and deeply reeds, beautiful trees, the sound of birds and Coppock, said in a sworn statement enriched through visits on country and In my photographs I am interested in finding the wind in the leaves. This lush green side - the that on 9 June 1840, approx. 50 to massacre sites with Dja Dja Wurrung ways to visually depict and explore sites where other side so parched and dry. The farm land Aborigines, who had stolen sheep from Traditional Owners. I have been given a Dja the actual location is unknown, or the exact looks like it has been reaped of all its goodness.
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