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VINCENT LINGIARI ART AWARD OUR LAND OUR LIFE OUR FUTURE 2 1

OUR LAND, OUR LIFE, OUR FUTURE

The Our Land, Our Life, Our Future Exhibition and the After persistent struggle, lobbying and negotiation, the accompanying Art Award Gurindji secured a lease over a small portion of their commemorate the 50th anniversary of the historic traditional lands for residential and cultural purposes. Wave Hill Walk Off and 40 years since the Aboriginal In 1975, Prime Minister poured red dirt Land Rights Act (NT) 1976 was enacted by the Australian into the hands of Vincent Lingiari to symbolise the Parliament. return of what has always been, always will be, Aboriginal land. On the 23 August 1966, Vincent Lingiari, Gurindji leader and head stockman at led workers One year later, the Aboriginal Land Rights Act (NT) 1976 and their families to walk off the cattle station in returned Aboriginal reserves and mission land in the protest against unjust working and living conditions. to traditional land owners. It The stockmen and their families relocated to Wattie established the Central and Northern Land Councils, Creek in a strike that was to last nine years. The walk as well as a process through which their members off and strike became much more than a call for equal could secure Aboriginal Freehold Title to their rights; it soon became a fight for the return of Gurindji traditional land. Today Aboriginal people own almost lands. The walk off attracted national and international half of the land in the Northern Territory. attention to the atrocious treatment of Aboriginal peoples and their campaign for land rights. The Vincent Lingiari Award and Our Land, Our Life, Our Future honours the leadership, courage and strength of Vincent Lingiari and all those who have fought for their land rights.

Prime Minister Gough Whitlam pours the soil of Gurindji home country into Vincent Lingiari’s hand, symbolising the return of the land to Aboriginal control, Daguragu NT, 16 August 1975. Photo: Robert Wesley-Smith 2 3

1978 The Warlpiri Kartangarurru-GurindjiLand claim Rights 1976 - 2016 becomes the CLC’s first successful land claim. 1985 2005 Uluru Kata Tjuta is handed back to The Warlpiri Education and traditional owners who lease the area back Training Trust and the Uluru Rent to the federal government for 99 years. Money projects kick off the CLC’s 1975 community development program. Charlie Perkins and Wenten Patrick Dodson becomes the CLC’s first Rubuntja elected CLC’s first director. Since then, the program has helped chair and deputy chair. Aboriginal groups to drive their own development by investing $58 million of their royalty, compensation and rent income in many hundreds of community projects.

1976 1983 The Australian parliament Aboriginal custodians protest against 2004 passes the Aboriginal Land a dam that would have flooded The CLC negotiates the joint Rights Act and the CLC sacred sites north of . management of 20 national parks publishes the first issue of leased back to the NT government. 2015 Land Rights News. Since 2012 members have invested The CLC marks its 40th all rent income from the park leases birthday with the launch of in community development projects. the oral history collection Every Hill Got A Story. 2016 2000 It celebrates winning back A joint meeting of Territory land councils at Kalkaringi Lajamanu’s Wulaign Rangers (now North Tanami more than 417,000 square celebrates 40 years of Land Rangers) become the CLC’s first ranger group. km of Aboriginal freehold land. Rights and half a century Today the CLC’s ranger program supports 10 since the Wave Hill Walk ranger groups managing more than 300,000 Off. square km of Indigenous Protected Area and other Aboriginal land.

2008 1988 Traditional owners Wenten Rubuntja (CLC) and Galarrwuy Yunupingu commemorate the (NLC) present Prime Minister Bob Hawke with the 80th anniversary of the Barunga Satement calling for a treaty. Mr Hawke . promises a treaty by 1990. A convoy of NT Aboriginal leaders drives to Sydney to protest against the Bicentennial celebrations.

1993 The Australian parliament passes the Native Title Act. One year later, the CLC 1997 becomes a Native Title The sunset clause in the Representative Body. Aboriginal Land Rights Act takes effect. No more new land claims can be lodged. 4 5

OUR LANGUAGES THE POWER OF OUR ART REFLECTS THE POWER OF OUR LAND RIGHTS

The power of our art has always been critical to the Vincent Lingiari Art Award. The award is held in power of our land rights. collaboration with Desart, the peak body doing a great job supporting Central Australian Aboriginal art centres. In the history of land rights, the Yirrkala bark It is appropriate the award judges include Hetti Perkins, petitions to Federal Parliament in 1963 go down as the daughter of the CLC’s first chairman, for her strong potent catalysts along with the Wave Hill Walk Off expertise in the arts. in 1966 and the Gove traditional owners’ case against bauxite miner Nabalco culminating in 1971. As song and dance, body designs, painting on the The Woodward Royal Commission into NT land rights ground and on canvas, art has been included as evidence soon followed in 1973/74, before the Aboriginal Land in successful land claims and native title claims. Rights (NT) Act finally passed in 1976. Aboriginal Land Commissioner Toohey referred to such Painting from the and Centre of course evidence in his report on the successful Anmatjirra and completed the Barunga Statement two Alyawarra land Claim to the Utopia pastoral lease. chairmen, Wenten Runbuntja and Galarrwuy Yunupingu, “The painting and dancing of the women was a vivid presented to Prime Minister Bob Hawke in 1988, calling demonstration of the importance of ceremonial life for a treaty and nationwide land rights. and of the significance their country held for them,” he wrote. An elaborate ground painting likewise And I was there when Mr Rubuntja presented a impressed Land Commissioner Maurice when considering marvellous, and no doubt influential, Yeperenye the evidence of a claimant group in the Dreaming painting to Prime Minister Paul Keating in Land Claim. “One could only conclude that individual talks on the High Court’s Mabo decision that led to the members of this group, as well as persons from Native Title Act in 1993. I have a photo of the former adjoining countries, were deeply involved in traditional CLC chairman explaining the painting to Keating, me religious culture,” records the commissioner’s report on holding it up and the PM gazing at it, deep in thought, this claim. hands clasped in front of his trademark fine Italian suit. Indeed, this is the essence or roots of it. Our art now So it is appropriate that we mark 50 years since the provides a very important income to our artists and Wave Hill Walk Off led by Vincent Lingiari, and 40 years their families. It displays an exhilarating range of forms, of land rights in the Northern Territory, with the materials and subject matter; the entries in this award

CLC Director Pat Dodson and CLC Assistant Director David Ross at Barunga, NT, June 1988. Photo: Collection 6 7

are evidence of that. Yet much of it emerges from or in In these ways, as with all art, ours is an important Art has signposted this step in our land rights new life skills”. Dollar signs depict “the WETT money fact remains what it has been for millennia: Dreamtime insight into how the artists see the world, in the journey too. story”, an important story for the world to hear of our stories sung, danced and painted, ritually linking groups broadest sense. mob using their money for their future. A story in art. to land where they have rights and responsibilities, and Key drivers of WETT, Aboriginal teachers who are also linking group members to each other. Art is a Furthermore, through art our people “undertake a form artists, have produced a complete painting of this Practical, powerful and beautiful. significant marker of identity in relation to land, of social dialogue” with the wider world, as one important initiative, as tall as me and stunning in its collective identity in this case. anthropologist has put it. And this converges very composition, colour and vitality. What’s more, they Art is part of this particular leg of the land rights much with the current phase of land rights in Central have helped my community development staff to journey, just as it was with us at the first legs – and This does not mean the art or the artists are or can be Australia. produce a pamphlet that is effectively a dialogue with long, long before that. Art has always been integral to locked in timeless tradition. Art is by nature dynamic the world about the painting and the WETT initiative. our connection to the land. and nowadays inevitably intercultural. Works on board Earlier this year, in a speech to the National Native Title The pamphlet interprets the painting and its symbols, and canvas borrowed from body designs; Albert Conference on 40 years of land rights, I explained how traditional and introduced, under the headings: That is why I am thrilled to mark the 40th anniversary Namatjira so beautifully adopted Western watercolour a key focus for the Central Land Council is now How WETT Started; How WETT Makes Decisions; of the Aboriginal Land Rights Act and the 50th landscape techniques; and our artists are now also supporting traditional owners and communities to WETT Programs. anniversary of the Wave Hill Walk Off with the Vincent working powerfully in ceramics, photography, film realise their goals with opportunities arising from their Lingiari Art Award and the Our Land Our Life Our Future and more. strong rights in land. For example, one symbol in the painting shows when exhibition at Tangentyere Artists. “the CLC lawyers came and talked to traditional owners We know the now world famous Central Australian The CLC’s community development program supports and they decided to sign the agreement to start WETT”. David Ross Aboriginal acrylic painting movement was shaped by Aboriginal groups to drive their own development by Another represents “the WETT program reference CLC Director the post-colonial – but pre-land rights – impact of the using significant sums of royalty and rent revenue for groups in the four Warlpiri communities talking and early artists’ diaspora. With their distinctive bird’s eye projects of lasting community benefit. Since this work sharing ideas”. A jet, complete with two rows of seats, view of the landscape, these artists’ had what one began in earnest in 2005, it has helped groups to invest signifies “the WETT funded program that sends analyst has called “an irrepressible drive” to portray $58 million in many hundreds of community secondary age kids on interstate excursions to learn country they had responsibility for, could never forget development projects. but were compelled to move far away from. Many CLC Chairman Wenten Rubuntja and NLC would later move back home and continue painting Some of these projects have supported Aboriginal art Chairman Galarrwuy Yunupingu present the with renewed vigour after land rights. In some cases, and art centres or have been implemented by them. Barunga Statement to Prime Minister the art meanwhile reflected the artists’ creative efforts Others have been education and training focussed, Bob Hawke, Barunga, NT, 1988. Photo: Central Land Council Collection to make sense of their new surroundings. using royalties from the Granites gold mine through the Warlpiri Education and Training Trust (WETT) managed by the CLC.

[L- R] Nancy Oldfield, Maisie Kitson and Barbara Martin with their painting which describes the origins, progress and story of the Warlpiri Education and Training Trust (WETT), , NT, 2013. Photo: Hannah Quinlivan

CLC Chairman Wenten Rubuntja and CLC Director David Ross present Mr Rubuntja’s Yeperenye painting to Prime Minister Paul Keating, Parliament House, Canberra, ACT, 1993. Photo: Peter West, courtesy AUSPIC. 8 9

TELLING OUR STORY FROM A PLACE OF STRENGTH

Approached by the Central Land Council Director with One of the least known aspects of the land rights the idea of an exhibition commemorating the 50th movement is the Alice Springs town camp story. anniversary of the Gurindji Wave Hill Station Walk Off Historically town camps were places of refuge for an and the 40th anniversary of the Aboriginal Land Rights Aboriginal diaspora. Prohibited from entering Alice (NT) Act 1976, the Desart Board and I responded with Springs proper, the town camps became refuges for much excitement. people driven from their own country, kicked off pastoral leases or chasing stolen children. They became The Wave Hill Walk Off in 1966 is major marker in our synonymous with Aboriginal resistance to the history. It occurred at a time when Aboriginal people assimilationist policies of the 1950s and 60s. And a year were asserting their land rights more strongly as the after the Land Rights Act became law in 1976 a new first peoples of the land; and calling for improved organisation, Tangentyere Council, began as an umbrella living conditions and fair and equitable treatment as service and advocacy organisation for all the Alice workers in the Northern Territory pastoral industry. Springs town camps. The courageous stand by the and their supporters drew attention to the dispossession and As an enterprise of Tangentyere Council, Tangentyere disadvantage faced by Aboriginal people and Artists is, then, the perfect gallery to exhibit the powerfully influenced subsequent government moves Vincent Lingiari Art Award shortlisted entries. The towards the Land Rights Act passing ten years later. existence of this art centre is testament to the strength and determination of town camp residents and the The Vincent Lingiari Art Award is named after the growth and achievements of Tangentyere Council. It is Gurindji leader who led the Walk Off and this fight for a reminder of the connection between art and land recognition of Aboriginal land rights. But many others rights evident in the actions of Aboriginal artists have fought this struggle with the vision and seeking land tenure simply to support their work. determination to have basic humxan rights as well as OUR LAND OUR LIFE OUR FUTURE rights to traditional lands recognised. The Award is a Artists represented in the exhibition were asked to tribute to all who have contributed to securing our reflect on, and in some way portray, the past, present rights. Desart values the support of Mr Lingiari’s family and/or future of land rights. The diversity of works in naming the award in honour of his leadership. gives us a small yet intimate insight into the variety and creativity of the possible responses to this big theme. Land rights are fundamental to the identity of The artists represented are continuing a long tradition Aboriginal people in the NT. Our relationship to our of visually expressing and asserting through their art traditional lands gives us strength in knowing who we what is important to them. We see them depicting are and where we belong, our relationships and their Jukurrpa/Altyerre, being on country, land responsibilities to others. Our art starts from this place management, maintaining strong culture, community – telling our story from a place of strength. life, the future of our children and more through their From there, art has been a potent tool through which artwork and the lens of land rights. the status quo has been challenged, sometimes with unintentional consequences. The art of Albert The Vincent Lingiari Award and Our Land, Our Life, Namatjirra helped pave a way to citizenship when Our Future exhibition has enabled the voices of those Aboriginal people had no citizenship rights; the who are often not heard to resonate through their art. school mural project asserted cultural identity It is the voices of those who are the beneficiaries of in the time of governments’ assimilationist policies and land rights and the inheritors of the legacy of those actions. who fought hard to have our land and other rights recognised. It is clear that the struggles continue albeit Such artwork drew attention to the artists’ disadvantage, with different emphasis and priority. Art will no doubt dispossession from land and culture and the social remain as important in these struggles as it was in the injustices Aboriginal people faced here in the 1960s and fight for land rights. 1970s, while sowing the seeds of the internationally acclaimed Aboriginal art movements that have since Philip Watkins emerged in Central Australia. Chief Executive Officer Desart 10 11

Artist: or Jukurrpa may seem It is surrounded by land rich in bush Artist: The movement from country, and when they set up outstations Alice Nampitjinpa Michaels stripped of some of its spectacle tucker. In the time of the Jukurrpa Alice Nampitjinpa Dixon back via outstations facilitated by I could move back closer to my Title: when presented to judges as (Dreamtime), many mothers with Title: land rights, is familiar to many country. I can visit it any time now.’ evidence in land claims. But make young children would gather there, elders in Central Australia. Alice "Lappi Lappi Jukurrpa" (2016) "Tali Tali – Sandhills" (2016) Alice Nampitjinpa Dixon has no mistake, the Dreamtime was a believing it was a safe place to stay. Nampitjinpa Dixon’s entry Art Centre: Art Centre: exhibited in the Northern Territory, dramatic time. Alice Michaels’ work But Lappi Lappi is home to a remembers that time, and earlier Warlukurlangu Artists Ikuntji Artists interstate and overseas, solo and in has been exhibited in the Northern Warnayarra, a rainbow serpent that first contact with non-Aboriginal many, many group exhibitions. Her Acrylic on canvas Territory, interstate and overseas. travels underground between Acrylic on canvas people. work is collected in many galleries 122cm x 107cm Here her entry portrays the drama various rock holes. One day, women 76cm x 102cm ‘The first time I saw a whitefella I and other major institutions in the centred on the rockhole Lappi Lappi, were gathered at Lappi Lappi was a young girl. I might have been NT, interstate and internationally. northwest of Lake Mackay, in WA. rockhole with their children, singing eleven or thirteen, already a little Before becoming an artist, Alice and dancing. When the Warnayarra ‘This country belongs to Nampijinpa/ bit grown up. I used to live in the worked at the school in Kintore in heard them, it travelled silently Jampijinpa and Nangala/Jangala bush, with my family. I saw him the NT’s remote far west. towards them, under the water. skin groups. Located in a sheltered riding a donkey, in the sand hills. When it reached the edge of the basin, the rock hole at Lappi Lappi is It was in my country, Taalalpi, which rock hole, it rose out of the water a permanent source of water. is near Kintore. We moved to and ate them all. Papunya first and I got married to

my husband in Haasts Bluff. But 12 13

Artist: Belle Davidson Karrika’s piece be travelling around a week to get Artist: David Frank’s work has been something big. We too have been Belle Davidson Karrika reminds us of the days before land to the mission. They catch rabbits David Frank exhibited recently around Australia. stockmen, us men, many of us. Title: rights, and the travels repeated and goanna to give to the children. Title: Earlier he worked with the South When we were young, we worked "Travelling to Warburton" (2016) across Central Australia from the No blankets, ngalta. They make a "Our Future" (2016) Australian Police for over 15 years, hard on cattle stations for rations, desert in to missions, of the fire in the middle to keep the translating and using his ngangkari learning and helping to make use of Art Centre: Art Centre: strength and resourcefulness of the children warm. Same time, they or traditional healing skills to help the land for cattle and farming. The Papulankutja Artists Iwantja Arts people involved. Belle’s own carry dog skin to sell to get tea, calm tense situations. And, like background to our rights is a long Acrylic on canvas extraordinary life has taken her sugar, blankets. Acrylic on linen Vincent Lingiari of Wave Hill one; Lingiari helped to start the 121cm x 76cm from camping near Warburton 36cm x 51cm walk-off fame, and so many NT land rights story.’ This is how we travelled, back then. when the nuclear bombs were Aboriginal elders, David worked on I am one of those children. My tested not so far away at Maralinga, cattle stations. mother had two children. We to dancing at the opening ceremony headed to Warburton, Belle and ‘Looking back at the story of when of the 2000 Sydney Olympic Nellie. Sometimes we made a Vincent Lingiari helped all his Games.‘This man with the two spinifex fire so people knew we people to walk off the station at wives, one wife has four kids and were travelling.’ Wave Hill, I think about how strong the second wife two. They travel, that man was for all Aboriginal they camp, rockhole, another people. It was the start of rockhole, big wind break. They must 14 15

Artist: Dianne Golding is a proficient ‘When the lands first Artists: This collaboration suggests there is This artwork shows that today the Dianne Golding (Ungukalpi) painter and an accomplished fibre got IPA status, a Ranger coordinator Engawala Artists: in fact a big wide world out there elders are teaching the younger Title: artist who makes baskets and and others went up in a big yellow Maryanne Tilmouth, Mary Tilmouth, for Aboriginal youth – provided they generation how to apply paint to "Tjanpi helicopter and four camels" sculptures through Tjanpi Desert helicopter to view land around Janine Tilmouth, Patsy Tilmouth, remain grounded in a knowledge of their bodies and do traditional (2016) Weavers, experimenting with Warakurna Community. They saw Annalisa Neal, Cathy Inkamala, their country; and with a hope they dancing. And the symbol in the different shapes. For her sculptural large herds of feral camels that kept Elizabeth Dixon. return there as role models to middle shows that different people Art Centre: pieces she draws inspiration from coming into Warakurna at night, others. are coming together all as one and Tjanpi Desert Weavers Title: the animals on the Ngaanyatjarra breaking taps and fences. The learning new things. "Walking in two worlds" (2016) ‘In the past we hunted for bush Tjanpi (native grass), wool, raffia lands, from the camp dogs in Rangers set up bores with water Acrylic on canvas tucker nearly every day and all spoke The last frame shows that our 80cm x 80cm x 160cm communities to the goannas, tanks and troughs outside the 90cm x 150cm the same language. Our grandfathers, younger generation will get a better porcupines, and rabbits hunted out community, which stopped the fathers, grandmothers and our education in the city when they’re bush. In her entry she depicts the camels wandering in to get water. mothers used to travel by foot to at the appropriate age. We hope our important work of Indigenous They use helicopters to muster the different communities to visit family children continue studies at Rangers, facilitated by land rights camels into yards. The camels are but would always return home to university and get better jobs in the and land councils, often on then herded onto big trucks and their land. future, but will always come home Indigenous Protected Areas (IPAs). into town for meat.’ and hunt for and be the role models for the younger kids.’ 16 17

Artist: Many Central Australian elder But I can only go back sometimes. Artist: Land rights have allowed Aboriginal I started this painting at Coober Eunice Napanangka Jack artists portray country they have I get really lonely for that place. Mervyn Rubuntja people a strong voice on mining. Pedy and finished it in Alice Springs Title: rights in, responsibility for and One day I might go back and visit.’ Title: Widely seen as an artist and often where I live. It is different to my retain strong knowledge of, though heard as an activist, this entry is usual work because the country at "Kuru Yultu" (2016) Eunice Jack has had a number of "Mining on traditional land" (2016) circumstances have moved them Mervyn Rubuntja’s mining message. Coober Pedy is different. Through Art Centre: solo exhibitions interstate. Her Art Centre: far from it. Eunice Napanangka Jack my work I want to stop ‘them’ from Ikuntji Artists work has been in many group Many Hands ‘In 2015 I travelled to Coober Pedy is one. mining. For example, mining of exhibitions in the Northern to teach local Aboriginal artists Acrylic on linen Watercolour on paper uranium and other minerals near ‘I walked to Haasts Bluff when I was Territory, interstate and overseas how to paint landscape. A lot of 70cm x 150cm 54cm x 38cm Aileron community (also my a little girl. My mother carried me. and it remains in NT, interstate and mining was happening around country) is no good. This painting is We were hungry and we walked all overseas collections. there. It made me think about my my statement. It gives us an insight the way. My father is from country and how concerned I am into the impact mining could have Blackstone and my mother is a about its future. If ‘they’ mine my on our country. Visitors, come to Warlpiri lady. We travelled all the traditional land it will destroy the see our country, don’t mine it!’ way from Tjukurla and came to landscape. It might damage water Haasts Bluff. I sat down there. I quality. People should know that know that story and country from they need to keep their traditional Kuru Yultu, my father’s country. land safe from mining. 18 19

Artists: Collectively widely exhibited, in this Our land and our family Many Hands Collaborative – carefully structured collaboration connections and collaborations are Yipirinya (Yeperenye): based on land associations, these crucial to our lives and our future. Kevin Namatjira, Reinhold Inkamala, artists depict particular Dreaming This painting is a collaboration of Mervyn Rubuntja, Lennie Namatjira travels through country around five Hermannsburg School artists. and Gloria Pannka Alice Springs. Each artist has permission to paint Title: ‘Western and Northern Arrernte their own country. This dreaming "Yipirinya (caterpillar) Dreaming" ancestors are travelling from the was chosen because it allowed a (2016) north and the west to Mbantua number of Arrernte artists to take Art Centre: (Alice Springs). They are going part and paint their land. Iltja Ntjarra (Many Hands) Art through to Emily Gap. Several trips to country were Centre The white rock in the very left part undertaken to get inspiration for Watercolour on boards of the painting is part of the the work, and celebrate the 12 panels (50cm x 75cm) Yipirinya (caterpillar) Dreaming MacDonnell Ranges together as a story, about the Yipirinya’s tail group. Each artist painted in their which was chopped off across the own style while considering the dry riverbed in Mbantua. painting styles of the other artists.’ 20 21

IMAGE TO BE REPLACED

Artist: ‘In the 1950s The Public Trustee for by the statements he makes in his Artist: Heather Kamarra Shearer has won visit home earlier this year, this Gloria Pannka the Northern Territory Government artworks. I feel that in the future Heather Kamarra Shearer awards for her artwork, exhibited it painting shows my intention and Title: was responsible for administering the copyright should be owned by Title: widely, worked in the arts and other family support to reclaim my "Copyright for Namatjira" (2016) the will and estate for Albert my family, as "Tanya Kamarra Shearer" (2016) fields, served on numerous birth-name and move back to Namatjira. The Public Trustee painted our country and the committees, run workshops, made Ntaria to set up my own outstation. Art Centre: Acrylic on canvas decided to sell the copyright to all of copyright to his belongs presentations and completed Iltja Ntjarra (Many Hands) Art 97cm x 78cm I left Ntaria (Labrapuntja my grandfather’s works for $8,500 with us. Copyright for Namatjira is commissions. Her entry was Centre Outstation) for Port Augusta nine to John Brackenberg, based on the my statement.’ inspired by her personal journey years ago. It is time for me to Watercolour on paper friendship between Brackenberg and referenced to outstations, those Gloria Pannka’s entry is thus an return and encourage my children 51cm x 71cm my grandfather. Since then, my small communities scattered across artistic meditation at the to come too. family hasn’t owned or benefited the Northern Territory that intersection of law, land and history. from this copyright. I feel that this is multiplied with – and are now I have been involved in community wrong. My painting depicts my Her entries in the Telstra National synonymous with – land rights. organisations back here; I respect country, Tywerentye (the West Aboriginal and Torres Strait Islander my culture, and love my family and ‘My artwork largely depicts my MacDonnell Ranges) and this Art Award have twice been highly country. So this painting represents journey as a member of the Stolen injustice to my family. I produced commended; and her work exhibited my future as a valued member of Generations. It is consistent with this painting when artist Tony Albert and collected in the NT, interstate my family and the community I was my Arrernte heritage as taught to visited my art centre. I was inspired and overseas. removed from.’ me by my mothers. Following my 22 23

Artist: ‘When I was young woman, we were about who owns country. We Artist: Like much of this extensively things up ourselves. Some old Margaret Boko moved to Amoonguna. A big mob always knew who owned it, where Marlene Rubuntja exhibited artist’s work, Marlene people started talking and working Title: of people were moved there to live. we belonged. And in the end, Title: Rubuntja’s entry reflects on, and to get town camps; like my father "Finally we had enough!" (2016) In town, whitefellas said and wrote government agreed, when they "My future is in my hands!" (2016) draws inspiration from, those and my uncle and lots of other on papers, ‘This is our land, not made that new piece of paper (the pockets of important land rights in strong people. That mob was real Art Centre: Art Centre: yours’. But we always knew. We all Aboriginal Land Rights (NT) Act town, the town camps. strong, working for everyone. Tangentyere Artists Yarrenyty Arltere knew, us Aboriginal people. Those 1976).’ ‘I was thinking about how people Now we have 18 town camps, Acrylic on linen whitefellas were telling lies! Mixed media soft sculpture 148cm x 87cm A Telstra National Aboriginal and used to live down at the creek here homes for our children. We have Finally, we had enough! We wanted Torres Strait Islander Art Award in Alice Springs. I used to live down safety. I have my family living all our land. We wanted it out bush, finalist twice, Margaret Boko’s work there too much. There were no around me. And I have a beautiful and in town. So we all marched has been described as that of a town camps. One old man even view. They can have their million through town, biggest mob of social historian, depicting the used to roll out his swag in some dollar view in the city; I’ve got the Aboriginal people, while all the commonplace as well as the whitefella’s yard and sleep there. MacDonnell Ranges for my view.’ whitefellas locked themselves in landmarks in her life and that of We had no home, just like that their houses. We were angry. We her people. homeless mob, poor things, who I were sick of all that humbug from saw in the city. No-one put any whitefellas, just telling stories money in our cup so we had to fix 24 25

Artist: Mumu Mike Williams is the pastor land and culture. The map of Artist: Nyurpaya Kaika Burton is a painter Kumpilpa kanyiningi. They didn’t Mumu Mike Williams of Mimili community and a Australia shows that even though Nyurpaya Kaika Burton and fibre artist with work included need money. They had plenty of Title: ngangkari traditional healer. He has I’m talking about my country, these Title: in many group exhibitions and food. People were not sickly. Tjana "Nya Manta" (2016) worked as a drover and a carpenter. stories are important for all "Self Portrait" (2014) collected in several major galleries. pika wiya, kunpu nyinangi. Everyone His artwork has hung in group Aboriginal people. She has curated a project at the Art was strong and healthy in mind and Art Centre: Art Centre: exhibitions around the Northern Gallery of and been body and culture, which they passed Mimili Maku Arts With this painting I’m talking about Tjala Arts Territory and interstate. a Telstra National Aboriginal and on to their children. But now we land rights, and what the Land Tea, ink, chalk pastel on paper – Tjanpi, acrylic on linen, punu (wood), Torres Strait Islander Art Award have adopted different ways of ‘I’ve been painting for a long time, Rights Act means for us. I’m saying: framed by kulata (spear) audio finalist. In this self-portrait passing on our culture. We now use always painting my Tjukurpa, “Nya manta? What is land rights? 200cm x 150cm 120cm x 120cm installation she tells her story to paintings, tjanpi sculptures and ‘Minyma Kutjura’, about two sisters All the old men and women here on her grandchildren, part of the punu as some alternative ways. travelling on country. these lands, they’re the owners of important transmission of cultural However we do it, we are keeping the Tjukurpa, their law and culture, This year I’ve started painting the knowledge from, about and for the our culture here at home, on our their heritage. This land belongs to map of Australia and using my land. own country. Mantangka ananguku them. Listen: keep the land and its paintings to talk about important tjitji tjutaku. Our children will stories strong! Protect it and keep it ‘Our grandparents looked after law, things. I’m talking about things inherit the land, so we are busy strong for us – for everybody”.’ culture, land and family well by where I live, and about how we’ve teaching them our culture, in our themselves. And relatively privately. got to be strong and protect our own way.’ 26 27

Artists: In the days before we had shopping We made this karnilpa with kuka, Artist: In the past our ancestors roamed pastoralists and Governments to Tjanpi Artists: Anawari Mitchell, bags, our grandmothers used mirrka and the tjilku to show people Raymond Reiff the land given to them by their go on our own land to visit sacred Anaglyia Mitchell, Janet Forbes, Karnilpa (yandying dish) to carry how important the karnilpa was to Title: ancestors and passed the land on to sites, camp and also to go hunting. Nora Davidson, Jennifer Mitchell, kuka (meat) and mirrka (food) they minyma when they were travelling, our Grandparents who then handed "Our land before time, Our land Today we live in our communities Maimie Butler, Prudence Mitchell, caught whilst hunting. As minyma hunting and looking after their down it on to us. Our families for the future" (2016) and traditional homelands. We still Pamela Hogan (women) couldn’t carry their tjilku families. Although our camped on our land, looked for Acrylic on canvas hunt and look after our sacred sites. (baby) whilst they were hunting, grandmothers made real karnilpas bush tucker and looked after our Title: 140cm x 158cm Our elders and land council delegates they would also lay them in the smaller and from wood, we did this sacred sites. Our land was an open “Kuku Walykumunu” (2016) speak up for our communities and karnilpa. one so you can see all the kuka country with no fences or roads to Art centre: country. They meet and work walykumu (good food) that stop our ancestors from roaming Tjanpi Desert Weavers In those days, minyma would walk together with governments to build Yarnangu (Ngaanyatjarra people) around freely on their own land. and get things like walku (quandong), a future where we can all live and Tjanpi (native grass), wool, raffia used to eat. They camped anywhere they ngintaka (goanna), marku (witchety work together as one. 25cm x 38cm x 125cm wanted without asking permission grub) and ngari (honey ants). They from anyone only their elders. Artwork elements: Karnilpa (long- would also get nani (rabbit) and Today there are fences everywhere shaped basket), Wiilyka (Cat), Nani wiilyka (cat), even before the and you need permission from (rabbit), Tjilku (baby), Basket filled whitefellas came, because these with ngari (honey ants), marku animals got here before them. (witchety grubs) and uldiuldi (grass soaked in mushed ngari) 28 29

Robert Fielding is an arts worker Walk-off and the establishment of Artist: Dreaming stories have been a Every night they went out in search Artist: and artist whose work, often the Act have shaped our lives. I’ve Steven Jupurrurla Nelson critical part of traditional rights to of food. Their hunting trips took Robert Fielding incorporating photography, has taken the famous image of Gough Title: land for many, many years. The them to Wirlki and Wanapirdi, been included in many group Whitlam pouring the earth into tracks of ancestral beings in these where they found pamapardu Title: "Janganpa Jukurrpa (brush-tail "In our hands" (2016) exhibitions, several interstate Vincent Lingiari’s hand as the possum Dreaming) – Mawurrji" Dreaming (or Jukurrpa) stories are (flying ants), and Ngarlkirdipini collections and won awards starting point for my work. The (2016) essential markers in land rights and looking for water. Meanwhile, a Art Centre: including the 2015 NATSIAA Work symbols of tea, flour and sugar are claims. In his entry, the emerging woman with the subsection or skin Mimili Maku Arts Art Centre: on Paper Prize. His entry addresses the rations imposed from above – yet already highly skilled artist name Nampijinpa was living at Warlukurlangu Artists Video the shared histories of Aboriginal like so many policies that greatly Steven Jupurrurla Nelson portrays a Mawurrji with her two daughters. Duration – 1min 47sec people. affect Indigenous people. Acrylic on canvas Janganpa Jukurrpa story. She gave her daughters in marriage 152cm x 91cm to a Janganpa with Jupurrurla skin ‘It’s important to learn from the But my work depicts cycles of life: ‘The Janganpa (brush-tail possum) name, but later decided to instead lessons of the past in order to move our customs and rituals, both new Jukurrpa travels all over Warlpiri run away with her daughters. The forward. The Land Rights Act is a and old, our struggle, our resilience, country. This story comes from a Jupurrurla Janganpa angrily pursued significant acknowledgement of the our hunger, our sustenance, our big hill called Mawurrji, west of them. He tracked them back to unbreakable connection of survival, our eternal connection to Yuendumu and north of Pikilyi Mawurrji where he killed them with Aboriginal people to their country. our land. Our past, our present, our (Vaughan Springs). A group of a stone axe. Their bodies are now Important events like the Wave Hill future – now in our hands.’ Janganpa ancestors lived there. rocks at Mawurrji.’ 30 31

Artists: Led by the extensively exhibited Collaborating with CLC means Artist: Three times finalist in the Telstra turning into the most tempting Tilau Nangala and Papunyu and inspirational elder Tilau traditional owners are empowered Tjunkara Ken National Aboriginal and Torres kampurarpra (bush tomatoes) for Tjupi Artists Nangala, this collaboration in turn to make decisions about land. We Title: Strait Islander Art Award, the the sisters to eat and the most Title: tells of traditional owners of land have land rights that make us "Seven Sisters" (2016) widely exhibited and collected beautiful Ili (fig) tree for them to collaborating with the Central responsible for our land, especially Tjunkara Ken’s entry tells the Seven camp under. But the sisters know "Look around country" (2016) Art Centre: Land Council. cultural places others have to Sisters Tjukurpa story of the Pleiades about his magic. They go hungry Art Centre: Tjala Arts respect. As custodians, we take and Orion constellations. But it is and flee through the night. Every Papunya Tjupi Arts ‘“Look around” is an expression care of country and CLC helps us Acrylic on linen also very down to earth, to land. now and again one of them falls used in communities when Synthetic polymer paint on canvas look after it. 197cm x 198cm victim to his ways. He captures the traditional owners working with ‘The Seven Sisters are Pleiades and 107cm x 243cm youngest sister. But with the help of the Central Land Council (CLC) go Women with the subsection or skin Orion is Nyiru or Nyirunya (a lusty the eldest, the youngest escapes visiting country for cultural names Nangala and Nampitjinpa or bad man). The sisters travel and eventually the sisters fly back business and land management. are together the custodians of repeatedly from the sky to earth to into the sky to escape Nyiru and We visit country for burning, certain water Dreaming sites in escape Nyiru’s unwanted re-form their constellation.’ ceremonies, meetings and more. Central Australia. This painting attentions. They turn into human We tell stories about country and depicts people visiting water form to escape him, but he always we explain the landscape to the Dreaming country during “look finds them and they flee back to the CLC Rangers and anthropologists. around” with CLC.’ sky. Nyiru tries to catch them by 32 33

Artist: ‘Vincent Lingiari stood up for the Vincent Namatjira has exhibited Artist: ‘This painting depicts designs Mackay). The various shapes in Vincent Namatjira rights of our people; he was a many times, around Australia and Yalti Napangati associated with the rockhole and this painting represent the features Title: strong and wise man. He made overseas. Museums overseas have Title: soakage site of Marrapinti, west of of the landscape, and the bush Australia and the politicians sit up acquired his work. It has been "Vincent Lingiari and Gough "Marrapinti" (2016) Kiwirrkura Community. During foods the women collected as and hear the truth about this shortlisted in a number of awards, ancestral times a large group of Whitlam"(2016) Art Centre: they travelled.’ country, that this land belongs to including twice in the Telstra women gathered there, heading Art Centre: us and it also owns us. I’ve painted National Aboriginal and Torres east. While at Marrapinti the Yalti Napangati is among the small Iwantja Arts Acrylic on canvas the picture of Mr Lingiari holding Strait Islander Art Award. women made the nose bones, also group of who had no contact Acrylic on canvas his hand out and catching the red 153cm x 122cm known as marrapinti, worn through with Europeans until late in 1984. 152cm x 122cm sand that Prime Minister Gough a hole made in the nose web. These Before that, she lived west of Whitlam used as a way to show his were originally relatively commonly Wilkinkarra. She now lives and paints government’s agreement with our used by both men and women, but in Kiwirrkura, and has exhibited in a land rights. Because of Mr Lingiari’s are now only worn by the older number of group exhibitions around courage, the Land Rights Act and generation in ceremonies. Upon Central Land Council can continue completion of ceremonies at Australia and overseas. In 1999 she to support and do many good Marrapinti, the women continued contributed to the Kiwirrkura works for our people.’ their travels east to Ngaminya and women’s artwork as part of the then on to Wilkinkarra (Lake Western Desert Dialysis Appeal 34 35

CENTRAL LAND COUNCIL TANGENTYERE ARTISTS

The Central Land Council is a Commonwealth In February 1973 the Commonwealth set up a Royal ‘Relha ntjaarraka kangkentge urrkaapuma pmara The art centre mission is to provide innovative, effective corporate entity. The CLC operates under the Aboriginal Commission under Mr Justice Woodward to inquire into Tangentyere Artists.’ and sustainable art programs that foster and support Land Rights (Northern Territory) Act 1976 and it is also a how land rights might be achieved in the Northern the aspirations and decisions of town camp people. Native Title Representative Body under the Native Title Territory. The commissioner’s first report in July 1973 [The many ladies are proud working together at As a not-for-profit organisation, Tangentyere Artists Act 1993. recommended that a Central and a Northern Land Tangentyere Artists] return one hundred percent of proceeds to the artists Council be established in order to present to him the and their services. The CLC covers an area of 750,000 square kilometres in views of Aboriginal people. Statement (in Western Arrernte) by the artists of the southern half of the Northern Territory. In the CLC’s Tangentyere about Tangentyere Artists Art Centre. As Jane Young, East Arrernte woman, Chair of Desart, region, traditional Aboriginal landowners own more After considering Justice Woodward’s final report, the town camp resident and artist, who commenced than 400,000 square kilometres of Aboriginal freehold Whitlam Labor government drew up a Land Rights Bill, Tangentyere Artists are part of Tangentyere Council in painting with Tangentyere Artists in 2005, explains: land under the Aboriginal Land Rights Act. This represents but was dismissed before the law was passed. Alice Springs. The Council was established in the 1970s more than half of the almost 780,000 square kilometres for and by Aboriginal people, and is now the primary ‘Everyone knows Tangentyere Council, and because it’s of land covered by the CLC. The Australian Parliament eventually passed the service provider for 18 Alice Springs housing Aboriginal owned and directed, everyone trusts Aboriginal Land Rights (Northern Territory) Act 1976 on associations, known as town camps. Tangentyere Council, so they wanted their art centre to be The CLC is governed by 90 Aboriginal people elected the 16th December 1976 and the law came into a part of Tangentyere. It was the best thing, you know? It from communities in the southern half of the operation on 26th January 1977. Many Aboriginal Alice Springs residents longed for an was the right place for all of us – we are all welcome here: Northern Territory. While the legislation governing the art centre to call their own, to challenge the private all cultural groups, all languages, all the people!’ CLC is only for the Northern Territory, many of the It transferred title to most of the dealers and carpet baggers plaguing the town. CLC's constituents’ traditional country extends across lands in the Northern Territory to its traditional owners ‘Now, Tangentyere Artists means Town Camp artists are state borders. and gave other traditional land owners the opportunity Tangentyere Council’s art service was first established learning new things every day, and at the same time, to claim land not already owned, leased or being used in 2005, initially providing targeted skills development keeping their culture strong.’ The CLC traces its origins to the history of the by someone else. The major townships in the region, workshops and some outreach services across a range Aboriginal struggle for justice and their rights to their Alice Springs and where excluded. of town camps. Through the Tangentyere Council www.tangentyereartists.org.au traditional land. Executive, town camp residents were striving for a full Today Aboriginal people own almost half of the land time art centre to meet their needs. This history includes the famous strike and walk off in the Northern Territory. by the Gurindji families at Wave Hill cattle station in Today, with a purpose built gallery, studio and 1966. The strike drew international attention to the www.clc.org.au administration, and a professional development dispossession and disadvantage of Aboriginal people in program, Tangentyere Artists is the hub for arts the Northern Territory. activities across Alice Springs town camps.

DESART

Desart is the Association of Central Australian Desart is a collective voice for central Australian Aboriginal Arts and Craft Centres. Established in 1992, Aboriginal art centres on matters of shared interest and incorporated in 1993, it now has 41 independently and delivers programs to members that support the governed Aboriginal art and craft centres as members, development and maintenance of strong governance, who in turn collectively represent approximately 8000 administration and infrastructure. It prioritises Aboriginal artists. opportunities for its membership to promote their art and crafts locally, nationally and internationally and to Desart is directed by a 10 member Aboriginal executive further their ability to remain autonomous and committee elected from its art centre members. sustainable Aboriginal businesses. Desart’s region of operations cover an area of 1221 million square kilometres extending from the southern Desart’s programs and services recognise art centres part of the Northern Territory into the Anangu are a vital part of community life in remote central (APY) region of South Australia and into Australia and its mission is to provide support so they the Ngaanyatjarra region of Western Australia. grow and remain stronger for art, for culture and for country.

www.desart.com.au 36 37

ACKNOWLEDGEMENTS

The Central Land Council and Desart would like to thank the following people for their support with the Vincent Lingiari Art Award and Our Land, Our Life, Our Future exhibition. David Avery, Marlene Chisholm, Brenda Croft, Josie Douglas, Coby Edgar, Stephen Gilchrist, Hannah Grace, Craig Elliott, Robert Fielding, David Jagger, Annie Keely, Mellisa Kramer, Jane Lloyd, Marisa Maher, Ruth McMillan, James Nugent, Sue O’Connor, Hetti Perkins, Marie Rancon, David Ross, Rob Roy, Bronwyn Taylor, Will Tennent, Tina Tilhard, Richard Tuckwell, Petronella Vaarzon-Morel, Maria Van Neervan-Currie, Timmy Vincent, Philip Watkins, Penny Watson, Jayne Weepers, Elke Wiesman, Robert Wesley-Smith, Carmel Young, Doro Zufall.

Thanks to Peter Kittle Motor Company, Newmont Tanami and Copyright Agency Cultural Fund for supporting the award, exhibition and catalogue.

Warlukurlangu Artists Tjanpi Desert Weavers Mimili Maku Arts 08 8956 4133 08 8958 2377 08 8956 2984 [email protected] [email protected] [email protected] www. warlu.com www. tjanpi.com.au www.mimilimaku.com

Ikuntji Artists Iltja Ntjarra (Many Hands) Art Centre Tjala Arts 08 8956 8783 08 8950 0908 08 8956 2899 [email protected] [email protected] [email protected] www.ikuntji.com.au www.ngurart.com.au www.tjalaarts.com.au

Papulankutja Artists Tangentyere Artists Papunya Tjupi Arts 08 8956 7586 08 8951 4242 08 8964 7141 [email protected] [email protected] [email protected] www.papulankutja.com.au www.tangentyereartists.org.au www.tjupiarts.com.au

Iwantja Arts Yarrenyty Arltere Papunya Tula Artists 08 8670 7722 08 8952 7207 08 8952 4731 [email protected] [email protected] [email protected] www. iwantjaarts.com.au www.yarrenytyarltereartists.com www.papunyatula.com.au 38