Arts Backbone Volume 13: Issue 1, August 2013

www.aboriginalart.org ‘Always Together, Not Alone’* Mowanjum Artists Spirit of the Wandjina By Christina Davidson, ANKAAA CEO By Jenny Wright, Art Centre Manager

Darwin Office GPO BOX 2152, DARWIN ‘Art Centres are only for art, that’s what I’ve of the landmark art works of North Australia. NORTHERN TERRITORY, AUSTRALIA 0801 been told. But in the Aboriginal way you can’t The Yirrkala Bark Petitions involved 12 Frogs Hollow Centre for the Arts separate language, dance, song, country, signatories; the Yirrkala Church Panels (16 56 McMinn Street, Darwin story and traditional knowledge from art. artists); the great Ngurra Canvas (over 50 Ph +61 (0) 8 8981 6134 Fax +61 (0) 8 8981 6048 Everything connects, art cannot stand-alone, artists); the Salt Water Collection of Bark Email [email protected] that’s the thing we really have to fight for’ Paintings of Sea Country (47 artists). The www.ankaaa.org.au Gabriel Nodea, Chairman Warmun Art Centre** labour of consultation and joint decision- www.aboriginalart.org making was in each case profound. www.facebook.com.au/ANKAAA. aboriginal.artists This issue of ANKAAA Arts Backbone This publication contains the names of Aboriginal celebrates achievements in contemporary As an Indigenous lead and governed peak people who have passed away. northern Indigenous art building on the body now in its 26th year, ANKAAA is itself All text and images are copyright of the artist, Art Centres or ANKAAA (as indicated) unless otherwise ‘vision of the elders’. It specifically pays a remarkable collective enterprise. With The Mowanjum Aboriginal Art and 16 Mowanjum people are employed at The Mowanjum Festival is the highlight stated. ANKAAA Arts Backbone is tribute to the leaders who 50 years ago artists working together across a vast area Culture Centre is situated on the famous the Art Centre as arts workers, cultural of our year. Held at the Art Centre © ANKAAA 2013. The views and opinions conceived and shared the Yirrkala Church of one million square kilometers of country, Gibb River Road, 12kms from the mentors and teachers. Two of these arts every July,it draws an increasingly expressed in this publication are those of the authors Panels and Yirrkala Bark Petitions, building including some of Australia’s most remote Kimberley town of Derby. workers, Rachel Umbagai and Stanley large audience of both visitors and and do not necessarily reflect those of ANKAAA. bridges of understanding between very communities and homelands. In 2013 Taylor (participants in ANKAAA’s Arts local communities. The festival features ANKAAA is a non-profit incorporated Aboriginal Association. different worlds (see: p. 12-13). The ANKAAA is the largest peak Indigenous art The Art Centre supports the culture and Worker Extension Program) are both traditional Junba and Waanga song vision of the Gija elders of Warmun in organisation in Australia, supporting 49 Art creativity of the , now senior staff within the team. and dance and guest performances Editor: Christina Davidson the East Kimberley, who put their patterns Centres and artists groups and 5,000 artists and Wunumbal people of the Western from visiting communities. This year’s Issue Coordination: Anisha Stitfold and designs on panels gathered from with very diverse languages and cultures. Kimberley. These three language Cultural maintenance is very important feature performers are the Mirriwoong Cover Image: ’s new installation at the Musée du quai Branly turns the the building debris of the communities groups share marriage customs and to the Mowanjum people and the Art Gajerrong dancers from Kununurra. contemporary art world on its axis first housing projects in the late 1970s ANKAAA today is a result of the vision most importantly, Wandjina Law. Centre supports this by organising bush Photo: Jonathan Kimberley and 1980s, to teach their children Gija and dedication of its Indigenous leadership To the people, the Wandjina is the trips and painting camps throughout the ANKAAA is proudly supported by: language and culture; and thereby over time. It regularly works together with Creator of all living things; and the year. founded the now world famous Warmun the other Indigenous governed peak arts bringer of rain. Art Movement, is also celebrated (see: organisations nationally. Over the past few years, the Arts Centre pp. 4,6,7,23 and font cover). Wandjina imagery is a feature of the has been developing an Archive and In July 2013 the ANKAAA board have rich rock art of the region, and these Multi Media Project to digitally store the In May, ANKAAA Chairman Djambawa come together to appeal to government on sites remain of great cultural importance history and culture of the Mowanjum Marawii AM and Deputy Chair Annette both sides to fully recognise and support to the people. people. While this project teaches Kogolo, delivered papers at the World the remarkable continuing achievements young people field recording and Indigenous Network Conference, reflecting – cultural and economic – of the ongoing As well as paintings, Mowanjum Art photography, it also ensures that new on the role of art in successful land and sea renaissance of north Australian Indigenous and Culture Centre sells carved boab material is regularly added to the digital Top: Mowanjum Aboriginal Art and Culture rights cases (see: p. 20). It is interesting art. And to do so in concrete ways to match nuts and pearl shell jewellery, all of library. The University of Melbourne Centre Photo: ANKAAA Above: Rachel Umbagai to consider in this context, the remarkable the increased rhetorical acknowledgement which returns income to community (Victoria) has been a long-term partner (ANKAAA Art Worker Extension Program collective effort that has contributed to some of its importance to the country. members. Already this year, the Art in this project for many years, assisting Graduate) in the Mowanjum gallery. Bottom Left *Yalmay Yunypingu, from speech recalling Dr. M. Yunupingu, Centre has helped over 145 artists earn in the preservation of traditional song and Right: Mowanjum Festival 2013. Dancers at State Memorial, Gulkula, 30 June **Kimberley Artists an income from their work. repertoire. Mowanjum Festival 2013 Photos: Matt Scurfield Statement, ANKAAA Kimberley Regional Meeting 2012 Photos: Buku Larrnggay Mulka, permission for reproduction in connection with NAIDOC Week, 2013 only, see: p.12-13

Yirrkala Church Panels installed at the Mulka Museum, Yirrkala Yirrkala Church Panels in the Yirrkala Church, 1960s

2 Arts Backbone – ANKAAA Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 ART CENTRE FEATURE – Arts Backbone 3 Gija Women in Paris ‘Our Living Land’ Waringarri Arts in Shanghai What Makes a Place a Home? By Roseleen Park, Warmun Art Centre By Cathy Cummins, Manager Waringarri Aboriginal Arts By Anna Weekes, Coordinator Larrakia Nation Arts Centre

Alongside the unveiling of the installation Larrakia Nation Arts Centre, A House and the exhibition, we had lunch of Thongs is an artistic collaboration with Her Excellency, The Honourable between Larrakia Nation artists, Governor General of Australia, Quentin community members, and members of Bryce, which was a really great Darwin’s homeless; raising the question, experience. It was lovely to see her so ‘what makes a place a home?’. interested and engaged with Lena’s artwork. Constructed entirely from thongs - both second-hand and donated, A House of Other highlights of the trip included a Thongs took many hands and minds to bus and boat tour of Paris; a visit to the create and build, taking in perspectives Louvre Museum; a private tour of Sainte- of ‘home’, ‘housing’ and ‘homelessness’ Chapelle (a medieval Gothic chapel), from the Darwin community. and an amazing dinner on the roof of the Centre Georges Pompidou, where When asked what makes a place a we watched the flashing lights of the home, commonality became apparent Eiffel Tower in the distance. between those who are homeless; those newly arrived in Australia; those who Visible from the Eiffel Tower and too! It was absolutely beautiful to see Roseleen Park is an arts worker at Warmun Art rent or live in public housing, and those measuring almost 700 square metres, Lena’s work there in Paris, and see the Centre and 2012 Graduate of the ANKAAA Arts Waringarri Artists, Peggy Griffiths, Dora ‘It has been an amazing trip for us’, who own their home. Lena Nyadbi’s Dayiwul Lirlmim was barramundi imagery there next to the Worker Extension Program. Griffiths, Agnes Armstrong and Louise said Dora Griffiths, artist and Vice recently installed and unveiled on the flowing Seine river. We all laughed Malarvie travelled to Shanghai in China Chairperson of Waringarri Aboriginal Inside of the house, is a film installation roof of the museum, Musée du quai when Lena said that the barramundi Top Left: The Governor General Hon Quentin to experience a new culture, Chinese Arts. ‘We enjoyed the whole experience showing personal interviews with Branly in central Paris. Accompanying might just jump into the water and swim Bryce, Lena Nyadbi, Stephane Martin President art, Shanghai city lights and a wealth of and were looked after so well by our members of the public, which audiences Lena to Paris was artist and arts worker off with the other fish. Director General Musee du quai Branly, Rupert new ideas. The artists confidently shared hosts’. With a shining smile she adds, are invited to listen to; wearing the Roseleen Park, who shares her thoughts Myer Chair, Australia Council for the Arts at their stories with exhibition audiences, ‘we were so proud and excited to be ‘thong - headphones’ provided. and experiences on her time in Paris After this overwhelming experience, we Musee du Quai Branly launch, Paris 2013 Photo: and celebrated the spiritual connection able to share our art’. with Backbone. went to the launch of a new exhibition, Jonathan Kimberley to their art with a Lirrga performance at The House of Thongs is on display at Gija Manambarram Jimerawoon Bottom Left: Lena Nyadbi viewing her work from the OFOTO/ANART Gallery opening. The opportunity for Waringarri the Bagot Festival, part of The Darwin On first sighting of Lena Nyadbi’s (Gija Senior Law People Forever) at the Eiffel Tower, Paris 2013 Photo: Jonathan Aboriginal Arts to exhibit in China Festival 2013 on Saturday 10 and striking installation Dayiwul Lirlmim the Australian Embassy in Paris. The Kimberley All 41 artworks from the ‘Our Living was supported by ’s Sunday 11 August. (Barramundi scales) from the top of the exhibition was beautifully displayed Bottom Right: Roseleen Park and Lena Nyadbi Land’ exhibition, which opened at the Department of Culture and the Arts; Eiffel Tower, we were all very emotional. and it made me so proud to see my at Warmun Gija Manambarram Exhibition at the Salvo Hotel, Shanghai, were purchased Shire of Wyndham East Kimberley; MG I saw Lena crying and then I started to ’s paintings and all their Australian Embassy Paris, 2013 Photo: Jonathan by Mr Wu Puingai. As Chairman of Corporation, and the Department of cry and then looked around to see all photographs. Kimberley Shanghai Zhongfu Investment Group, Mr Regional Development and Lands, and the other Australians up there crying Wu Piungai supported the opportunity included six artists from Warmun Art to expose the powerful contemporary Centre and two from Kiro Kira Artists aesthetic of east Kimberley artists to Kalumburu. a broader Chinese audience with the exhibition on show at two venues. Dora Griffiths is a graduate of the ANKAAA Arts Worker Extension Program and sits on the ANKAAA Board of Directors 2013-14.

Top: Waringarri Artists in Shanghai, from L to R: Peggy Griffiths, Agnes Armstrong, Louise Malarvie, Dora Griffiths Photo: Waringarri Aboriginal Arts Left: Shanghai 2013, Dora Griffitth explaining the art work to OFOTO Exhibition guests Photo: Image: Larrakia Nation’s A House of Thongs’ Waringarri Aboriginal Arts as part of Art in the Long Grass at Darwin’s Seabreeze Festival 2013 Photo: James Courtney

4 Arts Backbone – EXHIBITIONS Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 EXHIBITIONS – Arts Backbone 5 Revealed 2013 The Painters’ Eye, the Painters’ Voice, Art and Hand Back of Treasured Tiwi By Vanessa Kredler, ANKAAA Landscape in the Gija World Cultural Objects

the event. The National Museum of Australia has handed back to the Tiwi people nine In the ‘Revealed’ public symposium, objects, collected early in the 1900s. speakers talked about important issues These were stored in the collection of in the Aboriginal arts industry and the University of Edinburgh, Scotland, artists from many different Art Centres along with human remains, and all told stories related to their work. The Australian items were returned to the Revealed exhibition was held at the National Museum of Australia. Gallery Central at the Central Institute of Technology from 13 April to 4 May None of the artifacts have any 2013, and featured artworks from more documentation but some are included involvement of seven ANKAAA than 35 emerging Aboriginal artists from recognisable as Tiwi objects. They are In April this year, seven ANKAAA supported Art Centres. Yulparja across Western Australia. Linguist Frances Kofod, has lived and endangered and as the painting stories six feather balls ‘tokwayinga’, worn Art Centres took part in the annual Artists, Bidyadanga Artists, Mangkaja worked closely with leading Kimberley are often transcribed in both English around the neck during ceremonial ‘Revealed’ show in Perth. This year, Arts Resource Agency Aboriginal Left: Jennifer Dickens, arts worker at the Mangkaja artists for over 30 years, and works with and Gija these stories guide audiences dancing; two bark armbands and a ‘Revealed: Emerging Aboriginal Artists' Corporation, Mowanjum Artists Spirit Arts Resource Agency Aboriginal Corporation stall, both the Mirima Dawang Woorlab- to appreciate the cross-cultural act of small knifelike wooden sculpture. Showcase from Western Australia of the Wandjina, Warmun Art Centre, Revealed Marketplace Right: The Mangkaja Crew gerring Language and Culture Centre in viewing paintings, whilst ensuring the 2013’ included an exhibition, Kalumburu Arts Project and Waringarri at the Revealed Marketplace: L to R: Bidyadanga Kununurra and the Warmun Art Centre. preservation of knowledge of country, These items were handed over to three marketplace, symposium and a Aboriginal Arts, as well as ANKAAA artist, Graham Lands, Annette Kogolo, and Jennifer Her research into and translations of the culture and language itself through art. Tiwi representatives, Brian Farmer, professional development program staff Christina Davidson (CEO) and Dickins stories of paintings, has been seminal Edward Yunupingu and C.J. Kerinauia for emerging Aboriginal artists and Vanessa Kredler (Senior RDO) attended Photos: ANKAAA to enriching the reception of East The four-year documentation project at the launch of Jennifer Isaac’s most Kimberley art, and also in consolidating involved data in two main sets; recent book, Tiwi: Art /History/ Culture understanding of paintings’ integral role Gija materials made prior to the in Canberra in December 2012. Cultural Treasures Return to Warmun in knowledge transference. commencement of the project, which By Anna Crane and Jonathan Kimberley, Warmun Art Centre were digitised from old analog The objects were bought back to The Painters’ Eye, the Painters’ Voice, Art mediums, brought together with new Milikapiti on Melville Island in 2013, custodians, securely stored in custom and Landscape in the Gija World was a audiovisual recordings made for the and are currently held in the Muluwurri built archival cabinets and housed major four year language and painting purposes of the project. Museum, awaiting a special display in Warmun Art Centre’s new Culture story documentation project hosted by case being built to house these objects. and Media Programs Studio. The the Warmun Art Centre and funded Material from the project is stored in return of the collection to Gija country by the Endangered Languages Archive the Endangered Languages Archive represents a significant moment in the Room (ELAR) at the School of Oriental Room (ELAR) in the School of Oriental life of the Gija Two-Way Learning and African Studies, London through the and African Studies, London, with Program – a continuum with a new University of Manchester, England. access available online but restricted lease of life in 2013 and the fostering to those people identified by the of intergenerational sharing of cultural Frances Kofod worked at the Warmun depositor. Kofod’s work constitutes expertise and contemporary art-making. School between 1986 and 1988, a rich and invaluable contribution Performances of the Gurirr Gurirr, education at Ngalangangpum School in where artists - whose work has since towards the maintenance of this critically Binyjirrminy du Lalanggarrany and the 1970s. These include early Gurirr Anna Crane is the Media and Culture Programs become admired and respected endangered language. Gija language Moonga Moonga song cycles marked Gurirr dance boards. Coordinator of Warmun Art Centre and Jonathan globally - were using paintings and projects led by senior speakers through the return home of the nationally Kimberley is the Manager of Warmun Art Centre. art objects to teach Gija language the Warmun Art Centre are drawing significant Warmun Community Art Accompanying the collection and to their children and grandchildren. upon these recordings and translations Collection this June. The collection ensuring its safe return from the Left: Senior Warmun artists and Sophie From 1990 she went on to work with in the development of dynamic comprises many founding works of the University of Melbourne were the Lewincamp working together to catalogue items Gija artists through East Kimberley Art multimedia teaching resources and Contemporary Warmun Art Movement. conservators from the Centre for Cultural returned to the Community Collection Photo: Centres Waringarri Arts and Jirrawun programs to sustain Gija as a living Paddy Jaminji, , Queenie Materials Conservation, who undertook Matthew Fallon. Right: Vanessa Kowalski, Marcel Arts, producing possibly Australia’s language. MacKenzie, George Mung Mung, a major restoration of almost 200 works Scott and Sophie Lewincamp in the Warmun most considered and sophisticated Image: Andrew Sayers, Director of the National Hector Jandany and others created damaged in the Warmun flood (March Community Collection archive. Photo: Matthew painting stories. The United Nations Image: Frances Kofod teaches a Gija language Museum of Australia handing over important powerful art objects as teaching tools 2011). The Warmun Community Art Fallon lists Aboriginal languages in the class in Warmun Photo: Matthew Fallon Tiwi objects to Brian Farmer, Jilamara Artist and in the early days of Gija Two-Way Collection will now remain with its Gija Kimberley as being severely or critically Text by: Christina Davidson and Anna Crane ANKAAA Director Photo: Jason McCarthy

6 Arts Backbone – EXHIBITIONS / KeEping Places Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 Keeping Places – Arts Backbone 7 Harvesting Traditional Knowledge - Bark Workshop at Buku-Larrnggay Mulka Art Centre Harvesting Traditional By Vanessa Kredler, ANKAAA Knowledge: By Erica McCreedy, NAILSMA

On the first day of workshops all participants went on a bush trip where visitors were guided to bark harvesting sites by Indigenous master artists from Buku Larrnggay Mulka, including Djambawa Marawili and Yinimala Gumana, for demonstrations of how barks are cut, stripped and burnt. Ways of painting and conserving the barks were then discussed in small groups. NAILSMA, the North Australian Senior artists from other Art Centres, Indigenous Land and Sea Management including Glen Numundya from Injalak Alliance Ltd and ANKAAA are Arts shared their work. Woman artists exploring parallels between the type of led by senior weavers Ruth Nalmakarra information useful to both Indigenous from Milingimbi, Lucy Wanapuyngu artists and land and sea managers. from Gapuwiyak and Lorrie Murburrk from Maningrida also shared many I-Tracker, short for Indigenous Tracker, activities such as pendanus weaving is a project that supports Indigenous and bush string making. land and sea managers across north Australia to undertake natural and Harvesting Traditional Knowledge (HTK) the bark of the trees, ochre from the land, and the Centre for Cultural Materials The workshop was filmed by the cultural resource monitoring, research is a two-year project bringing together resins, spinifex and so forth; the project Conservation, University of Melbourne, Yolngu directed Mulka Project and a and management activities using digital Indigenous artists from homelands opens ‘two-way’ learning and exchange delivered a two and a half-day on- documentary will be screened across technology. NAILSMA is currently and Indigenous communities in north of skills informed by both western scientific country workshop in Yirrkala, North East Australia in 2014. A one hour Radio working in North East Arnhem Land with Australia and the conservators who look and traditional Indigenous paradigms. Arnhem Land. The unprecedented two- National special on the workshop the Yirralka Miyalk (women) Rangers after the art from these regions held It aims to: build strong professional way learning workshop brought together ‘Written on Bark’ aired on 22 June, and to develop and trial an I-Tracker Bush in collections of public museums and networks; strengthen art industry standards 15 conservators from leading public is available at: Harvest Application. The information galleries across Australia. Two groups for ongoing support; and enhance public arts institutions across Australia and over collected will record Yolngu seasonal who have typically had very limited awareness of the richness and depth of 35 Aboriginal artists from Art Centres http://www.abc.net.au/radionational/ calendar, plant identification, distribution direct professional exchange. northern Indigenous art. in Arnhem Land and the north, to programs/awaye/written-on-a- and harvesting locations. share knowledge about the harvesting, bark/4762442 Centred on the use of bush materials In May, ANKAAA, together with preparation and conservation of barks NAILSMA’s I-Tracker officer, Erica in Northern Australian Indigenous art: Buku-Larrnggay Mulka Art Centre and also pendanus, dyes, ochres and A second workshop at Mowanjum Art McCreedy, attended the Harvesting other natural materials. Centre in Derby, West Kimberley from Traditional Knowledge Workshop at 10-13 September 2013, will share Images from page 8. Top: DJ Marika heating the Yirrkala to demonstrate I-Tracker and to The visiting professionals were techniques for preparing ochre, pearl bark for straightening Photo: The Mulka Project explore how it could potentially be used welcomed with a ceremony led by shell, boab fibres, boab nut carving, Upper Left: Burning the bark Lower Left: Pandanus to record information about harvesting elders of the two Yolngu moieties Yirritja boomerang and spear making. weaving with Lucy Wanapuyngu, Gapuwiyak natural resources for use by Indigenous and Dhuwa, which introduced the and Kerry Head, Conservator, Art Gallery NSW artists in their art practice. sacred Yirrkala church panels (1963) This special project is funded through the Inspiring Centre: Yinimala Gumana (centre) and Max displayed in a custom built atrium room Australia initiative of the Australian Government Gumana (left) demonstrating bark harvesting Right: For more information about NAILSMA visit inside the Art Centre. Department of Industry, Innovation, Science, Glen Numundya, Injalak Arts using a traditional http://nailsma.org.au Research and Tertiary Education and takes West Arnhem Land brush Photos: ANKAAA place within ANKAAA’s Digital Archiving and For more information about the I-Tracker project Keeping Place Support Program – supported by Images this page: visit http://nailsma.org.au/hub/programs/i- the Australia Council for the Arts. Important core From Centre Top: Ochre Grinding, ochre boiling tracker operational funding received from the Australian dye, trying out paint brushes All photos: The Mulka Government Office for the Arts, the Australia Project Erica McCreedy is I-Tracker Project Officer for Council and the Northern Territory Government North Australian Land and Sea Management are also essential to making it possible. Alliance Limited.

8 Arts Backbone – ANKAAA projects Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 ANKAAA projects – Arts Backbone 9 ANKAAA Arnhem Land People on Country Vital Tiwi: Art/History/Culture Warnayaka Art Centre: Increasing Indigenous jobs through the ANKAAA ABA Regional General Meeting Landscapes Indigenous Life in the Digital Desert Infrastructure Project By Paul Nowland, Project Manager Futures (2012)

Working closely together with Art local two-way school, and his father Centres, ANKAAA has successfully manage a fully Yolngu building team. completed the first phase of the major Paul’s professionalism, commitment Northern Territory Arts Infrastructure to working cooperatively with Art building projects funded by the Centres and belief in the importance of Aboriginal Benefits Account (ABA). building high levels of local Indigenous employment in the projects, have been These projects have delivered essential key to its success. Warnayaka Art Centre’s first publication, Art Centre building renovations, This year’s Arnhem Regional Meeting Warnayaka Art Centre: Life in the extensions and construction of staff took place at the same time as the Digital Desert is a collaboration with housing for 17 Northern Territory Harvesting Traditional Knowledge multidisciplinary artist Gretta Louw. The communities. Outcomes include workshop so that artists, arts workers beautifully produced volume with clean construction of new areas for: galleries, and Art Centre managers could Art, country and culture are closely Written by Jennifer Isaacs and winner contemporary design is as vibrant and artist studios, printmaking, storage of take advantage of the professional linked in more ways than many of us of the Chief Minister of the Northern boldly colourful as the work of the Warlpiri art work, computer labs and archives. development opportunity presented by think. Many artists not only paint country Territories History Book Award 2013, artists from Lajamanu. The 100 page As well as essential non-glamorous the workshop. A big thank you to Buku and the stories within it, but are also Tiwi is the remarkable story of the publication features stunning images of things like, new toilets, roof repairs and Larrnggay Mulka Art Centre for hosting actively involved in protecting it and the development of artistic expression on paintings and desert country, artist statements installation of air-conditioners needed to this meeting and the workshop! cultural knowledge that is vital to both its the Tiwi Islands and of the history and and profiles, essays by scholars (including protect art works. physical and spiritual maintenance. culture of the Tiwi people. Courageous Jennifer Biddle and Barbara Glowczewsk) All Arnhem Land members present for and determined, for centuries the Tiwi and photos from the tour four Warnayaka ANKAAA CEO Christina Davidson the meeting attended the workshop, and ‘People on Country: Vital Landscapes, held off intruders. The British briefly artists made through Europe in 2012. The comments: ‘ANKAAA worked hard over Paul Nowland explains: ‘The underlying were keen to talk to and share skills with Indigenous Futures’ presents the work of established a trading fort in the 1820s, Art Centre’s recent explorations into the realm many years to secure funding for these principle for the project team was to the conservators from some of Australia’s several ANKAAA member artists who but could not survive the isolated of digital and media art forms are profiled in very necessary projects, however as maximise local indigenous employment most well-known museums and galleries. work across these areas, such as Jack location and the intransigence of the an essay by Gretta Louw. a small not-for-profit arts organisation and build the capacity of the workers The main Regional Meeting took place Green (Waralungku Arts, Borroloola), Tiwi and so departed. In 1911 a with huge existing core responsibilities and their communities through the as a closed event for members only to Banduk Marika and Wanyubi Marika mission was established. Ethnographers The book is a beautiful introduction to supporting interests of 5,000 Indigenous delivery of the project.’ …… ‘Wherever make sure that members could address (Buku-Larrnggay Mulka Art Centre, followed immediately and were Warnayaka Art Centre and the contemporary artists and 49 Art Centres (spread over possible, the project team worked with matters important to them in 2013. Yirrkala). succeeded by curators and collectors in art of Lajamanu. Artworks resonant with the one million square kilometres of country existing community services, for example the mid 20th century. ancient Jukurrpa (dreaming) seem insistently and including eight Art Centres on Art Centres, homeland resource centres Such work, however, can be enormously current and relevant. Gretta Louw comments: islands), ANKAAA had no qualifications and the local Shire, to work out what difficult when government policy This is the first complete volume to bring ‘There is a definite sense that Warnayaka or experience of building and was local resources were available for each undermines the important role that living together the strands of Tiwi history and is finding its place at the leading-edge of initially hesitant to accept FACHSIA’s project and how best to develop the on country plays in these connections. cultural expression and provides the contemporary Indigenous art’. directive that it manage project delivery. skill base. Then they would engage with Jack Green, in his chapter with context for contemporary Tiwi art. It is Looking back, this initial concern sowed Registered Training Organisations (RTOs), colleague Jimmy Morrison, ‘No more a major contribution to understanding Production of the publication was made possible, in part, the seeds for later success by motivating local employers, building companies and Yardin’ us up like Cattle’, succinctly the Tiwi as a unique regional Australian by generous support of the Northern Territory Government. a very careful analysis of risks right at the contractors that employed local workers, captures the struggle many Aboriginal cultural group, the Indigenous nation of Proceeds of sales go toward supporting Warnayaka’s latest start. Together with Independent business to find people who could bring skills to people face to maintain the connections the Tiwi Islands. multimedia installation project YAMA: http://www.indiegogo. advisor, Peter Shepherd, the ANKAAA the project that weren’t available locally to country. ‘The government sees our com/projects/yama-multimedia-art-installation/x/3623590 board evolved a shared responsibility and were committed to passing those future in the towns, living like white Descriptions of ceremonial arts, rare management model, with a team skills on to the local workers. The aim is Top: Ivan Ngalmi and Lillian Joshua at the people, speaking English with no culture historical photographs, biographies of including a lawyer, business advisor, to allow the opportunity for local workers ANKAAA Arnhem Regional Meeting at Buku and no law. This is the way ahead they artists and the history of the Art Centres, accountant, board representative, the to continue to be employed and further Larrnggay Mulka Art Centre auditorium say. But we don’t see it. It’s our culture as well as actual historical events ANKAAA CEO and a project manager develop their skills, long after the project Photo: ANKAAA Above: David Mackenzie, and law that give us strength to move are interwoven with more than 800 who worked outside the ANKAAA office has finished.’ Christina Davidson and Djambawa Marawili at into the future the way we want to’. images. Tiwi stands as a monument to to closely supported Art Centres.’ the ANKAAA Arnhem Regional Meeting at Buku Tiwi people and their current endeavours A project showcase booklet linked to the ANKAAA Larrnggay Mulka Art Centre auditorium Edited by Jon Altman and Seán Kerins and to keep Tiwi culture strong. Experienced NT builder Paul Nowland website briefly outlines the 17 completed projects. Photo: ANKAAA available direct from Federation Press, Sydney. was appointed project manager. Paul ANKAAA has applied for funding for a much Text above by Seán Kerins The Miegunyah Press, $119.99 Gapuwiyak crew building Art Centre house grew up in Milingimbi, attending the needed second round of projects.

10 Arts Backbone – ANKAAA / book review Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 ANKAAA projects – Arts Backbone 11 50th Anniversary of the Bark Petitions By Christina Davidson

and Wali Wunungmurra, reflected on the courage and rich heritage bequeathed by the men who initiated the petition, effectively as a prayer to parliament, protesting against the intrusion of bauxite mining on their land.

Prime Minister Kevin Rudd said: ‘The Yirrkala Bark Petitions were drawn up using Written on Bark At the formal the ochre of the land. The bark of the trees. celebration for the The Yolngu used art in those founding 50th anniversary documents, because that is the language known since her death in May 2012, The Yirrkala Church Panels of the Yirrkala Bark of their law’. The petitions were the first as Djotarra – the title for a Yirritja moiety Following the opening of the Art Centre Petitions on 10th July traditional Indigenous documents to be woman. The space was named after star extension, Madarrpa Clan leader at Yirrkala, North East recognised by the Australian parliament shaped patterns of light, resembling the and ANKAAA Chairman Djambawa Arnhem Land, Gurrumul and are hung on permanent display in stars used in the deceased artist’s work Marawili AM, led the Prime Minister Yunupingu performed Canberra at Parliament House. started unexpectedly appearing in the and accompanying ministers through the the Yothu Yindi song ‘Written on Bark’. It new space (see:http://www.abc.net.au/ Art Centre in a ceremonial procession to was a resonating tribute to the late Dr M The 1963 Bark Petitions eventually led to local/photos/2013/02/11/3687792. visit the historic Yirrkala Church Panels. Yunupingu, who wrote the song, and the achievement of Land Rights, but at the htm?site=darwin). to the courage and wisdom of the 12 July 10 event Gumatj Clan elder Galawuy ‘ I wanted to give the Prime Minister Yolngu clan leaders who concerived and Yunupingu, challenged the Prime Minister, In a passionate speech made before and ministers the experience of how to signed the 1963 Bark Petitions, now charging that Land Rights are effectively hundreds of Yolngu, and assembled respect those old paintings which speak acknowledged as, ‘two of Australia’s most empty today, while Aboriginal people media, Prime Minister Rudd remarked about country and the land and kinship important founding documents’*. can’t control what happens on their land. that, Indigenous art ‘has an enormous role relationships in a very deep and sacred now need to claim: to play in how we as Australia project way. So they could feel, for themselves, the The story of the bark petitions is the story ‘the economic side of the land rights’. ourselves into the world in the 21st century.’ peace in those paintings, and the humble, of the centrality of Indigenous art to our Departing from his set speech the Prime … ‘I would say something to those who kind and respectful space that they create.’ nation’s history. The community event at Minister answered that: ‘It should not be for value European impressionism. Those who Djambawa Miniyawainy Marawili AM Yirrkala, televised nationally, was initiated whitefellas around the country to tell you value the other art forms of Europe. Those by Buku-Larrnggay Mulka Art Centre, to how you use your land. It should be for who believe that those art forms dig into the The Yirrkala Church panels are Dr Gawirrin Gumana AO in front of the Yirrkala Church Panels (1963) at Buku Larrnggay Mulka Art Centre, Yirrkala. Image taken on July 10 ensure that while the historic petitions were you, the Indigenous peoples of Australia to intrinsic element of human kind and human acknowledged as the inspiration for at the 50th anniversary celebrations. Dr Gumana is the last surviving of 16 Yolngu clan elders who collaborated on producing the paintings. celebrated nationally during NAIDOC determine how your land is used.’ kinds engagement with nature and with the the Bark Petitions and are among the week 2013, that the central celebrations natural world. Come and have a look at most important works of Australian art. The Church Panels were made for the idea that all of the elders of the 16 would be lead by Yolngu, and take place Opening Of The New Djotarra how we do it here. Come and look at how However they cannot be moved and Yirrkala Church, also completed in 1963, but Yolngu clans should collaborate on a on Yolngu land. Wing, Buku-Larrnggay Mulka we have done it here for millennia’ they cannot normally be photographed. were later discarded by a missionary in the massive two panel masterpiece which The Prime Minister of Australia, Mr Kevin early 1970s as they had no overt Christian would encompass a survey of Yolngu Under a blue banner – VISION of the Rudd, opened the new Djotarra Wing of The new Djottarra Wing was funded by The elders have now agreed that the imagery and were left outside for four years. law and identity for the new church. Elders DILAK LIYA-NGARRA’MIRRI Yirrkala the Buku-Larrnggay Mulka Centre, Yirrkala Aboriginal Benefits Fund (ABA) money panels can be reproduced publicly in They have been in the Buku-Larrnggay Mulka 1963 – 2013: politicians, school children on July 10. obtained by ANKAAA on behalf of the honour of their 50th anniversary. This Centre since 1978; housed in a purpose Eight artists from the Dhuwa moiety painted and elders, including the three surviving centre, as well as by self-generated funds. permission has only been granted for built room in the Mulka Museum. one panel and eight from the Yirritja moiety signaturies of the bark petition, Dhunggala The extended gallery space is named in *Prime Minister Kevin Rudd in Yirrkala Speech, July 10 reproduction specifically in connection the other, documenting the creation stories of Mununggurr, Manunu Wunungmurra honour of senior artist Gulumbu Yunupingu, Images: Courtesy Buku-Larrnggay Mulka with the NAIDOC week celebrations. Narritjin Maymuru is credited with the the Yolngu country.

12 Arts Backbone – special event Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 special event – Arts Backbone 13 ANKAAA Arts Worker Extension Program 2013 – Building an Indigenous Network

in Darwin in May. And two joined the Torres Strait Islander Studies (AIATSIS); interstate internships as mentors to the the National Film and Sound Archive, 2013 program participants travelling hosted by senior Indigenous curator across three states to work with ANKAAA Peter White; and the National Museum partner museums and art organisations. under the guidance of Director of Indigenous programs Alisa Duff.

The group had a two-night stop over in Sydney, en-route to Melbourne, to take AWEP graduates at World Indigenous Network Conference from L to R: in the city’s leading cultural institutions Miriam Charlie, Dora Griffiths, Jennifer Dickens and Regina Pilawuk Wilson and meet key Indigenous arts industry professionals. This included behind-the- scenes tours of the Art Gallery of NSW and the Museum of Contemporary Art with Indigenous curators and program directors Cara Pinchbeck and Keith Munro. And attending a performance of ANKAAA’s Arts Worker Extension Program Darwin professional development mentoring sessions, including tutoring in Bangarra Dance’s production ‘Blak’ at the (AWEP) is building an Indigenous network blocks have included intensive computer skills needed for strong governance by Sydney Opera House. connecting arts workers and professionals training to build skills for internet usage, graduates who are also on the ANKAAA National Film and Sound Archive with curator Peter White from some of Australia’s most remote taking and editing digital photographs, board – Ruth Nalmakarra, Dora Griffiths The second week of the interstate trip was community Art Centres and leading staff presentation and using social media. and Regina Wilson. focused on a five-day internship at the of some of the country’s most prominent Behind-the-scenes tours of Darwin art Centre for Cultural Materials Conservation institutions through a dynamic program institutions, commercial galleries and (CCMC), University of Melbourne. of community site visits, professional industry support organisations, have Barayuwa Munungur Workers participated in intensive, development opportunities and internships. provided insights into practices and practical conservation training in the processes employed in different parts of First stop, Canberra. Here the group spent CCMC laboratories led by conservator the contemporary art world. Including: a three-day placement at the National Sophie Lewincamp and Director Robyn museum protocol, art retailing, Gallery of Australia (NGA) under the Sloggert. And in site visits to the National conservation, framing and mounting guidance of Indigenous curators Tina Gallery of Victoria and Melbourne Jennifer Dickens presenting at National Gallery of Australia exhibitions. Baum and Francesca Cubillo and the Museum. Arts workers gave presentations Jennifer Dickens and Sharon Anderson with curator conservation team. AWEP participants on their Art Centres to Melbourne Tina Baum at NGA University staff, researchers and students.

ANKAAA staff also visited arts workers The last group session for AWEP 2013 MCA Sydney with curator Keith Munro on-site in their community Art Centres takes place at the Darwin Aboriginal Art for tailored training and work-place and Fair in August, with a special presentation In 2013, nine committed arts job-description assessment. Inter-regional event and participants giving talks on workers employed in Art Centres exchanges have taken place with their Art Centres to the public. across the ANKAAA regions, are Kimberley and Tiwi Island arts workers ANKAAA crew at AGNSW with curator Cara Pinchbeck participating in the intensive nine month Betty Bundumurra laptop training at ANKAAA, visiting Buku Larrnggay Mulka Art Repairing art works at Melbourne University The AWEP 2013 showcase booklet can be downloaded professional development and skills Darwin Centre in Arnhem Land in May to join a from the ANKAAA web site. ANKAAA thanks principal extension program. Three professional national bark harvesting workshop. were generously supported and did an 2013 program funders: WA Department of Culture and development blocks in Darwin (each In May the arts workers participated in outstanding job each giving individual the Arts; Tim Fairfax Family Foundation; and the Australian a week long); a two week interstate the inaugural World Indigenous Network A strength of the program is the power point presentations on their Art Government, Professional Development Fund through Arts NT. residency; and community site visits and (WIN) conference in Darwin; in training continued support and opportunity Centres and their work within them to Additional funding is still needed to continue the important exchanges form the cournerstone of the in the – ‘Stories, Art and Money’ (SAM) for its past graduates. Six graduates NGA staff and volunteers. work of the program through to 2016. ANKAAA’s vision is to program. Participants receive laptop - Art Centre database and in developing coordinated and hosted the ANKAAA have provided intense high level development opportunities computers aiding connection across the content for digital data bases. Graduates information stall at the conference of In Canberra visits were also made to: to 50 committed Northern Indigenous arts workers by 2016, extensive geographic distances. from previous years joined the group for the World Indigenous Network (WIN) the Australian Institute of Aboriginal and helping to build a strong self-supporting professional network. Evangeline Wilson with Vanessa Kredler (ANKAAA) on Beswick site visit

14 Arts Backbone – ANKAAA Projects Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 ANKAAA Projects – Arts Backbone 15 Establishing and Sustaining a Digital Collection Workshop By Katie Breckon, Mowanjum Spirit of the Wandjina

how to manage physical and digital Network mailing list and online wiki site collections. to support ongoing sharing of ideas and resources’. The group hopes to continue The workshop brought together to support each other and plans to representatives from Warmun Art hold another workshop focused on the Centre, Mangkaja Arts, Mowanjum Art collective needs of each community Centre, KLC, Sisters of St John of God archive in the future. Heritage Centre and the Broome and Derby Libraries. While Greg was the Katie Breckon is the Project Coordinator at Mowanjum Art and Culture Centre visiting specialist, we had an amazing Mowanjum Community Keeping Place and Media with the support of ANKAAA through group of people with a wide range of Centre its Digital Archiving and Keeping Place expertise, all willing to share their skills Support Program, hosted a digital and experiences. Greg Wallace said Images: Greg Wallace Digital Workshop Photo: archive workshop with Perth based ‘The workshop has sown the seeds Mowanjum Artists Spirit of the Wandjina Museum Specialist Greg Wallace. The for the Kimberley Digital Collections We enjoyed walking along the Establishing and Sustaining a Digital beautiful Yilan beach with Bonnie and Collection Workshop brought together Lily, collecting shells, longbum and seven Kimberley organizations that mud crabs. The freshwater women of are at different stages of working with Peppiminarti embraced the saltwater air. digital collections. We collected bush vine (trophies The workshop concluded with an scandens and flagellaria indica) as afternoon session on the veranda of well as sedge grass (cyperus eragrostis) Mowanjum’s exhibition space and gave in the monsoonal forest along the workshop attendees the opportunity Jabinee; one filmmaker, Cassie de Blythe River. Lily and Bonnie began by and while it will take a bit of practise, to talk openly with each other. They Colling from Natu-Reel Films; and one teaching the Durrmu artists the twining they are all excited by the prospect of shared the challenges small community Art Centre Manager (me, Rikki Lovell) technique using some pandanus, which mastering the medium. Needless to say, organisations face when deciding piled into a troopie and headed up the we had brought with us. we all learnt a lot, and it was a huge track for Yilan. bonding experience. It wasn’t easy. It was a little bit hard. Weaving Revival, An Artist Exchange, Skills Development Workshop We camped one night at Oenpelli. That wulgamen was really speedy! “Yes, it was a good trip for us to look By Regina Wilson and Rikki Lovell Maningrida one night. Then to an around at other Art Centres. They all got outstation called Yilan. Next morning we Bonnie demonstrated how to use different ideas for weaving – but ours is In September 2012, the artists at (Roy) put her hand out to help us. She is went to Jimarrdi (outstation) and picked the sedge grass, lovely and soft and best!” (laughs!). Durrmu Arts decided to relearn a one lovely lady that wulgamen ngan’gi’ up Bonnie (Roy). can be stripped, rolled and twined. traditional weaving technique no longer (respectful term for old lady). Sedge grass grows in Peppimenarti, The film footage is being turned into a practiced by contemporary weavers of but none of the women had used it in seven-minute documentary funded by the Peppimenarti or the surrounding region. Lily’s homeland is Yilan an outstation their weaving. In turn the Peppimenarti Australia Council which Regina Wilson in remote Arnhem Land approximately artists showed Bonnie and Lily their own will use in her in her ‘Chosen’ cultural Artist Regina Wilson explains: 130 kilometres northeast of Maningrida techniques of weaving with pandanus mentorship program for emerging artists Ancestors, long-time use to make airbell and around 900 kilometres from and how to obtain plant sources for (supported by the Australia Council). and when Mission came everything Peppimenarti. dyes. We discovered some similarities, stopped. So my eldest sister (Mabel but also many differences in plants used Top Left: Collecting bush vine L to R: Bonnie Roy, Jimarin) didn’t learn to make that airbell. In May this year, supported by for dyeing. Kathleen Korda, Clara Kundu, Regina Wilson, It was lost between Mission and my ANKAAA and a grant from the Australia Leaya Smith, Lily Roy Photo: Durrmu Arts Map: From grandmother and her mother. It was Council; six artists - Regina Wilson, Bonnie and Lily introduced their Peppimenarti to Yilan Image: Google Maps Middle sad we lost that. So my sister said it Dianne Hodgson, Kathleen Korda, technique with the bush vine, known Left: Starting to learn with Pandanus Photo: Durrmu Arts was the same stitch like in Maningrida. Leaya Smith, Clara Kundu and Maree in Peppimenarti as pinbin. It’s a much Bottom Left: Lily Roy, collecting bush vine Photo: Durrmu That long one (depicts the long conical harder fibre to work with than those Arts Bottom: Regina Wilson Photo: Durrmu Arts. shaped fish trap with her hands). So Lily Lily Roy collecting bush vine Photo: Durrmu Arts the Durrmu women are accustomed to,

16 Arts Backbone – Projects and training Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 Projects and training – Arts Backbone 17 ANKAAA Art Centre News ANKAAA Centre News

Waralungku Arts Keeping Place Bringing to life Aboriginal stories of the issues of growing these markets as part story of the marsupial mouse and the MAC remains an integral part of the Through ANKAAA’s Digital Archiving Kimberley cattle station industry, Station of northern development, including goanna. The crowd particularly loved community and continues to provide and Keeping Place Support Program, Days will feature artworks by senior addressing growing Asian interest. the dramatic spearing and ensuing valuable career development for its staff Peter Shepherd assisted Waralungku Aboriginal Artists from across the region. theatrical death scene. in the arts industry, supports the region’s Arts to develop a solid framework for the renowned and emerging talent and development of a Keeping and Sharing Artworks included in the exhibition will The Waringarri dancers also performed maintains its role as a cultural keeping Place, which will hold the vast collection tell untold stories of cattle station life the ever popular Ivanhoe Joonba, Bali place. of cultural materials and digital from an Aboriginal perspective, and Bali Balga and crowd favourite - all in, resources, which need to be brought document the connection to culture energetic Wangga. Susan Wanji Wanji, Kulama, 120 x 180cm Djilpin artists Noreen Ashley, Dorothy together for the Yanyuwa, Garrwa, and country Aboriginal people have ochre on linen 2013 Photo: Munupi Art Bienuwanga and Vera Cameron Marra, and Gudanji communities of the maintained through the cattle industry. Both the retail and Dawang Galleries travelled to Melbourne in June/July to Borroloola region. were on show with guests enjoying Munupi Arts’ senior artist conduct a three day fibre technique Curated by leading Aboriginal curators the artwork that complimented the Susan Wanji Wanjis’ third solo workshop together with Melbourne artist Chosen Cultural Apprentices or and Jonathan Jones the ANKAAA at Economic Development Conference living culture on show in form of the show opened at Merenda Gallery in Adrienne Kneebone. The workshop Residencies Senior artists and cultural exhibition will tour Australian capital - Annette Kogolo (Deputy Chair); David performances. Fremantle on July 24 celebrating the accompanied the exhibition Mukarra: elders from five ANKAAA Art Centres cities and regional centres from 2014. MacKenzie, (Resource and Development Officer) wealth and diversity of her art practice. New Works From the Artists of have received the innovative new and Christina Davidson (CEO) Photo: ANKAAA We can’t wait for next year! Susan Wanji Wanjis’ work is also on Ghunmarn Culture Centre, Beswick at Australia Council grant for Indigenous The exhibition is being produced by display at Harvey Art Projects, USA from No Vacancy, Federation Square. Communities to plan how to transfer Waringarri Aboriginal Arts, Warmun Art ANKAAA partnered with NAILSMA After winning the 2012 National July 4 and in Darwin from August 9 in arts and cultural knowledge to the Centre, Yarliyil Arts, Mangkaja Arts and in the production of the Video News Aboriginal and Torres Strait the 30th Aboriginal and Torres Strait young people from their communities: Mowanjum Arts. ANKAAA is sponsoring Story of the forum, produced by David Islander Art Award Jilimara artist Islander Art Awards at the Museum and Durrmu Arts, Peppimenarti (NT); professional development opportunities Mackenzie (ANKAAA) and supported Timothy Cook was represented at the 7th Art Gallery of the Northern Territory and Mangkaja Arts, Fitzroy Crossing for arts workers to work alongside the relevant program development. Asia Pacific Triennial in December last the Tiwi Art Network Group show at the (WA); Yilpara Homeland Studio (Buku curators. ANKAAA Deputy Chairperson, Annette year. This March his success continued Holiday Inn, Mitchell Street. Larrngay Mulka) (NT); Warmun Art Kogolo and CEO, Christina Davidson with a solo exhibition at Seva Frangos Centre (WA) and Warringarri Arts, Indigenous Experts Forum also participated in the forum. Gallery Perth. Maningrida Art and Culture Kununurra (WA). ANKAAA promoted on Sustainable Economic (MAC) artists James Iyuna and Melba this important opportunity for Indigenous Development for North The Video News Story and full report is Another Jilimara artist growing in Gunjarrwanga’s work has been controlled and led capacity building Australia ANKAAA participated in linked to the ANKAAA web site. recognition, Conrad Tipungwuti, was commissioned for display from the roof and closely supported four applications. the second North Australian Indigenous selected for the 2013 WA Art Award of the Darwin Entertainment Centre; a Noreen Ashley preparing pandanus for Mukarra Congratulations to the artists and Art Experts Forum on Sustainable Economic The 2013 Waringarri Muster in Perth 2013. He has had his first solo Ngalyod (rainbow serpent) sculpture exhibition, Melbourne Photo: Djilpin Arts Centre Managers for their achievement. Development hosted by NAILSMA Corroboree was certainly a highlight exhibition at the Aboriginal and Pacific woven from jungle vine and reproduced (Northern Australian Indigenous Land of this year’s Ord Valley Muster Art Gallery in Sydney in June. in recycled copper. Talking Up Textiles: Community Station Days Is Coming Five and Sea Management Alliance). The Program! Fabric and Indigenous Industry Kimberley Aboriginal Art Centres are forum, convened by the Chair Professor Travelling with Yarns was an Indigenous collaborating on a new landmark Patrick Dodson and Deputy Chair Peter textile forum that took place at Injalak Arts national touring exhibition titled Station Yu, took place from 30 April to 2 May in Gunbalanya, West Arnhem Land, in Days. at Kakadu National Park, NT. The August 2012, supported by ANKAAA. forum’s main focus was to set priorities The forum featured speakers with for furthering Indigenous participation significant involvement in the Indigenous in Northern Australia’s economic textile industry over 40 years offering their development. viewpoints on its development and current Maningrida Arts and Culture staff L to R: JB Fisher, directions. Talking Up Textiles: Community Indigenous Tourism, Culture and Art, Virgil Pascoe, Lucy Bond, Marcus Pascoe, Louise Fabric and Indigenous Industry is a was one of five main areas of northern Alan Griffiths, Waringarri Arts with Balmoorah Timothy Cook with Seva Frangos in front of ulama, McBride and Lathan Wilson Photo: MAC collection of transcripts of the participants’ economic development outlined in the (dance totems) Photo: Waringarri Arts 120 x 180cm Ochre on Linen 2013 talks offering a snapshot of a most forum. Forum participants talked with Photo: Jilamara Arts and Crafts The past year has seen MAC move into remarkable creative industry with its full local stakeholders and traditional land This year we were pleased to have its impressive new premises next to the potential yet to be realised. ANKAAA is ‘My Country’ by Stan Brumby 2012. Synthetic owners about managing culture through guests from Warmun perform a Maningrida Airport and the MAC Darwin publishing the report to be launched at the Polymer Paint on Canvas Photo: Yarliyil Arts Collection arts and tourism and the interest and never-before-seen Joonba telling the Gallery has been newly renovated. 2013 Darwin Aboriginal Art Fair.

18 Arts Backbone – News Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 News – Arts Backbone 19 World Indigenous Network Conference, Darwin Obituary: Jean Baptiste Apuatimi (1940 - 2013) By David Mackenzie, ANKAAA By Jennifer Isaacs

ANKAAA’s involvement in the inaugural Them: Working Together To Care For World Indigenous Network conference Country – Collective Painting Projects this year was an exciting and rewarding and Land and Sea Rights Claims’, time for all of us involved. The featured presentations by Mr Djambawa conference at the Darwin Convention Marawili AM (ANKAAA Chairman) and Centre from 26-29 May was attended Ms Annette Kogolo (ANKAAA Deputy by over 1000 Indigenous peoples Chair). from all over the world. Countries like Mongolia, Finland and Kenya, along Djambawa Marawili talked about the with hundreds of regional and Australian Salt Water Bark paintings and how Indigenous groups . they were used as evidence for the successful Blue Mud Bay native title In the words of the World Indigenous sea rights claim in 2008. Annette Network: Kogolo, with head Ranger Frank McCarthy from Fitzroy Crossing, As custodians of knowledge and talked about Ngurrara country in the expertise, the World Indigenous Great Sandy Desert and the Ngurrara Network (WIN) will bring together Canvas. A large collaborative work of Indigenous peoples and local over 60 artists which was central to the communities land and sea managers successful determination of the 1997 to share stories, knowledge, Ngurrara Native Title Claim. cultural experiences and ideas to Jean Baptiste Apuatimi was the most and had endeared herself to numerous better manage ecosystems, protect This year’s Art Worker Extension applauded older artist on the Tiwi admirers and collectors. the environment and support Program (AWEP) participants and six Islands in recent times. sustainable livelihoods. http://www. AWEP graduates of previous years Jean Baptiste Apuatimi had married worldindigenousnetwork.net attended the conference. The AWEP This tiny quiet gentle Tiwi woman Declan Apuatimi (1930-1985) when Graduates worked with staff on the died earlier this year. Her funeral she was in her teens. Declan provided a Recognising the importance of ANKAAA stall in the vibrant Public Art was attended by most of the Nguiu pathway for Jean as he used his culture addressing such a unique gathering Space, together with many Indigenous Community as well as her large and intellectual property to earn a living of Indigenous experts from around the organisations including ten ANKAAA Above Top: Djambawa Marawili AM and Annette extended family, relatives, friends and for their family and acted as a go-between world, ANKAAA prepared a panel supported Indigenous owned Art Kogolo, ANKAAA Chair and Deputy Chair presenting at colleagues from interstate. Held indoors for his Tiwi peoples and the wider world. emphasising the centrality of Indigenous Centres (see below and over page). WIN conference Above Middle: ANKAAA stall at WIN at the local sports centre, the walls Declan was to encourage Jean to carry art to the maintenance and management with Art Worker Extension Program Graduates working echoed with the power of voices in on depicting designs associated with of culture and country. The ANKAAA web site has links to the recording Above: ANKAAA Board members with Maasai harmony as feet stamped loudly, the Tiwi culture to enable her to support of the ANKAAA panel. delegates from Kenya Other Images: 10 ANKAAA wooden floor booming and vibrating their children and grandchildren. Since The panel: ‘The Land and the Sea supported Art Centre stalls at the WIN Public Art Space like a drum kit as the emotional dancing developing her own style of art attending Can’t Talk, We Have To Talk For All photos: ANKAAA signalled her status and kinship – her Tiwi Design, Jean Baptiste has become links to people and country, and best known for her natural ochre paintings denoted the personas of the performers. on canvas and bark, for her fabric In sequences, each class of relative designs, and for her carvings. Her work danced-about animals, insects, buffalos has been exhibited widely in numerous and forces of nature. It was a marvelous solo and group shows and is represented evocation of the importance of culture. in most National and State Gallery Jean, whose country was the sacred collections in Australia. Her work is also site of beautiful ochre, Imalu through represented in collections in the United her mother, as well as Marlawu (on States of America, Austria and the United her father’s side), and whose totem Kingdom. the cheeky fly seemed to personify her own nature, often performed Jarrangini, Image: Jean Baptiste Apuatimi, Jikipayinga, 200 the buffalo dance at her art openings x 160cm ochre on linen 2011 Photo: Tiwi Design

20 Arts Backbone – News Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 News / Obituary – Arts Backbone 21 ­Obituary: Eubena Nampitjin (c.1920s – 2013) Obituary: Dr Yunupingu Out and About By Tracey Grigg By Alan James

in traditional desert his community with an emphasis on 1. Pedro Wonaeamirri and Julie Harvey at Munupi knowledge, Nampitjin cultural maintenance and education. and Jilimara Arts exhibition, Harvey Art Project, Sun spent her time telling The foundation established the Garma Valley Idaho, USA Photo: Harvey Art Project stories and teaching Festival and was also involved in 2. Jennifer Dickens (Mangkaja Arts, ANKAAA AWEP the ways of country important national alliances and Graduate) and Francesca Cubillo (Senior Advisor and culture to those initiatives in both the education and of ATSI Art, National Gallery of Australia) during who surrounded her - health sectors. 2013 AWEP Art Worker Extension Program family, children and at Canberra visit, June times, kartiya. Mr Yunupingu’s last few years were 3. Her Excellency the Governor , Lena taken up with his battle with kidney Nyadbi, Roseleen Parks in Paris Photo: Jonathan 1 Nampitjin had a disease, during which he continued to Kimberley long and rich career use his position to send appropriate 4. Tiwi Footy Grand Final Art Sale, March. Edward as one of Australia’s Yothu Yindi’s Homeland Movement Album cover health messages to his people. Yunupingu (Munupi Art) and David Mackenzie most significant 1989, Illustrations – Galupa Screenprints, (ANKAAA) contemporary Typography – Mushroom Art His induction into the ARIA Hall of 5. Larrakia Nation ‘Our Heroes’ exhibition, DVAA painters. Her work Fame in November last year was the Gallery, Darwin, March 2013 2 was showcased in It is with sadness and a sense of honour band’s last performance - a fitting end 6. Evangeline Wilson and Sharon Anderson at numerous national that I write in memory of Dr Yunupingu, to an outstanding career. He is survived National Gallery of Australia and international lead singer of Yothu Yindi and 1992 by his wife, six daughters and six 7. The ANKAAA stall at the WIN Conference, Regina exhibitions, including Australian of the Year. We first met grandchildren. Big footsteps! Wilson, ANKAAA Director, Christina Davidson, ‘The Art of the Great in the mid 1980s in Yirrkala, North ANKAAA CEO, Annette Kogolo, ANKAAA Chair, 3 Sandy Desert’ held East Arnhem Land, where he was Note from ANKAAA: Milyika Caroll, Director, Ananguku Arts in 1986 at the Art preparing to become the first Yolngu to 8. Vanessa Kredler (ANKAAA) working with Tataka 4 Gallery of Western graduate with a University degree and Mr Yunupingu’s vision of ‘both way Bani at the Mowanjum shop after the Mowanjum Australia. In 1998 subsequently become the first Indigenous learning’ enacted through the Yothu Festival, July she was the recipient school Principal in the Northern Territory. Yinidi Foundation and the band was 9. ‘East Journey’ celebration of 50th anniversary of of the Telstra Painting At the time I managed the Northern deeply influential for Northern Australian bark petition, July 10 Yirrkala With heavy hearts her family, Warlayirti Prize for the magnificent ‘classic’ Territory band, the Swamp Jockeys. Mr art. ANKAAA is very grateful to have 10. David MacKenzie (ANKAAA) visiting Munupi Art Artists and the Balgo community work, which continues to hang today Yunupingu would get on stage at Lims had the opportunity to collaborate for governance training, with Mike Stitfold announce the passing of Eubena in the Museum and Arts Gallery of Hotel, Rapid Creek and perform his with Mr Yunupingu and the Yothu 11. Performance of Guirr Gurirr Ceremony Warmun Nampitjin. During the early hours of the Northern Territory. Furthermore, five songs with the Swamp’s back line Yindi Foundation on a number of Community, Warmun, for return of Community Collection Monday morning, 11 March 2013, at her works form part of significant providing drums, bass and guitar and important projects over the years and All Photos: : ANKAAA unless noted otherwise the amazing age of 92 and surrounded national and international collections two of those musicians (Cal Williams the ANKAAA board pays tribute to his 5 by her family, friends and faithful dog including the National Gallery of and Stu Kellaway) stayed on for Yothu immense contribution to development of Tj­­­apanangka, that beautiful old lady Australia (Canberra), the Kluge Ruhe Yindi’s nearly 30 year journey. cross cultural understanding through the closed her eyes and gently passed from Collection (United States of America) arts. this life to her next journey. and the Musee du quai Branly (Paris). Mr Yunupingu was a visionary. I came Throughout all of her life’s incredible to see the world through his eyes, 11 6 Nampitjin lived a life that can only be changes, Nampitjin’s amazing spirit, which was a revolutionary experience described as ‘extraordinary’. Living in and her gentle and open heart has led that rocked my white Australia world 10 7 the Balgo community, Nampitjin was her from a small remote community to view. Throughout his career this was his a senior community member, law- connect and share her love of culture hallmark – to open people’s eyes, to woman, maparn, wife, mother to Ena, and country with many people. It is with develop and promote his brand of ‘both Nula, Mel, Jane, Agnes and Stella, great sadness that we say goodbye to ways thinking’ to build bridges and auntie, grandmother and a friend to an inspirational artist and a gracious break down racism in this country and many. Throughout her life she had a woman who was true to family, friends, everywhere he travelled. On July 10, at the 50th anniversary of the 9 8 defiant spirit, an open heart and an culture and country. Yirrkala Bark Petition, singer Gurrumul Yunupingu overwhelming generosity that enabled In 1990 he instructed me to form the performed a selection of Yothu Yindi songs in her to care for both those close to her as Eubena Nampitjin, Kinyu, 2010 Photo: Warlayirti Yothu Yindi Foundation as he wanted memory of Dr Yunupingu well as those she barely knew. Steeped Artists 11a vehicle to be able to put back into

22 Arts Backbone – Obituary Volume 13: Issue 1, August 2013 Volume 13: Issue 1, August 2013 Obituary / Out and About – Arts Backbone 23 Back Page News ANKAAAANKAAA DirectorsExecutive and and Staff Staff

ANKAAA Board of Directors th Creative Australia - the first when ANKAAA’s 25 anniversary was 2012-2013 national cultural policy since Paul celebrated with traditional dancing Chairperson- Djambawa Marawili AM Keating’s 1994 Creative Nation was at the NATSIA opening, ANKAAA Buku-Larrnggay Mulka launched this April. ANKAAA made a is pleased to have facilitated the Arnhem Region Deputy Chairman - Annette Kogolo joint submission on the policy with fellow performance at this year’s opening Mangkaja Arts Indigenous lead peak arts organisations of a traditional celebratory Wangga Kimberley Region Ananguku Arts and Desart in 2011; performance bringing together some Treasurer - Brian Farmer and also jointly replied (joined by UMI 15-20 dancers from 4 Art Centres – Jilamara Arts and Crafts Arts) to commend the priority given to Mangkaja Arts, Mowanjum Art and Tiwi Region Secretary – Alan Joshua Indigenous art and culture decisively Culture , Warringarri Arts and Warmun Ngukurr Arts foregrounded in goal 1 to: ‘Recognise, Art Centre. Darwin/Katherine Region respect and celebrate the centrality of Ruth Nalmakarra Aboriginal and Torres Strait Islander Congratulations to Churchill Cann Milingimbi Art and Culture cultures to the uniqueness of Australian (Warmun Art Centre), Conrad Arnhem Region identity’. Tipuweungwuti (Jilamara Arts), Wukun Lily Roy Milingimbi Art and Culture See: http://creativeaustralia.arts.gov.au Wanambi (Buku Larrngay Mulka) and Arnhem Region Nora Wompi (Warlayirti Artists) for Peter Jigili Tony Grybowski recently took up being selected among 16 finalists in the Warnayaka Arts and Culture the role of CEO of the Australia prestigious 2013 WA Indigenous Darwin/Katherine Region Council for the Arts working Art Awards. Regina Wilson Durrmu Arts alongside Chairman Rupert Myer. Darwin/Katherine Region Lydia Miller (Kuku Yalanji woman) ‘Desert River Sea – Kimberley Gabriel Nodea remains Executive Director Aboriginal Art Then and Now’ is a six-year Warmun Arts Centre and Torres Strait Islander Arts and Lee project of the Art Gallery WA funded Kimberley Region Anne Buckskin remains chair of the by . The project brings together Dora Griffiths Waringarri Aboriginal Arts Aboriginal and Torres Strait Islander artists and Art Centres from across Kimberley Region Arts Board and also sits on the the Kimberley. Part of the program John Peter Pilakui expanded Australia Council Board. will be an Emerging Leaders program Jilamara Arts and Craft focusing on digital storytelling through Tiwi Region New Art Centre Coordinators film and photography. An online portal Jedda Puruntatameri are warmly welcomed: Shannon Voss at will also be set up to serve as an Munupi Arts and Crafts Association Tiwi Region Gapuwiyak Culture and Arts; Melanie evolving information resource hub about ANKAAA Stand-in Directors Goetze as the Tiwi Art Network Kimberley Indigenous Art. Dorothea Fejo Marketing and Communications Larrakia Nation – Darwin/Katherine Region Manager; and Lucy Bond, Director at The Annual General Meeting of Freddie Timms Maningrida Arts and Culture. the Indigenous Art Code will be Jirrawun Arts – Kimberley Region Francesca Puruntatameri held in Alice Springs on September 6 Munupi Arts and Crafts Association – Tiwi ANKAAA is publishing a report on the at 4.00pm. Region Travelling With Yarns Northern Wukan Wanambi Buku-Larrnggay Mulka – Arnhem Region Indigenous Fabric Forum hosted The Indigenous Art Code will ANKAAA Staff by Injalak Arts last year to be launched consider changes to its constitution Chief Executive Officer at the Darwin Art Fair on Saturday that will allow the organisation to Christina Davidson [email protected] August 10 at 1.15pm. grow with a majority of Indigenous Resource and Development Officer David MacKenzie [email protected] leadership and an increased number Senior Strategy, Resource and Development Officer 2013 marks the historic 30th of Indigenous directorships. This Vanessa Kredler [email protected] National Aboriginal and Torres comes at a time when the industry is Resource and Development Support Strait Islander Arts Awards considering developments towards a John Saunders [email protected] Administration Officer opening at the Museum and Art Gallery legislated Code of Conduct. Members Belinda Foster [email protected] of the Northern Territory on August of the Code will receive detailed NT Arts Infrastructure Projects Manager 9. Following the 2012 partnership documentation before the meeting. Paul Nowland [email protected]

24 Arts Backbone – News Volume 13: Issue 1, August 2013