‘Let them rage,’ the women told me, ‘because they have been wronged’. They whispered wind words in Kaurna and Kokatha. In Narrunga and Ngarandjeri the women told me ‘Let them rage’. Cloud Storm, Ali Cobby Eckermann Ĺĺ If only I had the ears, memory ... A tongue to speak. I remembered my grandfather’s words, almost as if they had emerged again in the night, in that bush, around that campfire when the three of us felt so frail and bitter. Benang — From the Heart, Kim Scott Ľľ One day a man in a suit arrived at our front door. This was the visit Mum had been fearing for a long time. He was from the Department of Native Welfare. Aliwa, ሆሄDallas Winmar

Angas had put in place his perfectly legal method of solving the rising costs of labour: the enslavement of Australia’s Aboriginal people. Sweet Water ... Stolen Land, Philip McLaren Ļļ I am a daughter of this Land. I have the knowledge of my people. I have the power of my clan, I have the strength of my marriage, I have the love of my husband, I have the weapon of my wits. I am Medea. So come now and face me. There is a blood debt to pay and not a drop of mine shall fall upon this thirsty earth. Black Medea, Wesley Enoch ĸķ And now, all it took was a simple flick. A flick, flick here and there with a dirt-cheap cigarette lighter, and we could have left the rich white people who owned Gurfurritt mine, destitute and dispossessed of all they owned. Carpentaria, Alexis Wright

Summer 2011 • ISSN 1442 5351 KEEPING CULTURE STRONG Editorial Photo: Stu Spence. Photo: Stu Spence.

CULTURAL LEADERSHIP A WEALTH OF STORIES Leadership is an important quality to nurture in our In this edition of Arts Yarn Up, we bring you the artists and culture, for it influences the present and vibrancy of Indigenous literature. future direction of our arts and culture. We talk to writers Kim Scott, Cathy Craigie, In this edition of Arts Yarn Up, we feature all aspects of Gayle Kennedy, Tara June Winch, leadership today, from cultural to creative and artistic. Melissa Lucashenko and Jared Thomas about From across generations, we bring you insights into the the books that they say are a ‘must-read’! way Indigenous artists and arts workers are thinking We asked each of these writers to name the 50 about leadership and putting leadership into action ‘must-read’ black books. There is a wealth of stories, through their creativity and work. Their reflections are life experiences and good yarns. Let us know if you diverse and inspiring. have any other favourites, as we will keep this list Shaping the 21st century, these cultural leaders reveal growing over the years. the key issues and priorities for the arts. The highly We also highlight the current developments with the successful ACCELERATE leadership program, in Indigenous Art Code that came out of the landmark partnership with the British Council, saw eight people 2007 Senate report Indigenous Art – Securing the selected to participate in an intensive program in the Future. United Kingdom. It is vitally important to have ethical standards in the They were hosted by some 34 individuals and visual arts industry. We look at what that means to organisations, including the Barbican Art Gallery, the people in practice. Tate, British Museum, Akram Khan Dance, Tamasha Also keep an eye out for the 2012 National Theatre Company, National Theatre Wales, and Indigenous Art Triennial at the National Gallery of National Museums Scotland. We applaud the Australia, and the extraordinary next generation of commitment of the British Council to providing these leaders who have been part of the Wesfarmers opportunities. fellowships. We also bring you a story on Hector Burton, cultural And, while we mourn the passing of world renowned leader and senior artist with Tjala Arts. Hector highlights ceramic artist and sculptor, Tapich Dr Gloria Fletcher AO, the vital importance of passing on the culture and law and her enduring legacy, we also bring you the of his ancestors to younger people. He talks about the personal stories of music legends Bunna Lawrie and exhibition that highlights this endeavour. Bart Willoughby as they reflect on their lives together. Dr Mark Bin Bakar Lydia Miller Chair Executive Director Aboriginal and Torres Strait Islander Arts Board Aboriginal and Torres Strait Islander Arts

The Australia Council for the Arts is the Australian Government’s arts funding and advisory body. For comments or submissions to Arts Yarn Up: The editor, Arts Yarn Up Australia Council for the Arts, 372 Elizabeth Street, Surry Hills, NSW 2010, email [email protected], phone 02 9215 9000, or visit us online at www.australiacouncil.gov.au © Australia Council 2011 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, all rights are expressly reserved. ISSN 1442-5351. The Australia Council respects Indigenous communities and culture. Readers should be aware that this publication may contain images or references to members of the Indigenous community who have passed away.

Arts Yarn Up 2 Summer 2011 Giant fire sticks spark beach festival An exhibition of giant fire sticks was one of the highlights of this year’s Strand Ephemera exhibition in Townsville, Far North Queensland.

reated by artists from the Girringun Aboriginal Art Together with ceramics tutor, Meredith Moreau, the Centre, the life-sized fire sticks are a contemporary artists constructed the bagu in three sections. Ctake on traditional fire making implements used by With a number of weavers in the group, the artists were the Girringun rainforest people of Far North Queensland. also keen to incorporate weaving elements into their works Traditionally around 45 cm long and consisting of two and developed the idea of working with aluminium frames. parts, bagu (body) and jiman (sticks), the fire sticks are said ‘We were able to salvage some milky pine logs after to have their origins in the sky, where a mystical fire spirit Cyclone Yasi from the local transfer station, which meant would throw the jiman across the sky to create a trail of fire. that we were also able to incorporate two carved pieces,’ The idea of reinterpreting them for a new generation adds Valerie. began soon after the Girringun Aboriginal Art Centre opened With the Pacific Ocean and Magnetic Island as a its doors in 2008. Looking for something special to create backdrop, the final bagu rose dramatically out of the sand in for the first Cairns Indigenous Art Fair (CIAF) in 2009, staff a quietly proud formation. Swaying gently in the onshore and artists met to discuss how they might translate winds, they seemed to breathe the stories they carried. traditional tools into contemporary forms. ‘Many people wandered among the figures for a closer They used the bagu to evoke the spirit of their inspection, pausing for photographs by their favourite ancestors, creating one-of-a-kind bagu made out of clay, piece,’ says Valerie. ‘Children scampered around them while timber and string. These were so popular they sold out way others sat quietly on the grass in quiet contemplation.’ before the CIAF opened, entering into the collections of For their efforts, the Girringun Aboriginal Art Centre major institutions and private collectors. shared the $10,000 Strand Ephemera Artistic Excellence In 2010, the centre was invited to submit an entry to Award with artist Erica Gray. Strand Ephemera, a festival of contemporary arts that runs ‘There were 36 entries, so it was a great achievement to along the length of The Strand on Townsville’s idyllic be selected for this award, particularly as Cyclone Yasi beachfront. affected our schedule. The huge effort and spirit the artists Again the team sat down to discuss ideas, deciding the contributed was amazing,’ says Valerie. site lent itself to creating 15 life-size bagu, each with its own The Girringun Aboriginal Art Centre artists were: Gloria story. Andy, Leonard Andy, Nina Andy, Charlotte Beeron, Daniel While the production schedule was severely impacted Beeron, George Beeron, Maureen Beeron, Theresa Beeron, by Cyclone Yasi and the group faced many challenges Trish Beeron, Nephi Denham, Tonya Grant, Judith Henry, constructing the works, the artists eventually created 15 Clarence Kinjun, Alison Murray, Debra Murray, Emily Murray, bagu; two out of traditional materials, nine out of ceramics Ethel Murray, John Murray, Sally Murray, Grace Reid and and four over aluminium frames. Eileen Tep. ‘One of the main challenges with the ceramic works was fitting them into our kiln, which could only fit one third of the full-size bagu,’ says Girringun Aboriginal Art Centre Above: Bagu on The Strand, Townsville. manager, Valerie Keenan. Photo: Girringun Aboriginal Art Centre.

http://art.girringun.com.au • 07 4066 8300

Arts Yarn Up 3 Summer 2011 Fair go for Indigenous artists You can play a part in ensuring the Indigenous arts sector looks after artists by signing up to the Indigenous Art Code, which is free for artists.

hen the landmark Senate report Indigenous Art – ‘We encourage anyone who is passionate about Securing the Future was released in 2007, it sent Indigenous art and believes in promoting ethical standards Wshockwaves through the art world and general in the industry to become a member,’ John Oster explains. community. It detailed how unscrupulous dealers, eager to ‘We particularly welcome artists as they are essential to capitalise on the worldwide boom in Indigenous art, were the Code’s development and future management.’ exploiting artists. It also found so-called ‘carpetbaggers’ Members are invited to attend the annual general were marketing many fake or poor quality artworks. meetings and vote on major Code issues. Dealers are It seemed that the multi-million dollar industry had a permitted to use the Code’s logo and art buyers are dark side which not only threatened the wellbeing of encouraged to look for the Code logo when purchasing Indigenous artists, but put the reputation of the industry Indigenous art. Dealers will also provide a Code certificate, at risk. which verifies the authenticity and the source of the artwork. In response, the Senate recommended sweeping While the Code is voluntary, a robust legal framework changes to the industry, including a voluntary Code of has been put in place to enforce ethical standards and Conduct that would set industry standards, provide a provide signatories with a fair, efficient and effective benchmark for ethical behaviour and give buyers greater complaints procedure. certainty about the origin of artworks being sold. ‘IartC is able to investigate serious complaints through To develop the Code, the Australia Council for the Arts a panel of independent legal experts. We also have a close consulted with the visual arts sector in 2009, convening an working relationship with the Australian Competition and industry reference group of commercial galleries, public Consumer Commission (ACCC) which has the power to institutions, Indigenous and non-Indigenous visual arts peak investigate breaches of the law,’ John explains. bodies, curators and Indigenous artists.

‘We encourage anyone who is passionate about Indigenous art and believes in promoting ethical standards in the industry to become a member.’

A private company, the Indigenous Art Code Limited Interest in the Code is certainly growing—there was (IartC), was established to implement and supervise the ‘standing room only’ at the recent Annual General Meeting. Code and drive membership. But there is still a lot of work to be done in securing Today IartC has its own CEO, John Oster, a board of widespread industry support and public recognition, along directors and elected members including Indigenous artists, with further funds to appoint three to five operating staff. not-for-profit artist organisations and individuals with John has been encouraged by the industry’s support, business and legal experience. with a number of national media companies providing pro So far, around 140 dealers, artists and supporters have bono support for a national advertising campaign. Many signed up to the Code, committing them to: other arts agencies have also signed up. • fair, honest and professional dealings with Indigenous Australia Council CEO, Kathy Keele, said: ‘We strongly artists support the Indigenous Art Code in upholding fair and • respect for Indigenous artists’ cultural practices and rights ethical standards in the visual arts industry. The Code • transparency in the promotion and sale of Indigenous promotes good commercial practice so that Indigenous artwork. artists and their artistic and creative works are afforded While dealers and Code supporters pay a $300 protection, rights and fair remuneration’. membership fee to help cover administration, there is no Left: John Oster with Central Australian artist, Jane Young, as membership fee for artists. she signs up as an artist member of the Code.

www.indigenousartcode.org • 08 8959 6038

Arts Yarn Up 4 Summer 2011 Top End takes on the law A new performance work by Darwin’s Corrugated Iron Youth Arts is stimulating debate about the way Aboriginal and Western justice systems deal with offenders.

‘When I was asked to create an Aboriginal theatrical expression featuring strong tribal opinion on Western and Aboriginal law I figured well, they asked me to do it, so they know it’s going to be honest!’ she said. ‘I knew it couldn’t be just another attempt to deal with Aboriginal issues without appropriate Aboriginal expertise.’ To develop the work, Ali came up with Talkabout Walkabout, an extensive consultation process she undertook in collaboration with co-director, Damien Pree. ‘We walked the streets of Darwin, sat on the ground, laid on the grass, jumped, responded, flagged people down in their cars and made countless phone calls in Darwin and remote areas just to collect opinions,’ she explains. ‘The statements that we got were very truthful. People were saying things such as, “the current system truly discriminates against Indigenous people”. We have white lawyers saying “Aboriginal law is barbaric” and Aboriginal people saying, “White law is barbaric: jail attacks the spirit and damages a person for life”.’ These opinions helped shape the performance at the Supreme Court in Darwin. A short film tackled the first landing, massacres of Aboriginal people, breeding-out programs and the Stolen Generation. Four simulated modern-day court cases were based on real situations where Aboriginal and Australian law collide. At various points, the actors froze while Aboriginal people in traditional dress walked in to give their version of events according to Aboriginal law. At other times, the stage turned into a boxing ring with actors throwing punches along with their punch lines. ‘It was amazingly powerful; an intensely hard-hitting performance,’ says Ali. ‘We were all nervous—we knew what a can of worms we were opening. Damien and I joked mbitious and provocative, 2Law Way is one of the we had to put on our crash helmets! few performance works in Australia to take place ‘This is not a perfect presentation in terms of traditional A inside a state supreme court. theatre, but an expression of an issue that needs to be Presenting theatrical interpretations of local legal discussed. Black and white people in this country need to cases, the piece brought judges and lawyers together seriously talk, walk and move forward together if we want to with local Indigenous artists and performers in May 2011. build a better Australia,’ claims Ali. It also added some Top End perspectives on the The Chief Justice of the Supreme Court of the Northern relationship between Aboriginal and Western approaches Territory, Trevor Riley, said of the performance: ‘I was to common law. particularly impressed with the sentiment that we must all Based on interviews with over 100 local Indigenous respect each other and work together to make community members and combining corroboree, film, mock improvements in the future’. trials and debate, 2Law Way took place inside the Supreme Corrugated Iron hopes 2Law Way will tour nationally Court of the Northern Territory, to mark the Court’s and is now turning stories from Talkabout Walkabout centenary. and 2Law Way into a DVD for use in schools and Project co-director, Ali Mills, said: ‘The Supreme Court cross-cultural training. should be applauded for supporting this presentation about the two laws – Aboriginal and Western. It was a massive Left: A scene from Corrugated Iron’s 2011 production project and very daring of them to take it on’. 2Law Way. A well-known singer and performer from the Larrakia Photo: Peta Khan. nation of the Northern Territory, Ali is also an outspoken advocate for a national debate between Indigenous and non- Indigenous people on language, cultural and spiritual issues.

www.corrugatediron.org.au • 08 8948 3200

Arts Yarn Up 5 Summer 2011 Great journeys through Indigenous literature

A collection of Indigenous books and authors, selected by Indigenous writers.

Do you have a favourite novel by an Indigenous writer? Which books would you like all Australians to know about and read? Arts Yarn Up asked some of Australia’s leading Indigenous authors to help develop a list of must-read books and authors to trigger discussion about contemporary Australian Indigenous literature.

Plains of Promise by Alexis Wright ‘Not as big a book as others she’s written, but nevertheless big and brave with its themes.’ Steam Pigs by Melissa Lucashenko ‘Complex and conversation – provoking about gender, sexuality, class and race.’ Shadow Lines by Stephen Kinnane ‘Compassionate and inclusive throughout—and a book that deftly Kim Scott does not make its extensive research obvious.’ Cathy Craigie Story About Feeling by Bill Neidjie Kim Scott is proud to be one Cathy Craigie, a Gamilaroi and among those who call themselves ‘Good to see complex, oral rhythms on the page.’ Anaiwon woman from northern NSW, Noongar. He has won the prestigious has a long career working in the arts. Miles Franklin Literary Award twice Gularabulu by Paddy Roe She is director of the National and his novels are listed as a must- ‘Rhythms of speech and complex Aboriginal Writers’ Festival and read by most of the authors below. perceptions come alive in this book regularly mentors writers and Kim’s must-read books and open up space into which develops and promotes Aboriginal Living Black by Kevin Gilbert others might move.’ literature. Her play for Kite Theatre, ‘This was a formative influence on me, Kim’s top 50 must-read writers Murri Time (co) was nominated for an along with his book, Because a • Jack Davis Australian Writers’ Guild award. She White Man’ll Never Do It. In fact they • Ambrose Mungala Chalarimeri also writes short stories and radio serve as one book in my mind chiefly • Vivienne Cleven plays and is working on her first novel. because of their sincerity, bravery • Rosemary van den Berg Cathy’s must-read books and the way they broke new ground.’ • Noel Pearson • Melissa Lucashenko My People. A Kath Walker collection The Man from the Sunrise Side • Stephen Kinnane • Bill Neidjie by Oodgeroo Noonuccal by Ambrose Mungala Chalarimeri • Paddy Roe • Jimmy Chi (Kath Walker) ‘I particularly value this book for a • Anita Heiss • Alexis Wright ‘I was very moved by the power and scene where the young narrator • Glenyse Ward • Sally Morgan insights into Aboriginal society, sees an Elder returning to his home • Eric Hayward • Bruce Pascoe portrayed in her poems. At the time I community with “money and a gun” • Lionel Fogarty • Tara June Winch read this, I was a young woman and and resolves to get those things for • Kenny Laughton • Philip McLaren her Charter of Aboriginal Rights was himself.’ • Kevin Gilbert • Dot Collard so inspiring.’ • Romaine Moreton • Lisa Bellear Bitin’ Back by Vivienne Cleven • Richard Wilkes • Sam Watson Carpentaria by Alexis Wright ‘The wit and energy, both serving to • Eric Wilmot • Jackie Huggins ‘A powerful set of stories and characters. demolish stereotypes, make this a • Richard Walley • Richard Frankland I couldn’t keep them out of my head, very attractive book.’ • Cathy Craigie • Bessie Flower even after I finished the book.’ No Options No Choice! • Alf Taylor • Oodgeroo Noonuccal Macquarie PEN Anthology of by Rosemary van den Berg • Larissa Behrendt Aboriginal Literature, edited ‘An early West Australian work that • Dr Ruby Langford Ginibi by Dr Anita Heiss and Peter Minter helped to create space for other • Ali Cobby Eckermann ‘This is such an important book for works to be published.’ • Doris Pilkington anyone wanting to know more about • Samuel Wagan Watson Aboriginal literature and history. No Free Kicks • Stan Grant • John Newfong Some of the writings are incredible by Eric Hedley Hayward • Darren Garvey • Herb Wharton and inspiring.’ ‘A proud and dignified book, • Marcia Langton • Martin Nakata emphasising the contribution Noongar • Mick Dodson • Rosalie Fraser people have made, and can potentially make, to “mainstream” society.’

Arts Yarn Up 6 Summer 2011 Bitin’ Back by Vivienne Cleven • Wesley Enoch • Lionel Fogarty ‘One of the funniest books I have • Richard Frankland • Kevin Gilbert read by an Aboriginal author. It • Jane Harrison • Ruth Hegarty hilariously captures the rural • Anita Heiss • Dr Ruby Langford Ginibi Aboriginal sense of humour and I • Sally Morgan • Oodgeroo Noonuccal love the ending.’ • Doris Pilkington • Kim Scott The Callused Stick of Wanting • Margaret Tucker • Glenyse Ward and Post Me to the Prime Minister by • Samuel Wagan Watson Romaine Moreton • Sam Watson • Herb Wharton ‘Romaine is one of Australia’s top • Tara June Winch • Alexis Wright cultural talents. Her writing is • Bill Neidjie • Stan Grant exquisite and thought provoking. Gayle Kennedy • John Newfong • Jared Thomas I couldn’t choose between these two books.’ Gayle Kennedy is a member of Yoogum Yoogum by Lionel Fogarty the Wongaibon clan of south west ‘This is one of the first books New South Wales. Her volume of published by an important storyteller poetry, Koori Girl Goes Shoppin, and changed the way I thought was shortlisted for the David about Aboriginal writing. His writing Unaipon Award for Indigenous resists the formal structures of Writing (2005), with her novel Me, European poetry and continues the Antman & Fleabag, winning the long tradition of Aboriginal protest award in 2006. In 2011, five of poetry. When you hear his words out Gayle’s children’s novels were loud, you hear his passion for our published by Oxford University country and cultures.’ Press as part of the Yarning Strong Series, with a screenplay for TRAX Little Bit Long Time and Outback Theatre for Young by Ali Cobby Eckermann People filmed and due for release ‘I cried the first time I read this. An soon. Tara June Winch emotional journey with the writer and so well crafted.’ Gayle’s must-read books Tara June Winch is an Indigenous Carpentaria by Alexis Wright Benang – From the Heart Australian author and literacy by Kim Scott Benang – From the Heart campaigner. She was awarded the ‘Inspirational and well written. This is by Kim Scott international Rolex Mentor and Protégé Arts Award in 2008-2009, a brave story and metaphorically That Deadman Dance by Kim Scott brilliant.’ which saw her work with Nobel (2011 Miles Franklin Literary Award) Laureate Wole Soyinka. My Ngarrindjeri Calling Don’t Take Your Love to Town Tara’s must-read books by Doreen Kartinyeri and by Dr Ruby Langford Ginibi Sue Anderson ‘These are the books that are most ‘Although a biographical story, it is Hey Mum, What's A Half-Caste? memorable to me: some memoir, one of the most interesting I have by Lorraine McGee-Sippel some poetry, some contemporary novels. All these works speak about read. Doreen’s strength and End of Dreamtime by Kevin Gilbert commitment are inspirational in this a unique and deep connection to story of what really happened in the Sweet Guy by Jared Thomas history, spirituality, political struggle Hindmarsh affair. She was an and also explore the universal Australia’s unwritten history: more human conditions of love, family and amazing role model for women in legends of our land South Australia.’ belonging. I am never without most by Oodgeroo Noonuccal of these titles in my suitcase; they Bloke by Bruce Pascoe (Kath Walker) keep me connected to a sort of ‘This is a story of a typical Aussie Unbranded by Herb Wharton family of words, wherever I am, male who comes to find out who he these stories are there.’ really is. There are not many stories Follow the Rabbit-Proof Fence out there about our men and what by Doris Pilkington That Deadman Dance by Kim Scott makes them tick. This very funny Gayle’s must-read writers Carpentaria by Alexis Wright story captures some interesting • Edward Warrigal Anderson Not Meeting Mr Right characteristics about Aboriginal and • Faith Bandler • Larissa Behrendt by Dr Anita Heiss mainstream Australian societies.’ • Lisa Bellear • Roger Bennett Whispers of this Wik Woman • Mary Carmel Charles • Jimmy Chi by Fiona Doyle • Ali Cobby Eckermann • Jack Davis Continued next page

Arts Yarn Up 7 Summer 2011 Great journeys through Indigenous literature

Black Swan: A Koorie Woman’s Life Earth by Bruce Pascoe by Eileen Harrison and ‘An astonishingly innovative novel of Carolyn Landon rural Victorian life; not only is Earth a Smoke Encrypted Whispers great read, but since opening it I by Sam Wagan Watson have never been able to think of a sheep as anything other than a Home by Larissa Behrendt “sheepie”, as the early Wautharong My People by Oodgeroo Noonuccal christened them.’ Grog War by Alexis Wright ‘Anyone who wants to understand the role of alcohol in Northern Territory towns should first read this gut-wrenching book about the long Aboriginal struggle to ban grog in Tennant Creek.’ Her Sister’s Eye by Vivienne Cleven ‘Cleven’s remarkable writing of rural Queensland recalls Harper Lee and Dr Jared Thomas Toni Morrison. She is an outstanding and wonderfully funny novelist.’ Dr Jared Thomas is a Nukunu man Little Bit Long Time of the southern Flinders Ranges in by Ali Cobby Eckermann South Australia and a ‘A strong collection from one of our communications lecturer at the most talented new poets—don’t University of South Australia. His miss her very moving poem of passion is facilitating creative assimilation, Circles and Squares.’ writing and literacy development Manhattan Dreaming workshops in prisons, communities by Dr Anita Heiss and schools. Jared’s novel ‘Koori sister takes New York Sweet Guy was shortlisted for the 2009 South Australian People’s Melissa Lucashenko by storm! Nuff said.’ Don’t Take Your Love to Town Choice Awards for Literature and Melissa Lucashenko by Dr Ruby Langford Ginibi The Deadly Awards. His children’s Melissa Lucashenko is an award- ‘The late Aunty Ruby left, as one of novel Dallas Davis, Scientist and winning novelist and essayist who her legacies, this classic yarn of The City Kids was released lives between Brisbane and the country Koori life in the mid-20th by Oxford University Press in Bundjalung nation. Her novels century.’ March 2011. include Steam Pigs, Hard Yards Sweet Guy by Jared Thomas Jared’s must-read books and Killing Darcy. Melissa writes ‘Nunga boy leaves home, makes (including theatre by Indigenous regularly for the Griffith Review and good. A great Adelaide book for writers) her essay The Angry Country was boys and men.’ selected in The Best Australian Funerals and Circuses The Callused Stick of Wanting Essays 2010. She is working on her by Roger Bennett (theatre) by Romaine Moreton fifth novel. Melissa is a member of No Sugar by Jack Davis (theatre) ‘A sharp Goorie eye focused on the the Aboriginal and Torres Strait multiple strands of modern We Are Going Islander Arts Board, Australia Australian racism. Powerful and by Oodgeroo Noonuccal Council for the Arts. incisive.’ Don’t Take Your Love to Town Melissa’s must-read books Swallow the Air by Tara June Winch by Dr Ruby Langford Ginibi That Deadman Dance by Kim Scott ‘Winch has the lyrical command of Follow the Rabbit-Proof Fence ‘Like all great writing, this novel of language you would expect from a by Doris Pilkington West Australia’s “friendly frontier” is much older writer and a bittersweet Post Me to the Prime Minister deceptively simple. But by its end take on what it is to be young, poor by Romaine Moreton we are gripped by the transformed and Koori.’ world of the French-speaking, I’m Not Racist But… whale-hunting Noongars of the by Dr Anita Heiss colonial Albany coast.’ Me, Antman & Fleabag by Gayle Kennedy Benang – from the Heart by Kim Scott Carpentaria by Alexis Wright

Arts Yarn Up 8 Summer 2011 LEADERSHIP IN THE ARTS Leading by example

Inspired by our Elders and many Indigenous Creative leadership is about acknowledging the role artists and arts leaders, Arts Yarn Up set out to of art in society and the people who work across the understand what motivates and inspires arts breadth and depth of the arts landscape. leaders, what they hope to achieve for By artistic leadership, we mean to celebrate the skills themselves and their people, and what skills and achievements of leading practitioners in their and knowledge they hope to pass on to the respective disciplines—community, dance, digital, next generation. literature, music, theatre, visual arts, and more. On the following pages are stories written under We hope their stories inspire and empower you to three broad themes: cultural leadership, creative take the next step in your artistic career. leadership and artistic leadership. Above: From left: Marilyn Miller, Kirsten Freeman Cultural leadership highlights the connection (Assistant Director, British Council), Sharon Paten, between art and its role in the community. It’s about Peter White (2009 ACCELERATE awardee), Jason Tamiru, exploring how art is connected to language, Kevin O’Brien, Mark Wright (workshop facilitator from UK heritage, culture, land, sea and customary law and organisation People Create), Alick Tipoti, Kyle Morrison, how the leaders who are responsible for these Frances Rings, Barbara Matters, Nick Marchand aspects determine the integrity of the art. (Director, British Council). Photo: © British Council 2011.

Arts Yarn Up 9 Summer 2011 SPECIAL FEATURE Future leaders fast forward The British Council and Australia Council are supporting Indigenous arts leaders with a new program that will help them shape an even brighter future for themselves, their communities—and the arts sector as a whole.

n August 2011, eight of Australia’s most inspiring Indigenous arts leaders spent an intensive three days at artist Arthur Boyd’s historic property, Bundanon, in southern New South Wales talking about the characteristics that define leadership and how they might shape Itheir own futures as leaders. Led by professional development coaches, the workshop is part of the British Council’s new ACCELERATE cultural leadership initiative, providing talented Indigenous Australians with working opportunities to further their careers. Run in collaboration with the Australia Council’s Aboriginal and Torres Strait Islander Arts Board, the program equips these future leaders with skills and networks, and they will travel to the United Kingdom for further professional development opportunities. Arts Yarn Up spoke to the ACCELERATE leaders about their vision for Indigenous arts and how they contribute to Australia’s identity and wellbeing.

ALICK TIPOTI I believe that the language is the core of the culture. Young ARTIST artists need to learn all of that cultural information before Describe your journey they set out to be leaders in the art world. I can definitely in the arts. tell you they are rowing against a very strong current—there are a lot of other influences from other cultures. Everything starts from my island, Badu Island in the I think networking in the art world is the key. Once you have Torres Strait, and my that, then you can exhibit or perform here and there and upbringing—listening to the recognition will eventually come. the stories the Elders and How does art contribute to community my Uncles and Aunties resilience and wellbeing? told in our language. After Art plays a very big part in the community. We now have an school when I started art centre on Badu Island with about 10 full-time practising studying art at the local TAFE, and then further here in artists creating really good work. That is a good thing and it Australia, I realised that this was something that I wanted to gives something good back to the community and the do all the time. When I turned professional, it was more Elders support it 100 percent. about preserving cultural information. I love it. It’s my passion to do art. JASON TAMIRU I speak the language, Kala Lagaw Ya, fluently. And all three PRODUCER AND dialects of the Western Island language: Mabuyag, Kalaw COMEDIAN Kawaw Ya, and Kulgalw Ya. Describe your journey in Besides my art practice, I do a lot of genealogies and some the arts personal linguistic studies. Art is culture and being This is so I know if I have the right to tell certain stories, if I Aboriginal I was born into am the direct descendant and so on. It’s also so I can the arts. Like a fish, we understand the structure of any language, and spell and begin in the river, capture the right pronunciation of my language in the swimming around English alphabet. I’m not satisfied with my achievements— learning who we are and I’m still hungry for more. I just have to juggle family time at picking up bits and the moment, especially having three kids aged eight, five pieces here and there on our way to the big blue sea. The and two. I have a lot of great ideas that I think are going to big blue sea is huge with so much opportunity—good and be well received in the art world. bad. I am in the big blue sea swimming around with sharks Who has influenced you? and dolphins. I feed on deadly food that is good for my spirit and spit out the gunk that is toxic to my soul. The people that influence me the most are my people back home, continuing our everyday life and culture there, and Who has influenced you? dancing and singing the language especially. My greatest influence is my grandparents, Sir Douglas and In the art world, it’s the young emerging artists who Lady Gladys Nicholls. They both worked tirelessly for the influence me. They want to learn more so when they turn to betterment of our people, challenging ignorance and me, I turn to uncharted waters. prejudice while supporting identity and fighting for our human rights. What would a successful future look like What would a successful future look like for the next generation of Indigenous artists? for the next generation of Indigenous artists? When artists eventually get recognised in the art world, they always say they want to keep their culture alive through art, That we are seen as assets instead of victims and given the especially the Torres Strait Islander artists. proper respect without exploitation of our vulnerability. We are the best artists in Australia and as soon as everyone accepts it the better the world will be.

www.raftartspace.com.au

Arts Yarn Up 10 Summer 2011 LEADERSHIP IN THE ARTS

‘We now have creative leaders who reflect the diversity and talents of our Indigenous people.’ — Frances Rings

How does art contribute to community How does art contribute to community resilience and wellbeing? resilience and wellbeing? Art should stimulate the subconscious and stir up the Universally human themes are for everybody. By exploring emotions. Art has been the pathway for others to engage our artforms we are exploring what makes us all human. By with black culture. Art has provided a foundation for us to giving the truth of ourselves, we are letting someone else build on. Art shapes who we are as black people and will get to know us on some level. In saying that, I believe that provide the protection and strength for us to continue as art has a way of giving some understanding or insight to proud hunters and gatherers and masters of the universe. how another group of people live and think. By showing our stories to the general public we are giving those who KYLE MORRISON wouldn’t usually have any contact with the Indigenous ARTISTIC community the chance to feel what we are feeling and to DIRECTOR get some understanding of how our community works. Describe your journey in the arts. FRANCES RINGS DANCER, I performed in my first CHOREOGRAPHER professional theatre AND PRESENTER production when I was 11 years old — Describe your journey Waiting for Godot by in the arts. Samuel Beckett My journey in the arts has produced by Black Swan created a pathway for me Theatre company in to connect with my 1993. I have since been culture and understand an actor for a number of theatre companies in Perth, and I the importance and value have also been at different times, actor, stage manager and of bringing our stories to director for Yirra Yaakin Theatre. the mainstream. Who has influenced you? Who has influenced you? Growing up in Perth, my main influences have been the My mentor Stephen Page has encouraged and supported Indigenous theatre makers in Western Australia. David me for many years. Actress Ningali Lawford-Wolf and Milroy has been the main influence in my journey to cultural Elder Kathy Marika have shared their knowledge becoming an artistic director. He was the artistic director of and wisdom of their traditions with me and inspired my Yirra Yaakin when I was growing up, and most of my works. My sisters Deidre and Gina guide me and teach me favorite plays from the 1990s were produced by Yirra the importance of family. Yaakin and directed by David. The two other major What would a successful future look like influences for me as a young Noongar artist were Kelton for the next generation of Indigenous artists? Pell and Derek Nannup. As a young artist I had the pleasure We now have creative leaders who reflect the diversity and of seeing these guys perform. With Derek and Kelton on talents of our Indigenous people. A successful future would stage, directed by David Milroy, I was inspired by these be one where art is promoted and harnessed from an early professional artists and the stories they told. age and supported with a cultural institution in each state to What would a successful future look like nurture, train and inspire excellence in the arts. for the next generation of Indigenous artists? How does art contribute to community Two words that sum up the future of Indigenous arts for resilience and wellbeing? me: ownership and sustainability. I would love for future One of my main incentives for creating work has been to Indigenous directors to work with a creative team that is open a gateway of understanding between Indigenous and completely Indigenous, with lights, sound, costume, set and non-Indigenous people. Within my community, I hope that music design all in the hands of Indigenous artists. It would my work inspires others to think about the importance of mean total ownership of our stories and the way we tell culture and to rekindle their connection to it. them. This will allow Indigenous artists and designers to train our own emerging talent in our way of doing things, evolving our artforms.

Arts Yarn Up 11 Summer 2011 SPECIAL FEATURE

Future leaders fast forward

BARBARA In 1993, I was hugely inspired by Nicky Winmar’s response MATTERS to racial vilification when he raised his jumper and pointed CURATOR at his skin during the St Kilda and Collingwood match in Describe your journey April. in the arts. My most recent influences are the writings of Professor My journey in the arts has Mick Dodson; Patrick Dodson, Chair, Kimberley been a lifetime of fun and Development Commission; Marcia Langton, Professor of learning. I began drawing Australian Indigenous Studies at the University of when I was very young Melbourne; lawyer and activist Noel Pearson; and historian and spent the majority of Anna Haebich, whose writings have inspired me to continue my school years wanting my educational pursuits. to be a professional artist. What would a successful future look like I attended many different TAFE courses over the years to for the next generation of Indigenous artists? hone my skills and develop my painting technique. As my This is an interesting question and is something that I have children grew, I began applying for participation in public art been discussing with professional Noongar artists, projects and then taught art to non-Indigenous seniors and Kimberley artists and anyone who wants to have the Indigenous women. I introduced high school students to conversation. the diversity of Indigenous culture and heritage through the The latest academic discussion is: ‘Is Aboriginal art dying arts via Fairbridge Village. I have helped to create with the desert masters?’ It appears that the commercial art awareness of Aboriginal art in my children’s classes when market has concerns as to the authenticity of contemporary the need arose. Indigenous artists and is having issues identifying what is In early 2000, I began an arts practice with my eldest ‘real’ aboriginal art. daughter titled Karda Designs. We handpaint generic To my mind, all Indigenous art is real because we are an Noongar designs on silk as well as painting on canvas, evolving ‘living’ culture that is diverse and complex. paper and in watercolours and oils. During this time Indigenous art today is a representation of lived experience I began an art class with Murray Arts & Crafts Society in while maintaining connections to country. Pinjarra, Western Australia, where we painted outdoors as Indigenous Australian art today is influenced by access to much as possible. I started Liveringa Art Gallery with the technology, the performing arts, tourism and organisation’s help and participated in community arts as commercialisation. I am not sure where the future is often as possible. My classes included in-depth discussions heading for Aboriginal artists. However, I am positive if we revolving around contemporary issues facing Aboriginal keep encouraging the exploration of identity through the Australians. arts, our culture and heritage will remain intact. I graduated from university in 2008 with a double major in It does not matter what style or format the artworks take writing and social science and now work for the Berndt into the future. What matters is the continuity of culture and Museum of Anthropology in Perth. My focus has changed heritage expressed through the legacy of our ancient ‘living’ from art to an academic career. However, I continue to language of the arts, therefore sustaining our identity. assist in creating awareness of the issues facing contemporary Aboriginal Australians. In my role at the How does art contribute to community Berndt Museum I research, write and deliver lectures on resilience and wellbeing? Aboriginal art and culture and discuss current issues, Art maintains community resilience and wellbeing because it creating awareness of the diversity and complexity of creates ongoing cultural practices, passes on knowledge of Indigenous Australia. culture and heritage and provides a sense of value and self- Who has influenced you? worth for Aboriginal peoples. My earliest influential memory was in black activism during Art in all its formats is an expression and representation of the 1968 Olympics when Tommie Smith and John Carlos Indigenous societies through exhibition. Communities made the ‘fist of freedom’ salute after running first and third identify with their cultural heritage supporting their identity, in the 200-metre finals. which in turn provides a sense of wellbeing. There is pride in culture and heritage.

Arts Yarn Up 12 Summer 2011 LEADERSHIP IN THE ARTS

‘With a voice, the collective will be stronger and have the confidence to address issues impacting their wellbeing.’ — Marilyn Miller

MARILYN MILLER Indigenous dance studies would also be embedded within DANCER the national curriculum, with dance graduates teaching in AND schools and educating younger generations. CHOREOGRAPHER How does art contribute to community Describe your journey resilience and wellbeing? in the arts. Art is the expression of the people; the voice of the To dance is to breathe; to community; an avenue of change; a reflection of history and be free. I have been a way to comment on issues thus empowering individuals involved in the arts, both and the collective to comment without reprisal. theatre and dance, from Without a voice, the collective will forever lay dormant and a very early age. In fact I feel neglected and overlooked. With a voice, the collective think I was born into it. I will be stronger and have the confidence to address issues was the child among impacting their wellbeing. friends who would devise the plays, assign the SHARON PATEN roles to others and then direct them as to how it would be CEO OF THE performed, including danced. We would invite the ‘grown- KOORIE HERITAGE ups’ and ‘voila’ a show was born. TRUST Since then I’ve trained formally in dance, co-founded Describe your journey Australia’s first Indigenous dance company, the Aboriginal in the arts. Islander Dance Theatre, and worked in several areas of the After 17 years in social performing arts from performer to choreographer, director, housing, it was time to artistic director, manager, CEO, board member and test if my skills were chairperson. transferrable. The Koorie I was the national Indigenous dance coordinator for Heritage Trust was Treading the Pathways—a partnership between Ausdance looking for a new CEO and I was looking for my next and the Australia Council—leading to the development of journey. Not being an artist myself, I was overwhelmed by one of Australia’s newest arts organisations, BlakDance the task ahead of me, but confident in my strong Australia in 2010. operational and governance background. The next phase of my work in the performing arts has Together we are taking the Koorie Heritage Trust into the begun, with the ACCELERATE program ensuring a good next 25 years as a world class arts and cultural centre start. and tourist destination that supports reconciliation, Who has influenced you? increases understanding and promotes Aboriginal culture My very first influences were dancers Margot Fonteyn and to all people. Rudolph Nureyev — sheer perfection. But since then every Who has influenced you? elite athlete has influenced me as the training regime is very Uncle Jim Berg, cofounder of the Koori Heritage Trust, for similar and I’ve always approached my craft with his foresight to preserve, protect and promote the dedication, discipline and passion. Aboriginal culture of southeastern Australia and bridge the Other non-arts related influences span areas such as social cultural gap between Koories and the wider community. justice, whereby Nelson Mandela and his life journey has The commitment and passion of the board and staff of the been a constant reminder of what can be achieved through Koorie Heritage Trust instills in me a sense of determination idealism, persistence and support. and drive to achieve excellence in arts, culture and tourism Closer to home, both my parents have been huge opportunities. influences on me, having demonstrated the values of How does art contribute to community integrity and honesty while pursuing one’s dreams and resilience and wellbeing? simultaneously promoting and progressing opportunities for It is well recognised that one of the key factors that can other Indigenous people. assist communities overcome the high level of disadvantage What would a successful future look like is to build a strong sense of identity. for the next generation of Indigenous artists? The loss of identity is often most profound in areas like A large pool of highly technically trained dancers, Victoria, not because young people don’t know that they employment opportunities in high-calibre Indigenous dance are Aboriginal, but primarily because they have not been companies in every state, international touring and given the opportunity to learn about their culture and, as placements with other high-calibre dance companies, such, develop a strong sense of identity. nationally and internationally.

Arts Yarn Up 13 Summer 2011 SPECIAL FEATURE

Future leaders fast forward

Early intervention by educating Koorie youth about the richness and diversity of their culture is expected to have a wide impact on how future generations perceive and embrace their culture. It is envisaged that by enhancing identity and the sense of self, young people will be able to achieve higher outcomes ‘Australia was never a in other parts of their lives. blank sheet—that is the What would a successful future look like for the next generation of Indigenous artists? argument of country. A generation of Indigenous artists who use art to express their strong connections to culture in a show of pride and An architecture that reclamation and a strong conviction to educating Australia and the world that Victorian Aboriginal culture is rich, begins in country will diverse and contemporary. inevitably be of this place KEVIN O’BRIEN and its people. ARCHITECT Describe your journey — Kevin O’Brien in the arts. Architecture began as a teenage reaction to the dismal buildings and What would a successful future look like for the next infrastructure of the generation of Indigenous artists architects? mission on Kiriri, If I look forward 50 years (when I am 90 years old), I Hammond Island, in the imagine that all those contributing to the context of Torres Strait—the home architecture have a clear understanding of country. of my extended family. I could not understand how a country as beautiful as this could be filled with such Our cities will have been edited, adapted and embraced as ghetto-like buildings and a punitive disregard for its people. truly Australian places. People will reflect comically on their ancestors having lived in places once claiming to be ‘the As time passed, my understanding of the political setting most European city in the southern hemisphere’ and all the preventing ownership of land, housing and aspiration has hidden Indigenous places will become part of the urban matured. built and un-built settings. However, I do not believe I have strayed from that pursuit At the forefront will be Indigenous architects, guiding the and the hope of one day being able to design, build and way, curating independent architectural shows at Venice own a house on Kiriri—a house extending out of country. in Italy. Who has influenced you? Also, The Deadly Awards would have initiated a category There are three spheres of influence for me. One is cultural for Indigenous architects and I would be presenting the and begins with my mother’s people from the Torres Strait. 50th architecture award. The second is architectural and continues with Dillon How does art architecture contribute to community Kombumerri (Principal Indigenous Architect with the NSW resilience and wellbeing? Government’s Architect’s Office), Rewi Thompson (Maori Architecture in Australia is yet to come to terms with architect) and Michael Markham (architect). country and its custodians. Instead we are surrounded with The third is philosophical and extends across a spectrum of European ideals extending from a lot of boundaries derived thought, art and politics and includes the likes of the from Terra Nullius. ProppaNow collective and the writings of Noel Pearson Australia was never a blank sheet—that is the argument of (Director of the Cape York Institute for Policy and country. An architecture that begins in country will inevitably Leadership), Professor Robert Manne and Emeritus be of this place and its people. This is the contribution Professor Phillip Hughes. architecture can make to our communities’ resilience and I expect that the ACCELERATE program will highlight a wellbeing. fourth category—that of travel and the effects of alternative cultural immersion. Photos: © British Council 2011.

http://artsfrontier.britishcouncil.org.au

Arts Yarn Up 14 Summer 2011 LEADERSHIP IN THE ARTS Hector’s story has many legs

An Indigenous-run arts collective in South Australia is inspiring young men to tell their stories and bringing great rewards to the community.

very Friday, Hector Burton gathers a group of young According to the Manager of Tjala Arts, Skye O’Meara, men from Amata country in the north-west corner of the artistic strength of the community is a direct result of ESouth Australia together to teach them everything the Anangu culture being so strong. from ceremonial business to making boomerangs. ‘There is a focus on painting with integrity and within the As a cultural leader and prominent Indigenous artist, framework of cultural law,’ she explains. ‘A commitment Hector also instructs has been made by these young Anangu young and old to use men on how to paint the art making as a vehicle stories of their country. in maintaining culture.’ He started off by This commitment was teaching his grandsons solidified following the his own story: Ananmura death in 2010 of a Tjukurpa or The young man from Amata Caterpillar Law. Soon, Country called other Elders followed suit Kumanara Raymond. and the result was a He was a star period of intensive footballer—a role ‘classes’ given by old model for many local men to young men. young men. ‘I think I’m leading young As the community people now, with reeled in grief, the older painting and making men decided to create spears and that,’ Hector a series of artworks for tells Arts Yarn Up. ‘I an exhibition in honour teach young men the of his name. stories of our country, so Hector took some of they can share inside the young men out into and outside our the desert, where they community.’ made their first marks Hector is a senior artist with Tjala Arts, an Aboriginal on canvas before returning to the centre. owned and managed art centre named after the Soon collaborative works by both men and women Pitjantjatjara word for ‘honey ant’. emerged, including some by the young men that Hector Some 120 Indigenous artists are members of the had taken under his wing. collective. The sale of local artwork plays a large role in The exhibition took place earlier this year at Raft the success of the Amata community and it has Artspace, which has been showing contemporary generated financial security for many families in the Aboriginal art for the past 10 years, first in Darwin and community and surrounding homelands. now in Alice Springs. Hector, who speaks in his traditional language and uses a Raft Artspace Director, Dallas Gold, describes Hector as translator to talk to Arts Yarn Up, believes that passing on a natural leader with great generosity. the culture and law of his ancestors is vitally important. ‘It was his [Hector’s] idea for the exhibition, from woe to ‘It’s good for their future and the future of Amata country,’ go,’ says Dallas. ‘Often young Indigenous men are he says. ‘The young fellas are like young tree branches marginalised, even when it comes to art, but he got them with green leaves. I think they do great work and they can on board and got them to see it as their art and their do this work in the future, passing things on to other story and showed them how to be proud of their generations like my ancestors passed things on to me. background.’ ‘To keep the country strong you need to keep the story Dallas confirmed that the whole exhibition has been strong. Our culture has been around a long time and it’s bought by a single collector. It will be on show at the important it’s handed down in appropriate ways. There Maitland Regional Art Gallery until 15 January 2012, are more old people here doing the same thing. before being presented to the National Gallery of Victoria. ‘Anangu have always handed down culture and stories Above: Hector Burton. outside the art centre,’ Hector adds. ‘Now this happens Photo: Skye O’Meara, Tjala Arts. in the art centre as well, but this is not a new thing. This is the way it has always been.’

www.raftartspace.com.au

Arts Yarn Up 15 Summer 2011 SPECIAL FEATURE Fresh faces of Indigenous performing arts Several programs and events combine to boost Indigenous arts, within Australia and internationally.

ive young cultural leaders are the fresh faces of a The new National Indigenous Touring Consortium will groundswell in the Indigenous performing arts sector. provide further momentum to Indigenous arts. It will help F The Australia Council’s Emerging Indigenous develop skills, build capacity, boost touring infrastructure Producer Mentorships (EIPM) program will deliver a major and increase market demand for performing artists. It career opportunity to the five young producers, placing includes a yearly national tour of Indigenous theatre and them with mentors in leading arts organisations. dance productions for the next three years. One selected producer is Alison Murphy–Oates, a ‘As a result of this consortium, we are about to see a Darkinjung woman from the Central Coast of NSW, major shift in audience development, marketing for and descendant of the Wiradjuri nation in the Central Indigenous works, touring infrastructure and the West of NSW. development of performance works,’ says Merindah She is working at Performance Space in Sydney, where Donnelly, Indigenous Program Officer for Market she is being mentored by Artistic Director and CEO, Development, Australia Council for the Arts. Daniel Brine, who she first met when she coordinated the These and other initiatives, along with much hard work inaugural IndigeLab in Bundanon in 2009. from Indigenous companies, have helped Indigenous work Alison has just finished working with producer develop to a stage where the 2012 Australian Performing Marguerite Pepper on Posts in the Paddock by My Darling Arts Market (APAM), to be held from 26 February-1 March Patricia, in association with Moogahlin Performing Arts in Adelaide, will be able to present significant Indigenous based in New South Wales. content for the first time. Along with fellow mentee, Lara Croydon, Alison spent the APAM, the biggest performing arts market in the Asia first week of her role at the Cairns Indigenous Art Fair, Pacific region, is a critical opportunity for Australian where she attended the second National Indigenous performing arts companies to showcase their work to Theatre Forum. She describes it as ‘one of the highlights national and international buyers. of 2011 and a turning point’ for her, both personally and ‘This event is at the crux of what we are trying to achieve professionally. – making Indigenous arts commercially viable while Lara is now working with the Queensland Theatre maintaining cultural integrity and connecting artists and Company (QTC) and being mentored by dynamic Artistic companies with opportunities to present their works,’ said Director, Wesley Enoch. ‘It’s amazing to meet people I Merindah. admired and wrote about when I was a university student Also in 2012, the Australian Performing Arts Centres — people such as Rachael Maza (Artistic Director of Association (APACA) summit, to be held in August, will be Ilbijerri Theatre Company) and Kyle Morrison (Artistic dedicated to Indigenous content. Director at Yirra Yaakin theatre company). Now I can These events, which represent a major boost to the profile actually approach these people for advice!’ said Lara. of Indigenous performing arts, flow from the Australia One of Lara’s first projects is researching an Indigenous Council’s Indigenous Market Development Strategy. program for QTC’s 2012 season. She points out how The strategy dovetails with the Australia Council’s critical this program is, given that Queensland has one of commitment to embed Indigenous content and culture the largest Indigenous populations in Australia. across all programs. Two other emerging producers, Erica McCalman and ‘All the initiatives come from extensive research, Rosealee Pearson, will be starting their placements in the consulting and listening to our Indigenous communities, new year, and just last month Lydia Fairhall commenced artists and arts organisations. It starts with market at the Queensland Performing Arts Centre. development, but the result is to gain critical acclaim for Indigenous work, for our stories to be seen across this Above: Emerging Indigenous producers, their mentors and staff country and the world,’ said Merindah Donnelly. from the Australia Council at the Cairns Indigenous Art Fair at the launch of the EIPM initiative. Photo: Tracey Warnecke.

Arts Yarn Up 16 Summer 2011 LEADERSHIP IN THE ARTS Pilar’s passion for healing connection

In the Western Australian Wheatbelt, arts leader Pilar Kasat has watched art transform communities.

hen Pilar Kasat made the 13,000-kilometre journey The renowned Kimberley comedian Mary G, the alter ego from Santiago to Perth in 1987, she escaped a of Dr Mark Bin Bakar (Chair of the Aboriginal and Torres Wbrutal dictatorship that threatened her freedom. Strait Islander Arts Board of the Australia Council for the Then aged just 21, she knew nothing about Australia and Arts), was MC of the event. spoke no English. But the young Chilean activist brought Following The Narrogin Stories, the Yarns of the Heart doll- with her two attributes that have guided her life and career making project emerged, with 40 Noongar women, girls ever since: a passion for social justice and an unwavering and boys directly involved. The project has its roots in doll- belief in the transformative power of community art. making workshops first held back in 1994, also in Narrogin, Almost 25 years later, Pilar is managing director of by artists Nalda Searles and Pantiji Mary McLean. Community Arts Network Western Australia (CAN WA) and The 1994 workshops reconnected locals with traditional a widely respected leader in the broader WA arts sector. Noongar craft practices, and the dolls were exhibited Under her leadership, CAN WA has launched several across Australia and in Beijing, China. innovative long-term arts projects in partnership with the Noongar Elder, Janet Haydon, explains the doll-making Noongar people of the southwest region of Western tradition: ‘I can remember making bush dolls out of pegs Australia, a region also known as the Wheatbelt. and balls and nuts from the Quandong tree. We used all Two CAN WA offices, or hubs, have been established in sorts of things in those days. My mum used to help make Noongar heartland—one at Kellerberrin in 2006, the other clothes for the dolls. We loved those dolls. I’m 77 years old at Narrogin in 2010. now and I still have good memories of those days.’ ‘CAN WA had tried different programs in the past, but what Nalda Searles returned to Narrogin in September 2010 I recognised was that we needed a long-term, local with fellow artist Cecile Williams to lead a new round presence in the community to transform entrenched social of doll-making workshops with support from Lotterywest disadvantage,’ Pilar told Arts Yarn Up. and other state and federal funding bodies. ‘Today, we employ seven local Aboriginal people. Our commitment is to building The 2010 project was a resounding ethical relationships within these success and 70 dolls are now being communities and establishing trust. I think exhibited as part of Yarns of the Heart we’ve done that—touch wood.’ at the Western Australian Museum in Perth (until 31 January 2012). In March, CAN WA joined forces with the Kellerberrin Aboriginal Progress Association Pilar recently spoke about these and to host the 2011 Keela Dreaming Cultural other projects to arts delegates from Festival, a biennial Noongar arts and culture 61 countries at the 5th World Summit event attended by over 2,000 people. on Arts and Culture in Melbourne in October 2011. But it has been a couple of community arts projects in Narrogin, in the southern ‘The context of initiating our work in Wheatbelt, that have drawn national and Narrogin was complex,’ Pilar explains. international attention. ‘There was a lot of grief, anger and pain in the community. I felt a huge As part of its Strong Culture, Strong responsibility to ensure we did the Community program, CAN WA initiated right thing by the community.’ The Narrogin Stories—a soundscape featuring the voices of the Noongar She said the collaborative nature of community in a moving account of their these projects has been the key to an collective struggles and hopes for the ‘amazing healing process’ that future. demonstrates how ‘community arts can give beautiful meaning to ‘In 2008 six young Noongar men took their otherwise silenced voices’. lives,’ says Pilar. ‘The collective grief was exacerbated in 2009 when family feuds ensued. The Narrogin Stories project was the beginning of a much-needed healing Left: Boodjarri Jija by Emily Dalgety process for the Narrogin community.’ (Doll features by Cherie Abednego & Senema Kickett). Aboriginal sister The soundscape featured at the program launch last year, attended by over 300 growing up, she’s young and pregnant Noongar people from a community of and she’s very proud. just 500. Photo: Bo Won.

www.canwa.com.au 08 9226 2422 • www.museum.wa.gov.au 08 9212 3700

Arts Yarn Up 17 Summer 2011 SPECIAL FEATURE Reflections on leadership Arts Yarn Up asked seven artistic directors what leadership means to them, how they learned to lead and what advice they have for other future arts leaders.

‘Each one influenced and fed my passion for dance and visual theatre, my lust for knowledge, slapped the brat out of me, encouraged tenacity and instilled in me a work ethic that not only seeks artistic honesty, integrity and excellence, but encourages the art of giving, sharing and humility.’ Jacob recommends approaching life as ‘an eternal student’. ‘Once you think you know all there is to know, you may as well write a book about it and retire.’

PHILIP WATKINS EXECUTIVE OFFICER, DESART Former director of the Tandanya National Aboriginal Cultural Institute in Adelaide, Philip Watkins has moved home to Alice Springs to lead Desart, the Association of Central Australian Aboriginal Art and Craft Centres. Philip was born and raised in Alice Springs and is part of the Arrernte and Larrakia families of the Northern Territory. ‘Alice Springs in the 70s was a politically active place. I was fortunate to be born then. Leaders in our community were fighting for many things: land rights, Aboriginal health. There were different kinds of leaders — activists — but also strong cultural leaders. ‘Culture was embedded in me from a very early age. I feel VICKI VAN HOUT ARTISTIC responsible to carry on that legacy of being strong for culture.’ DIRECTOR/CHOREOGRAPHER Philip believes the young must learn to stand up for their Wiradjuri woman, Vicki Van Hout, was culture. ‘It’s not easy at times and there are hard choices dancer/choreographer for the opening of Parliament in and decisions. It can be easier to walk away, but the the lead up to the apology to the Stolen Generations. issues have to be dealt with.’ Vicki believes leading by example is the best way to His advice is to: ‘Find a place of strength within yourself— ensure excellence. for me that comes from my culture’. ‘If those coming up the ranks can see a successful role model, they can better picture themselves in positions of JACOB BOEHME power and success. ARTISTIC DIRECTOR, ‘Knowing that I’m a yardstick of sorts—someone who IDJA DANCE THEATRE others might aspire to measure up to—this makes me a A dancer and choreographer better leader. with a Masters Degree in ‘My foremost leader is my mother. She continues to Puppetry, Jacob Boehme’s inspire me with her generosity, her hard-nosed works bring Victorian perspective, her no-nonsense advice and her strong Indigenous stories to life. convictions about family.’ A proud Narangga man, Jacob Vicki says her fate (to become a choreographer) was believes that while a person may be referred to as a sealed during a photo shoot with Bangarra Dance leader, they must choose to take on the role. Theatre, during which she found ‘special delight’ in ‘You also must accept that you are there to serve your posing with a fellow dancer. craft and your community,’ he says. ‘It is rewarding to be able to create something beautiful Jacob credits a list of people for helping him on his and tangible from pure imagination,’ she says. journey, from family members who ‘guided my teenage To those following behind her, she advises: ‘Be resilient. brain into becoming a proud Narangga man’ to NAISDA There will be many knock backs. Be honest in your self- (National Aboriginal and Islander Skills Association or appraisal. Keep sight of the big picture while maintaining NAISDA Dance College) leaders, who ‘taught me the a handle on the small detail.’ importance of cultural maintenance and preservation’.

Arts Yarn Up 18 Summer 2011 LEADERSHIP IN THE ARTS

RITA PRYCE A teacher at East Sydney Technical College set Rachael ARTISTIC DIRECTOR, on her path to performance, encouraging her to pursue BAIWA DANCE singing and acting, while a childhood surrounded by COMPANY ‘music, learning instruments and singing’ fostered a Baiwa Dance Company confidence she can call upon. is in demand, nationally ‘I was never afraid to explore the creative side of myself,’ and internationally, for its she says. ‘I encourage anyone with a creative itch to see careful placement it through.’ of contemporary dance within traditional Aboriginal and Torres Strait Island dance forms. Good leaders do the right thing by the people they represent says Torres Strait Islander, Rita Pryce. The prolific producer, dancer, director, choreographer and teacher says that, while her journey has been challenging (‘just when I would get over a hill, I’d see a mountain up ahead’), it has also been fulfilling. ‘It’s the days that you look back up to the top of the mountain as you’re coming down the other side that make it all worthwhile,’ she says. Rita recommends taking care who you choose to follow. ‘Look to the most influential and inspiring people around you and see what they’ve done to get where they are. Take more notice of those you know who may be quietly doing great things; people like your grandfather or mum. ALEXIS WRIGHT AUTHOR ‘Learn as much as you can from everyone around you Alexis Wright won Australia’s prestigious Miles Franklin and be innovative. Look at what makes you different and Literary Award in 2007 for her novel Carpentaria on the use your uniqueness to guide you in everything you do.’ same day John Howard announced the Northern Territory (NT) Intervention. She is a Distinguished Research Fellow RACHAEL MAZA with the University of Western Sydney’s Writing and ARTISTIC DIRECTOR, Society Research Group. ILBIJERRI THEATRE A member of the Waanyi nation of the Gulf of Carpentaria, Rachael Maza, originally Alexis says her journey began when she was taken under from the Torres Strait the wing of ‘people who were older than me, wiser than Islands, wants to foster me; they were true leaders’. the telling of Indigenous ‘I was quite wild and very impatient; I wanted things to be stories within better for our people. communities—and create works from these. ‘They encouraged me and taught me how to be patient and work hard. That’s what I’ve done most of my life; As a leader of Victoria’s tried to learn from others and from good people around only Indigenous theatre company (Ilbijerri Theatre) the world. Rachael believes that she has an opportunity to foster Indigenous artists, helping to grow ‘a very small pool’. ‘I think it is important to write; to explain our world. It is necessary to have our own literature, instead of other ‘There is a huge need to support our local stories and people attempting to explain our world. artists. If there is more demand for the work, we will see an increase in incentives to keep creating work. ‘I speak against the NT intervention at every opportunity I get. I see too much of people trying to do good things ‘For over a year, Ilbijerri has been running an initiative for Aboriginal people, forgetting that the fundamental called Black Writer’s Lab, allowing Indigenous writers to reason things are wrong is because there has been no write their stories and have their scripts workshopped settlement with the Aboriginal nations of this country. and mentored by professional dramaturges and writers. We are one of only two theatre companies in Australia ‘We start to change when we get down to the idea of offering this incentive.’ treaty now, treaty first.’

Arts Yarn Up 19 Summer 2011 Galleries get creative about cultivating arts managers Several inspirational professional development programs have been developed to support and encourage the next generation of Indigenous arts leaders.

ajor galleries across Australia are supporting She is motivated to improve how galleries and buyers talented and high-achieving Indigenous arts communicate with Indigenous artists and to educate Mprofessionals with a range of programs designed wider Australia about Indigenous arts culture. to boost networks and skills. ‘There are not many Indigenous people within Following extensive consultation with the sector, the marketing,’ she explains. ‘But it is essential to have this National Gallery of Australia teamed up with Wesfarmers input into programs. Perspectives around community Arts to offer two unique and streamlined programs to engagement and consultation differ greatly between support emerging Indigenous arts managers: a fellowship Indigenous and non-Indigenous cultures. program and an annual Indigenous leadership program. ‘We have to be sensitive to cultural issues. A single ‘We’ve been very lucky to enter into a partnership with misused word can come back and affect the artist’s Wesfarmers Arts,’ says Peter White, a Murri man from the reputation in the community.’ Gamilaroi nation, who manages the program at the Both Glenn and Jirra kicked off their fellowships by National Gallery of Australia (NGA). taking part in the annual Wesfarmers Arts Indigenous ‘For Wesfarmers Arts to come to the table with a Leadership program at the beginning of the year, along major five-year partnership focused on good outcomes with eight other high-achievers. and the right approach shows great vision. ‘It was very inspirational to meet emerging arts ‘During the consultation, we found a lot of people professionals from around the country. Now there are nine working in isolation in the arts management sector that we other people I can call on if I have a question or need help didn’t know about. The fellowship program and the with a project,’ says Jirra. leadership program are aimed at developing a network to ‘It is already opening so many doors. And it’s support people like this.’ encouraging me to think bigger.’ The Wesfarmers Arts Indigenous Fellowship offers a The Wesfarmers Arts/NGA alliance is just one of two-year placement to two emerging and mid-career arts several tailored programs to develop the professional skills managers to complete a project of their choice. During of Indigenous arts leaders. that time they will learn about everything from marketing For example, four emerging Indigenous arts workers to publishing, fundraising to education and governance. from New South Wales have recently taken part in a two- The Associate Curator of Indigenous Objects and week intensive residency program at the Art Gallery of Photography at the Art Gallery of Western Australia, New South Wales. Each trainee is now developing Glenn Iseger-Pilkington, from the Nyoongar and Yamatji community-based projects within visual arts organisations peoples of Western Australia, is a fellowship recipient. He in their region. is working on Indigenous Australian art and digital media From the Top End the Association of Northern, for his project. As part of this, he is developing an iPad Kimberley and Arnhem Aboriginal Artists (ANKAAA) Arts application for next year’s National Indigenous Art Triennial Worker Extension Program is boosting the professional at the NGA. skills and industry networks of high-achieving arts National Youth Programs Coordinator with Oxfam workers. Australia, Jirra Harvey, is a fellow recipient who is Under the program, eight remote Indigenous arts developing an Indigenous communication strategy for the workers have completed year-long residencies at the NGA. The 28-year-old Yorta Yorta and Wiradjuri woman NGA, Sydney’s Museum for Contemporary Art and the Art has a background in marketing and communications, Gallery of New South Wales. along with a keen interest in the arts. Above: Indigenous arts managers with NGA staff. Photo: NGA.

www.nga.gov.au/wesfarmersfellowship • www.artgallery.nsw.gov.au • www.ankaaa.org.au

Arts Yarn Up 20 Summer 2011 Vale: Tapich Dr Gloria Fletcher AO The Australia Council for the Arts and broader arts community pays its respects to artist and Thaynakwith Elder, Tapich Dr Gloria Fletcher AO, who passed away in April this year.

world-renowned ceramic artist and sculptor from the Western Cape York area of Far North AQueensland, Tapich Dr Gloria Fletcher was born in 1937 and raised on a Presbyterian Mission in Napranum in Weipa, North Queensland. Winning her first art award at the age of 12, Tapich was initially interested in teaching, and established the first kindergarten in the area, but did not gain the qualifications she needed to teach. So, she decided to pursue her love of art, travelling to Sydney to gain a coveted spot at the East Sydney Technical College (National Art School) where she became the first Aboriginal artist to study ceramics at a tertiary level. Tapich embraced clay as a material to express her spiritual connection to land, culture and language and became well known for her iconic spherical pots representing the earth and cycle of life. Tapich achieved many great things in her career and won many accolades for her immense contribution to the community as an artist, teacher and leader. She was honoured with an Australia Council Visual Arts Emeritus Award in 2006 and awarded an Order of Australia and a Doctorate of Letters from James Cook University—making her the most highly decorated Indigenous artist in Australia. Tapich was as passionate about language as she was about art, publishing Thanakupi’s guide to language and culture: a Thaynakwith dictionary in 2007. Sadly, she was the last remaining speaker of the language of her mother’s family, Ndrra’ngith. Named a Queensland Great in 2008, she spent many years living and working in the community of Trinity Beach. In 2010 the National Gallery of Australia commissioned her to create a large-scale bronze yam sculpture, which now sits proudly at the entrance of the gallery. Co-patron of the Cairns Indigenous Art Fair (CIAF) in 2009 and 2010, she was also commissioned to create a cast bronze work for the fair — lyndhik the moon and wini’henh the star, The Lovers — which became her final happy. Today you see them together, and as Lyndhik piece. travels across the sky at night, there is Wini’henh, the A public memorial service, supported by Arts Evening Star, following him. They travel around together. Queensland, the CIAF, QantasLink, Jennifer Isaacs, ‘The design shows the star and moon as they travel KickArts Contemporary Arts and the Cairns arts across the seas and the sun setting on the horizon for the community, was held on 20 August with the Thaynakwith lovers. In the waters you see two of the signs for the Elders from Weipa attending. The following artist seasons and tides represented—Beaug the crab, who statement was read out, moving many people to tears: comes out in low tide and the two Pisces, the fish, who ‘Wini’henh the star and Lyndhik the moon were lovers. like to swim in for high tide. Lyndhik the moon controls the They camped with the other people in the tribes along the tides and seasons. coast of Noomboun, or Piera Head. Lyndhik would travel ‘The design comes to mind because of the history around the skies and come back to his lover at night to of Cairns, the sugar times and the people now coming rest. Then, one day, he said it was time to leave the tribe for their cruises, perhaps lovers too, sailing across the and live in the sky. When Wini’henh heard this she said to seas at night, when they look up to the sky, they will see him, “Don’t leave me”. But the moon left as he said and the legend.’ Wini’henh was sad. Then she made a decision. She would go and live in the skies. So, she followed Lyndhik Above: lyndhik the moon and wini’henh the star, The Lovers. the moon, her lover, until she reached his side. He was Photo: Colyn Huber, Lovegreen Photography.

Arts Yarn Up 21 Summer 2011 The two of us

Bunna Lawrie and Bart Willoughby are legends in the I was pretty much inspired and influenced by the rock music industry. These two stalwarts, who still Elders. They were listening to the wireless, old 45-inch perform regularly, have set the bar for many vinyls, Chuck Berry, Chubby Checker, limbo rock and the musicians to follow since the late 1970s—Bunna with Beatles. I always knew I had music in me. I was wrapped his band Coloured Stone, and Bart through his band, in playing, first, the drums, then guitar. My mother used to Mixed Relations. They’re both from the Mirning tribe, ask me to stop bashing the pots. a whale people from the coastal Nullarbor Plain, west When I was in the Adelaide College Band, Bart used of Ceduna in South Australia. Although from the same to come and watch us perform cabarets. He was about mob, it wasn’t until they forged their way into the 14 years old and had just started going to the Centre for music industry in Adelaide that they shared more Aboriginal Studies in Music (CASM) in Adelaide. I showed than just blood. him a few tricks on the drums. Bart was fostered out at a young age and his mother Bunna’s story and father have now passed away. At his mother’s funeral We nearly lost Bart earlier this year. I’m 61 years of age, we both sang in the church. His mother was my second so I’ve got 10 years on Bart. He’s my younger brother— mother. Bart was a bit mixed up because of it when he my mother and his mother are sisters. We’ve watched was younger, but he’s a fighter. He’s fought against one another grow through our journeys. He had his heart racism. We have both survived. operation and I was there for him. It’s not an easy thing You can’t mix music with drugs and alcohol—it doesn’t being cut up by doctors when you’re Aboriginal. He died work. Once, when Coloured Stone started, I was singing for seven minutes. while drunk and I fell off the drums. That was over 30 years He’s a good drummer. We’ve played lots of gigs ago, and I’ve never done it again. I stopped drinking and together. When No Fixed Address broke up, I hired him for became the one that looked after everybody on tour. Coloured Stone on our Human Love tour in the late 80s In 1979, myself and Coloured Stone were both stuck in and he’s on that award-winning album. Wagga Wagga in southern New South Wales because we We’re both from the Mirning tribe on the Nullarbor. I couldn’t get any gigs. My brother Neil came up to me with was born in Koonibba Mission on the far west coast of tears in his eyes and said he wanted to go home and sell South Australia. My totems are the white whale and dingo. his car. I said to him, ‘Look, if you give up now you’ll never My grandfather Mikey Free-Lawrie, whose tribal name was know what you’re going to achieve tomorrow. We gotta Dtootha, was a chief headman (boonari), medicine man keep going on. Don’t stop.’ We drove on to Sydney where and song man. He became a Christian and wore a suit at we got lots of interest and, two years later, a record deal. church. Then he’d take it off and organise and conduct We’ve both got sons called Jhindu, and both play ceremonies for us. At the age of nine, I was the drums and other instruments. My son just turned 21 and breadwinner in the family and hunted kangaroos. I grew his son is 12. My son is an amazing drummer and he up with my Elders, Uncles and Aunties. I had eight plays fast! brothers and two sisters.

Left: Bunna Lawrie. Photo: Bunna Lawrie.

Arts Yarn Up 22 Summer 2011 There was a lot of chaos and violence growing up in the boys’ home. It was pretty scary. I was confused because I’d been with my sisters in the children’s home and I was used to having all three of them around me. I was lucky that my sisters found me by accident later when I’d been fostered out. When I was young I had leukaemia and ended up in hospital with plaster all the way from my leg to my neck for two and a half years. I didn’t remember that my sister told me recently and I hadn’t remembered that for 33 years. After I left the boys home I got into a bit of trouble and I went to a correctional centre for a year. I was 16 when I got out, so I felt I’d been locked up all my life. I started mucking around on the piano, then guitar and bass, then drums at the correctional centre. Somehow I found out about CASM and they had heard about me. So when I got released from there on parole it was conditional that I go to CASM. If I missed one day I’d have to go back. I practised at CASM for a year, seven days a week. I started to make a bit of a name for myself around the We’ve done a lot of work building the road for our community as a good drummer. In the school holidays people to walk on. I take my hat off to Bart—he’s a I’d hang out with my cousins, Mackie (Bunna’s youngest determined young man. This year we both received the brother), and John John (John Miller), who was later the Special Recognition Award at the National Indigenous bass player for No Fixed Address. We’d go see Bunna Music Awards for our contribution to Indigenous perform at the cabarets. He was playing with Australian music. Ronnie Ansell, who later became bass guitarist of Us Our songs are about the heart and soul of all Mob. One night he let me have a jam on the last song of Indigenous people. Music is a medicine and a form of the night. I liked it. Then another time I played drums at a meditation. Music comes from birds and whales, the wind party to 300 bikies, and I met the future lead guitarist from and rain, and the vibrations when we walk. It helps us to be Us Mob, Pedro Butler. healthy. We’ve got to keep fit and healthy to look after our Bunna’s my brother and he’s tough. We went travelling family and our people. If we don’t do that, we’ll all be lost. around Australia with Coloured Stone in 1986 all through Since his heart operation Bart’s appreciating life a lot Darwin and Alice Springs on dirt road. There were hard more now. He’s realised that his journey is to teach and dudes in the towns and Bunna would always deal with warn others about bad habits. Our ancestors’ spirits them. Since I’ve known Bunna, he’s never drunk alcohol watch over us on our journey. We’re both whales. Whales and never smoked. remember the good things people have done for them— I’ve survived the boys’ home and I’ve played at they have excellent memories. In our tribe, we do good Madison Square Garden in New York, twice. I wasn’t things for one another. supposed to come out like this, being a rock star and travelling the world. In Scotland we played to 32,000 Bart’s story people at the Edinburgh Festival and backed up KD Lang. I was born in Ceduna in 1960 and taken to Adelaide when I We’d come from the bush, I was 26 and in my prime— was three, so my life was a bit different than Bunna’s. I went Mr Handsome Dude! The whole place went berserk. to a children’s home and then a boys’ home. I remember it When I haven’t seen Bunna after a long time, I cry. He was 1963 when I was taken to Semaphore home in knows I’ve been through a lot and I know he’s been Adelaide because the food changed. I was used to bush through a lot. His family is my family. food and I was given jelly and ice cream and tinned food. My son, Jhindu, plays drums too like Bunna’s son, My father’s from Yalata in South Australia near Coober Jhindu. It’s magic! Bunna and I have been going back to Pedy—he’s Pit (Pitjantjatjara) mob. My mother’s from the the mission and telling stories about the music to all our Mirning on the Great Australian Bight. The whale is my nephews and nieces. We’re old now. We’re grandfathers mother’s totem and my father’s is the wedgetail eagle. but we’re still blowing people away with our music. I love my culture because when I go home to Koonibba Mission, I hang out with the animals. I love the • No Fixed Address has re-formed and played a spirit of animals, have a yarn to the whales and the birds. comeback gig at the Queenscliff Music Festival on I connect with my people, my language, and my land. 26 November 2011. A new album is also planned.

Right: Bart Willoughby. Photo: Tony Mott.

Arts Yarn Up 23 Summer 2011 ROUND UP Grant closing dates FOR THE DIARY

New Work—grants to help Aboriginal and Torres The 2012 Festival of Pacific Arts Strait Islander artists and organisations create new ‘Culture in Harmony with Nature’ artworks for presentation. Closing dates:16 July and 19 November 2012. More than 3,000 artists from over 27 Pacific countries are Presentation and Promotion—grants to support expected to attend the 11th Festival of Pacific Arts in Honiara, exhibiting, publishing, recording, presenting and the capital of the Solomon Islands, from 1 to 14 July 2012. promoting of Aboriginal and Torres Strait Islander The Chair of the Australia Council’s Aboriginal and Torres Strait artists and their works. Closing dates: 16 July and Islander Arts Board, Dr Mark Bin Bakar announced the final 19 November 2012. curatorial consortia. Skills and Arts Development—grants to help Aboriginal and Torres Strait Islander artists and arts The successful team members are: Indigenous artist, organisations develop their ideas and skills through Vernon Ah Kee; Queensland Theatre Company (QTC) Artistic mentorship programs, arts workshops, professional Director Wesley Enoch; Program Coordinator for kuril dhagun development programs, conferences, seminars or Indigenous Knowledge Centre at the State Library of planning and development programs. Closing Queensland, Nadine McDonald-Dowd; and dancer, dates: 16 July and 19 November 2012. choreographer and cultural leader, Marilyn Miller. Cité Residency—a four-month residency in Paris For more information contact Lara Croydon, Indigenous may be available for an Indigenous artist from 11 Program Officer, QTC. March to 10 June 2013. Applications close 07 3010 7600 • [email protected] 16 July 2012. • www.festivalofpacificarts.com Fellowships—fellowship grants provide recognised Aboriginal and Torres Strait Islander artists with financial support to develop a major creative project or program. Applications close 21st Century Stories 19 November 2012 (in 2012 Fellowships are only Creative Australia Artists available for Visual Arts and Literature projects). Red Ochre Award—honours an eminent Grants up to $80,000 Aboriginal and/or Torres Strait Islander artist who What do we want from you? has made an outstanding lifelong contribution to 1. A major creative work. the recognition of Indigenous arts in Australia and 2. We want you to challenge, inspire, remind, provoke and dazzle internationally. Individuals, arts organisations and us! Tell us about the world through your eyes and why this community organisations can nominate an eminent story is important. Indigenous artist for the award. Nominations close 3. Create with other artists to ‘jump the boundaries’. 19 November 2012. 4. A willingness to experiment with new ideas and to get these Dreaming Award—supports a young Aboriginal ideas to thousands of people. and/or Torres Strait Islander artist aged 18-26 years of age to create a major body of work through What do you have to do? partnerships, either nationally or internationally. Pitch us an idea that is … powerful, provocative, personal, Applications close 19 November 2012. painful, playful, philosophical, passionate, profound, puzzling, poignant and phenomenal … a story from the first decade of the Indigenous Arts Workers Program—open to 21st century. Choose an event and tell it like it is. Aboriginal and Torres Strait Islander arts organisations only. The category will provide Why are we doing this? funding for either the employment of an Indigenous The Aboriginal and Torres Strait Islander Arts Board’s 21st arts worker and a program of activity, or an Century Stories is a three-year funding initiative that will support Indigenous arts worker only. Applications close 10 projects for Aboriginal and Torres Strait Islander artists, arts 16 July 2012. organisations or community organisations to tell new stories. National Indigenous Arts Infrastructure We invite applications for artistic works that express reactions Program—this program funds outstanding and outcomes to the way society has transformed in the first Aboriginal and Torres Strait Islander Arts decade of the 21st century by highlighting an event from each organisations in the Leading (six years) and Building year of the decade. (three years) categories. This category is closed for These 10 new works will undergo further development and 2011 and will open for new applications in 2012 presentation in partnership with respective arts industry (for Building, closing date 16 July 2012) and 2015 organisations and institutions. Projects may be in any artform or (Leading, closing date 16 July 2015). combination of artforms. Examples include theatre productions of ACCELERATE Indigenous Creative Leadership new work, writing for publication, song writing for recording or Program is an innovative cultural leadership performance, or the creation of new works of art for exhibition. initiative for talented Indigenous Australians working Closing date in the arts and creative industries. ACCELERATE is Applications close Monday 16 January 2012. For an application presented by the British Council and the Australia form, contact Frank Trotman-Golden or Anastasia Charles: Council. 2012 expressions of interest open March 1800 226 912 (toll free) • [email protected] 2012. To find out more, visit www.accelerate.org.au • www.australiacouncil.gov.au Please note that Aboriginal and Torres Strait Islander artists are invited to apply for grants through all of the Australia Council’s grant categories. There are also several initiatives, such as ArtStart Australia Council for the Arts (www.artstartgrant.com.au), and Creative Australia Artists Grants, 372 Elizabeth Street Surry Hills NSW 2010 which may be suitable. Visit www.australiacouncil.gov.au/grants, PO Box 788 Strawberry Hills 2012 email [email protected], or call Aboriginal and Torres T 02 9215 9000 • Toll-free 1800 226 912 • TTY 1800 555 677 • F 02 9215 9111 Strait Islander Arts on 02 9215 9067. Toll free: 1800 226 912. [email protected] • australiacouncil.gov.au