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DECOLONISING THE DIGITAL TECHNOLOGY AS CULTURAL PRACTICE AS CULTURAL TECHNOLOGY DECOLONISING THE DIGITAL 146 THALU TYSON MOWARIN (VIRTUAL REALITY) The world of Thalu is brought to life through Virtual Reality (VR), in otherworldly surroundings guided by the concept art of cult favourite and graphic artist, Stuart Campbell. The VR experience is a dazzling series of linked worlds filled with fantastical, high contrast, neon-lit Australian landscapes and wildlife. ‘Thalu’ in the Ngarluma language means, ‘totem’. However, the English word cannot fully describe the layers of meaning that “thalu” conveys to the Ngarluma people. The ‘thalu’ in Mowarin’s virtual reality experience is a spiritual doorway that connects two realms and transports the participant into the Spirit World, where they will meet Jirri Jirri, their guide. Jirri Jirri will show audiences the spirits of the elements, land, flora, and fauna, and teach them about how these spirits and environments are connected to humankind. Launching on the HTC Vive, Thalu: The Buried VR is a uniquely Indigenous Australian experience that showcases the powerful storytelling of the Ngarluma people of Western Australia. TYSON MOWARIN Creator / Cross-media storyteller A Ngarluma man, Tyson Mowarin, is an experienced filmmaker, writer, producer, director, photographer and cinematographer; and owner of Weerianna Street Media. Mowarin’s other projects include the Welcome to Country iPhone app, an extensively researched information portal and archive of Welcome to Country videos and messages. DECOLONISING THE DIGITAL INTERVIEW Josh Harle: Can you tell us about JH: Can you describe what the player Thalu? experiences when they go into it? Tyson Mowarin: ‘Thalu’ is a term TM: For the fish Thalu site, obviously we Ngarluma use for certain sites we’re not allowed to put the on the Country. It could also be a traditional use or the traditional friend, a little messenger, like a little ceremony in the game, what you do messenger bird or something. A little there is the player goes down into the spirit that hangs around with an water and his little Thalu, which is the individual. Or It could be a friend. If Jilly-Jilly bird, turns into human form. I’ve got a best friend that follows me Then he hands you the boomerang everywhere, people might call him a and there’s a certain way that you hold Thalu. But for the VR project, Thalu those boomerang near the water and refers to certain ‘increase sites’ on the then that summons the fish up the Country. To compare it to something, waterfall. The fish spirits are going up it’s like when a farmer goes to church the waterfall, up into the waterholes and prays for rain. Supposedly God on the country. Same for the flora and hears his prayers and sends rain to the fauna one. Once you’re doing the him. A Thalu site on Country is very actions with the boomerangs, which much the same. We’ve got rain sites you take with you, you will see their as well. Rainmaking sites where spirits arising from them and going up people go out and perform a certain into the real world. ceremony and a certain site. They can work that site and they can ask For the experience, we start by for rain as well, and the spirit of the talking about the creation. Then the land will send rain to them. There’s all world comes out of the ocean. Then sorts of Thalu sites. There’s good ones you’re taken down into the Burrup, and there’s bad ones and there’s flora or the Pilbara - it’s all the same sort TECHNOLOGY AS CULTURAL PRACTICE AS CULTURAL TECHNOLOGY ones and there’s fauna ones. of landscape - surrounded by all the ancient rock that holds on the JH: We’ve been through Thalu and petroglyphs, the rock art. Each of seen the diff erent sites. There are the virtual spaces is typical Pilbara icons which indicate which ones there landscapes. The spinifex. The specific are, and I think there’s one for fish, or the iconic Pilbara rocks landscapes, one with a kangaroo symbol. Another some of these rocks are unlike one with the whirlwind and the rain anywhere in the world, or anywhere coming through. The rain one? in Australia at least. Each of those worlds is what I call the cultural or the TM: That’s the elements one. You spiritual warehouse, where the spirits can go out on Country and you can of all those elements, flora and fauna, summon the elements. Rain and fire, live. That’s where they come from lightning, all that sort of stuff . because even when the farmer goes to church and asks for rain, the rain has to come from somewhere. In my eyes, DECOLONISING THE DIGITAL 148 and my theory, according to me it has flora and fauna. You’ll see the spirits to come from somewhere. rise up oft en. They’ll leave and up into the real world. As you know, Aboriginal culture is very spiritual. I’m saying that those worlds For me, the most important element that you’re experiencing, they are of the experiences is teaching people spirit worlds. That’s why the flora and about the spirit world, having people fauna and the elements look spiritual, see it as a living, breathing thing. are all there just waiting for their It’s current. Even it’s similar to the spirits to come to the real world. Dreamtime, where people talk about the Dreamtime as something passed. Angie Abdilla: Can you explain what Like today is a dream time for me. the player is doing within these Today is my Dreamtime. It’s the same worlds? in the spirit world exists today, not only in the past. TM: Right at the start, the fish, where the waterfall is, is learning about how JH: We noticed that being introduced to use the fish Thalu, the fish site. in the intro as well, where you talk He’s got a person that’s got to learn about the contemporary landscape, that they have to use the boomerang with mining coming into the Pilbara to summon the spirit of the fish to and into the Burrup, and in some of the go up to the real world. Same in the narrative, where the voice is talking elements world. You’re gathering the about the setup and the environment power of the elements. Then you’re you’re talking about how this sort of shooting them into the Willy Willy, thing has been forgotten or there’s which takes it to the real world and not an understanding of it and these unleashes it up there. Same with the sites are being destroyed, but they’re flora and fauna. Once you’re working still deeply important. With that in the boomerangs in diff erent ways, mind, who is the intended audience you’re summoning the spirits of that for this experience? DECOLONISING THE DIGITAL TM: I always say, everybody. Then In our way of thinking, the Elders’ it’d probably be younger kids, maybe way of thinking, the Thalu there is teenagers, mainly because it’s best being destroyed so we’ve lost an to teach people when they’re young. opportunity to increase the kangaroo When you get to my age, you’ve got population in that area. a little bit of an understanding about the surroundings they live in. Then, on the other hand, there’s another site there for the bush gum, JH: Talking specifically about damage and he’s still intact. Right across our from the mining industry that’s going Country, in late September, early on in the Pilbara, would you say that October, actually the government there’s a focus on making people, for that’s in the Thalus and in our flora, example, in Western Australia where that gum is on those little trees. Where there are all these mining operations that Thalu site is, they start earlier. going on, a little bit more aware of They come earlier to Country. It starts some of the consequences of this, like in that area and then it spreads out. the potential damage to these sites Every year is exactly the same. If that and things like that? site is destroyed like it’s partially destroyed now, it will probably mess TM: Yeah. It’s all relevant to all the the seasons up. If it’s destroyed work I do, and things I say, and in forever, who knows what will happen my films as well. My ‘Connection to to those plants. Then they’re gone. Country’ film that I made recently is a documentary that talks about WA’s JH: Can you talk more about changes Heritage Act and how the government to the Heritage Act? I remember they is trying to amend it. They wanted to changed definitions to a very Western do massive approvals for mining and idea of the sacred site, based on resource companies to destroy sites. churches. TECHNOLOGY AS CULTURAL PRACTICE AS CULTURAL TECHNOLOGY Now with the change of government, they’re actually reviewing the whole TM: You know what they actually Heritage Act from the community, did was they deregistered nearly across the state. A bonus that the 4,000 sites right across WA without new Indigenous Aff airs Minister is consultation with Aboriginal a blackfella himself. Yeah. Thalu people because they brought in a is about teaching people about classification to say that a sacred site conservation of their heritage as well, has to have a regular religious activity because, in my film, my Connection attached to it.

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