146 TECHNOLOGY AS CULTURAL PRACTICE DECOLONISING THEDIGITAL DECOLONISING THEDIGITAL 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. 148 TECHNOLOGY AS CULTURAL PRACTICE JH: ones andthere’s fauna ones. and there’s bad onesandthere’s flora sorts ofThalusites. There’s good ones land willsendrain to them.There’s all for rain aswell,andthespiritof can workthat site andtheycan ask ceremony andacertain site. They people go outandperform acertain as well.Rainmaking sites where much thesame.We’ve got rain sites isvery him. AThalusite onCountry hears hisprayers andsendsrain to and prays for rain. SupposedlyGod it’s like whenafarmer goes to church Country. To compare itto something, refers to certain ‘increase sites’ onthe Thalu. Butfor Thalu the VRproject, peoplemightcalleverywhere, hima I’ve got a bestfriendthatfollows me individual. OrItcould beafriend.If spirit thathangsaround withan messenger bird orsomething. Alittle friend, alittlemessenger, like alittle on theCountry. Itcould alsobea we Ngarluma usefor certain sites Tyson Mowarin: Thalu? lightning, allthatsortofstuff summon theelements.Rain andfire, can andyoucan go outonCountry TM: coming through. Therain one? one withthewhirlwindandrain one withakangaroo symbol.Another are, andIthinkthere’s onefor fish, icons whichindicate whichonesthere seen thediff Josh Harle: We’ve beenthrough That’s theelementsone.You erent sites. There are Can youtell usabout ‘Thalu’isaterm DECOLONISING THEDIGITAL DECOLONISING THEDIGITAL Thalu . INTERVIEW and to come from somewhere. Inmyeyes, church andasksfor rain, the rain has because evenwhenthefarmer goes to live. That’s where theycome from of allthoseelements,flora andfauna, spiritual warehouse, where thespirits worlds iswhatIcall thecultural orthe in Australia atleast.Eachofthose anywhere intheworld,oranywhere some oftheserocks are unlike or theiconic Pilbara rocks landscapes, landscapes. Thespinifex. Thespecific the virtual spaces istypical Pilbara petroglyphs, Eachof therock art. the ancientrock thatholdsonthe of landscape -surrounded byall or thePilbara -it’s allthesamesort you’re taken downinto theBurrup, world comes outoftheocean. Then talking aboutthecreation. Thenthe For theexperience, westart by into thereal world. spirits arisingfrom themandgoing up you take withyou,youwillseetheir actions withtheboomerangs, which the fauna one.Once you’re doingthe on thecountry. Samefor theflora and the waterfall, upinto thewaterholes waterfall. Thefishspiritsare going up then thatsummonsthefishup those boomerang near thewater and and there’s acertain way thatyouhold Then hehandsyoutheboomerang Jilly-Jilly bird, turns into humanform. water andhislittleThalu,whichisthe there istheplayergoes downinto the ceremony inthegame, whatyoudo traditional useorthetraditional we’re notallowedto putthe TM: experiences whentheygo into it? JH: Can youdescribewhattheplayer For thefishThalusite, obviously 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? 150 TECHNOLOGY AS CULTURAL PRACTICE you don’tseemanyplainkangaroos. to thatcertain part ofthecountry and be notacoincidence thatyougo out potentially beingdestroyed. It might stay onthecountry here. Thatoneis sites for theplainkangaroo, thatthey film,wetalkto aboutThalu Country because, inmyfilm,Connection conservation oftheirheritage aswell, is aboutteaching peopleabout a blackfella himself. Yeah. new Indigenous Aff across thestate. Abonusthatthe Heritage Actfrom thecommunity, they’re actually reviewing thewhole Now withthechange ofgovernment, resource companies to destroy sites. do massiveapprovals for miningand Theywanted to amendit. tois trying Heritage Actandhowthegovernment thattalksa documentary aboutWA’s filmthatImaderecentlyCountry’ is my filmsaswell.My‘Connectionto work Ido, andthingsIsay, andin TM: and thingslike that? the potential damage to thesesites some oftheconsequences ofthis,like going on,alittlebit more aware of there are alltheseminingoperations example, inWestern Australia where there’s afocus onmakingpeople,for on inthePilbara, wouldyousaythat that’sfrom themining industry going JH: the surroundings livein. they a littlebitofanunderstanding about When youget to myage, you’vegot to teach peoplewhenthey’re young. teenagers, mainlybecause it’s best it’d probably beyounger kids,maybe TM: Talking specifically aboutdamage Yeah. It’s allrelevant to allthe I always say, everybody. Then airs Minister is DECOLONISING THEDIGITAL DECOLONISING THEDIGITAL Thalu buy andget themoneyto restore and theyare protected, and youcan Still, theyare listed inheritage listings, don’t haveregular religious activities. Australia, even manmadechurches Heritage Actto theBuildActin like always compare theAboriginal attached Ifyoucompare to it. that, has to havearegular religious activity classification to saythatasacred site people because theybrought ina consultation withAboriginal 4,000 sites rightacross WAwithout did was theyderegistered nearly TM: churches. idea ofthesacred site, based on changed Western definitionsto avery to theHeritage Act? Iremember they JH: to thoseplants.Thenthey’re gone. forever, whoknowswhatwillhappen the seasons up. Ifit’s destroyed destroyed now, itwillprobably mess site isdestroyed like it’s partially year isexactlyEvery thesame.Ifthat in thatarea andthenitspreads out. They come earlier to Country. Itstarts that Thalusite is,they start earlier. that gumisonthoselittletrees. Where that’s intheThalusandourflora, October, actually thegovernment Country, inlate September, early and he’s stillintact. Rightacross our another site there for thebushgum, Then, ontheotherhand,there’s population inthatarea. opportunity to increase thekangaroo being destroyed sowe’ve lostan way ofthinking,theThaluthere is In ourway ofthinking,theElders’ Can youtalk more aboutchanges You knowwhattheyactually them and maintain them. Whereas, an AA: How do you expect Indigenous Aboriginal Heritage site you can’t. For and non-Indigenous audiences to Indigenous sites, they deregistered experience the work diff erently? For them all and they didn’t tell anybody. example, do you think that then it It was only found out by accident. might be diff icult for somebody that may have no cultural knowledge to be AA: It strikes me as a potentially able to access the cultural complexity precarious position to be in because and richness of the work? Or are you of course there are cultural protocols making the work with the expectation with how much information is shared that people will be able to understand with, in particular within a virtual how to navigate the diff erent worlds environment, as opposed to on and how to summon the spirits Country. relating to them?

TM: Teaching young people about TM: Yeah. It could be the other way heritage sites when they’re young around, where instead of Thalu - the audience is broad. Hopefully. being the one to experience, if you’ve When I build these things up I don’t already looked at knowledge and that really think of the audience until it’s experience of Country, maybe it’s built. Heritage should be protected the other way around where Thalu by everybody. That’s something non- is the one that opens your eyes and Aboriginal people have to stop and you will go and seek that experience think about as well, even in coming aft erwards. down, even when things happen like NAIDOC [National Aborigines and JH: It’s interesting to see how you Islanders Day Observance Committee] developed your storytelling and what Week. People think NAIDOC Week was possible with it in VR. How did is just for blackfellas. NAIDOC Week you get interested in working with is a celebration for everybody, to VR? And what about VR you found celebrate Aboriginal culture and interesting? heritage. I think something like Thalu can be for everyone, black, white, or it doesn’t matter who you are or where you from. It’s teaching a story that everybody needs to know. Even though the Aboriginal Heritage Act within the government ranks, Aboriginal Heritage supposedly belongs to everybody in the state. Not just Aboriginal people. It’s funny the government sees it that way but they don’t treat it that way. 152 TECHNOLOGY AS CULTURAL PRACTICE suppose itjustshowstheinterest that Country. Ithoughtthatwas special.I world could betransported to my headset on. People allaround the in theworldwithavirtual reality that youcould besitting anywhere an experience, because Ifigured out TM: story? as yourapproach to tell thisparticular reason was for choosingVRoverfilm film, I’mcuriousto knowwhatwas the as theplatform? Asyoualsoworkin the experience before choosingVR AA: potentially telling animportant story. reality isapretty new, creative way, I lovebeingcreative. Ithoughtvirtual something. Ilike doingmyownthing. and writinguntilweactually made It took aboutayear to get talking away. Hesaid,“Listen, make astory.” always blowsyouaway. Iwas blown virtual reality thingfor thefirst timeit first time. Whenyouget into that they use,andusedTiltBrushfor the the virtual reality headset, withwhat there, hadacouple ofexperiences in that took hisinvitation. Iwentdown workshop inPerth. Iwas theonlyone downto his down. Heinvited everyone stuff reality developers andvirtual reality world: iPad comic makers augmented together withpeopleinthedigital storytellers, filmmakers, writers brought together Indigenous down inPerth, where ScreenWest at astorytellers workshopconference Frame VR],met upfor thefirst time TM: . Imet Justinandheinvited me Did you have in mind the story or Did youhaveinmindthestory I sortofthoughtaboutitmore as Myself andJustin[McArdle, DECOLONISING THEDIGITAL DECOLONISING THEDIGITAL within VR. design challenges compared to film diff you found workinginthe medium, AA: really enjoyedtheexperience. actually, Ithinkthey experiencing it. number ofkids,peopleallages community there, andwe’ve hada TM: audience? younger audience asmuchanolder as agood mediumfor engaging a where youwere thinkingaboutVR was theredevelopment, anything When youwere doingplaytesting and coming inandlearning aboutVR. JH: - it’s pretty cool. types ofdiff music. Ijustlike being creative inall games, webfilmsandI’verecorded made iPhoneapps,traditional card stories indiff I haveinnewtechnologies andtelling erent to film? There are diff You mentionedyounger audiences Were there anyobstacles that Yeah. We’ve hadasetup inthe erent ways. Virtual reality erent ways because I’ve erent TM: I was writing the story, getting time. We got them to pop up a bit the story was pretty much the more faster. same as film. I suppose not having the technical skill or not skill, but AA: In film, directing your audience’s the know-how to work with the experience happens three diff erent developers, where I think I’d develop times over in the concept developing it as we’d go along because a couple phase when you’re writing a script, of their first go’s some of the scenes then when in production shooting, looked like very alien landscapes. and then again, in the edit - each They didn’t look anything like in time you are directing the audience’s Pilbara. It was a little bit frustrating attention to aff ect in diff erent ways, because I’d send some stuff up. Like plotted through the linear experience I’m saying, it didn’t look like much. of clocked time. How did you manage Only because they were having to this process - working with your build my Country, the landscape from developers to direct the user/player’s scratch. There’s no plug-ins that they experience? can just plug in and create the Pilbara. Whereas film, obviously if you want TM: I’d probably start with the first some of the Pilbara you go and shoot thing, one of the hardest things about it and you’ve got it straight away. A big this project was being made down in challenge was time, I suppose. Taking Perth and I’m up here. I couldn’t see a long time to create something that it every day. In saying that, when they in my eyes, as a filmmaker, it’s quite would send a buildup to us, me and short, but as a developer, it’s probably Stu [Stuart Campbell – Interactive very hard. Storyteller], we’d sit down and go through it a couple of times and JH: I noticed one thing that was quite write a whole list of notes about interesting; when you first descend things we can improve on for the user into the spiritual world, the way the experience, as you say. Yeah, we were player’s attention was drawn to the conscious of not having people just bird through the trail that it left . Then stand around in each scene for too it gives you a lot of time to know long for no reason. Even the directions what you’re supposed to be paying from Jilly Jilly and the portals popping attention to, and the focus of the up a bit faster, and all those sorts of person who’s in a VR environment. things. Comparing that to film, it was Were there any other things like that diff erent. where the player can pretty much do whatever they want, but you need JH: For me, having the human figure, them to go through certain stages to with that amazing shade of their skin progress the story? being this translucent sort of thing, standing in front of them felt pretty TM: Yeah. With interaction, certain awesome. Having the suspense of things like the rocks with the portals standing in front of another human on it, they would pop up aft er a long figure that you’re interacting with 154 TECHNOLOGY AS CULTURAL PRACTICE folly, allthevarious diff the sounddesignofmusic,all the includes thestory, thenarrative, you seeandhalfwhathear. That importance of sound.It’s halfwhat film isacollective example ofthe the control offilm-making.The attention, because youdon’thave particularly inVRto draw people’s AA: musical, justatmospheric. magical sound.There’s nothing I wanted itto bemore natural and and theyusediff named Patrick, anythingtraditional TM: production? using soundinthedevelopmentand AA: feel aboutthem. similar andhaveasimilar, magical exactly thesamebutthey’re pretty diff they useasguidesto buildthese type images. That’s basically what collage ofillustration andPhotoshop basically looklike. Hedidmore ofa them to looklike, similarto whatthey each diff Hedrew thesepanelsabout it. of Stu livesuphere andwehadtalks TM: recreate thatsortofwork? then go to thedevelopers and to try process, producing images thatcould Stu Campbell part ofthedevelopment presence ofthatfigure aswell.Was this bodilyexperience ofbeinginthe just standing infront ofsomeone,it’s works really well,because it’s not erent scenes. Theydon’tlook I noticed theimportance ofsound, I got aholdof my follow-up here Yeah, exactly like because that, What was yourapproach to erent world,whatwewanted erent kindsofstuff eet layers erent DECOLONISING THEDIGITAL DECOLONISING THEDIGITAL . Even workinginfilm,Idothe same. say, Ijustlearn asIgo whatIcan use. community orwhattheElders would always thinkaboutwhatthewider TM: general audience? of whatisinappropriate to showa telling certain thingsandbeingaware and not? Howdoyouworkwith What didyoudecidecould beshown these stories to adiff knowledge andpermissionto tell JH: finished. Idon’tthinkthesoundis moment. don’t thinkit’s afinalproduct atthe TM: for further development? AA: enhanced thesoundabitmore. could havedoneabetter joband say it’s beautiful sounding.Iprobably more eventhoughyou thoughtinto it, TM: using soundinthisparticular piece? directorial approach thatyoutook to really beautiful. Was there aparticular the natural were soundsofCountry quite subtle withtheuseofbirds and I notice thatthesoundin those diff audience through space, andreveal to actually moveyou,direct your importance andreliance onsound stay there forever. You’ve got more VR, youcan enter into thisworldand through aparticular timeframe. With in directing yourexperience, and of soundinfilmisquite significant Are there plansfor further work, I thinkcould haveprobably put As anElder, youhavecertain There should be.Ipersonally I sortofjustknow. Idon’t erent worldsandsoforth. erent audience. erent Thalu it is I would not hesitate, but I sent the a part of my process. The funding stories automatically to only allow agency, they didn’t really have any things that I know old people, Elders say on the creative start of it then. would be happy with me showing. They came a little bit later. They didn’t I still looked at them for cultural guide me and they didn’t give me any guidance and approval. rules that I had to follow. Who knows, if they probably did then it may JH: Did you consult with Elders on this have turned out diff erently, because project? they probably would have wanted to see and hear things that they TM: Yeah, a couple of my older wanted to, just like a film. I think the cousins, talking with them about it. funding agency funding this sort of VR We’re actually still working to show a experience, especially in WA, is brand few more. We’re going to show it to a new to them. I remember them saying few elders before it’s done, yeah. “They’ve got this digital funding. What the hell do we do with it?” That’s AA: Do you feel an Indigenous probably why I think it’s where that approach to sharing knowledge came initial storyteller and digital developer into how you told the story itself? workshop came from. They had the The handing over and custodianship money. They didn’t know what to do of knowledge and how that happens with its funding for VR. traditionally is quite diff erent than Western ways. As there’s a lot of cultural knowledge in this experience, did you consider that when designing the experience for players in Thalu?

TM: Yeah, I suppose in a way I don’t really think too deeply about these things. I just write the story. Yeah, I don’t write it with the beginning, middle, and end, like a film. What I have written fits the idea of the virtual reality thing. I did feel when I was trying to write, it was hard to write because I was thinking more about a film. When you write this sort of thing it’s more of an experience. It is Screen Australia, they did the same. a learning experience for myself as I remember I was part of a similar well because like I say, it was not hard thing. I flew over to the east for a but it was diff erent trying to write for week-long workshop, where they this, writing for a world, if you know had a cross-media lab. They had all what I mean. It turned out and acts these storytellers and filmmakers put diff erently to a short film. It was more together in a room with these fellows 156 TECHNOLOGY AS CULTURAL PRACTICE been sittingthere eversince. I’vegot over east wecame upwitha pitch. It’s in thosecrossover labsthat wedid 360, whenitfirst actually came out, There’sat. allsortsofthings. Even certain rock artthatyoucan look on arock arttool andimportingout you can go, evenpointingup, ifyou’re stand upandyoucan lookaround, or up anaugmented reality fence. You Peninsula], somaybeuseARto put especially atMurujuga [ontheburrup film projects withaugmented reality, with thatbutIwanted to domore Iwascame always out. interested reality alongtimeago whenitfirst to workwithaugmentedtrying TM: with Augmented Reality? AA: Reality, itwas myfirst time. or evenatthatworkshop. For Virtual AR, augmented reality, before that my first VRexperience. Iwas seeing TM: out inVR? JH: did itmyself. any ofthestate orfederal funding. I separateI eventually builtthat, from I hadthatintheback ofmymindand ‘Welcome appinto to apitch. Country’ at thatworkshopwas Idevelopedmy one thingthatdidhappenfor mewas any commissions butthe outofthat, Idon’tthinkanyofusgot the week. pitched to ABCandNITVatthe endof spent aweektogether andthenwe project together We andpitch it. who taught youhowto putadigital How doyouadvisepeoplestarting Have yougot anydesire to work The Screen Westworkshopwas Yeah, augmented reality, Iwas DECOLONISING THEDIGITAL DECOLONISING THEDIGITAL questions. This it looklike? Answeringallthose pitch. Whatdoesitdo? Whatdoes it’sover east, almostlike writinga attending thosedigital workshops I’velearned thatfromthem out, with theideas, like theway Iwrite ideas aswell. Isupposecoming up said, I’vegot a folder full ofdigital some sortofidea for afilmorlike I announcing. ThenI’vealways got and Screen Australia are always digital initiatives thatScreen West out onfilmmakinginitiativesand TM: VR, digital media? storytellers whoare starting outinAR, JH: that. information. That’s stilladesire to do get themainusesandcultural the scientificnamesbutyoucan’t can download them.You can get all right around theworld,andyou already. You can identifyanyplant out someonehasmadethoseapps Just recently, evenlast year, youfind These thingstake timeandmoney. the Morajoba orthePilbara area here. identify allthetraditional plantson ideas. Oneofthemwas usingARto a folder onmydesktop full ofdigital know meastheyfollow whomadethe know measamusician.Somepeople as afilmmaker. A lot ofotherpeople yourself, Isuppose.People knowme to dosomething, goPitch and doit. puttowardsmoney Ifyouwant it. half, based onIalready hadsome Framed VRwentandgot theother from aRock Artfoundation Then for it. the ground because Igot sponsorship Do youhaveanyadvice to other Yeah. I’malways keeping aneye Thalu project, itgotproject, off iPhone app, the ‘Welcome to Country’ desire to continue using 360 video and one. I suppose don’t restrict yourself. virtual reality. Last year I went down to Don’t restrict yourself but don’t try Perth and got my drone pilot’s license. and take too much as well. I want to do a lot more heritage work using the drones, creating all these JH: Would you say if you’re starting 3D images that you can make. I want out and you don’t have any to document Country using the footholds? Don’t wait until you get drones, then make into cultural maps the opportunity before developing before certain parts of my Country the ideas, just develop the idea into are destroyed by mining and all that. something that stands on its own, Using 360 cameras and drones on the maybe find collaborators - then if any ground. funding or any opportunities come along, you’ll have something ready to I do these things with a respect. We’ve show them? always got these anthropologists and archaeologists coming into our TM: That’s almost exactly the way I go, communities, documenting our yeah. I’ve never met Justin or framed history and culture, and then taking VR before, but I got invited to that off with it all somewhere down in workshop because I was a filmmaker, a city a long way from us. By doing a storyteller. these diff erent projects, like the Thalu VR project, this is documenting my AA: What do you have planned for language today and using it today. aft er this project? I’m not just documenting it, then creating an archive that my great- TM: Actually, I’m having more of a great grandkids might see one day. It’s conversation with Stu. He’s doing a more about documenting it, saving it, documentary project, using a little using it today as well. bit of VR with some of the local kids here. He’s got a bit of a crossover and AA: Our culture is not static, it evolves. an interesting project. Stu’s doing all right with his augmented reality TM: I think that’s a tag on Thalu; projects. He’s got funding and he’s Dreamtime is now. Today is my opening up the augmented reality Dreamtime. People see Dreamtime as world to a lot of diff erent artists. a thing of the ancient past but it’s not. That’s pretty interesting. He’s getting Today is my Dreamtime. more into virtual reality. Thalu was actually his first go with virtual reality. Now he’s developing, he’s probably one of the most sought-aft er virtual reality artists in Australia. He’s been commissioned by everybody, from Disney to Google and YouTube and all that sort of stuff . I mention I’ve got a 198 TECHNOLOGY AS CULTURAL PRACTICE BARANGAROO NGANGAMAY IMAGE CREDITS THALU IMAGE CREDITS 5. 4. 3. 2. 1. In orderofappearance: 2. 1. In orderofappearance: 5. 4. 3. Barangaroo Ngangamay AugementedReality activatedpostcards Thalu projectposter. Sharon Masonthrowingafishing line. Barangaroo Ngangamay AppPoint ofInterest marker Barrugin -echidnarockengravingatBarangarooReserve. The faunaThalu Moving betweenThalusites The entrancetothefish Thalu,Pilbara Using theapponsiteatBarangaroo Reserve. Gathering atthefish Thalu (screenshot). Image Credit: FrameVR /Tyson Mowarin Image Credit: FrameVR /Tyson Mowarin (screenshot). Image Credit: FrameVR /Tyson Mowarin (screenshot). Image Credit: FrameVR /Tyson Mowarin DECOLONISING THEDIGITAL DECOLONISING THEDIGITAL Image Credit: Bonnie Elliott (screenshot). Image Credit: FrameVR /Tyson Mowarin Photo Credit: A-Positive . Image Credit: Bonnie Elliott/ A-Positive . Photo Credit: Bonnie Elliott , Photo Credit: Bonnie Elliott